241 ụbọ-aka music in igbo culture: a valuable musical heritage mabel n. okoye department of music, nwafor orizu college of education nsugbe abstract traditional music is a vital and beneficial aspect of igbo culture. all activities ranging from birth to death are integrated with music making. the presence of the western culture in igboland and beyond influenced the traditional music in such a way that some aspects are gradually becoming extinct. for instance, some of the makers and players of indigenous musical instruments like ụbọ-aka have died without the youths (who are interested in white color job) taking over. as a result of this fact, gradual extinction of ụbọ-aka in igbo culture is discussed. the discussion is based on the following headings: introduction, generic names of ụbọ-aka, ụbọ-aka music, roles of ụbọ-aka music, problems facing ụbọ-aka and its music, recommendations and conclusion. introduction the word ụbọ refers to musical instruments that are either plucked (like ụbọ-aka) or bowed (like ụbọ-akwara). the english name for ụbọ-aka is thumb piano. this name may be derived as a result of the playing technique. okoye (2002) described the playing technique of ụbọaka as follows: the ụbọ-aka is held horizontally in both hands in such a way that the thumbs can play the keys or prongs conveniently. as the thumb plays, other fingers are generally hooked behind the wooden lid through the two holes in order to hold the instrument firmly (p. 39). from the above statement, one can say that the thumbs play major roles in the playing of ụbọ-aka , while other fingers give support by holding the instrument firmly. nzewi (1991:70) called ubọ-aka, “a two-thumb keyboard instrument.” culturally, ụbọ-aka is grouped under male instruments. it is played by males from the age of puberty. the igbo classify their musical instruments according to their playing techniques. thus: iku to strike ifu to blow ikpọ to pluck iti to beat or strike iyọ to shake. from the above classification, ụbọ-aka is plucked, so it is placed under ikpọ. chukwu (1999:97) grouped ụbọ-aka under mannerphone as a result of its manner of playing. based on the sound production, sachs and hornbostal (1940) classified ụbọ-aka under idiophones. nketia (1975: 69-76) sub divided the idiophones according to their playing techniques. these include: awka journal of research in music and the arts (ajrma) vol. 9 2013 242 shaken idiophones struck and concussion idiophones scraped or friction idiophones stamped idiophones tuned idiophones ụbọ-aka belongs to the tuned idiophones. it is tuned by the maker by pushing the prongs forward and backward until the desired pitch is achieved. ezegbe (1977:79) states, “bearing this principle in mind, the maker tunes the instrument to imitate the tonal inflexion of human voice with the result that the instrument can talk.” ụbọ-aka is made of calabash or wooden box (as resonator) on which is mounted from about four (4) to eighteen (18) metal prongs. it plays rhythm, melody as well as harmony. agu (2000:93) classified it as a melo-rhythmic instrument. it appears in various sizes and shapes. it is played either sitting or standing. generic names of ụbọ-aka. ụbọ-aka bears various generic names which differ from one ethnic group to another depending on the organological structure. in some of the areas where ụbọ-aka exists, it is named after the resonant material. for instance, in nise (igbo tribe), ụbọaka with gourd resonator is called ụbọ-aka, while that with wooden box resonator is called opanda. the table below shows, generic names of ụbọ-aka in various countries and tribes, number of keys or prongs in the instrument, and type of resonant material used. name country tribe no of keys resonant material ụbọ-aka nigeria igbo 8 gourd ogume nigeria igbo 8 gourd ikpa nigeria igbo 8 gourd opanda nigeria igbo 4-10 wooden box agidigbo nigeria yoruba 5 wooden box molo nigeria yoruba 11 gourd ekpe mbutu nigeria ibibio/efik 4 wooden box akembe uganda lango 12 wooden box sanza uganda alur 8 wooden box likembe uganda alur 8-12 wooden box kadogo congo logo 10-12 wooden box malimba tanzania wagogo 22,23,32 large wooden box kowangan indonesia javanese 5-8 hat-like bowl etc 243 the table above shows that the existence of ụbọ-aka cuts across various countries and tribes. in igboland, ụbọ-aka is also called ikpa, ogume and opanda. okafor (2000:164) mentioned other names of ụbọ-aka and their peculiar areas. for example, “ubọ-agbugba (imezi ọwa), ogume (nsukka) and okume (anambra lga). ụbọ-aka music in most cases, the ụbọ-aka music is performed solo. ụbọ-aka player can sing while playing the instrument. he does this as he tells stories or casts news. agu (2000:93) is of the same view when he notes, “the thumb piano is a portable solo instrument used for accompanying solo singing.” apart from solo performance, it combines with other instruments like ogene (clapperless bell or metal gong), ọkpọkọlọ (wood block), udu (pot drum/percussion pot) and ekwe (slit drum) in small group performance, such as duet, trio, quartet and quintet. small groups of raconteur-singers could be accompanied by one or two ụbọ-aka players (nzewi, 1991:70). the role of ubọ-aka music. ụbọ-aka music performs various roles in igbo culture which include: entertainment, relaxation, communication to mention but a few. before the advent of the europeans in igboland, ụbọ-aka music was very popular. once the music is played in the evening (after the day’s work) in the arena or partrilocal guest house (obu), people move towards the place to relax and listen to the latest news. from investigation, i was told by one of my informants that ụbọ-aka music was used as signature tune to the news broadcast of radio nigeria in about late fifties and early sixties. the lyrics of ụbọ-aka music cut across various activities in igbo, culture. they are used for greetings, praying, consoling the bereaved, correcting social ills, to mention but a few. at nise, some of the lyrics rendered by ezealor (ụbọ-aka player) include: payọsue, ụbọ m kenelu gi meaning pious, my thumb piano greets you. greeting is an aspect of igbo culture which is incorporated in ụbọ-aka music. the performer on the ụbọ-aka plays various combinations of notes which reproduce either the real names or title names of certain people and greets them. see below, the language of ụbọ-aka. in praying, the following lyrics are used igwe, ọ diraa chukwu mma, ndi ichie kwu gi n’azu etc. meaning igwe, if it pleases god, the ancestors are solidly behind you. here, the ụbọ-aka player and singer, prays for god’s approval on the installation of the igwe as shown in the music below. 244 satirical songs are used for correction of social ills. the text of such song include: nwakuta, ebee ka: na-eje, nwakuta? meaning: nwakuta, where are you going, nwakuta? the above text condemns waywardness. the accusing finger is not directed to nwakuta alone but to anyone that is wayward, see music below. when somebody dies, ụbọ-aka music is performed to console the bereaved. the lyrics of such song include: amode enu, gi dibenu meaning amode enu, you should take heart. the above text is used to console the bereaved with words of advice to relieve them of their sorrow. as shown in the music below. ụbọ-aka music is used by the night watchmen to ward off sleep and also to scare away thieves. this is peculiar to those that can play the instrument. there are other instruments which they also use to ward off sleep like ngedegwu (xylophone). problems facing ụbọ-aka music. the ụbọ-aka music is not written but passed from generation to generation through oral tradition. that is why researchers found it difficult to lay hands on the works of late ụbọ-aka makers and players. those that are still alive cannot play their music in its exact form when asked to repeat a performance; the singer renders words as they occur to him, not initially performed. even in the playing of the instrument, there are still slight differences. 245 presently, ụbọ-aka music is gradually disappearing in igbo culture as a result of the influence of the western culture. from the statistics i conducted on ụbọ-aka makers and players at nise in the year, 2001, out of twenty-five ụbọ-aka makers and players, twenty-one have died leaving four without some younger people replacing them. when i extended my study to other towns around nise, the story was the same and even in some towns, none is alive. the problem of this important instrument is not even a gradual disappearance but almost becoming extinct. chukwu (1999:97) had the same view at ihitte ụbọma when he remarked that “ụbọ-aka is not common in my locality. i discovered that it was just one elderly man who used to play solo with it as people gathered for one ceremony or the other. he was called “dee theo” who is now late.” from the above statement, dee theo was the only ụbọ-aka player they had at that time in their town. now, that he is late, it means that ụbọ-aka has ceased to exist there. sequel to this fact, the present generation finds it difficult to understand what ụbọ-aka is all about. more so, the instrument is rarely seen in any indigenous ensemble. the very few players could only be seen in the towns where they exist. recommendations: there is need to reactivate the existence of this very important musical instrument and its music. this could be done by the inclusion of the playing skills and construction of ụbọ-aka and other indigenous musical instruments in the scheme of work from pre-primary to tertiary level. since professionals in ụbọ-aka are lacking, master musicians could be employed to help in the teaching. although in some of the tertiary institutions where music is taught, ụbọaka is one of the indigenous musical instruments a student (irrespective of sex) could play in african music practical. this is not enough; ụbọ-aka music should be included in small group performances during music concerts within or outside the school. in addition to small group performances, ụbọ-aka should be included in the indigenous orchestra that accompanies voice in choral music. if the instrument is amplified, the sound will be clearly heard among other instruments. such inclusion was made in the former st mark’s t.t.c. nibo-nise choral music group, directed by nwafor h.c. ụbọ-aka with gourd and box resonators of various sizes were used and they performed various musical roles in the orchestra. ụbọ-aka could be used as teaching aid, when teaching some aspects of rudiments in music as well as african music. in as much as playing of recorder is included in junior secondary school scheme of work, ụbọ-aka should not be left out because it is also portable and could be owned and played by individual student. ụbọ-aka and its music (score and tape) should be preserved for posterity in the museum or documentation centre. this will be of great benefit to researchers, educationists, technologists, the mass media among others. conclusion ụbọ-aka is an idiophone which is capable of playing both rhythm and melody. that is why it is called a melo-rhythmic instrument. it is played either sitting or standing with two thumbs, while other fingers hold the instrument firmly. ụbọ-aka is found not only in igboland but in 246 various parts of nigeria and other countries with generic names. even within the tribes, the names differ as a result of dialectical differences, more so, on the resonant materials too. the music is not written but passed from generation to generation orally. that is why ubọ-aka players and singers find it difficult to perform exactly what they have performed initially. the preservation of the music score and tape is very important, to enable future performers (professionals) to perform as scored or taped. most of the makers and players of ụbọ-aka are late without the youths taking over. it is very important that the youths who are the future hope and culture bearers should be encouraged to participate actively in the construction and playing of ụbọ-aka (as well as other indigenous musical instruments) for continuity. references agu, d. c. c. (1999). the primacy of music in igbo traditional religion: socio-philosophical perspective of african traditional religion. awka: new age pub. ----------(2000). classification of nigerian musical instruments and their roles in nigerian cultures. challenges of national growth and development in nigeria. enugu: john jacob’s classic publishers. akosa, a. n. (1962). ibo musical instruments. nigeria magazine, 75, 4-14. akpabot, s. e. (1986. foundation of traditional music. ibadan: spectrum books. basden, g. t. (1938). among the ibos of nigeria. london: frank cass. chukwu, s. i. (1999). taxonomy of igbo musical instruments: an organological case study of ihitteuboma instrumental resources. m. a. thesis, university of nigeria, nsukka. echezona, w. w. c. (1963). ibo musical instruments in ibo culture. ph.d. dissertation. michigan state university, ann arbor: michigan microfilms. ezegbe, c. c. (1977). the igbo ụbọ-aka: its roles and music among nri people of nigeria. m. a. thesis, university of british columbia. kubik, g. (1964). generic names for mbira. african music society journal, 3(3), 25-31. lo-bamijoko, j. n. (1987). classification of igbo musical instruments. journal of international library of african music, 6(4), 19-41. nketia, j. h. k. (1975). the music of africa. new york: w.w norton and company. nzewi, m. (1991). musical practices and creativity. bayreuth: iwalewa haus, university of bayreuth. okafor, r. c. (2004). nigerian organology and classification of african musical instruments. nigerian peoples and culture. (4 th ed.). enugu: new generation books. --------(2005). music in nigerian society. enugu: new generation books. okoye, m. n. (2002). ụbọ-aka and its music in nise culture. m. a. thesis university of nigeria, nsukka. -------(2008). ogene instrument and its music in igbo culture: a focus on the musical and extra musical functions of ogene in old awka province, anambra state. ph.d. dissertation. nnamdi azikiwe university awka. sachs, c. and hornbostel, e. v. (1940). history of musical instruments. london: j. m. dent. -------(1961) classification of musical instruments (1914). trans by baines and wachsmann. galphin society journal, 14, 4-29. 135 the impact of delta broadcasting service music programmes on the speech of youths in abraka okpeki, philo igue department of music, delta state university, abraka. abstract there are many programmes often planned by government and its agencies to enhance the development of individuals and the larger nigerian society. the execution of such programmes often depends largely on how well people are carried along. the paper focuses on the insensibility of music and the impact of delta broadcasting service music programmes on the speech of youths in abraka in delta state.the paper also discusses music as an art, and its importance on the speech of the youths in delta state. in gathering information, the writer conducted oral interviews, participated in observations, and there was a search of library materials. findings reveal that the youths have been greatly influenced by some of the popular music types that gained prominence since the early 1990s. it was observed that some of the jargons and nonsense syllables that are often used in pop music aired on dbs have impacted negatively on youths, cutting across their education, social, political and religious endeavours. introduction most young persons growing up in delta state are subjected to numerous encounters with the music programmes of the state owned broadcasting service, delta broadcasting service (dbs). the television is located in warri and asaba while the radio receives signal on the frequency of 88.6. interview carried out on young people, especially youths in the community revealed that young people watch television for at least two hours or more every day and listen to music for approximately four hours. seventy percent of cd sales are made to television and radio producers who use them to advertise, support aired musical programmes and events. such music programmes and events have adverse effects on the youths of abraka community, and have brought tremendous impact on the speech of youths in delta state. the longman dictionary of contemporary english describes speech as “the particular way in which someone speaks”. the language used in the broadcasting service has influenced the way abraka youths speak today. according to okpeki (2010: 19), “man as an awka journal of research in music and the arts (ajrma) vol. 9 2013 136 imitative creature who adjusts his existence especially his speech patterns to suit the speech pattern and behaviour of those with whom he has had encounter.” it is obvious that some music programmes have some negative effects on the speech of youths of abraka community . although the task of this paper is not to condemn all music programmes that are aired in dbs, the negative impacts could be seen to outweigh the positive impacts from the way they act or behave towards themselves and others, by their dressing, and way of life. olomu (2005) concluded that the inevitability of change has buffeted and affected all aspects of african tradition. rapid urbanization, technological progress, and the spread of the mass media are some of the factors responsible for the changes. the paper focused more on the effect of the speech of the youths of delta state community from the programmes they watch or listen to. so many television stations in nigeria and beyond organize music programmes. the influences of these musical programmes especially their lyrics have always been interesting parts of debate the world over. this study is limited to the hip hop and rap programmes held in dbs. most of these rap artistes portray the intake of alcohol as normal, acceptable, and glorifying. the effects of hip-hop on abraka youths the lyrics of music are so powerful that they affect listeners either negatively or positively. what one listens to can go a long way in making or marring a person judging from recent experiment carried out by akpomndjere moses and udom glory. 7% of many fifteen year old persons are exposed to rap and hip hop music. one-third listened to degrading lyrics about sex. after the experiment, each fifteen year old were asked about their sexual thoughts and almost all the results of the experiment were very alarming because much rap and hip hop music have affected the youths. youths are the target towards the marketing of rap and hip hop, they are always influenced by the media, and even the master mind behind the urge for fashion and indecent dressing are some of rap and hip hop artists. some males who listen to rap and hip hop tend to imitate their stars by wearing baggy jeans, over-sized t-shirts and the caps worn upside down. similarly, okotete johnbull and ogbebor christiana also discovered that slangs, speeches and ungrammatical sentences were also used. for example, words like “omo free style, what‟s up, i pray, make we dey shine” etc. some youths also tend to use some of these slangs during examination situations, seminar papers, assignments and projects. to some extent, it has also affected their mode of communication in english language. youths often listen to slangs and ungrammatical sentences used in various musical programmes aired in delta state broadcasting service, these have greatly affected students‟ mode of speech and performance. in line with this, okpeki (2010: 53) opined that: the songs rendered by the youths portray or show a kind of youthful exuberance probably because most youths in abraka community are of the habit of seeking for guidance and mentoring from celebrities they see on television (tv) and pop stars on radio programmes they view and listen to every day. (p. 53) music is undoubtedly a known and acceptable medium of providing information, education and entertainment for the society. this is the utilitarian value of music. this being the role of 137 music in society, it is however important to investigate the source of music. music is itself a product of society, as it is the behaviour, activities and speeches of people that inform music. this accounts for why it is deemed that music stems from the society and it is a veritable tool of social change and integration. mbiti (1975: 137) comments that “artistic talents are utilized to the full in the form of art, music dream and oral communications.” the relationships between the broadcasting stations enhance that change in the language of the youth (merriam 1964: 27) noted that “music exists only in terms of social interaction and it is a learned behaviour. it involves the behaviour of learned individual and group of individuals.” it is therefore important to examine those types of music prevalent in our society which are relayed during the dbs programmes. music as played by dbs during its music programmes could be comfortably grouped into the following categories: highlife; continental; oriental; blues; disco; juju; fuji; jazz; funk; afro beat; gospel and rhythm „n‟ blues. music played in dbs has a lot of impact on the speech of youths in abraka of which asaba is an integral part. asaba, as a capital of delta state region, which is noted for the use of the language code named pidgin english, is equally adversely affected by the type of music which is played by dbs during its music programmes as most of the music played during the programmes are those patterned after the pidgin english. arising from the above, it is a common sight and experience to note that youths in delta state (including undergraduates of the university) are in the habit of speaking pidgin english which unarguably is a reflection of both what they hear from the radio and television and the society where they live. on a more critical note, is it really true that the speech patterns of youths in delta state is a reflection of the type of music showcased by dbs during its music programmes? at first thought it may seem that the observation is not true as the music they play during such programme is a mixgril of songs in pidgin and standard english lyrics. if this is true, why then have the youths taken after the pidgin english and not the standard english? in responding to the question above, one needs to examine the situation in the society beyond music, as music is just an aspect responsible for the speech pattern of an individual; its primary aim is for entertainment. it is on the above premise that one can safely conclude that while music can be seen to be slightly responsible for the speech pattern of an individual, his conversation, (dialogue) is also one of the major factors that influence speech patterns of an individual. that is why music played during such programmes are in most cases those in pidgin english, as the musicians are but a product of the society and must use the speech medium or pattern that is not only prevalent in the society but also acceptable by the people in order for them (musicians) to effectively reach out to their intended audience. from the foregoing, while it is true that music played by dbs during its music programmes has some negative impacts on the speech patterns of youths in abraka, the major source of such influence is the general pidgin english which is the prevalent medium of conversation and interaction in abraka. music being one of the indices of popular culture is undeniable that the major participants in popular culture either as producers or consumers are the youths. it is therefore plausible to detect influences of music programmes on radio and television on the speech of youths who also constitute the dominant percentage of radio listeners and television viewers. music as carrier of culture in vogue usually evolves terminologies every now and then, which the 138 youths adopt in their daily conversations. music also reflects the philosophy and the socioeconomic temper of every period or epoch and thus provides an appropriate means of expression to the youth. music as a creative art also invents neologism which youths use in their interactions. the desire to be current is another factor why music influences the speech of youths. this is so because any youth who is not abreast with musical trends is considered not to be vogue conscious. music also increases social vocabulary by inventing slangs, jargons and interesting phrases which the youths love to use. music is a very important aspect of the life of the social in which we live. therefore, youths are bound to adopt its means and style of expression. successful musicians are seen as idols and models by youths who imitate them especially their mode of expression. a survey of the music programmes in dbs, warri in dbs, some of the music programmes are “hour with the masters” which is usually on air between 6 o‟clock to 6:30pm in the evenings on thursdays. “reggae time” is usually on wednesdays between 1pm to 1:30pm. another music programme which catches the fancy of the youths in delta state is the hip hop hour, which is usually aired on saturdays between 4 to 4:30pm on fridays; it features artistes like d‟banj, 2 face idibia, african china and a host of others. some of the lyrics or texts of their music which are commonly used are as follows; the music of d‟banj titled mr. endowed with such lyrics as “gbadun my steez” meaning “they like my style”, “no long thing” meaning there is no problem “koko master” meaning “an hero” while the music of african china with lyrics such as “no look face” meaning “do not mind him”. while such lyrics “nothing de happen” by 2face idibia is commonly used among abraka youths, meaning no problem, “omo you are my african queen” means “you are my lovely girl”. words like “10 over 10” by naeto c, which means i‟m an excellent guy is equally commonly used among youth in abraka community. another music performed by dr. sid titled over the moon with lyrics such as “baby, baby come and roll, i know you gbadun my patrol” meaning “come let‟s dance, i know you like my style. music like chop my money performed by p-square with the lyrics you will never run down meaning “you will never lack anything.” she dey feels my swag, meaning “she like my pattern or style of life. another one produced by style plus titled “four years” with the lyrics “four years don waka we still day carry go, nobody waka, nobody go solo” meaning “we are still together, nobody broke out of the group”. conclusion the paper has drawn insights into the music programmes aired on delta broadcasting service (dbs) and how it has influenced the speech patterns of the youths in abraka community and her environment. although the use of pidgin in popular music is a way of reaching out to a majority of the masses, it was discovered that the effects on the speech of youths in abraka has cut across educational and social barriers. 139 references the longman dictionary of contemporary english: england: pearson education limited. olomu, j. a. (2005). continuity and change in igwe, festival in owa land. a journal of the association of nigeria musicologist, 1(2), 53-61. okpeki, p. i. (2010). music in eckeroko festival. an unpublished dissertation presented to the department of music, delta state university abraka. mbiti, s. (1975). introduction to african religion. london: heinemann. merriam, a. p. (1964). the anthropology of music. usa: north-western university press. oral interview akpomudjere moses. place: abraka. interviewed on 04/10/2012 akponewhe erivwinejovwo. place: abraka interviewed on 28/12/2012 obonabona idjerhe. place: abraka. interviewed on 10/11/2012 ogbebor christiana. place: abraka. interviewed on 22/11/2012 oghenemudiakevwe alice. place: abraka. interviewed on 03/08/12 okotete johnbull. place: abraka. interviewed on 15/09/2012 udom gladys. place: abraka 12/12/2012 tonemic substitution 67 awka journal of research in music and the arts vol.15 (2021) 67 remaking african musicologists for the new normal folorunso david jayeola ph.d. abstract he effects of the pandemic on global economic growth cannot be overemphasized. as a result of covid 19, most people, organization, religious group, educational sectors, etc could not continue their normal activities to avoid the spread of the pandemic. nigeria, like every other developed and developing countries, announced the closure of borders (land, air, etc), still to avoid the spread of the deadly outbreak of the pandemic. however, with all the efforts to curtail the spread of covid 19 all over the world, yet, almost every country recorded a notable number of covid-19 crises, where some lead to death and some could recover after a while at the isolation centre where adequate care was given. as a result of this outbreak since 2019, almost everything seems to have taken a different approach in dealings. african musicology like every other course all over the world now exploring a new approach toward research and learning in the pandemic era – a new normal. therefore, this paper highlights the state of covid 19 in nigeria, challenges of african musicologist in the world of new normal, and suggest effective/scientific solutions to the challenges. keywords: covid19, pandemic researcher and african musicologist t awka journal of research in music and the arts (arma) vol. 15 2021 jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 68 introduction the covid 19 pandemics has changed life as we know it. no sector seems to be left behind as everyone begins to get adjusted to the new normal; that is a new way of life. there has been an outburst of virus in the year past, which nigeria is not an exception but non seems to have grounded or affected the global community as covid-19. according to sohrabi, c. (2020), the first known occurrence of the virus was at wuhan, the capital of hubei province of china, by december 2019. however, it began as a form of pneumonia cases in the province. the cases were also reported to the (who) country office and it was discovered to be a new train of sars-cov virus of 2002. the name covid was however given by the who on the 11th of february, 2020. this is an acronym purposely for corona virus disease of 2019. the lab scientist made it known that the symptoms of covid-19 are associated with the disease were common to that of the common cold in nigeria and all over the world. among these are; cold, fever, poor sense of smell and breath shortness. oyeranti, o & sokeye, b. (2020), says that “the complications are of a greater degree than the symptoms as it could lead to pneumonia, viral sepsis, acute respiratory distress syndrome, kidney failure, etc. also, sohrabi, (2020), also note that the overtime have been said to worsen based on the health status of the individual. the covid 19 is not an airborne disease but can be spread in various ways though. avoidance of crowded places is a necessity because it could spread faster in a crowded environment. the most valuable approach to curtail the spread is to keep a safe distance from an infected person, constant washing of hands and cleaning of the possible contaminated surface. the symptoms are quite irregular, so it is difficult to identify an infected person without testing. the presence of these silent carrier has increased the spread. these are three categories of silent carriers according to (lauer, 2020). they are; jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 69 i. asymptomatic: people who carry the active virus in their body but never develop any symptoms. ii. presymptomatic: people who have been feeling a little unwell from a covid 19 infection but continue to come in close contact with others. iii. very mildly symptomatic: people who feel a little unwell from a covid19 infection but continue to come in close contact with others. so, it is very necessary that all the careers of covid 19 should strongly adhere to the warning of social distancing at all time. so, by taking to all these protocols/preventions, a new normal is launched. african musicologist like other specialists would have to be proactive in a time like this in other to keep their relevancies in the society and global village. this would practically be implemented through the various approaches to learning. african musicology africa is a land of black, hence african constitute over 90% of black people of the world. they have so many traditions which are still prevalent and common among them till the present day. despite the missionary incursion and introductions of european civilization through formal education, these traditions which in another word refer to culture, are all dependent on african music. many scholars/ musicologists in africa and europe have discussed african musicology from a different perspective and making the purpose of the study known to the global village. no doubt, african musicology gives better knowledge of traditional african music study. efurhievwe, m. a. (2020), made it known that african musicology study could be enhanced through knowledge reconstruction of indigenous music. so, a good knowledge of african musicology helps both african and non-african scholars to have a better understanding of african music studies in general. the study of african musicology has exposed scholars all over jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 70 the world to the richness of african cultural heritage and the necessity of making it a course of study at global institutions. bringing it down to the present day where the pandemic has truncate normalcy of every sphere of life including education, therefore, making african musicology up their relevancy in time like this. remaking nature of african music research today, african and the entire globe have striven hard to survive in the face of 21st-century existence. like a child breaking into a run, to catch up with his older parents or relations, the african is attempting to take gigantic leaps to catch up with the technology development that has taken over the entire american and european countries for centuries, and the current pandemic that has taken the entire globe on ransom. this is naturally a big task. as an igbo proverb says, it is futile trying to catch up on a journey (on foot) with a man who left a day before. thus, the hopelessness of the attempt at the so-called transfer of technology and other methods of scientific “advance” is manifested by the widening gaps between africa and the western world. scientists of the latter land men on the being able to monitor movements into the remotest parts of the earth. on the other hand, africans cannot even communicate with their neighbouring countries in finding a common solution to the covid-19 pandemic that has killed over thousands and still killing, yet a final solution hasn’t been found. it seems scholars, researchers and even the government in the various countries in african are waiting seriously for w white man found a solution. but works of arts in africa have been hailed in all parts of the world. our antiquities are considered second-to-none. our music and dance are reckoned to be the highest cultural standards throughout the world. if one is to make an impact in a society in which one lives, one must put one’s best foot forward. so, it is important therefore that we should develop our arts alongside other spheres of growth to establish a balanced society that would enhance musicologist to get jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 71 along in a time like this. this would lead to how best to continue in research, learning at various levels of education, even in the pandemic. this would encourage more input in all field or specialization areas in music it therefore necessary that in the spirit of a reawakening of the potentials in african heritage, and cultural abilities, researchers, in various field including african musicologist should resolve on collaborative research in finding a groundbreaking solution to the current pandemic facing the whole world, using the african method and technics. the pandemic outbreaks the entire world is currently battling with the “covid -19” pandemic, in another way, known as corona-virus. this particular virus caused by severe acute respiratory syndrome coronavirus 2 (sars-cov-2). this particular virus was identified in wuhan, china, in december 2019. the world health emergency of international concern regarding covid19 on 30 january 2020 and later declared a pandemic on 11 march 2020. research has it that around 15bapril, 2021, over 138 million cases have been confirmed with more than 2,97 million deaths attributed to covid19, therefore, this pandemic was regarded to be one of the deadliest pandemics thus far in history. there are no specific symptoms of covid 19 as the symptoms are variable, from none to life-threatening illness. it has been noted that the virus could spread through the air when people move or stay close to each other. any infected persons could be transmitting the virus as they breathe, cough, sneeze or spit entering another person through their mouth, nose or eyes. its spread could also be through contaminated surfaces. who (2020), the state is that “people remain contagious for up to two weeks and can spread the virus even if they are asymptomatic”. jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 72 recommended preventive method; 1. social distancing 2. wearing face mask (in the public) 3. ventilation and air filtering 4. hand washing 5. covering one’s mouth when sneezing and coughing 6. disinfection surface 7. self-isolation for people exposes or symptomatic since the inception of the pandemic in december 2019, several vaccines have been made. here has been a lot of treatment addressing the symptoms and also, some therapeutic drugs that inhibit the drug has been developed as well. global authorities have responded by implementing travel restrictions, lockdown/ quarantines, workplace hazard controls and business closures. many organizations are also working on an increase in testing capacity and trace contacts of the infected. the pandemic has affected every sector globally and everyone is adjusting to the new normal. one of the most affected sectors is the educational sector where many educational institutions have been partially or fully closed and also, many events have been called or postponed. however, in a situation where some events are allowed, the participant numbers are reduced to very few. state of covid 19 in nigeria the record has proved that the last pandemic that has the type level of impact so far, was the ‘spanish flu’ and it recorded a higher death rate in the second wave than in the first. the death rate was attributed to a mutated form of the virus which is possible with covid 19 situation on if an inappropriate vaccine produced (phillips, 2014). due to the pressure of a vaccine, the testing phase for the treatment jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 73 is expected to be shortened. hence, plans should be made to avoid second waves or contain them if is inevitable. (radusin, 2012). thevajan et al, 2020, also say that the nature of the virus shows no potential for mutation, however, the treatment could create complications. the complication could be avoided if the intended vaccines are given more time to be tested. the haste is understandable but the consequences of the haste should be considered in like manner. in nigeria and as well as any part of the world, the vaccine has been distributed and the first round of two has been admitted on some individual and particularly the front-liners who are the health workers. however, in nigeria, not every individual has shown interest in the vaccine as many have no trust in it yet. most nigerians believe that the vaccine that would not give a total resistance of the covid worth not taking at all. yet, who warned that one will still have to adhere to covid19 rules even if he or she has been administered the vaccine. how the is the necessity of the vaccine if one would still have to observe all the safety rules even when the vaccine has been administered, this and more are the questions from most citizens of nigeria. without the strong participation of the nigerian populace, there is an expected geometric increase in the rate of contamination. the rate of contamination in rural areas is expected to be lighter than that of the urban, hence, a spike of covid19 cases is expected if the spread increase across the rural areas. challenges of african musicologists/researchers researchers all over the world are facing set back in their various activities. in nigeria, most schools are shut down and student and lecturers were advised to work from home, making use of the various possible online platform. the researchers on the other hand would have been involved in fieldwork to authenticate their findings and carry out various research, but the danger of covid19 may some difficulties/challenges are noted; jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 74 1. access denial to other states/countries to carry out field research work: 2. group research discouragement 3. unavailability of sponsors (individual / private and government) 4. poor internet access due to the location of some researchers 5. slow working phase due to individualistic nature solutions solutions to the above-mentioned challenges and many more are not far-fetched. the idea is prompt swift to enable nigeria researcher to fit into global standard, rather than grounding researches due to the pandemic that the exact season or period to eliminate it has not been known. 1. an online workshop for all nigeria researchers on the proper use of the online platform for research and learning: it would be necessary if the federal government can make available all the necessary facilities available and also engaged ict professional to train people on the effective ways to carry out research using the various online platform such as; doodles, zoom, whatsapp, google classroom, microsoft teams, etc. this will not only help many researchers but also serve as a job opportunity for many people 2. possible research during the period of a pandemic: most people will continue to work from home. however, researchers are encouraged to engage in research that could be done via an online platform instead of staying idle at home in the name of lockdown or no movement. there are researches that consultation of e-library, private library, journals, books, etc. would help engaged. 3. constant internet access: one of the problems of nigerian researchers in a time like this is access to the internet. in most jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 75 organizations in nigeria, there no, or rather a weak internet access available. this will in no doubt downgrade the effectiveness of any scholars who cannot provide for themselves and assess to the internet. it is as bad as locking oneself out of the world if a researcher could not communicate globally due to a lack of internet access. 4. attending various workshop/seminars online regularly: due to the pandemic, almost all academic activities have been moved online, especially in the developed countries and some african countries. most institutions in these developed countries do not miss a session to the pandemic, unlike most countries in africa, where a whole session was lost to pandemic due to the inability to put effectively move all the learning online for both the teacher and students. researchers are encouraged to use this period to attend international conferences and seminars abroad (online) because it would not be a necessity to be physically present in an international conference and seminars/workshop during the pandemic. only to access the provided link and everyone is connected virtually. this will also help save the transportation expenses one could have incurred in the process of physical presence in an international conference. 5. various gadget for self-protection at any point when going out / moving around is inevitable: who and every other country’s health organization has warned everyone exposing himself to the pandemic. therefore, every organization should endeavour to provide safety-protection of their worker or members as the case may be. this would be in support of the provisions made by the federal government. safety-protections such as; face shield or mask, hand sanitizer, gloves, and observing social distancing. jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 76 conclusion based on this study, the nigerian musicologist like every other musicologist all over the world should have a rethink on the way forward in a time like this. it is no doubt a period of ‘new norma’ in which no one knows the possibilities of returning to the usual way of life. at the moment, no date, or sign of the pandemic been crushed in totality, so, it is expected that it comes to stay for a moment no one would be able to imagine. some developed countries like france, uk and the us have gone through series of lockdown from 2nd to 3rd and presently doing everything possible to make sure that everyone adheres to the safety rules to curtail the spread. nigeria on the other hand has not gone on second lockdown likewise some other african countries. so, precautions must be taken to avoid further calamities that the spread could cause. it is possible that the genes of most africans and sunlight that is available in nigeria are helping to slow down the effect of the virus when contacted, but we should be careful as there are other seasons where rain and cold dominate which then could cause second wave of the lockdown in nigeria. however, the suggestions listed above would help musicologist in the area of musicology and other areas of specialization to rethink in other to get along in the season of ‘new normal’. references efurhievwe, o. (2018), personal communications at ovaries. agbor clan ofurhobo, delta state, 17 may, ,2018. lauer, s.g. (2020). the incubator period of corona disease (covid19) from public reported confirmed cases; estimation and application. annals of international medicine, 577-582. oyeranti, o & sokeye, b. (2020). covid19: security agents facing challenges in enforcing lockdown order in states, says the presidential task force. retrieve from tribune: jayeola, f. d.: remaking african musicologists for the new normal... awka journal of research in music and the arts vol.15 (2021) 77 https//tribuneonlineeng.com/covid-19-security-angents-are-facingchallenges-in-enforcing-lockdown-order-in-statessayspresidential-task-force-on-covid19/ phillips, h. (2014). the recent waves of spanish flu historiography. social history of medicine, 27 (4). 789-808. sohrabi, c. (2020). world health organization declare global emergency: a review of the 2019 novel coronavirus (covid19), international journal of surgery. world health organization, (2020, january 30). the statement on second meeting of the international health regulations (2005) energy committee regarding the outbreak of novel coronavirus (2019-ncov). retrieve from who.int: http//www.who.int/newsroom/detail30-01-2020-statement-on-the-second-meeting-ofthe-international-heath-regulations-(2005)-emergencycommittee-regarding-the-outbreak-of-novel-coronavirus(2019-ncov). 184 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the place of music in radio programme presentation: young entreprenuers on diamond 101.1fm, ibadan olaoluwa marvelous ayokunmi department of music university of ibadan, ibadan, nigeria. ayokunmiolaoluwa2016@gmail.com +2347030597017 abstract radio is an age long medium of information dissemination in human society as identified across the globe. over the years, the content of radio broadcasting has been either speaking or playing of music and there is no such a radio show void of at least a signature tune, vocal and or instrumental music. signature tune is a distinctive piece of music associated with a particular programme or performer on television or radio. being a symbol, it is an identity; therefore the content of a signature needs to be in line with the focus of the show. from this view, the choice of music for media show begs for scholars’ attention. this paper therefore examines the relevance of signature tune used in the radio programme titled young entrepreneurs on diamond 101.1 fm, university of ibadan. it looks at the content of the music in the context of the radio show. blumler's symbolic interactionism theory in mass communication and literary theories are engaged. the research employs ethnographical participantobservation method and unstructured interview of guests for its field work. data was gathered from primary and secondary sources comprising the presenter, the music and guest for analysis. this research affirms the infallibility of music as a signature of every radio programme; music selection for a radio show is key. “ji masun” of gbenga obagbemi is the signature tune of young entrepreneurs, the content of the music is in sync with aim and objectives of the programme and it fits into its synopsis. keywords: radio, signature tune, “ji masun” a brief bio data olaoluwa m. ayokunmi is a lecturer in the department of music, university of ibadan. he is an academic musician (a multi-instrumentalist) and an on air personality (oap) at diamond 101.1fm, university of ibadan and few other radio outlets in ibadan, oyo state, nigeria. he directs marval city-choir and orchestra, ibadan, nigeria. his research areas include music composition, music broadcasting, church music, christian sacred musicology etc. e-mail: ayokunmiolaoluwa2016@gmail.com introduction donna l. h. (2021) argues that radio broadcasting is an intriguing and intricate domain that has undergone substantial evolution since its inception. it encompasses the dissemination of audio content, occasionally accompanied by relevant metadata, through radio waves to receivers accessible to the general public. music has always played a vital role in various aspects of human life, and radio programming is no exception. in the context of university campus radio stations, music serves as a powerful tool for engaging listeners and enhancing the overall presentation of a show. this paper aims to explore the mailto:ayokunmiolaoluwa2016@gmail.com 185 awka journal of research in music and the arts (ajrma) vol 17 june 2024 role of music in radio program presentation, focusing specifically on the young entrepreneurs show in a university campus radio station. establishing an engaging atmosphere: one of the primary functions of music in radio programming is to create an engaging atmosphere for the audience. the young entrepreneurs show, with its focus on entrepreneurial discussions, can leverage music to attract listeners who may not initially have an interest in business-related topics. by carefully selecting tracks that resonate with the target demographic, the show's producers can pique the audience's curiosity and establish a relaxed and enjoyable atmosphere. setting the mood and tone: music acts as an emotional cue, helping to set the tone and mood of a radio program. in the context of the young entrepreneurs show, different tracks can be used to match the specific tone of each segment. for example, lively and upbeat music can be utilized during interviews with successful young entrepreneurs, creating an enthusiastic and inspiring ambiance. on the other hand, soothing or classical music can accompany discussions around business strategies, providing a calm and thoughtful atmosphere that encourages listeners to engage with the content. enhancing transitions and segments: smooth transitions between segments are crucial for maintaining the flow and coherence of a radio program. well-chosen music can serve as a valuable tool in achieving seamless transitions. in the case of the young entrepreneurs show, musical interludes can be inserted during breaks or commercial spots, helping to sustain listener interest during intermittent pauses. additionally, background music can be utilized during transitions within the show, masking any technical adjustments and ensuring a seamless transition from one segment to another. creating brand identity and recognition: music also plays a significant role in establishing brand identity and recognition for radio programs. in the case of the young entrepreneurs show, the selection of a signature theme song or jingle can help in developing a recognizable and memorable brand. when listeners hear this tune, they will instantly associate it with the show, further enhancing brand loyalty and long-term engagement. reflecting and influencing the audience: music can be a powerful tool for reflecting and influencing the target audience's tastes, preferences, and aspirations. by selecting music that aligns with the interests of young entrepreneurs and their listeners, the show can create a relatable and enjoyable experience. moreover, music can be used strategically to introduce new genres, artists, or songs that resonate with the show's themes, thereby broadening the audience's musical horizons. theoretical framework this research is based on a greek theory of ethos: ‘music-muvet-affectum’ – which attributed ethical powers to music and that music could affect character. greek philosophers also confirmed that music possessed the power of good and evil and must be carefully controlled. (olaleye, 2015). this theoretical frameworks portray the relevance and influence of music in human society. since all is done in broadcasting is speech and music. in broadcasting, content is crucial. therefore, every programme has a content to sell to an audience. broadcasting content is conveyed through the medium of speech and music. every season, time of the day, days of the week and programme have their specific music. programme presenter/producers engage music relevant at every point in time because of the immeasurable influence music has over human hearts and in a society at large. 186 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the three main components of music (songs); melody, rhythm and text are usually put into consideration in the selection of music for media broadcasting shows. these three components are put into consideration because of their influence on the tripartite nature of human being. bob marley (1990) opined that “when words fail, music speaks”. this buttresses the point that music is a very viable instrument of an effective communication and social influence. music in media broadcasting music is an integral part of radio programming. it has the power to grab the attention of listeners, create a specific mood, and enhance the overall presentation. this paper aims to explore the role of music in radio program presentation, with a specific focus on the young entrepreneurs show in a university campus radio station. the young entrepreneurs show is a program dedicated to highlighting the achievements and experiences of young entrepreneurs. music as an attention grabber: one of the main functions of music in radio program presentation is to grab the attention of the listeners. in the young entrepreneurs show, carefully selected music is used as an introduction to capture the audience's interest from the very beginning. the show's theme song sets the tone for the program and establishes a connection between the show and its target audience, which primarily consists of students and young entrepreneurs. establishing a mood: music plays a crucial role in establishing the mood of the show. the usage of music in different segments of the program helps in creating the desired atmosphere. for example, upbeat and energetic music is played during interviews with successful entrepreneurs or when discussing exciting business opportunities. this creates a positive and motivating atmosphere, encouraging listeners to pursue their entrepreneurial dreams. transition and segmentation: effective music selection aids in smooth transitions between segments of the program. transitions between interviews, discussions, and news updates are often marked by carefully chosen interludes or jingles. these short musical breaks maintain the interest of the listeners and provide a sense of structure to the program. additionally, music serves as a tool for segmenting the show. for instance, a specific song may be played as an introduction to the question and answer segment, providing a noticeable distinction between the various parts of the program. such segmentation helps listeners to identify and understand the program's structure, making it easier for them to follow along. enhancing the content: music also enhances the content presented in the show. it can evoke emotions, reinforce messages, and add depth to the discussions. for example, if an interviewee shares a particularly moving or inspiring story, an appropriate song may be played afterwards to reinforce the impact of their words. these musical interludes serve to heighten the emotional connection between the audience and the content being presented. 187 awka journal of research in music and the arts (ajrma) vol 17 june 2024 engagement and branding: music is an effective tool for audience engagement. in the young entrepreneurs show, listeners are encouraged to participate through call-ins or social media interactions. utilizing music during these interactive segments not only provides an enjoyable experience for the listeners but also creates a stronger brand identity for the show. by associating specific songs or jingles with the show, the audience can easily recognize and remember it when tuning in or discussing it with others. the concept of signature tune collins dictionary online defines signature tune as the tune which is always played at the beginning or end of a particular television or radio programme, or which people associate with a particular performer. a signature tune is the tune which is always played at the beginning or end of a particular television or radio programme, or which people associate with a particular performer. signature tune is a short tune played at the beginning and end of a particular television or radio programme, or one that is connected with a particular performer. oxford learners’ dictionary semiology of signature bowcher (2018) in idowu (2024) explains semiotics in the aspect of context; “in semiotics, context refers to those aspects in a conversation or interaction that provide relevant and specific meaning to the particular exchange that is occurring. this enables the recipient in the exchange to make proper sense of interaction and derive the intended meaning from it.” the semiology of signature refers to the study of signatures as signs or symbols that convey meaning beyond their literal function of identifying an individual. a signature can be seen as a representation of one's identity, personality, and social status. here are some aspects of the semiology of signature: 1. graphology: the study of handwriting and signatures to infer personality traits, character, and behavior. 2. symbolism: signatures can contain symbols, initials, or logos that hold personal significance or represent affiliations. 3. aesthetics: the visual appeal and style of a signature can convey creativity, elegance, or professionalism. 4. cultural significance: signatures can hold cultural or historical significance, such as the use of seals or stamps in asian cultures. 5. power dynamics: signatures can represent authority, consent, or agreement, as in signing a contract or document. 6. identity performance: signatures can be seen as a performance of identity, conveying confidence, creativity, or individuality. 7. authenticity: signatures can serve as a proof of authenticity, verifying the identity of the signer. 8. digital signatures: the rise of digital signatures has introduced new forms of signature semiotics, including electronic authentication and encryption. by examining the semiology of signature, we can gain insights into the ways individuals present themselves, communicate their identity, and negotiate social relationships through this everyday practice. young entrepreneurs’ show: aim, objectives and synopsis young entrepreneurs show is a radio programme designed to motivate and encourage young nigerians in the area of entrepreneurship and vocational practices. the programme features students who are https://www.collinsdictionary.com/dictionary/english/always https://www.collinsdictionary.com/dictionary/english/beginning https://www.collinsdictionary.com/dictionary/english/associate 188 awka journal of research in music and the arts (ajrma) vol 17 june 2024 entrepreneurs. that is, those who aside their academic pursuits, have certain vocation they do or engage in a business to earn a living. the philosophy of the programme includes the following; nigerian youths are not lazy, not everyone will get job with certificate, it is possible to combine studies with business, you can employ yourself, develop your talent, be a problem solver, learn to make money etc. methodology this qualitative research engaged in-depth interviews and content analysis. this study sheds light on the role of music in enhancing the presentation of radio programmes by engaging listeners in an unstructured interviews, analyzing the programme content and the relevance of the signature tune to the purpose and target of the show. textual analysis table text english interpretation gbe body ole dide, loju orun re, wake up from your sleep lazy person ji masun gbe body e kode jara e, do not sleep, wake up and be smart ji masun mase sole kowo le wole wake up, don’t be lazy so as to make money ji masun gbe body e tori ola de, wake up, make move for the future is here aduke ojo nlo k’a tepa mose, aduke, time waits for no man, work hard ajao yara o k’ale rise sa, ajao, hasten up so as to get work to do ole gbo ji masun loju orun re, lazy one hear, wake up from your slumber l’asale k’igbadun le wa falala, so that you can enjoy in your old age observations and feedbacks music plays a significant role in programme presentations in the mass media, especially on radio. the choice of “ji masun” by gbenga obagbemi for the programme young entrepreneurs is such a brilliant choice. the music is in highlife rhythm with trending socio-linguistic elements that attract the main targeted audience of the show, which is nigerian youth. the programme is a live discussion show between the presenter of the programme; ayokunmi olaoluwa and his guest which is usually a youth of all categories. the music serves as a call for the programme. once listeners and fans hear the song from the frequency, they know that it is time for the show. it is an invitation to casual hearers. many persons started listening to the programme because of the music. the content of the music is functional and relevant to the targeted audience of the show. a regular listener, mr adeyemi michaeal said the music itself is enough charge to every listeners. miss aanuoluwatomiwa opakunbi, an undergraduate student of the university of ibadan, who was privileged to be guest of the show quickly requested for the music from the programme presenter. “i need to be listening to it every morning. it will keep me going in times of discouragement” mr richard olugbenga, a young entrepreneur said it is the music that makes him to develop interest in the show. summary, conclusion and recommendation the role of music in radio program presentation is crucial, particularly within the context of the young entrepreneurs’ show in a university campus radio station. by utilizing music effectively, the show can establish an engaging atmosphere, set the tone and mood of discussions, enhance transitions 189 awka journal of research in music and the arts (ajrma) vol 17 june 2024 and segments, create brand identity, and reflect and influence the audience. understanding the significance of music in radio programming empowers broadcasters to create captivating and memorable experiences for their listeners. the role of music in the radio program presentation is multifaceted. in the young entrepreneurs show, music not only grabs the attention of listeners but also establishes the mood, aids in transitions, enhances the content, and promotes engagement and branding. understanding the significance of music in radio programming is crucial for creating captivating and memorable shows, like the young entrepreneurs program, that resonate with the target audience and effectively deliver the intended message. according to research, music has played a significant role in radio programmes as a form of prevention strategy. in particular, it has been used as a tool to promote and support young entrepreneurs. this can be seen in the case of diamond 101.1 fm in ibadan, where music has been utilized to engage and inspire young entrepreneurs. the use of music in this context serves as a way to attract the attention of the youth and create a positive impact on their mindset. by incorporating music into the radio programme, it helps to break the monotony of traditional business discussions and provides a refreshing and entertaining approach to the topic. the benefits of utilizing music in this manner go beyond simply engaging the audience. research has shown that music has the power to influence emotions and behavior. by creating a positive and motivating atmosphere through music, young entrepreneurs are more likely to be inspired and driven to take action towards achieving their goals. furthermore, the use of music in radio programmes has been found to be an effective way to communicate important messages. it serves as a medium to educate and inform listeners about various aspects of entrepreneurship, such as financial management, branding, marketing, and networking. in conclusion, the role of music in radio programme prevention for young entrepreneurs is undeniable. with the right blend and approach, it can effectively engage and inspire young individuals to pursue their entrepreneurial dreams. as seen in the case of diamond 101.1 fm in ibadan, music has the power to make a positive impact and create a supportive environment for young entrepreneurs. references donna, l.h. (2021). evolution of interpersonal communication through symbols (sticker) cyber native in the line app. business economic, communication, and social sciences journal, 3, 125-135. ekanola, a.b. et al (2019). theories and methodologies in the humanities. ibadan, nigeria: ibadan university press. ellingson, steven w. (2016). radio systems engineering. cambridge, usa: cambridge university press. folarin, b. (2005). introduction to broadcasting. ibadan, nigeria: ibadan university press. idowu, f. (2024). indigenous and imported textile products: a comparative study of market 190 awka journal of research in music and the arts (ajrma) vol 17 june 2024 dominance and quest for industrial revitalization. (unpublished phd seminar paper) university of lagos, akoka, nigeria. ikpeama, c. j., anaba n. n. & kalu a. c. (2024). influence of radio programme news on mental health communication amongst residents of south-east nigeria. british journal of mass communication and media research, 4, 2-24. https://doi.org/10.52589/bjmcmr-rdvxcngc olaleye, o. (2015). music as a tool for the promotion of global peace, security and the ordered world. ibadan journal of humanistic studies, vol 25(issn: 2141-9744), 25-40. appendixes https://doi.org/10.52589/bjmcmr-rdvxcngc 191 awka journal of research in music and the arts (ajrma) vol 17 june 2024 192 awka journal of research in music and the arts (ajrma) vol 17 june 2024 193 awka journal of research in music and the arts (ajrma) vol 17 june 2024 15 an appraisal of voice studies in nigerian universities elizabeth onyeji department of music, university of nigeria, nsukka, enugu state. & christian onyeji visiting professor, department of music, university of uyo, uyo, akwa-ibom state. abstract this study presents a review of the teaching and learning of voice as instrument of study in nigerian universities. department of music, university of nigeria, nsukka is the location of the study while relevant data were drawn from departments of music in south eastern nigeria for a balanced view. the teaching methods, form, scope, outcomes, attitudes, quality of teaching and learning skills were considered. the study employed a combination of qualitative and quantitative research methods. it was discovered from the study that most teachers of voice are not voice specialists and therefore do not handle voice pedagogy in the appropriate manner. the music curricula in the departments do not clearly state how voice teaching should be handled. based on the research findings it was recommended that voice specialists be given the responsibility of teaching voice as is the case with other instruments. it was proposed that the curriculum be reviewed to reflect aspects of voice to be learnt at different points/levels in the learning programme. in our opinion, in the absence of voice specialists, voice lecturers should undergo special training in vocal teaching for effective teaching and learning of voice to take place. background/framework departments of music in nigerian institutions (see idolor 2005:138-140 for a fairly comprehensive list of higher institutions that offer music and their dates of establishment) provide bi-cultural programmes, featuring studies in western and african music on equal footing. a constant on the study programmes in these institutions is voice as an option of instrument of study (excluding ibadan of course). the implication is that for over forty years the teaching and learning of voice have been on the programmes of various departments of music in nigerian universities and colleges. awka journal of research in music and the arts (ajrma) vol. 9 2013 16 as in other instruments, training in voice in these institutions aim at equipping students for its use, management, development, teaching and performance as professional musicians. it also aims to enable or empower such students to face challenges of vocal music and voice performance in various global competitive situations. a close observation of the outcome of voice studies in departments of music in nigeria however, reveals a worrisome situation – in fact, a glaring anomaly. the issues range from who teaches, what is taught and the methods of teaching voice in these departments to misconceptions about voice as a serious instrument of study. it is quite easy to observe that voice studies in nigeria have failed to make any substantial impact on music education and music performance in nigeria. the result being that about 98% of graduates of music who majored in voice cannot perform a song in a concert or present independent concerts on voice. such a situation is a clear anomaly. while many graduates of music majored in voice, it would be instructive to discover why many of such people are not heard and do not perform after graduation. little or no serious art music performances are given by such graduates, raising the question on how voice students are prepared for the challenges of the profession on graduation in their student days. the objective of the study therefore, is to investigate the factors that contribute to perceived lack of professionalism among graduates of voice, with a view to finding solutions. this study investigates the teaching and learning methods adopted by lecturers, their requisite training and skills in voice as well as attitude to the teaching of the instrument in the departments. also investigated are the attitude of students and the outcome of voice studies. although teaching and learning of other aspects of music impact directly and indirectly on the teaching and learning of voice in nigerian universities, the study focuses on voice studies in the department of music, university of nigeria, nsukka, drawing relevant examples where necessary from the other universities in southern nigeria – nnamdi azikiwe university awka, university of uyo, uyo, obafemi awolowo university, ile-ife and delta state university, abraka. it was observed that the teaching methods adopted in the department of music, university of nigeria, nsukka is reflected in the rest of the departments in nigeria with little variations owing to the fact that many of the staff that teach in the various departments are products of university of nigeria, nsukka. the writers employed a combination of qualitative and quantitative approaches in this study enabling direct discussions and distribution of questionnaires to teachers and learners. many years of personal experiences as teachers in the location of this study formed the background on which the study was based. objective of voice studies the voice, as an instrument for sound production by human beings through the mouth, can either produce speech or song by means of the vocal cords. being a delicate instrument, it cannot be replaced or repaired if seriously damaged. it produces sound by means of the vocal cords in conjunction with other organs in the human body. these organs function as: 17 (a) amplifiers: the organ responsible for the amplification of sound is known as the organ of resonance. these are the holes in the skull and chest. according to ekwueme (1993), the sound produced at the vibration of the vocal cords has to be “amplified” before it is sent out to the listener. this amplification is done within the body by the organs of resonance. these are simply the spaces within the chest and head which act as air chambers or “echo chambers” to amplify the sounds produced. (p. 61) wigmore (2002) also states that: allied to the notion of singing on the breath is that of the correct place of resonance: a sound not sustained by the breath cannot take the proper advantage of the resonating capacities of the head and the resonance chamber of the thorax. (p. 79) (b) means of articulation: proper articulation is achieved by the combined use of the tongue, the lips, the palate, the teeth and the lower jaw. these organs help in the articulation of words in order to convey the message of the song to the listening audience. (c) means for enhancement: these organs enhance the sound produced. for example, the lungs, the abdominal walls, the diaphragm etc. function together with other organs to produce quality sound. the human voice, unlike other musical instruments is under the influence and control of the singer. according to lo-bamijoko (2001: 74) “…(1) the voice is completely under the influence of the singer, other instruments are not. (2) the voice reflects the emotional and psychological state of the singer, other instrument do not”. thus, the psychological state of a singer can have the most profound effect on the quality of sound produced. there is the possibility of training or developing the human voice to produce different sound qualities. through the process of intensive and skillful training, the human voice can be prepared to produce a wide range of sounds in different tessitura. the voice is indeed a versatile instrument given to humans naturally. the human voice can expressively and reflectively produce music in various human languages and cultures if adequately trained. voice training, therefore, refers to the study of the methods and activities of teaching voice. it refers to ways and approaches to teaching and learning of voice as an instrument of study in music education. voice training sums up the skillful and creative processes for training the human voice for professional performance and utilization. such training recommends, among others, expert handling by specialists in voice and professional voice performers while carefully excluding non-professionals to avoid inadvertent damage to the delicate parts of the voice. the technical and skill-bound aspects of voice training (hewit, 1978: 1; ekwueme, 1993: 54; ware, 1995: 94) that require careful and methodical approach must, as such, be conducted by experts if maximum results are to be achieved. voice as an instrument the human voice is capable of producing different pitches, these range from contra b b to three line e b on the piano as shown below 18 the range as a whole cannot be produced by a single voice, hence, the various groupings of the human voice. female voices are classified into three namely – soprano, mezzo soprano and contralto. male voices on the other hand are classified into four. these are – counter tenor, tenor, baritone and bass. these voice types are further grouped into subcategories depending on range, tessitura, tone colour and flexibility of the voice. the female voice: (a) soprano: the word “soprano” originated from the latin word “superius” which means “above” or “over”. in the 15 th century when polyphony was the order of the day, the word “superius” was commonly used to describe the top voice. the word soprano is used in describing the highest singing voice. these include voices of women, girls and sometimes immature male voice. according to groves dictionary of music and musician (1980), soprano refers to: the highest female voice, normally within the range c 1 to a 1 , which may be extended to either end, particularly in solo writing; the word is sometimes also used for a boy’s treble voice (boy soprano) and in the 17 th and 18 th centuries was used for a castrato with a high range (p. 531). the international cyclopedia of music and musician defines soprano as “the name given to women’s voices of high range and bright quality… the unchanged boy’s voice, having a quality similar to that of a soprano is classed as a “boy soprano” (1975: 2120). although, the word soprano is used to describe high female voice, soprano singers are distinguished accorded to quality, range and dexterity. as such the soprano voice is classified as follows: (i) coloratura soprano: the coloratura is the highest singing soprano voice. it is very light and flexible and capable of taking low and very high pitches comfortably in the soprano range. the highest portion of the range of the coloratura soprano sounds like a flute in tone colour. ware (1995:51) refers to this as the “flute/whistle register”. he says “the flute or whistle register is the high range extension of the female voice above the pitch c 6 (6 th c from the bottom of the keyboard), often well-focused, penetrating and “squeaky” or whistle-like”. the range of a coloratura lies between middle c and three line e b as shown below 19 (ii) lyric soprano: the lyric soprano has a fuller voice which is also flexible but not as flexible as the coloratura. it has a cantabile style when it is in the middle and upper register. the range is shown below: (iii) dramatic soprano: the dramatic soprano is the biggest and most powerful of all the high voices. it is darker than the lyric soprano and less agile. it is a soprano voice with marked declamatory ability. the range is: (b) mezzo-soprano: the mezzo-soprano is the most common female voice. it lies between the soprano voice and the contralto voice. hence, the tessitura is higher than the contralto and lower than the soprano. like the soprano voice, the mezzo-soprano is subdivided into three namely: (i) coloratura mezzosoprano: the coloratura mezzo-soprano is the highest of all the mezzo-soprano voice types. it has the same flexibility of the coloratura soprano but not the same range. the range is between a 3 a 5 (that is the a below middle c to the a two octaves above a 3 ). in the upper and lower extremes, some mezzo-sopranos may extend down to the g below middle c (g 3 ) and as high as “high c (c 6 )” – http//wapedia.mobi/en/voice type. (accessed 30/11/2009). the range is shown below. (ii) lyric mezzo-soprano: the lyric mezzo-soprano voice is a little darker in tone colour and not as flexible as the coloratura mezzo-soprano. the range is between g below middle c to two-line b b as shown below. 20 (iii) dramatic mezzo-soprano: the dramatic mezzo-soprano is darker in quality than all other mezzo-soprano voice types. it also has a very powerful low register. the range is shown below. (c) contralto: the contralto voice is the lowest of the female voices. the quality is darker and heavy having a baritonal character. the contralto voice is subdivided into two categories namely: the lyric contralto and dramatic contralto. the range of the contralto voice lies between the f below middle c (f 3 ) to the second f (f 5 ) above middle. the range is shown below. the male voices: (i) counter tenor: the counter tenor is the highest male voice with a very powerful head register. counter tenors usually sing using their false voice or falsetto. this voice type is common among rock singers. the range lies between g 3 to e 5 as shown below. other types of counter tenor voice include the sopranist or male soprano, hante-contre and modern castrato. according to wapedia “many counter tenor singers perform roles originally written for castrati in baroque operas”. (http://wapedia.mobi/en/voice type. accessed 30/11/2009). (ii) tenor: the term tenor refers to the highest male voice within the model register (mobi/en/ voice type – accessed 30/11/2009). the tenor voice is between the counter tenor and baritone. the range lies between c 3 to c 5 as shown below: other types of tenor voice include: (1) leggiero tenor: the leggiero tenor has the highest tessitura of all the tenor subtypes. http://wapedia.mobi/en/voice%20type.%20accessed%2030/11/2009 http://wapedia.mobi/en/voice%20type.%20accessed%2030/11/2009 21 (2) the lyric tenor: the lyric tenor is similar to the lyric soprano in flexibility. it has the ability of moving from one register to another smoothly without any noticeable breaks or cracks in the voice. (3) dramatic tenor: the dramatic tenor is heavier than other tenor subtypes but not as high as the leggiero or lyric tenor. another type of dramatic tenor is the heldentenor which has greater than normal power and endurance. (iii) baritone: the baritone is the most common of the male voices. this voice type is much darker and richer in tone colour than the tenor but less flexible. the range lies between the bass and tenor ranges overlapping both of them. the range is between f 2 to f 4 (2 nd f below middle c to the f above middle c) but can be extended at either extremes. other categories of the baritone voice include lyric – baritone, belcanto or coloratura baritone, kavalier baritone, dramatic baritone, verdi baritone, baritone-noble, and baritonemartin. these sub categories were done based on timbre or vocal colour, the weight and dexterity of the voice. (iv) bass: the bass voice is the lowest singing voice of all the voices in that it has the lowest tessitura. the bass voice is further grouped into the following categories: bass profundo, bass buffo or belcanto bass, basso cantate, dramatic bass and bass baritone. the range lies between e 2 to e 4 “in the lower and upper extremes of the bass voice, some basses can sing from the c two octaves below middle c (c 2 ) to the g above middle c (g 4 )”. (http://wapedia. mobi/en/voice type assessed 11/30/2009. the range is shown below: voice studies in nigeria: the status quo evident from this study is lack of curriculum provisions on voice in the department of music, university of nigeria, nsukka. in the ba programme spanning four years and in the diploma program spanning three years, there are eight courses on voice studies – two per session for the degree programmes; while the diploma programme has six courses on voice studies – two per session. for the degree programme, these are: mus 161 – primary instrument/voice i up to mus 462 – primary instrument/voice vii. the contents of the courses are generally the same. according to the curriculum, mus 161 – primary instrument/voice i has the following as its course content: 22 individual lessons on an african master musical instrument or western classical instrument or voice with not less than one hour of private practice each day of the week required of the student. (students are encouraged to provide their instruments of specialization (1991, degree programme, department of music, university of nigeria, nsukka). and mus 162 – primary instrument/voice ii which is offered in the second semester of the first year has: “progressive development of skill on selected african or western classical instrument or voice”. the curriculum is mute on how to tackle the subject or what should be taught in a lesson. reference to colorado university (http://www.colorado.edu/music/voice/pedagogy. html. accessed 20/11/2009) for instance, shows that the undergraduate programme has different topics to be treated in each semester at different levels of study. voice study is not synonymous with giving exam pieces by teachers of voice to the students which they carry about till examination day. teaching of topics like physiology and acoustic of the singing voice is crucial. knowledge of acoustical workings and parameters of voice by students is significant, apart from being able to sing their examination pieces. such knowledge creates a distinction between ordinary music enthusiasts who sing in church choirs and trained singers at the university. other topics treated at the colorado university relevant to voice studies are: breathing, posture, registers, repertoires, vocal health etc. in the department of music of university of nigeria, nsukka, mus 261 – primary instrument/voice iii which is taken at the second semester up to 461 – primary instrument/voice vii which is taken at the last semester of the fourth year requires “more progressive individual lessons than the previous ones”. one is tempted to ask – lessons in what? is it on the technical requirements for voice performance, standard singer’s repertory or stage management? it is difficult to tell as the curriculum did not specify. guideline for teachers of voice is not provided. aspects of vocal studies such as technical requirements for voice are not included for the teachers to implement. because the curriculum is not specific, students are taught from the fancy of the teachers. while some start with the grooming of the voice, before going into teaching of the pieces, some simply give pieces to the students to study regardless of the suitability of that music to the particular voice type. a negligible few start by classifying the voice, grooming and then introducing the students to the technicalities of voice performance. without explicit curriculum provisions on tackling voice studies, teachers are left to their own options. the result is lack of uniformity in what is taught, how it is taught and in the learning outcomes. the curriculum needs to be specific. reflecting the situation at the department of music at nsukka, little or nothing is in the curriculum on voice at the department of music, nnmadi azikiwe university. the curriculum merely stipulates daily private practice by students. there is no specification on what or how they are to practice. the teacher of voice is not provided guideline about the topics to be treated at the different levels of study, resulting in variations in the teaching and learning outcomes. the course content is as below: http://www.colorado.edu/music/voice/pedagogy.%20html.%20accessed%2020/11/2009 http://www.colorado.edu/music/voice/pedagogy.%20html.%20accessed%2020/11/2009 23 progressive individual lessons on voice not less than one hour of private practice each day is required of the student. emphasis is on hymns and chants as well as on western classical songs. however, exam pieces are selected by the board for each year of study. this gives room for easy assessment unlike what is obtainable at the department of music university of nigeria nsukka where each lecturer gives different pieces to his/her own voice students. in an interview with a staff of the department, it was submitted that exam pieces are selected by the academic board each session for the different years of study but each teacher can decide on how to go about teaching his/her own students since the curriculum did not state what should be studied at the different levels. similarly, in the department of music, university of uyo, the curriculum is silent on what should be taught in a lesson but students are encouraged to do some private practice on their own too. just like what is obtainable in awka, exam piece are selected by the academic board every session for the different levels of study. students meet with their different teachers to practice their exam pieces before the exam. teachers of voice put their students through their pieces in addition to giving them some vocal exercises which, of course, is not stated in the curriculum but each teacher devices a way to encourage the students by doing what he/she feels is right. a prevailing situation is that most teachers of voice at these universities specialize in areas other than voice or voice performance. it appears all lecturers of music engage in teaching and learning of voice raising the question of disregard of areas of specialization and its impact on learners. evidence from private discussions and responses from questionnaire show that there is a general misconception among learners that voice study is an easy option or an instrument a lazy student opts for. there is a general belief that serious students take musical instruments other than voice while the reverse is the case for weak students. it is also believed that there is very little or no opportunity for serious career open to voice major students. this calls for double effort to motivate students to opt for voice as an instrument for self and professional expression rather than as a course to fulfill university requirements. over the years students of voice have taken to the culture of learning of voice pieces as representing voice studies. this is the result of the teaching methods employed by voice teachers. while many students take voice as their major instrument, many of them have not gained proficiency on the instrument to the point that one would consider them professionally trained for the challenges ahead. for many of such students, singing ends as soon as examinations are over, while some manage to identify with church choirs where they hardly play any significant role as voice major students/graduates. a simple observation shows that the few voice graduates that have made their marks in nigeria (joy nwosu – lo bamijoko and ori enyi okoro, among the older generation; elizabeth onyeji, oguchi egbunine and patience oikhelome, among the younger generation) are those that studied outside nigeria or at least outside the department of music before their study programmes in the universities. there seems to be a situation that students of voice that started their singing 24 lessons in their various departments have not been able to excel as professional singers/art music soloists, calling for a re-appraisal of voice studies in departments of music of nigerian universities to find urgent solutions to the perceived problems. a teaching method that would lead to professionalism by voice graduates is critical if voice studies would make its mark in the future. discussion this study underlined the approach to voice pedagogy as a contributing factor to nonprofessionalism of voice major graduates of nigerian universities. most teachers of voice do not give regular individual attention to their students. there are, also, no curriculum provisions for teaching voice. voice teachers have not developed a culture of vocal drills and exercises for students during lessons. the prevalent practice is that students study their voice pieces on their own whether they can handle it or not. adedeji & ajewole had earlier stated that “the students are only given vocal pieces or even worse still instructed to look for pieces of their voice categories and left on their own to learn them” (2008:107). music students are not properly motivated to develop positive perception of voice studies. poor students in other instruments are often adviced/constrained to opt for voice as an easier option. the reverse is also the case sometimes in which serious voice students are advised to take up “more serious” instruments for study, creating an unfounded impression that the technical demand of voice is nothing compared to those on other instruments. many of the teachers of voice in nigerian higher institutions are not voice specialists. many of them specialize in other areas other than voice. worse still they are not good singers. it remains in doubt how such teachers are able to teach the students assigned to them if they are unable to demonstrate the different styles, technique and performance requirements of each song. this highlights the almost faded culture of mentoring among voice teachers. lack of expert skills among teachers of voice impact negatively on learners of voice, as majority of voice students do not have experienced and proficient teachers as mentors. adedeji & ajewole recommend that “the issue of specialization among nigerian musicologists and music educators be addressed urgently. the national universities commission should discourage a situation where non-specialists teach courses that require specialists” (2008: 112). very little time is allotted to applied music on the time table, making it difficult if not impossible to attend to all the voice students individually. the result is that students are taught for the purposes of examination not for skill acquisition. it is a common practice for voice teachers not to give lecture notes to students during lessons. in all, the study shows that most of the teachers of voice are not voice specialists and often times do not give the required individual attention to their students. most voice teachers are not voice performers themselves and the students do not have active mentoring. over the years the learning of voice pieces have been taken to represent voice studies making it difficult for students to comprehend what vocal apparatus really is. new direction 25 voice pedagogy entails much more than learning of exam pieces. teachers and students must understand that in addition to the technical requirements for voice performance, posture, breathing, breath-control, enunciation, etc. should be taught so as to produce good musicians. student performers need necessarily know that a performance begins immediately they enter the exam hall or room, as the case may be, and ends when they leave the hall. different aspects of voice production, singing conventions and vocal structure and component should be taught to students. aspects of interpretation and style should be well known to enable students meet the challenges upon graduation. favaro ((2000) rightly states that: as music education attempts to meet the needs of students in the 21 st century, it has become more evident that traditional programmes must be expanded to include aspects of learning that will more adequately prepare students for new career opportunities. (p. 67) it is very important that students are made to discountenance misconceptions about voice as an instrument. they need to understand that singing could be pursued as a career. learners must know that voice is a serious instrument of study as any other musical instrument. music curriculum need to be reviewed to reflect topics on aspects of voice studies that are very important for effective voice performance. for example, the students of voice should know about the voice mechanism, physiology and anatomy of the voice as well as how to care for the voice, standard singers’ repertory, stage management etc. the curriculum may thus start by structuring and integrating the various topics on voice that need to be studied. provision must be made by departments of music to engage skilled voice specialists to handle students of voice. where this is not possible, voice specialists may be invited to run master classes or workshops for teachers and learners of voice. based on the findings from this study, the following are recommended: 1. a review of music curriculum to reflect aspects of voice to be learnt is crucial. 2. the responsibility of handling voice students should be in the hands of voice specialists as is the case with other instruments. 3. other lecturers teaching voice should undergo some form of specialists training in vocal pedagogy in order for effective teaching and learning to take place. 4. adequate literature on voice studies, vocal apparatus, and vocal technique, e.t.c should be acquired for teachers and learners. 5. students should be encouraged to develop positive attitude to voice studies. references adedeji, f. and ajewole, j. o. (2008). voice pedagogy in nigerian university music education. in f. adedeji and f. abiodun (eds.), journal of the association of nigerian musicologists, pp. 99-116. 26 ekwueme, laz. (1993). choir training and choral conducting. lagos: lenause advertising and publishing ltd. fararo, e. (2000). preparing students for a career in the music industry: music and business international journal of music education (ijme), 35, 66-68. hewit, graham (1995). the art of listening. madison: brown and benchmark. http://en.wikipedia.org/wiki/singing (accessed 20/01/2009). http://wapedia.mobi/en/voicetypes (accessed 30/11/2009). http://www.colorado.edu/music/voices/pedagogy html (accessed 30/11/2009). idolor, e. g. (2001). formal education and the development of african art music in nigeria. in m. a. omibiyi-obidike (ed.), african art music in nigeria, 135-149. ibadan: stirling horden publishers (nig.). lo-bamijoko, j. (2001). art singing in nigeria: the composers and the performers. in m. a. omibiyi-obidike (ed.), african art music in nigeria, 70-76. ibadan: stirling horden publishers (nig.) ltd. sadie, s. (ed.), (1980). groves dictionary of music and musicians, london: macmillan publishers ltd. thompson, o. (ed.), (1975). international cyclopedia of music and musicians. ware, c. (1995). adventures in singing. new york: mcgraw hill, inc. wigmore, r. (2002). singing. in a. burton (ed.), a performers guide to music of the classical period, 75-89. oxford: abrsm. 169 africa sensed music education and conflict resolution: the case of jos, plateau state of nigeria. prince k. effiong abstract fricans generally and nigerians specifically have an overwhelming indigenous perception in reasoning, judging, comparing and performing their traditional music. every special activity to an africa man is always being accompanied by special indigenous music, made sorely for such an event. when the performance is carried out, there are joint collaborative efforts by all and sunday. this brings about social cohesion, togetherness, resolution of conflict, and enactment of peace and promotion of brotherliness amidst tribal sentiment, and religious bigotries. this paper seeks to project the indigenous sense that is inherent in africans, in using africans indigenous music in resolving conflict and maintaining amble symbiotic relationship among themselves. the paper also focuses on the sense by africans to use indigenous music in the preservation, promotion and transmission of her long lasting/cherished cultural values, norms and excellent morality among themselves and to generation yet unborn. the research employs the historical and personal observation as methods in determining the validity and reliability of the research. the paper however recommends that africans/nigerians should not allow the current westernization and technologies to make them lose their inherent moral values. indigenous music should be encouraged for the maintenance of peace, resolve conflicts and uphold symbiotic relationship. a awka journal of research in music and the arts (ajrma) vol. 13 2019 africa sensed music education and conflict resolution.... prince k. effiong 170 introduction africa is one of the seventh (7th) continents of the world. it is the most world‟s second largest and second most populous continent, being behind asia in both categories. it has about 30.3 million km2 including adjacent islands and it covers 6% of earth‟s total surface area and 20% of its land area (wikipedia). africa has the population of 1,225,080,500 people (2016) and has a land mass of 30,370,000km2 or 11,730, 000 sq. meter. there are 54 countries in africa, and nigeria is one. the system of education in nigeria could be informal or informal. in the formal and informal training of a nigerian child, music is pivotal as the societal medium of instruction. a nigerian child in particular is born and nurtured in music. he lives to experience virtually all the societal activities being accompanied by music. in the society where he lives, grows and learns with music, and with time, he will eventually take his exist from the world with music. nigerians are lovers of traditional or indigenous music. the performance of this music is more real, factual and understood by them. the traditional norms, values, morals and customs are better interpreted, known, accepted and understood in an indigenous way. onwuegbuna (2006) informs on how musical performance generally has to do with the creative art of integrating knowledge in to an applied sense thus: musical performance therefore is the integration of knowledge (literacy) and experience (skills) to arrive at creative solution to musical problem of organization, production and presentation in order to meet the expectation levels of appreciation (educational, professionals, economic and social) of the consumers of the musical performance (p.3) from the above however, it is an undebatable fact that no aspect of art is known to command such unprecedented influence over human race at present than music. africa sensed music education and conflict resolution.... prince k. effiong 171 the concept of music music is an aspect of education which is directed towards training a holistic being. music as a profession is multi-facetted. apart from it being theoretical, it is also artistic, scientific, technological and vocational in its outlook. glennon (1980:2) sees music as „an expression of thoughts and feelings in an aesthetic way‟. ifemesia (1987:144) sees music as „a medium of communication and social unity of recording and documentation, meditation and worship, healing and socialization, recreation and celebration‟. okafor (2005) calls music, the oxygen of demonstration. effiong (2012:3) analyses the characteristic features of music thus: “music characteristically move along with rhythm, melody, harmony, pitch, counterpoint, timbre and forms to become pleasant, delightful and pleasurable to listen to and enjoy”. music education in nigeria music education is fundamental to global, africa‟s and nigeria‟s lifelong educational system. it is pivotal and indispensable to the educational advancement and development of any nation. as indicated by effiong (2013:327), „whether in the informal or formal system, music education stands as the panacea for life, and as an unavoidable weapon „per excellence‟ in enhancing facilitating, and boosting the educational standard of any nation‟. the formal system of education is more organized and structured, modeled and administered in accordance with lay down rules and norms, with clear objectives and a curriculum with contents and methodology. it is the system connecting the educational process that involves the teacher, a classroom for students as well as an institution with certificates issued at the end of study. non-formal system of education on the other hand is simply the system that lacks a well-defined set of features; such as an adopted strategy, students‟ attendance, decreasing in contacts between the teacher and students and sometimes, activities take place outside the africa sensed music education and conflict resolution.... prince k. effiong 172 establishment of some organized phenomena. in non-formal system of education, there are no curricula and time lapse for study; as students are never going to be certified at the end of study. therefore, okafor and maison (1992) reveal that music education is geared towards helping man to be able to express himself deeply. effiong (2009:115) adds that music education prepares an individual not just to earn a living, but also for life itself. he defines music education as an aspect of education which leads to the acquisition of practical and applied skills as well as the basic scientific knowledge to enable one adapt successfully in society as well as contribute immensely to the development of his/her society. traditional education in nigeria before westernisation okafor (2005) asserts thus: trado-musical practices in nigeria are concerned with the way people practice music in their traditional setting and what methods they use for the transmission of musical knowledge from those who know to those who do not, from the old to the young (p.191). from the above, it could be ascertained that learning in the traditional system of education before westernization was mainly by imitation and practice; a situation where an individual learns from another; doing exactly what he sees him do. oral transmission and apprenticeship equally served as ways of transmitting knowledge in african traditional system of education. this was undoubtingly the footing to the basic foundation of learning in childhood because of their nonwriting, learner involvement, and reputational procedures. the systems are widely accepted to be the most accepted to be the most effective patterns of learning in childhood that lead to modern civilization and development. civilization and development can only be achieved through education. thus, one will not be far off the beam to say that the ground work to the present day education originated from africa. in the old africa, it is africa sensed music education and conflict resolution.... prince k. effiong 173 the right of every child to be educated. thus, making education part of life and essential to human existence just like the air we breathe and the water we drink (vanga, 1995). furthermore, in the old africa, right from the womb to birth, children are exposed to lullabies by their biological mothers who serve as the child‟s first teachers, nannies and guardians as well. self-discipline is influence in folklores by their child‟s peers, the aged and all adults in the community as the child grows to maturity. he/she is exposed to domestic works especially to the female folks, while the male children are exposed to agriculture and games. the use of words, gestures, symbols and motif are used in communication to convey messages, give instructions when necessary (vanga, 1995: emeagwale, 2006). to buttress further on the traditional african system of education before westernization, olutayo (1999) freely adds thus: the african traditional system of education has been proven to be the most productive educational practice of all the time. this is evidently clear in the product that has been produced. for example, the igbo traditional system of apprenticeship in terms of human resourcefulness is by far the most effective, productive and societal driven than the western system of education has produced. traditional music education in nigeria has continued to survive despite the westernization and technological advancement being experienced. the present state of nigeria nigeria today is infiltrated with all manners of interreligious conflicts socio –political upheavals and communal differences. it has come to the stage that nigeria do not trust each other again. anyone could be a security risk to the other. well, the state of the nation, nigeria calls for urgent surgery. the government, stakeholders and all nigerians have serious part to play to revive again „‟the nigeria of our dream‟‟. the trend of violence, crimes and wars in nigeria has been so alarming, disheartening and dehumanizing; beginning from the devastating political civil war of the 1967 1970, to the 1980 maintainer uprising in kano, then the crisis of 2000 and the 2001 africa sensed music education and conflict resolution.... prince k. effiong 174 religious crisis in jos. what more can be said of the life/modakeke crises, shagamu hausea yoruba crisis in 2000, the ogoni ekpedo crisis in 2003 (ogidi, 2004). as regards religious conflict, right to life and freedom of worship, the constitution of the federal republic of nigeria (1999), section 33, subsection 1 and 3 clearly states: every person has right to life, and no one shall be deprived intentionally of his life, save in execution in the sentence of a court in respect of a criminal offense of which he has been found guilty in nigeria… every person shall be entitled to freedom of thought, consciences and religion to change this religion or belief, and freedom (either alone or in community with other and in public or in private) to manifest and propagate his religion or believe in worship, teaching, practice or observance. dambo (2005) reacting to the so called claim of man‟s right to life and in security says thus: “for a man to remain in silence in an ideological issue involving the survival of a man on earth is irrational”, dambo also quotes usman (2007) and argues thus with regards to the violent attacks in kaduna state: violent attacks have been launched against life, property and places of worship in most major cities and towns in kaduna state. churches and mosques, hotels and cinemas, business and vehicles private homes and persons have been attacked, smashed up and systematically set on fire in an unprecedented campaign of violence… the state of nigeria today is pitiable. recently there have been cases of socio-politico-religious crisis in benue state, nasarrawa state, taraba state, zamfara state, plateau state and all sorts of killings, kidnapping, abduction and destruction of properties worth billions of nigeria by the islamic sect called “boko haram”. even with the africa sensed music education and conflict resolution.... prince k. effiong 175 abundance of good resources and governance, the few “bad eggs” are making life “seemingly unbearable” (effiong, 2012). albert (1994, 1996, 2004), fenton (1992) and ogidi (2004) have severally written on the threatening violence and conflicts that have erupted nigeria over the years and suggested peace as a vital tool in resolving conflicts and in the promotion of human right. effiong (2012) analyses the effects of the reoccurring crisis in nigeria on humans thus: this dehumanizing trend has made nigerians “prisoners in their homes”. nigerians to some extent are no longer free to move and settle in any area of their choice, for fear of being butchered, killed, or murdered. infact, in some states, there are places designated for the christians, and some for the muslims. as a result, religious bigotry, distrust of one another, segregation, vengeful mindsets, unforgiving spirit, hypocritical love and false display of peace, have become the order of the day. the state of nigeria today as far as security is concerned, needs urgent attention. nigeria is “somehow sitting on a time bomb”, ready to explode. the menace is eroding and spreading wild like cancer. it is therefore hoped that all hands must be on desk to forestall peace amidst warring parties. state of crisis in jos (plateau state) and its environs for the past decade (2008 2018) and beyond, there have been cases of ethnic, political, religious and sociocultural crisis in jos and its environs. the devastation caused by the incessant crisis has been worrisome, alarming and heart – blooming. kwaja (2011) resorts that „these clashes have claimed thousands of lives, displaced hundreds of thousands of others, and fostered a climate of instability throughout the surrounding regions (p.1). effiong (2018) adds that „these anomalies have led to the breakdown of law and order, death of thousands of innocent citizens, destruction of properties worth africa sensed music education and conflict resolution.... prince k. effiong 176 billions naira, displacement of citizens in internally displaced camps and have posed serious security threats both to the inhabitants of the land and other non–indigenes. effiong (2012) egually adds thus: “over the years, they have been international and unduly murder of innocent jos residents by militants, “boko haram set”, robbers, kidnappers, and other unscrupulous elements; and these have brought untold hardships, panics, pains, bereavements, insecurity and distrust among jos residents. plateau state generally and jos specifically witnessed various degrees of violence and these have dreaded on plateau indigenes mere existence, tampered on plateau security and constituted social imbalance, instability and injustice. for instance, from 2016 – 2019, there have been serious silent and open killings of residents by hausa/ fulani herdsmen in farmlands, homes, places of worship, and social gatherings among others. music in conflict resolution ritchie (2013) asserts the following concerning the need for music in conflict resolution: „music takes many forms and for a majority of listeners, the highest level of emotional satisfaction from music is derived from the organic relationship between dissonances (harmonic tension, disruption or conflict) and consonance (harmonic resolution). music is basic impulse which precedes the formation of words. where words often fail, music can be instrumental in successful communication between divided individuals or communities. music can help to treat the traumas and mend the scars of war. music can serve as a powerful tool in promoting natural security, enhancing social stability and preventing conflict in jos and its environs. akponome a.o., johnson, h., nwosu, and effiong, p.k. (2007) assert: „music art in various religious circles provide a rallying point where members of a nation gather to engage in activities which provides the co-operation of the groups. music art helps to reconcile and settle africa sensed music education and conflict resolution.... prince k. effiong 177 disputes among quarrelling parties; it draws people together by way of singing and dancing‟ (p. 211). effiong (2018) posits the relevance of music in conflict resolution thus: music is a powerful tool and a redeemable medium in settling crisis. it has the divine potency to heal broken hearts, encourage the discouraged, calm the troubled souls, strengthen the weak, resolve long standing cases of acrimony and and bring to normalcy any form of upheaval. where dialogues and words may fail, music can be instrumental in successful communication between aggrieved parties, individuals and communities (p. 8). oyovwe (2014) agrees to the above and comments thus: music is a powerful tool; it is one of the channels to the most hardened heart because everybody loves music. music is a powerful tool that god has given to mankind to use as a tool to bring peace and joy into the hearts. africans exploring their musical senses in crisis settlement there are several ways that africans use their godgiven sense to resolve conflicts. in plateau state for example, there are several ways that the inhabitants explore the use of music in settling crisis. the following are some of the ways: folk songs/tunes folk songs renditions are very dominant practices in plateau state. they are rendered mostly during festivals, ceremonies like marriages, coronations, naming among others. in jos for example, during the nzem berom annual festival, folk songs are used to unite and integrate various families, parties, religious, dwellers, communities and villages together. talking on the use of the mwaghavul folk songs in puuskat festival, effiong (2009) comments: the purpose of the celebration is to bring together their sons and daughters that are at home and in the diaspora to inter-relate, dance, sing eat, play and discuss salient africa sensed music education and conflict resolution.... prince k. effiong 178 issues together… thus, the performance of the mwaghavul folk music on any social occasion adds colour and beauty to the celebration, assists in maintaining and preserving the cultural heritage of the mwaghavul people, serves as a reservoir of knowledge for the younger generations and spectators alike; and, assists in rebranding the nigerian nation at large (pp.1-2). it could however be deduced from the above that, folk songs, being common, generally acceptable and known to the members of any community (from the grassroots) can be a powerful tool in the resolution of conflicts among warring parties, groups, religious and communities. what this mean is that members of the communities, families etc normally come together in unison to sing folk songs during festivals, marriage ceremonies and send off parties. through this, peace is sustained and aggrieved hearts experience oneness. the making and use of traditional musical instruments nigerians generally and jos residents specifically, love to use their ingenuity, skills, creativities, prowess and talents in the making and display of traditional musical instruments during occasions, ceremonies, festivals and services. musical instruments in nigeria are mainly made from the sources of materials found within the local environment. these materials are all around the nigerian child where he/she resides. having mastered his environment well, the nigerian child uses materials like gourd, animal horns, local trees, clays, animals‟ membranes (skins), gun stones, iron bamboos, hides of animals, and woods among others, to make music instruments. this is africa-sensed! okafor (2004) supports the above assertion thus: the instrument maker thus takes materials from his environment and turns them into musical instruments that will sound in a certain way to achieve a certain result or create a desired effect. in a way then, every nigerian africa sensed music education and conflict resolution.... prince k. effiong 179 musical instrument is a talking instrument… talks the language, mood idiosyncrasy and ideas of a locality‟ (p.180). most of the traditional musical instruments on the plateau (plateau state) are made by the local, primitive, indigenous, and traditional plateau citizens. these people are illiterates; and yet, through their conceived, gifted, talented and god-given sense, they are able to construct traditional musical instruments with exact tuning patterns, tonality, inter-rhythmic structures, melodic contours and tonal patterns. for example, the traditional kundung (xylophone) musical instrument, made by a typical traditional and illiterate technologist either in pankshin, quanpan, kanke or riyom, will eventually sound alike with the same tonal pattern. this is actually a mystery! relating the sense in the use of traditional musical instruments in jos, plateau state, a single drummer could be playing the drum and singing along (most times) during either the funeral dirges or the celebration of the nzem berom and the mandieng festivals. various traditional instruments could be playing together, each bringing out his rhythmic essence. but there is always the master instrumentalist, who directs and controls others, and they obey and adhere to his stylistic cues. traditional dance africans, nigerians and jos residents are blessed by god with unique complexities in inter-rhythmic patterns in dance. nketia (1975) sees dance as „a social medium of communication, which can convey thoughts or matter of personal or social importance through the choice of movement, posture and facial expressions‟ (p.207). in traditional african societies, dancing is a group affair. villagers often gather at the village squares, market square, football field, villages square or any chosen place to dance, sing and play traditional musical instruments together. this could be done at moon light or during any major or minor community celebration like festivals, coronation, traditional marriages, and sendoff prayers among others. through this africa sensed music education and conflict resolution.... prince k. effiong 180 joint collaborative and cooperative media of dance, strong affinity, oneness, bond of friendship, brotherliness, social cohesion, togetherness and symbiotic relationships are strengthened. strifes, dissonances, complaints, malice hatreds bitterness and all forms of seeming or intending conflicts are settled. thus, peace and warm relationships are enhanced and promoted amidst communities and families. the mass media and music the mass media primarily consists of newspapers, radios and televisions. in a democratic society where the media is instrumental to the public, okafor (2002) calls it the “the oxygen of democracy” and further asserts; „it communicates sharper than mere words and permeates through the barriers of prejudice, enmity and religious bigotry‟ (p.22). today on the plateau, popular artistes, gospel artistes, and other practitioners have continued to sing and perform on radios, and televisions on the need to promote peace, and avoid crimes, killings, fighting and other forms of violence. examples of such songs are “zaman lafiya” by evang. david lucky. “we need peace” by chuang sati davou, “beautiful plateau” by peter maurice and “mutanen plateau”, by aaron damap, among several others. effiong (2012) adds thus concerning the positive effects of music in the mass media: in plateau state, “peace songs” are always being presented on the redios and televisions stations to promote peace, unity, love, friendliness, and brotherly affection. the 90.5 fm is even called “peace fm”. to a greater extent, through the musical jingles, promotions, adverts and rhymes peace have come to stay in plateau state. for example, some popular songs always rendered (on a daily basis) on plateau radio television corporation (prtv) such as “zaman lafiya” “god bless plateau state” among others, have promoted a peaceful co-existence among various tribes, ages religions, sex and nations (p.18). africa sensed music education and conflict resolution.... prince k. effiong 181 religious songs religious songs are sacred, pure, and pius songs often sung in praise of god or, to a supreme deity. in the christian perspective, religious song could be seen as christian songs, church songs and gospel songs, rendered by christians in the worship the almighty god. the christians worship god with songs of praise, hymns, solos and dances, using various musical instruments. the almighty god deserves our praises. he made us sorely for this purpose (1st peter 2:9, hebrew 13:15). music, performed in the church brings people together from various backgrounds, tightens relationships, foster peaceful coexistence and creates friendliness and oneness. sofala (1984) adds that music acts as a stimulant or tranquilizer for a people to harness their potential towards a collective social development. akponome, a. o., johnson, h. a., and effiong, p. k. (2007) comments that; musical art in various religions circle provides a rallying point where members of a nation gather to engage in activities which requires the co-operation of the group. music arts help to reconcile and settle disputes among quarrelling parties. it draws people together by way of singing and dancing (p.211). thus, the performance of music in the church, either as praise, worship, dance, instrumentals, solos, hymns among others, has the divine potency to bring peace, foster unity, settle disputes and bring total peaceful resolution, harmony, joyful co-existence and progressive habitual/symbiotic relationship among warring parties. conclusion music is a powerful and undisputable tool for integration, peaceful coexistence and national security. music brings people together from various backgrounds, tribes, religions sex, and ages, which thereafter, helps to tighten relationship, friendliness and oneness. oikelome (2010) posits that music as a tranquilizer can function to bring about africa sensed music education and conflict resolution.... prince k. effiong 182 peace and calm in conflicts. he stated an example of its function on the “rwandan ballet isonga”, where songs and dances were employed to mediate in the conflict between the major ethnic groups. the performance of traditional folk songs, dance, musical instruments using the africa sensed ingenuity, creativity, skill, innovativeness and resourcefulness at our disposal, can be used to bring about mediation, reconciliation, negotiation for peace and peaceful resolution of conflict in african communities. the desired end result of indigenous conflict resolution mechanism is a sensed of harmony, consonance, integration, and solidarity; and shared dialogues among warring/ onflicting parties. thus, music education, displayed in traditional ways at the grassroots (communities) can be employed and used to foster unity, create symbiotic relationship, unite warring folks, integrate love, promote consensus, melt aggrieved / offended hearts and bring out amiable resolution of socio-politicoreligious crisis in jos, plateau state, nigeria. recommendations having seen africa-sensed in music education vis-à-vis conflict resolution in jos, plateau state, the author recommends among other things that the performance of traditional folk music/songs should be encouraged, upheld and continuous. since folk song are mostly used as cultural preservatives, it continuous performance should be better harnessed especially by the youths who constitutes about 70% of the residents in jos. folk songs promotes, preserves and transmits cultural heritages. most of the songs which are proverbial in nature should be presented in festivals, marriage ceremonies, and send-off parties and during coronation ceremonies in plateau state. through it constant renditions, the resolution of conflict among warring parties shall be made possible. plateau indigenes and non-indigenes should actively participate in dancing, singing and playing of traditional musical instruments. singing traditional folk songs together, unites and build brotherliness, since the songs are generally known, accepted and performed by them, and africa sensed music education and conflict resolution.... prince k. effiong 183 contains the indigenes dwellers, the cultural norms, values ethics and moralities of such community. and finally the federal and state government should empower the media, for example, radio and television station (fm.90.5) with enough infrastructural facilities, traditional musicians to compose songs with good lyrics that talk about peace and how to stay together in harmony. these songs should be played daily on the plateau radio television network stations for all to keep hearing them. through these, there shall be total resolution of conflicts and amiable working relationship across parties, tribes, religions sex, and families. references akponome, a. o., johnson, h. a., & effiong, p. k. (2007). music arts and national development. in adeniji, l. a. a. (ed). peace, security and national development. ibadan: ramao ind printers. dambo, r. g. (2005). social vices in nigerian society: threat to unity and democracy. in adeniji, l. a. a. (ed). peace, security and national development-in nigeria, 21st century: issues, challeges and way foreward. ibadan: jilat publishing company. effiong, p. k. (2009). the role of music in the promotion of a healthy family life in contemporary nigeria society. in ndazhaga, j. (ed). the family and contemporary challenges in nigeria. jos: akins press and services. effiong, p. k. (2012). music and mass media in the promotion of national security, social stability and conflict prevention in nigeria. unpublished national conference paper of the school of arts and social science education and language. federal college of education, pankshin. effiong, p. k. (2013). trends in contemporary gospel music in pentecostal denominations in jos, plateau state. unpublished master‟s degree thesis, presented to the department of music, university of nigeria, nsukka. federal republic of nigeria (1999). the constitution of the federal republic of nigeria. lagos: federal government press. africa sensed music education and conflict resolution.... prince k. effiong 184 fenton h. (1992). justice without violence. london: lynne rienne public publishers. johnson – egemba, h. a., akponome, a. o., nwosu, u. m. u., boyi, j. e., olisaeke, f., effiong, p. k. (2007). basic issues in music for schools and colleges. jos: akins press & services. kwaja, c. a. (2011). nigeria‟s pernicious drivers of ethno-religious conflicts. in africa security brief, no. 14. ogidi, d. p. (2004). youths and peace building for sustainable development in nigeria. minna: peak press. oikelome, a. o. (2010). music as a tool for peaceful resolution in niger delta. in awka journal of research in music and the arts, 7 (pp.83-101). awka: rex charles and patrick limited. okafor, r. c. (2002). an historical over view of education and socio political issues in nigeria. in journal of nigeria music education, 3 (pp. 22-40). okafor, r. c. (2005). music in nigeria society. enugu: new generation books. okafor, r. c. & maison, j. s. (1992). basic methods of teaching music in post primary institution. (a mimeograph). onwuegbunna, i. e. (2006). literacy and musical performance: challenges of the nigerian pop musician. unpublished m.a. seminar paper presented in partial fulfilment of the requirement for the course, mus. 500/501, department of music, university of nigeria, nsukka. oyovwe, e. (2014). music, strong tool for promoting peace, unity. retrieved from https://www.vanguardngr.com/2014/07/music ritchie, i. (2013). music and conflict resolution. retrieved from https://www.gresham.ac.uk/lectures/events https://www.vanguardngr.com/2014/07/music https://www.gresham.ac.uk/lectures/events 162 awka journal of research in music and the arts (ajrma) vol 17 june 2024 revisiting the “train-and-engage” and professionalized models of church music ministry for effectiveness in 21st century nigerian baptist convention udoka peace ossaiga, ph.d department of church music, baptist theological seminary, eku delta state, nigeria email: ossaigaup@yahoo.com & oghenemudiakevwe igbi, ph.d senior lecturer (music) department of theatre and film studies university of africa, toru orua bayelsa state, nigeria email: o.igbi@uat.edu.ng abstract church music ministry in 21st century nigeria requires the collaborative efforts of music ministers/directors, choirmasters, instrumentalists, and choristers who train, rehearse, and minister through music, especially in the churches of the nigerian baptist convention. the pastoral church music ministry in the baptist denomination began with the creation of a faculty of church music at the nigerian baptist theological seminary, ogbomoso, oyo state, in the late 20th century. graduates from the faculty resumed in different pastorates across churches of the convention to train and engage musicians for her functions. the system, which these authors call "train and engage" model of music ministry, remains prominent in the nigerian baptist convention. however, the socio-economic dynamics of the 21st century seems to be affecting the "train and engage" music ministry model as there arose a huge number of musicians in the churches who are requesting financial compensation for their musical services rendered to the churches, or leave the churches to where their services are remunerated. although few churches of the convention have engaged professional musicians in critical sections of their music ministries, the unwillingness of many baptist churches to remunerate their musicians, against biblical tenets for music ministry, is responsible for the exodus of some musicians to other denominations. this inclination has led to the denomination becoming a breeding ground for other denominations' music ministries. the trend is a challenge to effectiveness in the music ministry of the nigerian baptist convention, and demands a modal review. using observation method drawn from over a decade of engagement in the music ministry of the nigerian baptist convention by both authors, this paper examines the "train and engage" and professionalized models of music ministry in 21st century nigerian baptist convention for ministerial effectiveness. the article notes the pros and cons of both models, and recommends that effectiveness in 21st century music ministry can be aided through a careful and strategic mix of the "train and engage", and professionalized models of music ministry in the 21st century nigerian baptist convention. keywords: church music, music ministry models, effectiveness; nigerian baptist convention. introduction the church exists for worship, discipleship, fellowship, evangelism and ministry/care (warren 2007); apart from the bible, it is through church music that these objectives can be pursued and achieved 163 awka journal of research in music and the arts (ajrma) vol 17 june 2024 (ossaiga 2015). thus, from the apostolic generation, music has been an integral part of the church. church music as a prominent element and legacy of foreign christian missions in nigeria; and the perpetuation of music in the nigerian churches decades after the return of foreign christian missionaries underscore the place of church music in church functions. in the context of the nigerian baptist convention, church music was mainly led by the laity until late in the twentieth century when the faculty of church music was established at the nigerian baptist theological seminary, ogbomoso, to train god-called men and women in specific areas of music ministry. the training led to the graduation of theologically trained ministers whose specialty was music. these graduates were called to various pastorates of the nigerian baptist convention as ministers of music. the duties of the ministers of music, among others, were to train church musicians in singing, instrumentation, and conducting. the trained church musicians were to be deployed to sing, play musical instruments, and conduct music in the churches. while the earliest efforts were successful in some places, national socio-economic realities in 21st century nigeria resulted in an increase in the number of church trained musicians demanding financial rewards for their musical services, or leave for other churches where their services are remunerated. while some churches of the nigerian baptist convention have professionalized critical sections of their music ministry through the recruitment of proficient church musicians, many churches are still opposed to the idea. the development makes many baptist churches become breeding grounds for musicians who easily leave for other churches or denominations once or before they master their art. also, the development weakens the effectiveness of music ministries due to the dearth of proficient musicians in critical sections of the church music ministry; thus, challenging the effectiveness of music ministers in the churches. furthermore, it calls for a review of the "train and engage" and professionalized models of music ministry for more effectiveness. this paper draws from experiences in excess of a decade of engagements and interactions on the subject to review the church music ministerial models for effectiveness in 21st century music ministry of the nigerian baptist convention. church music, as a term, expresses the ecclesiastical possession and functional utilization of ordered sonic and its allied arts in pursuit of worship, discipleship, evangelism, and education. according to eniolawun (2020), church music is the music of the church. while his definition reflects the union of the church and music in the definition, the functionality of the art is not evident in the concept. thus, grudem (1994) is of the view that church music is the art of the church that is sung and/or performed on musical instrument(s) as ministry to god via worship, education, evangelism; and discipleship. his definition presents church music as a functional art that is in tandem with church functions. thus, hustad (1981) avers that church music is a functional art that is given to man by god for emotive expression and cultural re-enforcement; stating that church music should pursue church functions. indeed, church music as a cultural expression reflects and reveals the nature of the church as a functional community. from these definitions, it could be deduced that church music is owned and utilized by a community of christians to pursue its objectives. thus, church music is governed by church norms. the meaning of church music and the position of the holy bible on remuneration of musicians church music emanates from the bible wherein in genesis and exodus, god created humans with musical abilities that were deployed in praise to god by israel under the leadership of moses and miriam (exodus 15:1-21). to concretize music ministry, god appointed the tribe of levi with the 164 awka journal of research in music and the arts (ajrma) vol 17 june 2024 musical task of leading israel to worship god, among other responsibilities. thus, in 1 chronicles 9:33 and 25:7-31, levite musicianship provides organizational, administrative, educational; and professional foundation to music ministry through templates for enlistment, training, deployment; and remuneration of levite musicians who ministered in the house of the lord before his people. in 1 chronicles 15:16-24, david instructed the heads of levitical families to constitute orchestra and choir that accompanied the ark to its tent in jerusalem, arranged for regular music performance during daily burnt offerings (1 chronicles 16: 4-6, 37-42), and planned for elaborate music ministrations at the temple that was to be built by solomon (1 chronicles 23:2-26:32). the davidic model of music ministry ensured the sustainability of music and the sustenance of levite musicians. the roles and culture of music in worship are evident in the psalms being the chant liturgy of israel. jesus and his disciples, in the gospel accounts (of mark 14:26; matthew 26:30) engaged in hymn singing, while apostle paul admonished in colossians 3:16 that believers should admonish themselves through music. while the bible provides basis for enlistment, training, and professionalization in church music ministry, these basics are undergoing radical mutation as some church practitioners retain the import of training, discipleship, spirituality, and commitment in church music while disposing the engagement of professional church musicians in church music ministry as though church music professionalism is averse to biblical spirituality, discipleship, and commitment. although the davidic model of music ministry provides biblical basis for church music ministry, literature indicate two models of church music ministry, namely: the discipleship and celebrity models of church music ministry. the discipleship model of church music ministry involves a balance measure of musicianship, leadership, spirituality, and fellowship in working with church musicians. mason (2016) is of the view that if there is lack of efficiency and/or effectiveness in any of the four areas, there would be crisis in the music ministry. the discipleship model of church music ministry involves musical and pastoral leadership, and is fitting for church music ministry. however, it does not provide information on the song-type and song-source that characterize the model. it is in pursuit of church music that is promoted by celebrity church musicians that myrick (2018) observes the rise of the celebrity church music ministry model. according to him, there is the celebrity model of church music ministry that is characterized by the utilization of songs that have been released and are being performed by church music celebrities. the model promotes worship as a lifestyle and de-emphasizes conversion unto salvation as the centre of worship. it is noteworthy that church music ministry has produced several celebrity church musicians in the 21st century. while the celebrities' personalities and music continue to influence church music, especially, among youthful congregations, worship cannot be totally divorced from salvation and discipleship. the church as a worshipping community is first a saved community that appropriates the benefits of fellowship with god in worship to glorify god and improve itself. it is worth-noting that none of the two church music ministry models discussed above is totally exclusive (of the other). while the discipleship model dwells on pastoral and musical leadership for church music and musicians, the celebrity model, without condemning or rejecting the discipleship model, engages church music as promoted by celebrity church musicians to execute church functions. while both models of church music ministry can be merged in practice, the models do not address the core issue of model(s) for engaging church musicians. this may spring from the fact that the issue of model(s) for engaging church musicians in church music ministry may not have been topical 165 awka journal of research in music and the arts (ajrma) vol 17 june 2024 in the region of the authors; however, the model for engaging church musicians is an issue in the church music ministry of the nigerian baptist convention, even in the 21st century. the "train-and-engage" model of church music ministry this model involves the training of church music volunteers in specific areas of church music with the hope to engage the trainees in their specific areas of training. the training component of the model consists of the identification, and formulation of tenured, and strategic programmes that are aimed at fixing church music needs in a given congregation. while the training component of the model is usually executed by the minister of music or music director of the local church, it is not unusual to engage church musicians of proven exceptional proficiency in the identified areas of church music to train the volunteers. the training may be in workshop, or in term format. the merits of the "train-and-engage" model of church music ministry are as follow: a) it is in tandem with the need to equip believers for the ministry; b) it fixes church's musical needs at little or no cost; c) the model engenders cohesion between church musicians and the congregation wherefrom they hail; d) it helps in ascertaining the character of the church musicians; and, e) the model provides avenue for ministerial fulfillment of the minister of music or music director. it is noteworthy that where and when the "train-and-engage" model of church music ministry succeeds, the above listed merits are evident; however, the model also has its demerits as listed below: i) the training is often challenged by the availability of volunteers as they grapple with other life's needs; thus, musical maturation is delayed and/or denied; ii) the minister of music or music director does not have the means to actually engage volunteer church musicians when faced with educational, job, and/or migration opportunities that disengage them from church areas; iii) volunteering church musicians are often constrained with the needs for transport and or encouragement which signals the need for stipends or remuneration; iv) the exodus of church trained musicians leaving for other churches for economic reasons defeats the purpose of the model; v) church music suffers continuous cycle of experimentation with amateur musicians who also leave before they master their art; and, vi) it is not sustainable in environments with high emigration rates, especially, among youths. in spite of the demerits of the "train-and-engage" model of church music ministry, it is argued that church members who become church musicians are not supposed to request remuneration for their musical services to the church in view of church's investment in them. also, it is averred that the model illustrates the stakes of the musicians as members; not as hireling. furthermore, it is argued that the music from the model remains an act of worship; not as commerce as in the opposite model. while the above listed points are disputable, it could be said that the bible does not condemn legitimate earning through services that are duly rendered to others, including the church, should there be an agreement. the professionalized model of church music ministry this model of church music ministry involves the engagement of paid church musicians in strategic areas of need. it consists of identification of church music needs, sourcing for prospective paid 166 awka journal of research in music and the arts (ajrma) vol 17 june 2024 church musicians for engagement, and contracting them to minister with volunteer church musicians as paid workers. this model, though still being resisted in many churches of the nigerian baptist convention, is the mainstay of the music ministry by many non-baptist churches; and it is in tandem with biblical foundations for church music ministry. the two hundred and eighty-eight (288) levite musicians that are divided into twenty-four (24) groups of twelve (12) each were employed and daily paid for the purpose of being musicians in the house of god (1 chro. 9:33: 25: 7-31; neh. 11:22b-23). furthermore, in 1 timothy 5:8, the bible clarifies that a labourer is, indeed, worthy of his or her pay. although the professionalized model of church music ministry is biblical, the model is not without merits and demerits. the merits of the professionalized model of church music ministry are as follow: a) it ensures the engagement of proficient church musicians; quality is assured at the point of recruitment. b) the model is a sure way to fixing church music needs c) professional demands ensure availability and consistency; and minimize default d) the model encourages personal practice, and reduces group rehearsal span per music e) it increases sense of responsibility on the church musicians; and f) it is suitable for churches in high emigration areas. it is worth-noting that from the standpoint of effectiveness in church music ministry, the professionalized church music ministry model is appropriate. however, the demerits of the professionalized model of church music ministry are as follows: i) it is expensive and brings more pressure on limited financial resources of the church ii) the model exposes church music ministry to intrigues and forces in open market economy; and, iii) it does not provide sufficient time for ascertaining the character of critical church musicians. while noting that the reported demerits of the professionalized model of church music ministry can be managed by a competent minister of music or music director, it is being argued that the professionalized model hinders the musical development of aspiring church musicians as the paid musicians occupy upper positions across divides. it could be said that the unavailability and inconsistency of member church musicians necessitate the engagement of paid church musicians. the music ministry of the church is too critical to be allowed to derail, awaiting the availability of unavailable and non-consistent church musicians. while aspiration is good in the making of church musicians, it could be argued that availability is key to effective church music ministry. a middle line between the "train-and engage" and professionalised models for effectiveness the "train-and-engage" and professionalized models of church music ministry hold some merits and demerits, but the bible seems to be in favour of payment for legitimate labour; thus, the provision of reward for levite musicians (nehemiah 13:10). however, the cost for managing churches may not allow for the remuneration of all church musicians; thus, an argument for the payment of all church musicians or workers is not sustainable in view of the financial capacity of many churches. also, the present socio-economic realities of 21st century nigeria that rapidly emigrate youths for education, jobs, and trade from their church areas do not make the solely "train-and-engage" model of church music ministry viable, since the trained may not be engaged in the church after their training. this scenario calls for a careful and strategic blend of both the "train-and-engage" and professionalized models for the purpose of effectiveness in the church music ministry, and for the purpose of equipping the church for ministry wherever members may be afterwards. 167 awka journal of research in music and the arts (ajrma) vol 17 june 2024 therefore, in the mixed model, the church encourages the training of church musicians for the purpose of ministry wherever they would be. however, this may not necessarily be for the engagement of the trained against the tide of emigration, while at the same time, working with the minister of music, or music director to recruit proficient church musicians strategically, in tandem with church music needs. this compromise is capable of ensuring effectiveness in both per-formative and education dimensions of church music ministry. the compromise is possible through the collaboration of a supportive pastor, competent music minister and choir-leaders, musically literate choristers, proficient instrumentalists, and proper funding. in turn, this can aid the effectiveness of music ministry in the 21st century nigerian baptist convention. conclusion this paper reviewed the practice of "train-and-engage" and professionalized models of church music ministry, with special reference to churches of the nigerian baptist convention, for ministerial effectiveness in the 21st century. the century is evolving with dynamic socio-economic realities that challenge late 20th century "train-and-engage" model. with many youths rapidly immigrating to other places for education, jobs; and trade, the "stay-period" needed for the training and maturation of church musicians being drastically reduced, the "train-and-engage" model is not sustainable in many parts of the convention. while the professionalized model of church music ministry never involved the remuneration of all church musicians, it can be strategically utilized along with the "train-andengage" model for ministerial effectiveness. the world wherein church music ministry is being practiced is changing; church music being a cultural and functional art is not totally immune from developments in the world in which it operates. the church music ministerial methods of the past should continuously be interrogated in tandem with current global developments in order to improve models, standards, and ensure trans-generational effectiveness. to insist on any model, irrespective of its ineffectiveness at present, is to decide against effectiveness in the 21st century church music ministry. references eniolawun, o. i. (2020). “church music and ministry: biblical perspective,” in journal of christian musicology 1-15. ile ife: ajilaoorun pub ltd. grudem, w. (1994). systematic theology: an introduction to biblical doctrine. grand rapids: zondervan pub. house. life application bible (2004). the new king james version. carol stream, illinois: tyndale house publishers, inc. hustad, d. p. (1998). jubilate ii (church music in worship and renewal) carol stream: hope publishing company. mason, d. (2016). discipleship as music ministry foundation. retrieved from worshipleader.com/discipleship/discipleship-as-music-ministry-foundation. myrick, n. (2018). the celebrity model of music ministry vol. 69. retrieved from https://nathanmyrcik.com. ossaiga, u. p. (2015). the use of music in burial services of warri baptist association. studies in nigerian music book 1: music and society in nigeria. in arugha a. ogisi (ed.),. lagos: amfitop book company. warren, r. (2007). the purpose driven church: growth without compromising your message and mission grand rapids, michigan: zondervan publishing house. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 188 decoding the time line of nigerian folk music through the viral gwọ̀gwọ̀gwọ̀ ngwọ̀ dance challenge by olawole aro abstract 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 gwọ̀gwọ̀gwọ̀ ngwọ̀ 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 gwọ̀gwọ̀gwọ̀ ngwọ̀ 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. keywords: time line, dance challenge, folk music, african music, beat-class set introduction time line is an indispensable constituent part of most music in the world on which the musicality of a musical work hinges. this is even more so in african music and has been described several times by music experts. however, more explanation of the time line of african music is needed to create a glaring impression for all. that is why this study is apposite to decode the time line of nigerian folk music through the viral gwọ̀gwọ̀gwọ̀ ngwọ̀ dance challenge. time line is a motivating factor for dance hence, this microstructural design in a piece of music helps the accompanying dance reach its full potential. the observable time line complements the movement of the dancers in bakare's (1994) description of dance as the movement of the body in time and space usually to make a statement. in the african music parlance, dance and associated rhythm are inseparable. the dance steps from this viral dance sprout from the less than twenty-second snippet of the accompanying folk music. subsequently, this paper will analyse the time line in the musical extract used for this dance through the lens of the observable time design. this is in furtherance to the study of time lines in african music. because of this, the analytical method that integrates both qualitative and quantitative approaches was adopted for this study. again, this study mirrors the observable time design of nigerian folk music entitled ka esi le onye isi oche as performed by gentleman mike ejeagha and his trio. consequently, special attention is placed on the snippet of this song that was used for the online dance challenge. it is also important to add that “african” in this context refers to music from west africa. data for this research were gathered by watching and listening to performances from various sources like tiktok, instagram, spotify, and youtube. relevant previous studies are also instrumental to this research. theoretical framework this paper hinges on nketia's (1963) model of the african music time line as thus; a timeline is a constant point of reference by which the phrase structure of a song as well as the linear metrical organization of phrases are guided. this term has been written differently by scholars even though they all point towards similar meanings. thus, a review of the difference between these usages which include time line and timeline, is necessary. the chambers 21st century dictionary describes time as the continuous passing and succession of minutes, days, years, etc. this expresses a specific calibrated point in the order of a passing moment. meanwhile, line means shape (ibid). while both terms stemmed from the greek meaning “chrónos” measurable time rather than “kairós” imagined moment, time line is more lexicologically attuned with the usage by professor nketia. timeline, on the other hand, sits well with such a concept as a sequence of historical events. time line is a calibrated and recurring rhythmic shape that provides distinct guides to musicians or dancers in african music performance. in addition, the time line is not only a calibrated time but also perceptible in the discussion of rhythms in african music. given this, “time line” will be adopted for this study. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 189 time line is one of the prevailing factors when describing any music composition or performance. it even holds more sway in the case of african music. hence, a clearer understanding of the time line used in african folk songs is necessary to gain more understanding and better appreciation of the african musical culture. in the study of rhythm in african music, the time line is a popular concept that is believed to be the base of most african music (nketia 1963; agawu 2006; ofuani 2014; toussaint 2015; addaquay 2023). in addition, nzewi (1974) describes the role of the time line in the ohafia war dance as a one-tone reiterative rhythm that serves as a metronome played by non-melorhythmic instruments. most african musical performance has a basic and calibrated beat pattern that regulates other featured musical instruments, singers, and dancers in such performances. this pattern, which usually reoccurs as long as the performance lasts, has been described by various scholars in the past. for instance, agawu (2007) recounts the prominence of the time line pattern, played on a double-pronged bell as a single layer in a southern ewe dance performance. in their study of the traditional music of gbẹdu olu of ẹpẹ, oiekilome and ogunyemi (2020) describe the time line as the basic rhythm pattern played on double stroke by perente. oludare (2016) reveals the various strokes in konkolo rhythm patterns used in apala music. meanwhile, stone (2015) notes that the kumbadinda (time) pattern was played on the kutiridingo drum during lenjengo recreational dancing in gambia. from the foregoing, the time line can also be vocally conceived by the performers as stone and oludare noted. nevertheless, several terms have been used to describe this rhythmic component over the years. hence, it was described as an ostinato (oiekilome and ogunyemi, 2020); circular (anku, 2007); standard pattern (agawu, 2006); persistently reiterated rhythmic motive (nzewi, 1974), and orientational-rhythmic pattern (ofuani, 2014) among numerous others. this paper examines the time line both in qualitative and quantitative perspectives. agawu (2006) opines that the structure signifies material attributes mediated by a precise, mathematical nomenclature, and free of contingencies of expressivity. although it is common to examine the structural attribute of folk music in the qualitative parlance, its quantitative representation is also apposite. in light of this, the time line is an effective musical component for the quantitative analysis of the rhythmic design of a piece of music. therefore, this study is incomplete without a closer look into the rhythmic design of igbo folk music through the lens of the obtainable time line. a re-examination of the nigerian folk music according to the chambers 21st century dictionary, folk music is music that is played on traditional instruments or sung in the traditional style, handed down from generation to generation, and relates to the music of an area or group of people. nigerian traditional society is characterised by folk music which enjoys patronage and continuous use from generation to generation. folk music is traditional music that expresses the cultural paraphernalia of a people. nzewi (1980) observes that the folk music of a nigerian ethnic group is life: the identity, the fellowship, (and) the essence of its ethnic cosmos. folk music can easily be identified with a given nigerian culture due to some features they possess. some examples of such features include pitch formation, time line, text, formal structure, performance style, or mood and function. folk music performances are often accompanied by dance. the dance could be as passive as making a metronome with the palm by beating oneself when trying to recall or sing a folk song to a person for the first time. it is also possible when singing a lullaby accompanied by a soft tap on a baby (ibekwe & umezinwa, 2017). dance in a folk music performance can also be more active than in the aforementioned context in nigerian ceremonies or festivals like the egungun festival. kwakwa (2008) notes that traditional african dances do not occur in isolation and often have a specific role within an event or a complex of events organized for a specific occasion. yet, traditional or folk music of a people hardly exists in isolation. it has been observed to form a retinue of stories about past events, folk tales, fairy tales, fable, and other culturally significant occurrences. ọmọjọla (1995) opines that music [in nigeria] is an integral part of dance, of poetry, and of dramatic expression, all fused in the same performance context. for this reason, traditional society has folk music performances during moonlight story-telling arenas, rites of passage, wrestling contests, festivals, and more recently on social media. the post-pandemic saw a skyrocketing use of the social media in nigeria. this is why several innovative ideas sprung up for the sole purpose of entertainment, virality, and dominance. warburton (2022) notes that young dancers use online platforms that can act as high-speed vehicles for communication and connection. an instance of such innovation is the introduction of “challenge” to social media spaces. a challenge is a social media trend where a social media user creates mostly a viral video in the form of acrobatics, craft, or dance, and encourages other social media users to recreate a creative version of it for entertainment or inclusion. ng et al (2021) observe that challenges are video formats awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 190 that users endlessly iterate upon, usually involving an easy-to-replicate song and dance. gwọ̀gwọ̀gwọ̀ ngwọ̀ dance challenge is typical of this trend. it is crucial to know that a folk music recording by michael nwachukwu ejeagha, who is popularly known as gentleman mike ejeagha, was used for the viral video. nwobu (2017) appraises the artistic and creative ingenuity of mike ejeagha as a (nigerian) poet-musician, dancer and instrumentalist. folk music is an inseparable aspect that helps to project the true features of the time line in african music. this is apparent by the fact that little or nothing has been done to water down its metrical integrity for it is a cultural entity that is as old as the culture itself. as a matter of identity, folk music is communal property (nzewi, 1980) and initially requires a collaborative effort of the culture of origin to be effectively performed and enjoyed. furthermore, the introduction of electronic recording in nigeria has further face-lift this aspect of the nation’s societal property. as a result, a new texture has been formed in a folk music performance through the inclusion of exotic musical instruments like the piano, saxophone, and guitar. in addition to this, the high rise in the use of social media in nigeria has further helped to export folk music beyond its ancestral boundary. gwọ̀gwọ̀gwọ̀ ngwọ̀ viral dance challenge african culture is rich in music traditions, to say the least, and has been examined umpteenth time among scholars. it is a global enterprise whose impact cannot be overemphasized. this is true because african musical practices are performed in most land and at most climes of the world. social media has even made this much easier, so you can enjoy african music with a few clicks on your mobile device while lying on a couch in your living room. some popular social media and streaming platforms include spotify, apple music, youtube, tiktok, and instagram to mention but a few. it is on such instance that the gwọ̀gwọ̀gwọ̀ ngwọ̀ dance challenge was initiated with support from a snippet from a recording of an igbo folk music entitled ka esi le onye isi oche. ka esi le onye isi oche is a track from gentleman mike ejeagha’s akuko n’egwo original volume 1 album that was first released in 1983. an excerpt of this song was suitably used to convey the short humorous dance step which snowballed into what is popularly known as the gwọ̀gwọ̀gwọ̀ ngwọ̀ dance challenge. however, this dance challenge was the brainchild of emmanuel chukwuebuba amuzie who is popularly known as brain jotter. brain jotter, a household name in the nigerian entertainment industry, is a nigerian dancer, stand-up comedian, and social media influencer. “gwọ̀gwọ̀gwọ̀ ngwọ̀” is a refrain part of the song which was recurrent most times throughout the length of this almost 17-minute track. no wonder it is suitable for the short dance clip. moreover, the rhythmic architecture of this theme is worth examining in this paper. this is relevant for a study not only for its dance-like disposition but also for its folkish tendency. the rhythmic design of this excerpt has birthed an instance of an african music time line that is pertinent to this study. analysis of the time line it is important to trace a problem to the root for it to be solved completely. however, there is a need to trace any african music to its source for a more appropriate meaning to it. consequently, many scholars believe that a good consideration of the ancestral cultural background of a musical piece is important to making a profound judgment of it. figure 1: a dancer and brain jotter performing the gwọ̀gwọ̀gwọ̀ ngwọ̀ dance challenge (l-r) awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 191 although several time lines have been identified in african music, the analysis of this piece should not be based on the prevalent african music time line in twelve eight time (found in figure 2 above) but contextually conceived. therefore, the time line of the gwọ̀gwọ̀gwọ̀ ngwọ̀ dance is as thus; from this shape, five quarter beats can be observed but the second and the fifth beats are followed by the eighth beat rest. in comparison, both time lines have the quarter beats and eighth beats in the ratio 5:2. also, the eighth beats fall on a similar position in the beat progression of both time lines. the difference, however, is the eighth beat rests in the second time line. with pressings’s cognitive isomorphism model, this shape can be viewed as <2212221> where 2 and 1 represent the frequency of the eighth notes or rest in the time lines. for instance, “2” means there are two eighth notes in a quarter note while “1” means an eighth beat rest. hence, this can be viewed as two similar shapes each with beat class <221> and separated by a quarter note. consequently, this time line is an uneven bi-phrasal idea with the first installment reading 221 and shortly followed by the second, 2221. agawu (2006) describes this arrangement as a slight off-centeredness that conveys a fundamental duality found in the building blocks of many african expressive forms. in the study of christian onyeji’s nka emume songs composition, ofuani (2014) notes that he adopted a shape in figure 4 below which was originally a time line in ohafia war dance. aside from the fact that this shape is set in a simple quadruple time possessing eighth and dotted eighth notes, it is an evenly distributed bi-phrasal idea with the first phrase matching up the second one. this is another dynamism embedded in the african beat pattern especially ones from igboland. although there are other beat characters from the performance of this folk music, prominent is the role of the time line stated above. other musical instruments that supply beat characters to the music include the lead guitar, ichaka (rattle), and udu (pot drum). for instance, the guitar provides a “fill in” to the vocal lines at pauses while ichaka laced the entire performance with a background which exhibits the beats from the beat class integer. the beats from udu occur sparingly in the music and constitute a deep buttressing sound that coincides with the last beat of the time line. however, more important in the beat characters of the music is the bi-tonal and chant-like phrase “gwọ̀gwọ̀gwọ̀ ngwọ̀” whose beat pattern was variedly imitated in the dance step. the dance step in this short dance interlocks the beat character from the chant in a dovetail pattern. in addition to this, there are many cluster points in the performance where all the beat characters align. the notation in figure 5 below is two of such cluster points showing the distribution of beats among the time line (woodblock), vocal, and dance steps. figure 2 figure 3 1st phrase 2nd phrase figure 4 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 192 beat-class set and beat density a beat-class set is a similar term to pitch class set when discussing rhythms in african music and the 20th century music analysis respectively. peck (2021) describes a beat-class set as a rhythmic analogue of a pitch-class set, where the modular pitch-class space of the latter is exchanged with a modular space of metric positions in the former. from the beat-class set of this folk music, the highest beat density is at the 10th beat onset while the lowest were at the 2nd, 11th, and 12th beat onsets. in this light, figure 6 (the table) below examines the beat distribution in the dance performance of the folk song. since this music takes twelve beats to complete a cycle, this can be compared to the clock face in the pitch set theory. thus, 0 is the first and the downbeat, 1 is the 2nd beat, 2 is the 3rd beat…9 is the 10th beat, ten (t) is the 11th beat and eleven (e) is the 12th beat. also, in this table, dash (-) means silence while the empty boxes show elongation from the preceding beat. the table below shows the beat character of each instrument as well as the beat density when they are compared. although the punchline of the dance challenge occurs at the chant of gwọ̀gwọ̀gwọ̀ ngwọ̀, the beat patterns of the time line (0 2 5 7 9) and the chant (3 4 6 8 9) look much different. a better closeness is rather between the time line (0 2 5 7 9) and the dance steps (3 5 7 9) as they both shared the last three characters. meanwhile, less prominent are the 2nd, 11th, and 12th beats. conclusion in this two-dancer dance challenge, the time line is a motivating ingredient. aside from the fact that it supplies steadiness to the dance, the time line also reflects the emblem of a people through its folkish inclination. the dance step aligns more with the time line rather than the vocal chant. similarly, the implication of the high beat density at the 10th bc integer marks the climax of the dance and exhibits comic disposition from the dance gestures of the dancers. therefore, the dance under this scope is humour-induced, encouraging participation and observation by all. according to the researcher’s findings from tiktok and instagram alone, this dance challenge has been viewed and recreated by over 60 million social media users globally within three weeks of its earliest known post online on july 5, 2024. thus, this dance challenge is yet another use of indigenous music as a tool for “global synchrony”. on a beat-class integer 0 1 2 3 4 5 6 7 8 9 t e woodblock (time line) 0 2 5 7 9 ichaka 0 1 2 3 4 5 6 7 8 9 t e udu 9 vocal (chant) 3 4 6 8 9 dance steps 3 5 7 9 (chan t) figure 5: shows a four-measure snippet from the original version of this dance challenge by brain jotter and another dancer (l means left leg and r means right leg) awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 193 closer look, this dance challenge bridges cultural gaps as it supports participation from different cultural backgrounds and creeds. this study has not observed the macro structure of gme’s rondo-like folk music especially the roles of the gwọ̀gwọ̀gwọ̀ ngwọ̀ chant. meanwhile, it is suggested that nigerian folk music should be explored similarly as a tool for relief and global entertainment through social media. although african music is largely conceived qualitatively, it is proposed that a quantitative approach should also be explored due to the rise in the use of quantised beats through digital recording. therefore, in the study of african musical genres like contemporary afrobeat music which relies on quantised beats, quantitative studies should not be contestable. references agawu, k. (2006). structural analysis or cultural analysis? competing perspectives on the "standard pattern" of west african rhythm. journal of the american musicological society, 59(1), 1-46. anku, w. (2007). inside a master drummer's mind: a quantitative theory of structures in african music trans. revista transcultural de música, (11), 0. anku, w. (2000). circles and time: a theory of structural organization of rhythm in african music. music theory online, 6(1). bakare, r.o. (1994). rudiments of choreography. lagos: dat and partners logistic ltd. chima, n. (2024, july 27). drama, laughter as celebs join ‘gwo gwo ngwo’ challenge. punch newspaper. https://punchng.com/drama-laughter-as-celebs-join-gwo-gwo-ngwo-challenge/ clayton, m. (2013). the time of music and the time of history, working paper. durham research online (dro), durham ibekwe, e. u. & umezinwa, e.c. (2017). the rhythmic sensibility of african folksongs: the case of lullabies in igbo culture. igwebuike: an african journal of arts and humanities, 3(5), 33 – 44. kwakwa, p.a. (2008). dance in communal life: new york. the garland handbook of african music, routledge (54 – 62). nketia, j. h. k. (1963). african music in ghana. northwestern university press. nwobu, s.n. (2017). minstrelsy in igbo culture: a transcription and analysis of selected works of mike ejeagha. journal of nigerian music education (jonmed), 9(1). nzewi, m. (1980). folk music in nigeria: a communion. journal of the international library of african music. nzewi, m. (1974). melo-rhythmic essence and hot rhythm in nigerian folk music. the black perspective in music, 2(1), 23–28. ofuani, s. (2014). traditional rhythmic patterns: the source of creativity and identity of original nigerian art music compositions. international journal of humanities and social science, 4(9), 1. oikelome, a. & ògúnyẹmí, b. (2020). sound, structural patterns and iconography in the traditional music of gbedu olú of epe, lagos, nigeria. igwebuike: an african journal of arts and humanities, 6(4). oludare, o. e. (2018). compositional techniques in apala music. nigerian theatre journal, 14(1), 86-107. https://www.researchgate.net/publication/328461649 ọmọjọla, b. (1995). nigerian art music: ibadan, african book builders (ifra). peck, r.w, (2021). beat-class set classes and the power group enumeration theorem. journal musmat, 5(1). pressing, j. (1983). cognitive isomorphisms between pitch and rhythm in world musics: west africa, the balkans and western tonality. studies in music, 17, 38-61. robinson, m. & davidson, g. (eds). (2007). the chambers 21st century dictionary: edinburgh. chambers harrap publishers ltd. samuel, k.m. (2013). african folksongs as veritable resource materials for revitalizing music education in nigerian schools. research on humanities and social sciences, 3(10). stone, r.m. (2015). in search of time in african music. music theory spectrum. toussaint, g. t. (2015). quantifying musical meter: how similar are african and western rhythm? analytical approaches to world music, 4(2). warburton, e.c. (2022). tiktok challenge: dance education futures in the creator economy. arts education policy review, 1-11. https://doi.org/10.1080/10632913.2022.2095068 ng, l. h. x., tan, j. y. h., tan, d. j. h., & lee, r. k. w. (2021, november). will you dance to the challenge? predicting user participation of tiktok challenges. in proceedings of the 2021 ieee/acm international conference on advances in social networks analysis and mining (pp. 356-360). https://journal.ru.ac.za/index.php/africanmusic/article/view/1091 https://www.researchgate.net/publication/328461649 https://doi.org/10.1080/10632913.2022.2095068 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 194 discography ejeagha, m. (1983). ka esi le onye isi oche. akuko n’egwo original volume 1 [album]. premier records ltd. https://open.spotify.com/track/6pimxg1parbpfvdcansdus?si=zz2_nnk2taul7b3sg2_t5g amuzie, c.e. (2024, july 7). brainjotter comedy video [video]. tiktok. https://vm.tiktok.com/zmrsjyfbt/ amuzie, c.e. (2024, july 5). for no reason [video]. instagram. https://www.instagram.com/reel/c9crpmktrag/?igsh=mtn0d3nqbwfvnzbyng== https://open.spotify.com/track/6pimxg1parbpfvdcansdus?si=zz2_nnk2taul7b3sg2_t5g https://vm.tiktok.com/zmrsjyfbt/ https://www.instagram.com/reel/c9crpmktrag/?igsh=mtn0d3nqbwfvnzbyng== 192 indigenous dance beyond movement: a semiotic metaphor of iduu akpo dance performance. akas, nicholas chielotam theatre arts department, nnamdi azikiwe university, nigeria email: akasdancescholar@gmail.com abstract indigenous dance has been myopically misinterpreted as mere annual festival, while according to some people it is “just their village dance”. these misinterpretations have really made people to enjoy various indigenous dances based on its aesthetics, pattern and style without considering its communicative potency if been interpreted. indigenous dance when scholarly interpreted has gone beyond a perfect aesthetic combination of motivating movements; rather it stands as a serious tool for effective communication when interpreted. the core interpretation placed on indigenous dance movements broadens the indigenes‟ understanding horizon of seeing the indigenous dance as reflective mirror on their social, religious and economic status at the point the dance is been choreographed. this will make indigenes to see the indigenous dance as a communicative tool, a watchdog on their daily activities in the community, and a sustaining tool for upholding communal moral beliefs. this paper therefore, will critically analyse iduuakpo dance performance beyond its mere movement into an indispensable communicative tool in aguata. introduction the major concern of indigenous dance history is to acknowledge the changes that have occurred with time. therefore it requires the explanation of events, which have necessitated changes as understanding the history that gave sense to identity and continuity in awka journal of research in music and the arts (arma) vol. 10 2014 mailto:akasdancescholar@gmail.com 193 our indigenous communities. to understand the potency of indigenous dance in our indigenous community, it becomes imperative to trace it from the three sources of origin which are: emotional, impulse and improvisation, the need by man to release psychic tension by means of semiotic rhythmic movement and also through ecstasy on magic. enekwe is of the opinion that: in early man‟s attempt to control and communicate with the forces around him, developed symbolic gestures and movement that expressed the way he felt to his supreme creator. this makes ritual one of the major sources of dance. (24) the evolution of indigenous dance as an art form that has its roots in the numerous indigenous festivals across the country has made our indigenous dance a total performance. ogbonna is of the opinion that: our indigenous dance movement both in styles and form are not done haphazardly but rather geared towards conveying the meaning and message of the festival(132). indigenous dance like any other african art form is not for aesthetic use only rather, it commits individuals as tools for projecting the norms and values of their community. akas states that: indigenous dance as an art is interwoven around the fabrics of our indigenous communities especially based on their sociopolitical, economic and religious experience. (34) indigenous dance in traditional african societies is the expression of beliefs, attitudes, norms and values of a particular culture. it is what is embedded in the culture that can be reflected in the dance movement of a community. onwuekwe is of the opinion that: indigenous dance can be an art, visual or recreation. it goes beyond the merely functional movement of work or sport to become an experience that is pleasurable exciting or aesthetically valuable. in doing so, it can also express emotion, mood, ideas, tell a story or portrays political or social needs. (178) indigenous dance beyond movement… akas, nicholas chielotam 194 indigenous dance in core african setting is appreciated based on it its communicative potency. it is the communicative ability of dance as a unique act in our indigenous community that gives the dance of any community a traceable origin both in its form, style and content. akas opines that: in choreographing contemporary indigenous dance styles, the choreographer does not evolve dance steps from empty space or mere imagination rather those choreographed dance movements both in name, form and style are embodiments of socio-environmental problems raised through body movement to be answered while being entertained. (1) indigenous dance also represents a physical instrument or symbol for feeling and thoughts that can serve as a more effective media than verbal language in revealing one‟s needs and desires. kuper maintains that: movements in dance become standardized and patterned symbols, where the members of a society may understand that these symbols are intended to represent experience and give meaning to an individual‟s external and psychic world. (238) indigenous dance has remained an indispensable tool towards communicative and effective cultural identification. the sociological perception of indigenous dance forms indigenous dance depicts lives, rhythms and cycles, labours, values, aspirations, history, economic condition and realities. akas states that: indigenous dance beyond movement… akas, nicholas chielotam 195 the traditional african dance symbolizes social structure and traditional values of the people from where it emerged. dance steps in traditional african dances sometimes praise, criticize and even work as a tool for social mobilization. (186) each dance type and style is distinctly different from the other, because of cultural differences in melodic and movement styles. most of african dance forms exhibit the social pattern prevalent among indigenes and those dance forms can be classified based on the following communicative sub theme: an overview on semiotics semiotics is the study of signs by which humans communicate meaning words, images, behaviour or an idea is relayed by a corresponding manifestation we can perceive. enahoro states that: semiotics is the science of the production of meaning in the society, is concerned with the processes involved in the generation and exchange of meaning or of signification and communication. (37) the study of signs and their meaning has been as important as any movement in 20th century culture theory, thereby informing developments in all areas of theoretical endeavours. semiotics is a system of knowledge that studies signs and offers explanations about how signs are used to communicate meanings. enahoro is of the opinion that: semiotics is often employed in the analysis of texts. the word text refers to a recorded message that is physically independent of its sender or receiver. text exists in any medium and may be verbal, non-verbal or both. it is an assembly of signs, gestures, sound, and image, constructed or deconstructed with reference to the conversion associated with a particular medium of communication. (28) indigenous dance beyond movement… akas, nicholas chielotam 196 signs are organized into code and systems governed by rules which are consented to by members of the community. this means that codes and signs operate within a culture which in turn depends upon the use of these codes and signs for its existence. aguia maintains that:” a sign can be „anything‟, any entity or process that works as a sign, that is, anything that is able to act semiotically representing something for someone, an organism, a creature or simply any interpretative system”(146). semiotics involves the study not only of what we refer to as signs in everyday speech, but of anything which stands for something else. in a semiotic sense, signs take the form of words, image, sounds, gestures and objects. saussure states that: a sign is something which stands to somebody for something in some respect or capacity. it addresses somebody, that is, creates in the mind of that person an equivalent sign or perhaps a more developed sign (39). the essence of codes in performance the essence of codes in performance is to aid in effective understanding of the communicative code infused in the performance. it is the communicative potency of the codes in the performance that guides its essence beyond mere aesthetics, literary understanding and stylized movements or actions into a serious analytical interpretative tool. the use of meaningful specified codes in the performance motivates the spectators towards understanding what gave rise to the emergence of such codes and how it has enabled in their cultural sustainability. jon white more states that: codes are culturally derived signs that have been assigned meanings that are understood by the inhabitants‟ of a given society. the level of understanding of codes comes through the spectator‟s background education, environment, ethnic, political and socio-economic (9). the effective essence of codes in performance has really succeeded in taking the indigenous dance beyond movement… akas, nicholas chielotam 197 performance closer to its indigenes irrespective of their location, profession and religious beliefs for easily understanding and appreciation. more maintains that: cultural codes are rules or guidelines that govern the operation of a society and its culture base on its language, dress, manners, the arts, social strata and level of education. (9). semiotic analysis on iduuakpo dance performance in aguata anambra state the semiotic analysis on indigenous dance performance especially iduuakpo dance, makes the meaning of the dance bare before the people that owns the dance and also the foreigners that come to watch the dance as an annual event. the interpretative understanding of the use of semiotics used in the dance iduuakpo makes it more communicative than a mere tool for cultural sustainability cum traceability. at this point people will understand and appreciate what gave rise to the emergence of such a dance. iduuakpo dance performance is highly semiotic in its performance; the high level of the use of communicative semiotic symbol distinguishes the dance from other neighbouring dances in aguata. the use of well interpreted semiotic symbol in iduuakpo dance performance has really presented the uniqueness of the dance both in its aesthetics, communication and cultural sustainability. iduu akpo dance performance in aguata anambra state the semiotic analysis on indigenous dance performance especially iduuakpo dance, makes the meaning of the dance bare before the people that owns the dance and also the foreigners that come to watch the dance as an annual event. the interpretative understanding of the use of semiotics used in the dance iduuakpo makes it more indigenous dance beyond movement… akas, nicholas chielotam 198 communicative than a mere tool for cultural sustainability cum traceability. at this point people will understand and appreciate what gave rise to the emergence of such a dance. iduuakpo dance performance is highly semiotic in its performance; the high level of the use of communicative semiotic symbol distinguishes the dance from other neighbouring dances in aguata. the use of well interpreted semiotic symbol in iduuakpo dance performance has really presented the uniqueness of the dance both in its aesthetics, communication and cultural sustainability. history on iduuakpo dance performance this dance according to history of aguata people started as far back as 1918. this dance iduu was believed to have been performed by the strongest man in akpo village in aguata. this man was declared the strongest because he was a strong wrestler, a good farmer and a fearless man. on several occasion, it was said that he has fought with the spirits unconsciously and defeated them. in other to sustain the masculinity and bravely in the dance, the present young men of akpo community still perform the dance both in its style, form and ideology to conform to its original movement. the dance iduuakpo dance performance is an annual performance from primordial era till present day in akpo community. it is usually performed by strong men during their notable festive period like new yam festival, chieftaincy title of a notable brave man and during the burial of a notable man in akpo community. once the dance is been performed during planting season and after harvesting period, it simply shows that their “chi” will bless them with good harvest. also the appearance of iduu dance performance during the burial of a notable man according to their history simply shows he did not die a shameful death, rather he died as a brave man. it is also good to note that this dance is not performed during rainy season, because rainy season is period of indigenous dance beyond movement… akas, nicholas chielotam 199 farming and serious labour, while the dry season which is the period when the dance is being performed serves as period of enjoyment and relaxation after harvesting the farm produce. during the annual performance of this festival, it is opened to everybody both indigenes and foreigners who might want to carry out a research on dance or see it as means of tourism development. the dance styles in this dance are not just mere aesthetically combined steps, rather the communicative potency of iduuakpo dance movements portrays what gave rise to the emergence of those dance movement. ritual dance this type of dance is very symbolic in nature during the dance performance. it serves as a connecting link between the world of the living and the world of the dead. this ritual dance is been performed by the chief priest who is the lead dancer, fully costumed in red, carrying a red pot, holding a fowl, palm fronds and finally at his back their a mini-load. before the priest embarks on the journey into the forest for the ritual dance, he will be purified by another oldest chief priest who encourages him to move on. the reason why the chief priest who is the lead dancer in the ritual dance needs fortification from another chief priest is to enhance his charms more, to get the moral support and also to be guided on the rules and regulations surrounding the sacred forest. the second chief priest is believed to be the oldest and understands the language of the spirit more. for this fortification to be strong, valued and respected, it must be done in the shrine of the oldest chief priest. it is in this shrine that the chief priest is being costumed by the oldest priest, who hands over a staff to him. the essence of the staff in the dance is to serve as symbol of authority and also to serve as a supporting tool to the chief priest especially when he is tired. it is also believed that the road that leads to the sacred forest is not a smooth one based on the fact that the indigenous dance beyond movement… akas, nicholas chielotam 200 chief priest needs the staff. all these items used by the chief priest during the performance are very communicative in nature. the masquerades are also part of the performance. there are two types of masquerade in this performance; iduuanyaike and iduu police. the iduuanyaike is believed to appear during initiation ceremony, this masquerade iduuanyaikeis believed to be the mouth piece of the gods during initiation. it is through the masquerade that the gods communicates their intentions to the initiates, while the red cap on the masquerade head symbolizes supreme authority to the gods in upholding their culture, maintaining peace and also ambassadors of truth till death. this masquerade appears only in dry season just to portray its sacredness. the iduu police serve as peace make during the performance. the flutist the flutist in the dance gives the cues and motivates the dancers while dancing on stage. it is the flutist that accompanies the chief priest into the forest for the ritual dance. the flutist leads the dancers into the arena for the performance and the flutist motivates dancers during performance and also reminds them of cues from one movement to another. the flutist body is designed with white nzu (native chalk) which presents him as the chief priest servant, wellfortified for the great task ahead before, during and after the iduu dance performance. indigenous dance beyond movement… akas, nicholas chielotam 201 the drummers the drummers in this festival are young men and well trained in the act of drumming during the performance. the reason for the training in act of drumming is because the indigenes of akpo community believed that once the drummers can drum well it will now motivate their ancestral father to bless them more than they expected. the creativity cum perfection amongst the drummers motivates their ancestral fathers to bless their indigenes, dancers and the drummers themselves. the perfect modulations in the drumming during iduu dance performance make the drumming very interesting. the drummers of iduu dance performance the audience everybody is allowed to partake in this dance both indigenes and foreigners, but women are not allowed to partake in dance or even watch the performance. the reason for not allowing women to partake in the dance is that it is believed that once they watch the dance they will no longer see their menstrual cycle and any pregnant woman that watches the dance will give birth to a monkey. indigenous dance beyond movement… akas, nicholas chielotam 202 also if a woman mistakenly meets them on road, she must pass through their left hand side in order to avoid dis-charming their charms. aside women been banned from partaking, every other person is allowed to dance with the dancers and take pictures in case of foreigners carrying out any research on the dance. dance style the type of dance style here is always fast, in circular form and also in a straight line. all these forms in this dance style are symbolic and communicative in nature. the dance style is meant for young men of akpo community between the ages of 25-35 years. it is believed that at this age the young are still energetic and can use their strength to defend their community in case of any unforeseen circumstances. they always dance to portray themselves as warriors, great farmers and hunters, who are always ready to provide and defend their family and the entire community large. during the dance itself the dances exhibit different skills to portray themselves as beyond mere mortal to human demi-gods who have fortified themselves by their ancestral fathers before the real performance. the fast movement during the dance performance simply portrays that the young men of akpo community are smart and ready to withstand any obstacle. this they do by climbing a tree without rope, they are not lazy people and also great as warriors cum hunters. indigenous dance beyond movement… akas, nicholas chielotam 203 iduu dancers performing the circular dance movement portrays that united they stand and divided they fall as a community. one standing ageless rule which this circular dance style portrays among the iduu dancers is that, for one to be member he must have a clean mind where his fellow brother is and he must be ready to be his brother‟s keeper and also must be ready to share whatever he has no matter how little especially when he discovers that his brother is in need and needs help. whoever is not ready to obey this and decides to dance the great iduu dance, will die while performing the dance. so whenever this circular dance movement or style is been performed during their performance, it always remind the dancers what they believed is right from the days of their fore fathers till date. the straight line movement in the dance presents the dancers as warriors and always ready to defend their community. the brevity of each dancer is fully portrayed in their individualized stylized form of dancing, here the iduu dancers are expected to display their various individual skills that qualifies indigenous dance beyond movement… akas, nicholas chielotam 204 them as warriors and always ready to defend their community. it is believed that from the various individualized stylized dance movement determines the strength and skill of been true warriors in akpo community which they claim to be. aside the dancer‟s, initiates into the dance but on their full costumes are allowed to display their own warrior dance style. they also believed that once you are a young man from akpo community and initiated into iduu dance whether on costume or not he is always fortified. conclusion the interpretative essence of semiotics in indigenous dance has contributed in communicative understanding of our indigenous dance movements. the various dance movement in indigenous dance especially that of iduu dance performance did not just emerge rather it came into existence to give the community a traceable origin, sustain their culture and expose the socio-environmental factors that lead to the creation of dance movement. it is at this point that akpo community in aguata will appreciate their dance iduu dance performance as a culture that communicates through its dance movements and not as a mere annual festival that they long to witness as form of relaxation and entertainment. conclusively, the interpretative analysis on iduu dance performance based on its form, style and content has really taken the dance beyond mere aesthetic appreciation only. indigenous dance beyond movement… akas, nicholas chielotam 205 references daniella, a (1999). a semiotic of dance. michigan: university of michigan press. enahoro. a. u. (2009). semiotics of an african cinema: yala as a paradigm. lagos: cinemarts communications international. morris, c (2003). conception of semiotic implications of rhetorical. california: university of california press. saussure. f. (1972). course in general linguistic. (ed). richard and george. new york: anchor book. kuper. j.(2002). theory/theatre. an introduction. london: routledge. more, j.(2012). directing post-modern theatre. usa: the university of michigan press. ogbonna, k. (2011). weapon of mass instruction: hiv/aids awareness campaign in cauldron of death and had i known. nwadigwe c. e(ed). enugu: academic printing press. onwuekwe a. i. (2009).the socio-cultural implication of african music and dance. the creative artist. a journal of theatre and media studies, vol. 3 (1) 171-185, alex asigbo, tracie chima utoh – ezeajugh and clementina abone (eds). enekwe, o. (1991).theories of dance nigeria. enugu: afa press. indigenous dance beyond movement… akas, nicholas chielotam awka journal of research in music and the arts (ajrma) vol. 16, september 2023 219 from traditional folktale to western choral concept: an inquiry into kayode oguntade’s arrangement of “omo oba sokoto” dr. michael adeleke bakare department of music, meadow hall college of education, lagos e-mail: mbabakare@meadowhallschool.org abstract recent studies have focused on the cultural exchange between traditional folk music and western classical music which has often yielded captivating adaptations, bridging diverse musical heritages and transcending cultural boundaries. however, the adaptive ability of nigerian composers to transform the monophonic materials of folk into the choral concept needs more scholarly attention. this study, therefore, examines the transformative journey of the traditional folk song "omo oba sokoto" as it evolves from its original context into a western choral arrangement arranged by kayode ogunbade. data is drawn from oral interviews, biographical information, compositional analysis, and available literature with insights into kayode ogunbade's motivations, challenges, and aspirations during the arrangement process. the study revealed that elements of the folk narrative are preserved through the strategic use of vocal textures, rhythmic motifs, and harmonies that evoke the cultural context of the source material. furthermore, the choral arrangement acts as a bridge between the traditional african folk heritage and the western classical tradition, embodying a fusion of musical sensibilities. by exploring the convergence of tradition and innovation, this inquiry illuminates the transformative power of music in fostering cross-cultural appreciation and artistic evolution. keywords: folk, choral, composition, inter-acculturation, stylistic, traditional introduction the majority of musical activities that are prevalent in several socio-religious and other ceremonial events in modern nigeria present the appearance of being significantly different from the indigenous and traditional folk music practices. this deviation is mostly the product of both internal dynamics and some external sociopolitical and cultural influences. a few aspects of nigerian traditional values and lifestyles were altered and disrupted by the dramatic transformation of the society, especially as a result of cultural contacts with the west, the middle east, and asia, as well as by urbanization, industrialization, and religion. one such aspect is the traditional folk music’s artistic expressions and patronage. as a result of these changes, a new urban socioeconomic class with new musical preferences arose among nigerians. okafor (2005) noted that nigerian music is deeply ingrained in all facets of socio-cultural life, transcending social class, ethnicity, geography, religion, language, gender, and sexual orientation. as a result, he believes that the connection between music and the average awka journal of research in music and the arts (ajrma) vol. 16, september 2023 220 nigerian is one of the most potent indicators of the essence of his life. due to the influx of many new ideas, cultures, and lifestyles into the nation, the majority of which are from europe, america, asia, and the caribbean, contemporary nigerian society has grown so fluid. this causes many of the sociocultural legacies of individuals who are forcibly uprooted from their native homes and forced to migrate to metropolitan regions to be indirectly shifted, altered, or abandoned. as adegbite (2006) puts it, we have entered an era of historical transformation where discontinuity prevails over adjustment. this transition currently pervading contemporary nigerian society is seen as a threat to the survival and the continued practice of traditional folk music in nigeria as more and more musical activities in the society tend to favour western popular music. folk music is now being seen mainly by young people as old-fashioned, and archaic which attracts little interest from this age group when compared to pop music. the practice of traditional folk music is therefore confined to the rural areas and the old folks whose main-stay of livelihood is primarily agriculture and livestock practice and who conscript folk music to accompany nearly all their daily activities. undoubtedly, one of nigeria's most well-known vocal music composers of this era is kayode oguntade. his arrangements of folk music in nigerian languages continue to be a standout aspect of his works. several african composers, like kayode oguntade, have been actively blending traditional african musical elements with western styles, such as classical, or choral music. this fusion reflects the evolving nature of african music and highlights the interplay between traditional and western musical concepts. as an arranger and composer, kayode oguntade’s omo oba sokoto is the focus of this article's musical analysis, which focuses on his contributions to the growth of art music in nigeria. it also looks at the composer's songs, which were inspired by his ardent desire to promote nigeria's cultural legacy through his folklore arrangements of omo oba sokoto from the northern ethnic groups in the nation, thereby fostering a feeling of shared identity among the different ethnic region. conceptual framework the philosophy of interculturalism serves as the foundation for this study's framework to promote cultural dialogue, respect for cultural diversity, fostering inclusivity, recognition of power dynamics, and cultural enrichment. this idea involves the fusion of components from two or more civilizations, and the musician or composer who creates the music typically comes from one of those cultures (herbst, 2003). the world is a limitless cultural environment for musicians of his day, offering a wide range of opportunities for cross-cultural composition and performance activities (omójolà, 2006). the use of nigerian folksongs, treated to european-derived harmonic procedures, is a recurring feature of oguntade's intercultural style. this approach is illustrated in his numerous vocal arrangements. the focus of this paper is on the wider stylistic perspectives from which he derived his approach to the setting of folksongs. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 221 in our folkloric practices, the issue of identity has been the subject of numerous discussions. while some academics, such as agawu (2003), reimer (2003), and turino (2008), believed that folk songs should be given european-derived harmonic and formal techniques to form into lengthy compositions, others think that the beauty and underlying charm of vernacular forms should be preserved in their natural state. while embellishing the songs with european-derived harmonic and formal techniques, oguntade maintained an intermediary approach that preserved the essential stylistic aspects connected with the traditional arrangements without diluting the distinctiveness of the folk song. traditional folktale as a means of communication okafor (2005) asserts that music is a form of communication that transmits ideas from a source to a receiver before receiving feedback from the source and transmitting them back to the source. songs serve the same purpose as any other kind of speech in the traditional african setting. traditional folktales in africa, and nigeria in particular, can be summed up as human intent put into action to convey concepts, exhibit culture, symbolize events, interact socially, arouse emotion, and perform other related tasks (okafor, 2005). by their appearance and performance, folktale in nigeria is functional and has social commitments. social commitments by implication are the involvement of the society towards achieving goals and development and the defense of its norms, values, traditions, and principles. and because traditional folk music reflects and embodies the experiences of the people, it becomes a rallying medium to articulate these social values. among ethnic groups, societies, and cultures in nigeria, the power of traditional folk music is highly recognised and expressed. according to onyeji (2005), before the advent of formal education and the two major religions in nigeria, children and young adults in the traditional society avail themselves of the mass culture of game songs and moonlight tales which are recreational in nature, but more importantly which are used to communicate morals values of the society to them. the dramatic mode of composing these moonlight songs, game songs, and folklores by experts from escapist exploration of land other than that of daylight realities, and from the plot structures, especially those of dilemma tales, imaginative intention, all serve both corrective and training avenues of the adolescent on good behaviour. bakare (2019) argues that the prevalence of folktales, popular culture stories, and moonlight songs benefit the community not only as a source of entertainment but also, and most importantly, as a means of educating young adults about important value systems like reverence for authority figures and the dignity of labor. folktales are widely used in nigeria to teach children about appropriate behavior and the repercussions of being a bad person in society. according to okunade (2002), the folktale tradition is a long-standing and significant component of african indigenous culture that is "inherited" or passed down orally from generation to generation. call-and-response patterns, polyrhythm, embellished wordless phrases known as vocables, grunts, parallel intervals, and repeating rhythmic patterns are characteristics of folk songs. the incorporation of awka journal of research in music and the arts (ajrma) vol. 16, september 2023 222 almost all of these elements distinguishes oguntade's folk song arrangements. significantly, oguntade's musical compositions, which are intended to recall traditional african musical traditions, also prominently feature these aspects. the closeness in how african and western music are related is highlighted by the utilization of the same characteristics in the two categories. the biographical account and analysis of kayode oguntade's vocal arrangement "omo oba sokoto" are explored in the remaining sections of this article. biographical information of kayode akindele oguntade (personal communication with kayode akindele oguntade on 14th march 2023) family background oguntade, kayode akindele was born on the 27th of march 1974 to (deacon emmanuel adedayo and deaconess agnes olapeju oguntade) at ikare akoko, ondo state. kayode was the first son of his father’s four girls and three boys. kayode’s father was a bank secretary and his mother was a schoolteacher. his mother was a chorister and her love for music prompted her to expose kayode early to musical activities such as playing the percussion instruments (local drums, agogo, and sekere) during choir renditions. formal education in 1979, kayode attended st james anglican primary school, ugbe akoko in ondo state while his post-primary education was at st. john mary’s unity secondary school, owo in ondo state. at st john mary’s secondary school, kayode was influenced by his school principal, who was also his music teacher mr. s.o. obagaye to play the piano at the age of ten. he was also encouraged by elder abiodun akindikete, the late mr. idowu, and elder adelabu to play musical instruments and accompany his church choir in akoko. he later attended the university of nigeria, between 1993 -1999 for his diploma in music education and bachelor of arts. professional activities right from his secondary school, kayode accompanied and taught his school and church choirs. after his secondary education, he worked at different places in different capacities between 1991 and 1993. he started as a choir director and organist at the christ apostolic church, oke alaafia, ikare, and also as an organist in various churches around akoko environs. his outstanding achievement led to his school and church choirs winning the 2nd and 3rd position respectively during the 1990 state carol in ondo state. he was also one of the organists who accompanied his choir at the 1989 webisco international music concert at the national art theatre, iganmu. lagos. at the university of nigeria nsukka, he worked at different places and in different capacities between 1993 and 1999. he was also a visiting organist at st. stephen’s cathedral church, ikare akoko. kayode oguntade later moved to lagos where he started working with st george’s military protestant church, apapa, as an organist and director of music. part of his role was to train the choir and instrumentalist in their various musical instruments, such as keyboards, saxophones, trumpets, guitars, and percussions. he worked with queens college, sabo yaba, in lagos from 1999 – 2002. while at queens college, he taught music and trained the school’s choir. he directed two musical productions – “joseph and the amazing technicolour dreamcoat” by andrew loyd webber and “a night in bethlehem” awka journal of research in music and the arts (ajrma) vol. 16, september 2023 223 by marco frisina. he also taught music at holy child college from 2001 to 2004, while at holy child college, he also trained the school choir. his outstanding performance led the school choir to win the nnpc/shell and aisen choral music competition consecutively. he also directed the musical – “joseph and the amazing technicolour dreamcoat” by andrew loyd webber. he was awarded the certificate of outstanding performance for being the most consistent teacher in performance, in 2003 / 2004. he taught music as a graduate assistant at lagos state university and was also appointed as a piano and voice instructor at the university of lagos between 2003 and 2005. during this period, he taught harmony, the history of music, and the basic theory of music. he is currently the director / head of music at grange school, gra ikeja. at grange school, he develops and executes most of the training, ensembles, and performances at the primary and secondary school levels. as a nigerian army chaplain music consultant / director, he organised the nigerian army chaplain choral competition nationwide from 2009 to 2015. musical works of kayode oguntade choral • ̟̟ope ye̟ o̟ o b ̀ab ̀a in satb • ibukun in satb • edom shall be disposed in satb • praise the lord in satb • é́́́́́́́́mi ko̟rin in satb • fi ibukun fun ̀oluwa in satb • mura si ‘se in satb • ̟omo̟ to mo̟ ‘ya re loju in satb • òhun yio si tan gbo̟gbo̟ re̟ in satb instrumental • grange school song in sat • guantanamera arranged for the grange school orchestra for a small ensemble • nigeria mma mma for recorder and strings • onido̟do̟ by fela kuti arr. for grange school orchestra in satb • o̟mo̟ pupa by victor olaiya arr. for grange school orchestra analysis of “o͎mo͎ o͎ba sokoto” ‘ọmo̟ o̟ba sokoto’ is one of the choral pieces arranged by kayode oguntade. it is one of the songs used to examine students’ musicianship skills. the folk song on which oguntade’s arrangement of ‘ọmo oba sokoto’ became popular among the yoruba community; is narrated during moonlight storytelling. oguntade’s arrangement is for s.a.t.b. (soprano, alto, tenor, bass), with the flexible piano introduction and bass voice solo entry which suggest an interesting episode. the piano introduces the theme that awka journal of research in music and the arts (ajrma) vol. 16, september 2023 224 pre-empts the choral melody from bars 5 to 8 which suggests responsorial and canonic entries from bars 9 to 12, 13 to 16, and 17 to 20 to construct full four-part harmony. bars (1 to 4), ‘omo oba sokoto’ the texture of the piano accompaniment is alternating arpeggios that sustain quavers and semiquavers pitches in the right hand, while the bass part of the piano assumes a constant rhythmic pattern, which informed the composer’s musical experience. oguntade enacts a responsorial vocal texture from the unison singing to form polyphonic and homophonic textures. below is the concept used as introductory material in the bass voice part. thematic feature i bars 5 to 8, excerpts of the bass voice introduction thematic feature ii excerpt of the soprano voice part ( ̀o-mo̟-o̟-ba-so-ko-to) melody west african folk melodies are usually simple, short, repetitive, and, mostly, modal. in ‘ ̟o̟mo̟ o̟ba sokoto’, the first melody appears in bars 5 to 8 where it is vocalised by the bass. the tenor voice then takes up a different melodic line from bars 9 to bar 12, the alto voice part from bars 13-16, and the soprano voice part from bars 17 -20. the melody is characterised by stepwise motion between the intervals of a fifth, sixth, and octave. the melodic contour moves upward and downward while the rhythm also alternates between long and short notes (semiquavers tied to quavers). a somewhat static but rising melody is described by the rising interval of pitch, which appears in a b flat tonality (bars 4 to 8). as the folk song on which the composition is based, the dominant thematic awka journal of research in music and the arts (ajrma) vol. 16, september 2023 225 material of the piece is based on the diatonic scale. the melody is given to the soprano bars 21 and extemporises to bar 36. bars 21 to 30, melody excerpts from (o-mo-o-ba-so-ko-to) generally, oguntade’s treatment of melody in the variations is as follows: bars 37 to 41, (o-mo-o-ba-so-ko-to) • in variation one (bars 4 to 8), all four parts are given independent melodies. however, the main musical idea that comprises a fragment of the folk song (the subtheme) is retained and shared at various times within this section. the bass voice starts the dominant musical idea from bars 4 to 8 with other voices forming (s.a.t.b.). • in variation two (20 to 36), oguntade employs a unison entry for each voice and shifts the mode to a homophonic texture • variation three (bars 37 to 39) features canonic singing. the alto voice part sustains the last note for the soprano, and this continues for the other parts, while the different entries of voices harmonies each other to the end. the various voice entries create some tension, color, and variety in this section while it overlaps and continues until bar 37 which harmonically explores the altered chord f-gd-e resolving to f-c-a-f in the key of f major in bar (41). the piano accompaniment is diatonically coloured with sequences affirming major modality from bars 1 to 48 with a rhythmic pattern in the piano, which is typical of the african percussive (melo-rhythmic) effects. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 226 harmony the harmony used in the music is a combination of polyphonic and homophonic styles. from bar 5, a recurring motif introduces the choral entry in a homophonic texture to bar 9 which forms a polyphonic harmony. against the homophonic texture, the unison singing and repeated notes from each voice portrayed in contrasting bars (8 -20), introduce new musical material. the new section from bars (21-33) occurs as homophonic texture with the interval of 3rd, 5th, and 7th, among others, while displaying a stepwise ascending and descending harmony. the harmonic interval, here, shows how oguntade combines different kinds of melodic material in writing what seems like a conventional harmony. the homophonic arrangements of section b are built on the appearance of the main folk tune from bars (21 to 36) which consists of the chorus. excerpts from bar 21, (o-mo-o-ba-so-ko-to) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 227 an excerpt from bars 40 to 48, (o-mo-o-ba-so-ko-to) to accommodate the repetition of the harmony from bar 37, oguntade extends the vocal lines of the other voices by adding different musical material and moving scale-like from dominant to octave in ascending and descending order with the addition of flat and natural signs. in addition, all voices move in homophony with the piano accompaniment where the piano doubles the vocal part in accompaniment, followed by the first inversion of the dominant chord in bar 41, subdominant chord in bar 43, dominant chord in bar 45, supertonic chord (minor) in bar 46, second inversion of the tonic followed by a dominant chord and resolved to the tonic in bar 48 with an octave. tonality oguntade’s choral piece analysed is written in the yoruba language. like many other african languages, it is tonal. in a vocal composition, ideas, and meanings are not only conveyed by words separately but also by the relationship between them. in africa, the tonal elements in texts are major signifiers that feature in almost all kinds of music, whether it is vocal or instrumental. talabi (2020), in euba (2001), notes that ‘if traditional music is so highly text-oriented, it is reasonable that texts are crucial to the awka journal of research in music and the arts (ajrma) vol. 16, september 2023 228 understanding of music in african societies. adherence to language principles of choral music is quite difficult, even for a composer in command of such spoken language. yoruba intonation works best in musical settings where all voice parts sing in unison or move in parallel motion. when there is independent voice leading or harmonisation of melodic lines, as is characteristic in western music of a certain era, undesirable ambiguities could result in the text setting (talabi, 2020). this section examines the extent to which the tonal representation of the yoruba language is retained in the melodic writing of oguntade’s ‘ọmo oba sokoto’. the following text from bar 29 could be misinterpreted as ‘this is trouble’, whereas the composer’s intention, here, is to say ‘o̟-ro̟-rè-ré́-pé-te’, that is ‘this is surprising’. an excerpt from bars 29 to 30, (o̟-ro̟-rè-ré́-pé-te’) oguntade employs a variety of techniques in his melodic writing of this piece to retain the tonal inflection of yoruba. first is his emphatic use of words, he repeats a word in a phrase, where the first appearance of the word is tonally correct (thus avoiding subsequent misunderstanding), and the second occurrence may deviate from the correct tonal setting. in this way, he creatively emphasises the word and creates a balance between meaning, and musical creativity. the notes in bar 21, for example, would have changed the intended meaning of the word ‘o-ló-fò-fò’, which in context means ‘the gossip’, to ‘a nonentity’. second, oguntade adopted the use of speech rhythm to preserve the tonal language in the melody. this contributes to establishing certain intended words and their meanings. figure: 5.35, bars 26 to 29 (o-lo-fo-fo). textual translation of ‘omo oba sokoto the song text of ‘omo oba sokoto’ and its translation in the english language is provided below: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 229 text translation o̟mo̟ o̟bà sokoto the prince of sokoto ki lò fi sè hausa what did you do to hausa o̟ro̟ á́́ na t’ajo̟so̟ our yesterday’s discussion ó́́lo fòfò ti gbe̟ lo̟ has been spread by the gossip o̟ro̟ re o re̟pe̟te̟ this is surprising! artistic elements in kayode oguntade’s o̟mo̟ o̟ba sokoto this section discusses the transformation of traditional folk melodies into western musical formats, particularly within the realm of choral music, and the artistic intentions of kayode oguntade such as: 1. cross-cultural musical adaptation: scholars have long explored the process of adapting traditional melodies into different musical styles. turino (2008) discusses the concept of "collaborative ethnomusicology," emphasizing the importance of cultural engagement and collaboration when adapting traditional music into new contexts. this collaborative approach acknowledges the cultural significance of the source material while embracing the creative possibilities of cross-cultural transformation. 2. cultural synthesis in choral music: the synthesis of cultural elements in choral music has garnered attention, shedding light on the potential for the harmonious coexistence of distinct musical heritages. in his work, agawu (2003) discusses how choral music can serve as a medium for cultural dialogue and exploration, providing a platform for the interaction of diverse musical traditions. 3. artistic intentions and cultural preservation: the motivations of composers in adapting traditional music into western formats are multifaceted. nketia (1974) emphasizes the role of composers as cultural mediators, responsible for preserving the essence of traditional music while presenting it in contemporary musical languages. such intentions reveal a delicate balance between honoring cultural heritage and embracing artistic innovation. 4. cultural authenticity and representation: the concept of authenticity in crosscultural musical adaptations remains a topic of discourse. stokes (1994) addresses the challenges of representing non-western traditions in western compositions, raising questions about the potential for misrepresentation and exoticism. this prompts a consideration of ethical and cultural implications when adapting traditional music. 5. reception and impact: the reception of cross-cultural musical adaptations, including choral arrangements of traditional melodies, offers insights into the broader implications of such creative endeavors. lawrence and post (2012) discuss how audience perceptions and reactions reflect evolving attitudes toward cross-cultural engagement and musical diversity. 6. educational significance: scholars have recognized the educational value of crosscultural musical adaptations in academic settings. reimer (2003) discusses how such arrangements provide students with opportunities to explore the intersections of different musical cultures, fostering cultural appreciation and understanding. 7. contextualizing oguntade's arrangement: while the literature covers a wide range of cross-cultural adaptations, specific analyses of kayode ogunbade's arrangement of "o̟mo̟ o̟ba sokoto" remain limited. this study contributes to the scholarly discourse by awka journal of research in music and the arts (ajrma) vol. 16, september 2023 230 focusing on the transformative journey of this traditional folk melody into a western choral arrangement, delving into ogunbade's creative choices, artistic intentions, and the broader cultural implications of his adaptation conclusion this study offers a detailed analysis of kayode ogunbade's arrangement of the traditional folk melody "omo oba sokoto," shedding light on the intricate process of adapting a traditional african melody into a western choral context. through this analysis, the study contributes insights into the specific musical techniques, harmonizations, and rhythmic choices that facilitate cross-cultural transformation. it enriches the scholarly landscape by offering a detailed case study that navigates the complexities of cross-cultural musical adaptation within the realm of choral music, providing a nuanced perspective on the creative interplay between traditional folk narratives and western musical idioms. the journey from the traditional folk tale "omo oba sokoto" to its western choral rendition by kayode ogunbade embodies the transformative power of music to transcend cultural confines and forge connections between seemingly disparate musical traditions. the fusion of these musical realms exemplifies the potential for harmony and crosscultural dialogue, underscored by shared melodies and the resonance of artistic expression. through the analysis of ogunbade's arrangement, we have unveiled the delicate balance of preserving the cultural essence of the source material while improving the expressive possibilities of the african choral idiom. this investigation has illuminated the strategies, techniques, and artistic choices that enable the harmonious coexistence of traditional narratives within modern musical frameworks. this supports onyeji's (2005) claim that contemporary nigerian composers must create research-based compositions to strengthen a strong nigerian identity in their works. omo oba sokoto's choral arrangement, which resonates vividly with the musical elements of both africa and the west, is a prime example of the fusion of these two musical genres. references adegbite, a. (2006). the modern trend in yoruba social musical practices: continuity and change in creative performance process in nigeria. a seminar paper presented at the conference of association of music educators c.o.e. ilorin.1998. agawu, k. (2003). representing african music: postcolonial notes, queries, positions. routledge. bakare, m.a. (2017). early childhood music as panacea for preserving yorùbá musical culture in nigeria. journal of society of music educators in nigeria. vol 5. p 17 25 euba, a. (1986). music as a symbol of royalty: the heritage african guardian, july 31. p 41-43. (1986), african masquerades (2). the heritage, african guardian, july 31. p 34.(1986), african gods and music; the heritage, african guardian, july 31. p 31-33 nketia, j. h. k. (1974). the ethical role of the composer in folkloric preservation. ethnomusicology, 18(2), 226-235. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 231 okafor, r.c. (2005). music in nigeria society, enugu: new generation books. okunade, m. (2004). oral traditions as means of articulating african philosophical thoughts: a panoramic view at yoruba folktale. an unpublished paper presented at the revisiting history through the arts conference, university of lagos, november 1-8 omójolà, b. 1995. nigerian art music, with an introductory study of ghanaian art music. lbadan: institut francais de recherche en afrique. _____. (2006). popular music in western nigeria: theme, style and patronage system. onyeji i. (2005).transcending the international limit of essentially folk music: acceptability of the art music composer in nigeria. pankshin journal of arts and social science education, vol. 2, 86-94 reimer, b. (2003). music education and multiculturalism: foundations and principles. in j. l. kerchner & c. f. abril (eds.), heartsongs: melodies of days gone by(pp. 41-57). rowman & littlefield. stokes, m. (1994). ethnicity, identity, and music: the musical construction of place. oxford university press. turino, t. (2008). collaborative ethnomusicology and the politics of performance. in h. collinson-taylor & p. r. webb (eds.), music and the play of power in the middle east, north africa and central asia (pp. 23-38). routledg awka journal of research in music and the arts (ajrma) vol. 16, september 2023 51 fostering unity-in-diversity: an appraisal of e. c. arinze’s mentorship style and selected compositions mr. david chinedum arinze department of music, nnamdi azikiwe university, awka dcarinze@gmail.com abstract the need for national cohesion in nigeria despite the ethnic diversities cannot be overemphasized. though ethnic divisions and sentiments still exist, continual efforts are still made in different spheres of influence to achieve unity in nigeria. mentorship has provided enabling environments to foster this (in different fields and professions), and music has been one of the viable channels used in preaching national integration. many nigerian popular musicians have been involved in this effort via music composition/production and mentorship. this paper appraised music mentorship and composition as a platform and catalyst in fostering unity-in-diversity in nigeria. it takes a historical and exploratory look at e. c. arinze a highlife music legend and nationalist in nigeria who practiced this ideology of unity-in-diversity throughout his music career – in his mentorship style and in the lyrics of his (selected) original music compositions. keywords: e. c. arinze , highlife, foster, unity-in-diversity, nigeria. introduction man has always been relating with his environment and beyond that, seeks to also relate with his fellow human being. unity has been a need not just in every individual but also in every sphere of the society. history has it that unity-in-diversity is a recurring theme in academic environments, religious institutions, national and international leadership summits, newspaper or magazine publications, etc. columbus (2014) opined that: time and again, people of diverse cultures are brought together as a nation by some accidents of history; at other times, some in search of economic, social and/or political security immigrate to other nations with completely different cultural beliefs and lifestyles (p.53). sequel to this, leaders are faced with the increasing task of integrating divergent beliefs, attitudes and practices of peoples into a whole in order to enable their societies, as united entities, withstand the challenges of modern times. little wonder, uniting people from many different cultures has been a founding principle of many countries. in agreement with this, anderson’s study (as cited in bazzi, gaduh, rothenberg & wong, 2018) pointed out that throughout history, leaders have introduced policies to foster national identity in which citizens will remain connected by shared history and values, despite never meeting one another. nigeria consists of diverse ethnic groups with diverse cultural backgrounds and value systems. considering this, national integration requires conscious, coordinated and awka journal of research in music and the arts (ajrma) vol. 16, september 2023 52 concerted efforts towards having a unified value system that can promote oneness even though nigeria as a heterogeneous society with more than 250 ethnic groups is confronted with historical problems that have impeded national integration and unity (falade & falade, 2013 as cited in ogunrinade, 2015). this pursuit for national integration aims at making a whole out of the different ethnic nationalities (which have human resources, natural resources: whether petroleum or solid mineral resources, agricultural resources etc.) that make up a nation state (egbule et al, 2018). thus, unity-in-diversity is beneficial and very possible in any nation, community or organization as long as the citizens or individuals come together and work towards it continually through workable means or strategies in order to build a united and strong nation. among all the sectors of the nigerian society, the entertainment sector (including the music and movie industry) is actively contributing to the promotion of national integration till date. music composition/production – a propelling tool towards unity-in-diversity music is a general phenomenon that cuts across racial, cultural, social, educational and economic barriers, which enhances cultural appreciation and awareness. in agreement with this, ojukwu (2017) opined that “in all cultures of the world, experiences have shown that music serves as a unifying force bringing together people from different communities, races and cultures to agree” (p.102), while okafor (as cited in ojukwu, 2017) was of the view that “music is…an instrument of change because people digest it and consume it as entertainment while it leaves a mark on the psyche that re-directs the person towards a new personality, towards a new activity” (p.102). over the years, nigeria showcased great musical icons that composed and performed musical themes in line with continuous national unity, strength and greatness of nigeria. examples include ngozi okonkwo, who sang an unscripted arrangement (ojukwu, 2017) titled “nigerian unity” and nelly uchendu who sang “be a true nigerian”. such songs were appealing for a positive change in order to instill patriotic and nationalistic instinct in the nigerian society. other popular musicians/music artistes who contributed to the same feat (channels television, 2018) include the following as shown below: table 1: list of artiste, their songs, and contents of unity communiqué artiste song content sunny okosun "which way nigeria" this is a love song about nigeria our fatherland. sunny okosun in this song calls for the way out of corruption, inefficiency confronting the nation deeply showing concern and calling for a way to save the country. onyeka onwenu peace song onyeka onwenu is a music legend who is passionate about the unity of nigeria. she has in her record many nigerian themed songs including “one love keep us together”, “unity song”, among others. these songs emphasize the theme of love and unity in a world of struggle and dreams of staying alive. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 53 king sunny ade "the way forward" in 1993, king sunny ade brought together many nigerian artistes to sing "the way forward" (part 1 and 2). the track was sung in yoruba, english, igbo, hausa, pidgin, english, among others. the song was sung after the annulment of the june 12 elections but re-composed in 2003 as a reminder of what the country passed through as the aftermath of the annulment. the song calls for unity from all tribes, and collaborative efforts of every nigerian to make the nation great. funmi adams "nigeria my beloved country" this song by funmi adams was a household anthem in the 80s. adams who appeared to have disappeared from nigerian music scene was popular in the 80’s and 90’s. her songs were aimed at teaching culture and values in young children. another of her songs about nigeria is ‘all we need is love,” kush "let’s live together" kush, a gospel and r&b music group released “let’s live together” as a household anthem in the early 2000s song, is a heartfelt appeal to nigerians to live together in peace and unity, and a reminder that there is strength in our diversity. t. y. bello “greenland” t.y. bello in 2008 released her debut studio album ‘greenland’. the song with the theme of love, family and nation expresses optimism in the future of nigeria. it inspires nigerians to liberate themselves from a place of despair to a place of hope. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 54 timi dakolo "great nation" this soulful song by timi dakolo was released in november 2012 and has since remained a household anthem. the song expresses confidence in the greatness of this nation and how we can defend the greatness through peace, justice and national unity. music mentorship – a propelling media for unity-in-diversity good mentorship in all endeavor helps in nurturing dreams till actualization. in line with this, a nigerian music entrepreneur, chukwuebuka ilochonwu, (this day live, 2022) opined that many can daily build castles in their dreams easily, but being able to build them in the real sense is where the issue lies. he further stated that every dream is achievable if a dreamer is well guided by those who are familiar with his terrain. succession (in whatever sector of life) is not in view if proper mentorship is not in place. a good mentor will provide an experienced perspective that can aid the mentee see things from different angles and identify areas where he or she may be lacking. mentors also help in networking and making connections in the music industry by providing introductions that can help bring the mentee to lime light. a music mentor's role varies depending on the need of the individual; but it can include: critiquing performances, providing feedback on compositions, offering advice on career, etc. upcoming musicians (in today’s nigerian music industry) are benefiting from this directly or indirectly. over the years, some musicians have been involved in mentoring young talents of diverse ethnicities by giving them platforms to thrive in their chosen careers. in pre-independent nigeria, bobby benson (who is regarded as the father of highlife music) mentored many musicians who also grew to the point of having their own independent bands. some of the musicians who were influenced by bobby benson include victor olaiya, zeal onyia, billy friday, etc. in nigerian contemporary popular music for example, michael ajere, also known as don jazzy, the chief executive officer of mavin records (who was also the boss of mo’hits records, which was founded in 2004 and was dissolved in 2012) made impacts on some young talented musicians. some of the artists whose careers have been influenced by don jazzy’s mentorship include d’banj, d’prince, wande coal, dr sid, ikechukwu, tiwa savage, korede bello, reekado banks, rema, ladipoe, ayra starr, crayon, johnny drille, etc (enenaite, 2023). another example is singer and actor, olubankole wellington, also known as banky-w, the boss at empire mates entertainment, a company he co-founded with tunde demuren in 2002; some of the artists whose careers have been influenced by banky-w include wizkid, skales, niyola, shaydee and dj xclusive, who was its official disc jockey. e. c. arinze happens to be one of the exemplary nigerian music legends who practiced the ideology of unity-in-diversity in mentorship and in some of his compositions. one of awka journal of research in music and the arts (ajrma) vol. 16, september 2023 55 his greatest attributes was his liberality in accommodating various musicians and their compositions—irrespective of their tribes or their stylistic tilts (onwuegbuna, 2012). the man e. c. arinze e. c. arinze (ogbueshi eleazar chukwuwetalu arinze) was one of the founding fathers of what became known as west african brand of highlife music (homeland news, 2019). his contemporaries at that time include e. t. mensah (of ghana), bobby benson, victor olaiya, chris ajilo and tunde amuwo. he was born on the 4th of june, 1930 in ugamuma village, obosi town, idemili north lg.a of anambra state. he was the first of five children born to mr. nathaniel and mrs. esther arinzechukwu. his primary education started in st. mary’s primary school (i.e. obosi central school) in his home town and was later transferred to his maternal uncle’s missionary station st. peter’s school, ogbete in enugu. while in the latter school, he became a chorister in the school choir and also joined the school marching band where he learned how to play the fluegal horn (onwuegbuna, 2012). after his maternal uncle’s demise, eleazar was brought back to his home town, obosi. there, he joined the obosi central school band where he learnt the trumpet. he later proceeded to teachers training college where he excelled and took up teaching appointment in obosi central (primary) school where he became the school’s first bandleader. he was later posted to central school onitsha and then agbor, delta state as teacher and band master too. he also had a music course by correspondence from royal music academy in britain, and was able to score any sound he heard. his musical life e. c. arinze’s musical-career-dream materialized in 1952, when he got a six-year contract with empire hotel, idioro, lagos this development led to his immediate resignation from his teaching career and his moving down to lagos with his group of band boys he associated with in the east as bandmaster. as he progressed in his career in empire hotel, he later split his band into three more sets/ensembles and fixed eric onugha, stephen amaechi and agu norris to coordinate each set because of the growing demands for their musical services in various events. it was in this band that musicians including late chief osita osadebe (one of his percussionists), played under e. c. arinze in the 1950's. e. c. arinze marketed his music at various locations including university college, ibadan, where he earned a contract with sigma club (the biggest club in ibadan then). he also did same in abeokuta, ajengunle, apapa club, ijebuode and ijebuigbo. after the expiration of his contract with empire hotel, he got a contract with white horse hotel (abalabi, lagos), lido bar, ikeja country club (formerly european club, ikeja) and with ikeja arms hotel (now ikeja airport hotel). later, e. c. arinze was contracted to perform at kakadu hotel/night club (popularly called kkd or “the magic spot”) located at 258 herbert macaulay street, alagomeji bust stop, yaba, lagos. this club was his last club of residency in lagos, where he led one of the most formidable music outfits and attracted many foreign dignitaries, judges, magistrates and other national diplomats to his entertainment. some of the professional musicians who played under e. c. arinze in kakadu night club include: his alto saxophonist and deputy etim udoh; his guitarists awka journal of research in music and the arts (ajrma) vol. 16, september 2023 56 peter king, victor uwaifo, and fred coker (now lloyd baker); his bassists tunde oshomide and charles ononogbo; and his sidemen/vocalists – exy ohunta (who sang, composed and recorded some highlife yoruba songs under the sponsorship and support of e. c. arinze). e. c. arinze was also a pioneer member and lead trumpeter (in the trumpet section) of the nigerian broadcasting corporation dance orchestra in the1950s led by steve rhodes and later fela sowande; his band was also commissioned to perform for some other divisions of government agencies up to federal level. after an outstanding performance at federal palace hotel (in 1960), where nigeria was hosting president hamani diori of niger republic and his wife, he was officially contracted to perform in all federal government events and entertain all their august visitors, from that year till the nigerian civil war. he was also one of the legendary musicians who performed on the nigerian’s independence day celebration; he also performed alongside e. t. mensah on the day when james robertson (the outgoing governor-general) handed over to dr. nnamdi azikiwe. as the nigerian civil war broke out in 1967, e. c. arinze left lagos with his family and settled in the east till the war ended. he was later summoned to the state house in enugu in 1975 by the east central state administrator, who contracted e. c. arinze to become the resident band at the government-owned premier garden hotel presidential, enugu (onwuegbuna, 2012). after experiencing progress for over a decade, hotel-presidential experienced some administrative challenges which led to operational decline, retrenchment of staff, much salary debts, etc. e. c. arinze’s band was also affected since the hotel management could no longer sustain the contract. this led to the contract’s termination and his retirement from full-time musicianship in 1989. he handed the band’s leadership over to emma ikediashi and encouraged them to continue on their own. the band started their new musical adventure as “the black tops highlife band”. afterwards, he performed in the following event centers (still in enugu) only on special occasions: enugu sports club (where he was a registered member), anamco club, o’neal plaza, hobbies plaza, zodiak hotels, nike lake resort hotel, golf club, 82 division officers mess (where he performed with the nigerian army band at their “happy hour” and tombola nites). later on, benson idonije (a nigeria's known music critic, analyst, broadcaster and former manager to fela anikulapo-kuti, who has written several articles about him) engaged e. c. arinze to perform in goethe institute’s highlife which took place on 11th december 1999 and 1st april 2000 in lagos, where he featured alongside other nigerian music legends including, chris ajilo, tunde osofisan, raphael amarabem, fatai rolling dollar, david bull, nelly uchendu, yisa akinibosun, professional seaguls dance band etc. he was also a star guest in fete de la musicque french cultural center music festival, lagos (same year june 24th) where he performed alongside other music artistes. e. c. arinze waxed on vinyl a total of 20 music albums under the sleeve label of decca record company limited, london in the 1950s and 1960s. however, not all his musical works were marketed. his musical works include: nike nike, time for highlife, ozo awka journal of research in music and the arts (ajrma) vol. 16, september 2023 57 emena, ogbuefi nnamdi azikiwe, ife nkili, sisi bisi, adiakalu ubosi, mo re london, lumumba calypso, and so on. e. c. arinze breathed his last on march 26th, 2015 at his native home, in ugamuma village, obosi, and was survived of his wife adamma (whom he married eight years after the demise of his first wife – edith), four sons (from his first wife), a son (the researcher of this study) and daughter from his second wife, and eighteen grandchildren. his detribalized mentorship style e. c. arinze always had passionate and professional musicians who apprenticed under him because of his musicianship and inspiring attributes. he was greatly admired by young musicians in those days because of his liberal and detribalized disposition to the profession; he made all his personnel have a sense of belonging such that none felt inferior. onwuegbuna (2012) in agreement opined that his most admirable attribute was his liberality in accommodating various musicians—irrespective of their language, tribes and culture. as a band leader, he gave his sidemen opportunities to develop themselves individually and even write their own songs and perform them on his band stand. idonije’s (as cited in onwuegbuna, 2012) in agreement to the above, opined thus: arinze was highly respected for his musicianship and good qualities as a bandleader. he had a genial and fatherly disposition, which attracted young, talented musicians to his band. like the bobby benson orchestra, arinze’s band was a training ground for musicians. the difference was that arinze helped his own musicians to grow and go their separate ways in order to establish themselves when they so desired (p. 160). victor uwaifo (one of his successful mentees as earlier mentioned) acquired the disciplines of a professional guitarist under the supervision of e. c. arinze until 1964 when he teamed up with some other mentees of arinze fred coker (now lloyd baker) and osita osadebe to form a band recognized as “the central modernairs” in lagos. victor uwaifo also worked with what is now nigerian television authority before forming his own band, the melody maestros in 1965. he also runs the victor uwaifo music academy. he has over 500 songs and 100 records to his credit, with 6 gold and 4 silver awards (uwaifo, n.d.). another guitarist of e. c. arinze, lloyd baker (formally known as fred coker or “lord cokerson” the guitarist who replaced victor uwaifo in arinze's band at the kakadu night club), was one of the great guitarists in west africa, who can be mentioned along with victor uwaifo, alaba pedro and ghana's kwesi and ebo taylor in terms of competence and technical dexterity (idonije, 2012). lloyd testified thus [in idonije’s (2015) article on e. c. arinze’s exit]: i was the guitarist who replaced victor uwaifo in arinze's band at the kakadu night club. although i did not stay in the band for too long, arinze was a musician and band leader that i loved, admired and respected very much. the band at that time, i also enjoyed playing alongside wonderful musicians like the late etim udoh on the alto saxophone, and charles ononogbo a fantastic bass player who later teamed up with me to form the world renowned asagai afro rock band, together with musical giants like dudu pukwana, alto sax, and mongezi feza on the trumpet (p. 3). awka journal of research in music and the arts (ajrma) vol. 16, september 2023 58 in addition, late charles ononogbo (also known as chas daniel or charles onos) one of e. c. arinze’s bassists and friend to fred coker, further commented thus [in idonije’s (2015) article on e. c. arinze’s exit]: …my name was charles ononogbo as mentioned above by my good friend lloyd baker (formally known as fred coker). we both met and worked with great e. c. arinze during that era at kakadu. lloyd was on guitar and i was on the bass. [e. c. arinze was the] most respected band leader who treated his musicians with utmost kindness and respect too. the last time i met up with e. c. arinze was in 1979, fourteen years after i left nigeria for europe. i met up with my best friend mr. kwesi quenoo (a saxophone player) and e. c. arinze at the presidential hotel enugu; a very memorable meeting indeed. i and most fantastic musicians who were lucky to have worked with mr. e. c. arinze will never forget the great master himself" (p. 3). another successful mentee of e. c. arinze is peter king who was an apprentice saxophonist under e. c. arinze in the late 1950s. idonije (as cited in onwuegbuna, 2012) revealed peter king’s admission to the fact that e. c. arinze was the one who encouraged him to travel abroad to study music. while abroad, peter became the major arranger and saxophonist for the international pop group, bonny m. he returned to the country to form his own jazz band in the late 1980s. currently peter king, popularly known as p. k., has established a school of music in badagry, lagos. another of arinze’s mentees was late etim udoh, a great saxophonist and his deputy in kakadu night club, who later became a recording engineer with emi and polygram records. other mentored musicians include rasaki, tunde mabadu and the now successful businessman chief tunde oshurinde a bass player who also had a stint with roy chicago (idonije, 2012). bobby benson (a chief pioneer of highlife music in the early 1950s) also admired arinze’s musicianship and mentorship style in lagos before the civil war and nick-named him – “prince e. c. arinze – the gentleman musician”. e. c. arinze’s mentorship environment, just like bobby benson’s aided musicians to develop and form his own musical ensembles. it could be clearly seen that despite his being an igbo, e. c. arinze’s mentorship benefited non-igbos more; like victor uwaifo, peter king, victor olaiya, etim udoh, exy ohunta, rasaki, tunde mabadu, tunde oshurinde, godwin omobuwa, and many others; thus contributing greatly in fostering unity-in-diversity in nigeria within his musical domain. his selected compositions to chronicle the contributions of nigerian music legends whose compositions have fostered unity-in-diversity, one would date back to pre-independence era of nigeria with the likes of e. c. arinze as one of pioneers of highlife genre. for the purpose of this study, three songs composed by e. c. arinze were selected and textually analyzed this is because they were composed using the three popular nigerian languages – igbo, hausa, yoruba. they are: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 59 1. n’ike n’ike (igbo) 2. mo re london (yoruba) 3. yan'uwa mutaru (hausa) this section deals with presentation and translations of the lyrics of the selected compositions of e. c. arinze. n’ike n’ike table 2 the lyrics and translation of n’ike n’ike lyrics in igbo translation of the lyrics into english n’ike, n’ike k’anyi ji a-lu olu in strength, strength, is what we are working with na-alu nu n’ike, n’ike keep working in strength n’ike, n’ike k’anyi ji a-lu olu in strength, strength, is what we are working with na-alu nu n’ike, n’ike keep working in strength luba… luba, luba keep working… keep working, keep working luba, luba keep working, keep working luba, luba keep working, keep working n’ike, n’ike k’anyi ji a-lu olu in strength, strength, is what we are working with na-alu nu n’ike, n’ike keep working in strength luba… luba, luba keep working… keep working, keep working luba, luba keep working, keep working luba, luba, luba, ewo keep working, keep working, keep working n’ike, n’ike k’anyi ji a-lu olu in strength, strength, is what we are working with na-alu nu n’ike, n’ike keep working in strength mo re london table 3 the lyrics and translation of the refrain of mo re london lyrics in yoruba translation of the lyrics into english e wa, e wa, e wa o (3 times) o come, come, come (3 times) e wa gba mi ye come save me mo wok o mo de london, london ilu oba rere i travelled to london, the city of the just king mo wok o mo d’america, america ilu oba to dara i travelled to america, the city of the good king mo ko letter si won l’eko, won o da mi lohun rara i wrote a letter to my people in lagos and they never replied mo ko letter si won ni’le, won fun mi le si kan kan i wrote a letter to them at home and they gave me no response e ba mi ki iya mi, e ba mi ki baba mi help me greet my mother, help me greet my father e ba mi ki’yawo mi, ke sib a mi se ibere ni li se gbogbo e n lo dede help me greet my wife, and ask them at home if all is well e wa, e wa, e wa o, e wa gba mi ye o come, come, come, come save me awka journal of research in music and the arts (ajrma) vol. 16, september 2023 60 table 4 the lyrics and translation of the only verse of mo re london lyrics in yoruba translation of the lyrics into english ose kan ji ko ja ti mo wo courier l’apapa a week has gone by that i boarded a carrier at apapa osu kan ji ko ja, ti mo gbera l’apapa a month has gone by that i departed from apapa mo fi cardi ran se loju omi igba ta de ghana i sent a card while on the sea when we got to ghana mo fi cardi ran se loju omi igba ta de gambia i sent a card while on the sea when we got to gambia mo fi motor ranse loju omi igba ta de las balmas i sent an address while on the sea when we got to las balmas gbogbo to sele loju ona ba ti se n lo ni mo ko we ti mo saroye i wrote and described everything that happened while on the journey o do to se gege dede ti mo fe se kan le london it has been a while i arrived london o do dun keji dede ti mo fe se kan le america it has been two years that i landed on america table 5 the lyrics and translation of the end-refrain of mo re london lyrics in yoruba translation of the lyrics into english mo ko letter si won l’eko, won o da mi lohun rara i wrote a letter to my people in lagos and they never replied mo ko letter si won ni’le, won fun mi le si kan kan i wrote a letter to them at home and they gave me no response e ba mi ki iya mi, e ba mi ki baba mi help me greet my mother, help me greet my father e ba mi ki’yawo mi, ke sib a mi se ibere ni li se gbogbo e n lo dede help me greet my wife, and ask them at home if all is well e wa, e wa, e wa o, e wa gba mi ye o come, come save me e wa, e wa, e wa o, e wa gba mi ye o come, come save me yan'uwa mutaru table 6 the lyrics and translation of the refrain of yan'uwa mutaru lyrics in hausa translation of the lyrics into english yan'uwa fa sai mutaru please let us come together my people yan'uwa mutaru my people let us come together muhadakai mubadda jahilshi and get rid of illiteracy/ignorance yan'uwa mutaru my people let us come together muhadakai mubadda jahilshi and get rid of illiteracy/ignorance yan'uwa mutaru my people let us come together awka journal of research in music and the arts (ajrma) vol. 16, september 2023 61 table 7 the lyrics and translation of the only verse of yan'uwa mutaru lyrics in hausa translation of the lyrics into english ku dubi yawan arewa see how big the northern part is ku dawo yamba, ku duba see how the eastern part is also ku koma gaba ku duba go and see how the western part is bakamar arewa there is no place like the northern part e. c. arinze was one those music legends who wanted his music to be enjoyed by all and sundry. his composition and performance of songs in different nigerian languages gave honor and a sense of belonging to other tribes and not his ethnicity alone. the igbo song “n’ike n’ike” sends a message of encouragement to individuals to keep working courageously (in strength) no matter the circumstance. the yoruba song “mo re london” narrates about an individual who travelled outside nigeria and had many adventures in london, america, etc but made so much effort to reach out to his family and inquire of their welfare and tell them of his adventures but to no avail. the hausa song “yan'uwa mutaru” was campaigning for a united or collective effort in dealing with ignorance/illiteracy in nigeria. it also preaches that positive development as a nation lies on unity. summary and conclusion every generation of musicians needs mentorship to succeed in their careers irrespective of ethnic affiliations. thus music mentorship should abhor tribal sentiments by all means. also, music composition can continually serve as a tool in building peaceful political socialization and integrate the society (into improving opposition to illiteracy, national violence and insecurity). this can be achieved when different musicians and music investors in nigeria begin to emulate the legacies and values of the likes of e. c. arinze – a detribalized approach in music composition and mentorship that would actually enhance unity-in-diversity in the nigerian society. references bazzi, s., gaduh, a., rothenberg, a. d. & wong, m. 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(n.d.). in cambridge english dictionary. retrieved from https://dictionary.cambrid ge. org/dictionary/english/diversity unity. (n.d.). in cambridge english dictionary. retrieved from https://dictionary.cambridge. org/dictionary/english/unity uwaifo, v. (n.d.) biography of prof. sir victor uwaifo. retrieved from http://www. victoruwaifo.com/biography.htm ttps://punchng.com/entertainers-who-have-m ttps://punchng.com/entertainers-who-have-m http://www.global/ ttp://homelandnewsng.com/did-you-know/ec-a ttp://homelandnewsng.com/did-you-know/ec-a ttps://www.thisdaylive.com/index.php/2021/11/26/music-e ttps://www.thisdaylive.com/index.php/2021/11/26/music-e awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 97 the dilemma of digital music recording in nigeria – a critical review of the challenges stella n. nwobu, ph.d. department of music chukwuemeka odumegwu ojukwu university telephone: 08030917390, 09094142870 e-mail: nadistel@yahoo.com, sn.nwobu@coou.edu.ng & jude t. orakwe, ph.d. department of music chukwuemeka odumegwu ojukwu university telephone: 08i87526221 e-mail: jatomaria@gmail.com abstract 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. keywords: music, contemporary, consequences, music recording, digital age introduction the rise of digital music recording in nigeria has transformed the country’s music industry, allowing for rapid growth of all genres on a global scale. however, this transformation presents a number of challenges that artists, producers and stakeholders must navigate. despite being home to africa’s largest music industry, nigeria’s digital music recording landscape is plagued by issues such as piracy, inadequate copyright laws, limited access to quality recording facilities, poor internet infrastructures, unemployment, commercial studios collapse, lethargy in music practice, lack of technical experts, and poor production processes. this paper provides a critical review of some of the challenges facing digital music recording in nigerian, in its present digital configuration, but especially with regard to the consequences it entails for the actual practice of music by musicians. it examines the historical context, current trends and future prospects. an unbiased phenomenological approach is adopted in presenting the advantages as well as the abuse of the new digital approach to music production, with the abuse seen as partly responsible for the general descent of music practice into an amateurism that is concretely expressed in lack of real interest in learning the musical art and in the gradual qualitative degradation of the ancient and noble art of music. the recording industry is a sub-section of music industry that deals specifically with the production, that is, the recording and subsequent promotion and distribution of music. in nigeria, the recording industry is a vibrant business community formed for the creation, recording and distribution of songs and albums. the recording industry according to ogisi (2017) is the third phase of mass musical culture which since the mid-20th century made itself felt in virtually all parts of the world, cutting across cultural, ethnic, political and religious barriers as well as making ubiquitous the presence of technology in post-modern society. ogisi disclosed that commercial recording of nigeria popular music began early in england in 1926. in 1956, a two-track recording facility was opened in yaba, lagos by decca: “this was followed by philips with its two four-track recording studios in lagos and in onitsha.” citing emeka (1989, p. 135), ogisi further pointed out that mailto:nadistel@yahoo.com mailto:sn.nwobu@coou.edu.ng mailto:jatomaria@gmail.com awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 98 the participation of nigerians in the recording business began in 1958 with the establishment of badejo, oshunkeye and ogunde studios. by the early 1980s, recording companies owned by nigerian had increased and there were ‘patsol, badijo sound studios, ges warri, c. t. onyekwelu studios (later merged into the nigerian gramaphone company or nigerphone), tabansi studios, joromi studios, jofabro studios. he further stressed that recording as the fulcrum of the music industry in nigeria started in the 1920s and advanced so steadily that in the 1970s, it became a principal factor in the evolution of nigerian economy in general and the entertainment industry in particular (p. 503). music recording involves every areas of music represented on disc. in nigeria, before embarking on recording, it was the standard practice for recording companies to ascertain the viability of the pieces their clients intended to record before embarking on full scale production for the target market. this system aided the development of recording to nigeria. on this, ogisi (2017) noted that the development of recording in nigeria was from the onset shaped by economic considerations which saw recording companies and merchants setting up trade outlets to take advantage of the potentially huge market that was in the offing. the advent of digital recording digital music recording system, a system that swept across the entire recording process cropped up in nigeria when music artistes, who have been thriving under analog music recording over decades, opted for a cleaner and more refined sound out-put. as a matter of fact, digital system of music recording changed the way in which music is produced and sold, and influenced the role of the studio engineer and producer in the production process (udozor, 2021). before the 20th century and even as late as the 1950s, music recording process was through analog. most recording studios in nigeria during this period used analog recording process, a technique used for the recording of analog signals which among many other possibilities enables the analog audio for a later playback. this process was characterized by a physical recording mechanism similar to the vibrations in air pressure of the original sound. but such mechanism can often deteriorate and fluctuate because the recording is analog. the advent of computer into the music industry since the early 20th century changed the structure of the music recording industry which is now guided by cyber technology which refers to the tools, systems, and practices related to the use of computers, networks and other digital devices for processing, storing and transmitting data. with the change of recording technology to digital sound output, the entertainment trajectory of music industry experienced drastic changes in the ways of sound and voice recording. this was more so with the advent of widespread digital distribution of music via the internet. some recording studios in nigeria now use digital recording equipment, which limits the number of available tracks only on the basis of the waxing consoles or computer hardware interfaces capacity and the ability of the hardware to cope with processing demands. the basic differences between digital and analog recording analog recording can be described as the earliest system of music recording which involves capturing sound waves through microphones and converting them into an electronic signal so that they can be recorded. ogisi (2016) notes that “analog recording involves the use of audio data on the multi-track system, which had the advantage of overdubbing of musical instrument expression”. he further listed analog recording equipment, hardware machines to include a data machine, reel to reel machine, analog mixer, effect machine, amplifier, microphones and so on”. speaking on this issue, chimex, a recording engineer (2022), avers that “analog recording is more of the olden or earliest recording practice, which is done without the aid of computer while digital is the newer practice done with the aid of computer” (personal communication, 15th july, 2022). analog recording is a technique used for the recording of analog signals which among many possibilities, allows an analog audio for later playback. its signal uses a continuous range of values that help to represent information with low signal bandwidth. analog signals provide more accurate representation of a sound and its signal is continuous. the bandwidth of an analog system is dependent on the physical capabilities of the analog circuits. however, in digital era, the computer is at the heart of music production. digital recording is a method of sound recording in which an input audio waveform is sampled at a regular interval through the use of midi and daw. midi awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 99 (musical instrument digital interface) is a technical standard that allows electronic musical instruments, computer and other devices to communicate, synchronize with each other and standardize the way instruments and devices send information about musical notes, pitch, timing and other parameter. though midi does not transmit sound, it gives instructions that can be recorded, edited, and played back as software or hardware that supports midi standard, making it widely used in music production, live performances, and recording studios. ogisi (2016) equally asserts that digital data works through the use of midi apparatus and daw (digital audio workstation) such as the computer, music workstation like electronic keyboard, sequencers and outboard effects like compressors, equalizers, reverbs, digital mixing, a console and sound cards etc. adedeji (2016) in ofochebe (2020) asserts that nowadays, the music industry involves a modern concept of non-physical features of music, where and in which sophisticated communication technologies and innovations are now used to recreate and preserve all kinds of music. further, adedeji cites hesmonhalgh (2013) who asserts that digitalization makes the copying of information easy and occupies less disk space and bandwidth than in other non-print media experienced through computers without much distress. that is why the recording industry was the first cultural industry to utilize digitalization. ologundudu and ayokunmi (2020, p. 195) define digital recording as “a music generated through the aid of computers and other electronic data-processing machine.” the techniques of computer technology permit the indexing of specific genres or type of music and have proved useful in the analysis of style, tonal and harmonic structure and the process of composition. in digital recording, the analog wave is sampled at same time interval and then turned into numbers that are stored in the digital device. digital recordings provide access to any part of the recording in an instant and its music is extremely portable as well. thus, one can create tunes at home, with mobile apps, one can access, edit and recreate music from a mobile device. compared to analog process, digital production is neater and smoother and can be used to achieve high quality sound. apparently, digitalization gives room for correction after the dubbing. udozor (2022) differentiates analog recording and digital recording thus: “the major difference between analog and digital recording is [in] the major technological advancement in the storage system. whereas in digital recording, we have disk, hard drive and compact disk for storage but in analog, it is just [the] analog tape” (udozor interview, june 12th,2022). the sharp differences between analog and digital recording can also be seen from the problem of roughness associated with analog tapes, as well as the kind of noises that can always appear in the analog recording; but on the contrary, in digital registration, one tends to get a clean, noiseless sound production. next, from the musical perspective, udozor avers that shift from analog to digital came as a result of lapses, faults and complaints that musicians were getting from tape recording and tape storage. some tapes eventually depreciate and become degraded such that the owner may not be able to access his/her data anymore. the improvement came with the digital invention which came into fullest prominence in the 20th century. the current recording practices it was efurhevwe (2017) who asserted that there are three typologies in the history of recording in nigeria. she described the earliest as the analog which involves the use of audio data on the multi-track system. in short, it is a system of recording on tapes. such production is achieved using manual equipment to mixing, mastering and pasting the sound data unto a vinyl. in analog recording practice, audio data are generated by recording artistes, and this may include singers, musicians (including session musicians and musical ensembles) usually with the assistance and guidance from record producers and audio engineers. such recordings were traditionally made in recording studios which were rented for a daily or hourly rate in a recording session. recording process during this time requires recording studio – a specialized facility for sound recording, mixing and audio production of instrumented or vocal musical performed spoken words and other sounds. the second recording practice that emerged was digital recording, which involves the use of digital data through the use of midi apparatus and daw and music work-station. it is created by changing the physical properties of the original sound into a series of numbers, the numbers that are then stored and read back for reproduction. computer then becomes the heart of music production and advances in digital recording technology [and] allowed many producers and artists to create home studio using high-end computers and digital recording programs like protocol, thus, bypassing the traditional role of the commercial recording studio. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 100 the third and latest typology of music recording is the analog-digital studio which is configured to suit or accommodate both analog and digital data in a single domain. in this practice, any music production that involves external instruments apart from midi sequencing is analog-digital type. chimex (2022) describes it as a kind of combination of digital and analog to achieve greater sound and for more efficient production. the analog attachment to digital is like when everything is not in software, but played live into computer which can be digitalized, edited and transformed into various forms which cannot be done directly during analog time. most studios now do analog separation – which is a process of converting midi sequenced work to analog by waving (exporting) each instrument (nwobu, 2022). in analog separation, when a particular beat is sequenced as midi, it can then be converted to analog in order to be able to mix it to sound as analog. once exported as wave, the sound engineer can bring it into stereo channel where he can twist the sound as wanted. once waved in a stereo channel, the sound can be manipulated as wanted and desired. in this recording practice, there are other software like harmony engine, value audio etc. that helps to harmonize, swap, change notes and tweet voices among other functions. they are mostly useful where recording singers whose voice is bugged with ever-shifting tonality. with the aid of computer, even some vocals are enhanced during performances. consequences of the current practices many issues are associated with the current music recording practices especially in the south-eastern part of nigeria, which have implications for overall profitability. these include the collapse of some commercial studios, laziness, unemployment, conventional marketers’ relapse among others. 1. commercial studios collapse over time in the history of recorded sounds, the process of capturing music and transmitting it into a marketable product has radically changed. the digital environment has virtually turned the perennial system of recording upside down. in the past, working a record from the studio to the final customer used to be a lengthy process, involving a swath of creative individuals: musicians, engineers, producers, manufacturers and business people who are experts in the business of music but presently, with the advent of computer into the music industry, any amateur artist can simply produce an album just merely working on the laptop. not only that, even with band lab app on a smart phone, one can now record music without ever going to studio. now, the introduction and evolution of digital studio has – as a matter of consequence – resulted the collapse of most commercial studio, especially in the eastern part of nigeria. it has made it easy and possible for musicians, engineers or producers to have a recording or midi facility in the convenience of their homes, apartments or personal places of business. almost anyone can now afford, construct and learn to master one personal digital production facility or the other. nwobu (2022) avers that most studios have collapsed because they could not cope with the negative effects or impacts of digital recording practices (nwobu interviews, 2023). chimex (2022) concurs with nwobu thus: digital recording practices brought studios to people’s door steps [such] that some people can even carry their studio equipment in one travelling bag, equipment like laptop, usb sound card, one microphone, booth phones and go into one room to make production. such practices affected big commercial studios [to the extent] that most of them went into extinction (chimex interviews, 2022). some of the affected commercial studios in the south-eastern part of nigeria include:  rogers all stars awka  melody studios nawfia  unit 2 studios enugu  vititon studios owerri  eweson studios onitsha  abba father digital studios awka  spartan studios awka  vinas studios onitsha  denis akwa studios onitsha among others. 2. unemployment the advent of digital technology in music production has served to offer the musicians wider range of sophisticated equipment for all kinds of desired musical and sound effects. modern-day digital audio workstation has packed the functionality of a full-fledged record studio into a single laptop, technology has optimized the recording process. ogisi (2017) argues that “since the early 20th century mankind has come to take music for granted because technology of awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 101 sound recording has made it ubiquitous that it is no longer necessary to engage musicians or to personally make music for one’s need. this has created unemployment among session men.” during the period of analog production, all vocal parts are recorded together, thereby creating job opportunities to session men and women to earn their living. but presently, digital recording or production has deprived many session employees such job opportunities. this is because a single person can take up the whole production alone by simple exploitation of the possibilities of digitalization. with sophisticated instruments, a sound engineer can single-handedly perform a task that could have been performed by many session musicians who could have been placed under contract to provide their services for hire, thus depriving such musicians of fees or regular wages formerly proffered for their services. consequently, many session musicians are now jobless and unemployed despite the mass shift in recording business. in essence, digital innovations have made artists less dependent on the traditional players in music industry. 3. lethargy in music practice another consequence of the contemporary digital recording practices in nigeria is lethargy in music practice. some digital producers – including even musicians – find it difficult to engage in assiduous rehearsals. indeed, the digital manipulation of sound recording can be argued to be directly responsible for the reduction of rehearsal opportunities. the need for constant rehearsal is no longer felt since the instrumentalists are no keener to practice. some producers just use their ears, and with the aid of the computer mouse, simply heap up a meaningless mass of rhythm and sounds as music production. such laziness is observed not only on the part of instrumentalists but also is similarly exhibited by vocalists who cannot sing well without the aid of the sequencer. many producers and amateur musicians are no longer prepared to toil for months or years to master their instruments since they know that the electronic keyboard could give them whatever sound effect or tone quality they desire. they rather prefer programming of instrument line rather than playing it live. they prefer manipulating and transposing the keyboard instrument rather than real and actual key. onyeji (2015:14) points out the same difficulty, to wit, that skill acquisition in music studies is waning fast. students go through their university music studies without acquiring the capacity to efficiently perform music. harping on the present penchant for automated digital sound in music production, nwobu (2023) indicates thus: digital recording practices have killed music recording in the sense that one can produce rubbish sounds and with attune software, it can be corrected. such practice has turned musicians into lazy people. currently, there are some music software like harmony engine for harmonization value audio that helps swap notes and treat voices which are mostly useful where you have singers that are not steady on key (nwobu interview, may 20th 2023). concurring to this, agu (2011) noted that availability and use of the technologically advanced instruments appear to have made majority of nigerian musicians lazy and incompetent. most nigerian musicians now prefer achieving their goals through the easiest means. in the era of analog production, all vocal parts are recorded together. many backup singers are used and a number of them rehearse very strenuously. however, the present digital economy of recording practice has led to a situation in which somebody can come for recording unprepared, believing that computer will be used to enhance his/her sounds. such musicians usually become failures during live performance. indeed, one can hardly find expert musicians or music groups that can perform variety of tunes on a live stage. fact is that many contemporary musicians rely on pre-recorded cds or digital sound files of the tracks they intend to execute to accompany or back them up when invited to perform live on stage (chimex interview, 2022). 4. poor production processes most nigerian musicians now concentrate or rely on kinds of music which could not have been created without the use of computer. this has greatly robbed off the natural feeling of music that comes from inner perception. ologundudu and ayokunmi (2020) assert that “the computer has… caused some devastating effects to music industry especially in nigeria because it is multipurpose and portable.” they further stress that musicians – especially the young upstarts and startups – unduly took advantage of it to demonstrate their presumed natural talents, thereby flooding the music industry with substandard music products. obviously, as a result of the rampant unemployment of nigerian youths, lots of shallow knowledge of music entrepreneurship is now paraded in the music market by young amateurs. recorded works are presently produced by persons who lack basic training in the business of music production. onno (2014) in efuvrhere (2017) notes that most of the producers are young people who are faced with unemployment and thus venture into any available business opportunities like music recording, production including being musicians without acquiring the needed skills for the art, producers without the necessary skills often end up pirating the production of recorded music going further on this, ologundudu and ayokunmi (2020) affirm that many youths who could not find their feet in the job market after graduation resort to flooding the market with substandard, quack and pirated music products as a way of keeping busy and making quick money. along same line, kargbo (2006) in efurvhere (2017) indicate that “the awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 102 music industry is now populated with people who do not have professionalism and interest to make good musicians or good music people. people now run labels when they have no idea about music.” now, these half-baked musicians celebrate mediocrity and never make efforts to know the proper way of handling music production and business. consequently, they lower the standard of the music profession by giving out poor services, thereby making it appear as though our country nigeria does not have standard professionals in music and sound engineering, who can give a world-class music recording. 5. collapse of conventional marketing system in the first decades of the 2000s, the music industry underwent drastic change with the advent of wide spread digital distribution of music via the internet, which includes both legal or legitimate music purchase from online music stores and illegal file sharing of songs. therefore, it can be argued that this change of business mode from hardcopy cd sales to pure virtual (online) sales is one of the consequences of the revolution orchestrated by the globalized digital economy. the possibility of a pirating or bootlegging a cd by ripping it into digital marketable files constitutes an existential threat to the welfare of the artist as well as the conventional cd marketer, what with all the losses he or she incurs from the renting of a shop and all such vagaries and in clemencies associated with the everyday job of trading. this would keep killing and diminishing talents while pushing the music industry down. the effect according to udozor (2022) is that it discourages people from going to studios since their original works are susceptible to the criminal activities of bootleggers with all the adverse economic consequences this portends for them. naturally – and sadly so – as the unfettered proliferation of sites for digital bootlegging and piracy continues unabated, one may prognosticate the possible final elimination of the cd as a format of digital information preservation. the negative economic and informational consequence can only be imagined. conclusion from the above exposé, one sees that the perennial and conventional recording field is built around pools of talented individuals: musicians, engineers, producers, manufacturers and business people who are experts in music industry, who work together for a common goal, namely, production and selling of music. production of good music is not necessarily dependent on the kind of equipment a recording studio has but mainly on the quality knowledge, vision, expertise and professionalism of the resource personalities that are available or involved. the evolutionary stage in the business of music-making and music production was ushered in with the advent of technology which saw the introduction of sophisticated modern equipment and instruments in the process of music production. these advances in digital recording technology have led many producers and artists to create home studios using high end computers and digital recording programs like protocols, thereby bypassing the traditional role of the commercial recording studio. consequently, recording practices has witnessed a dwindling of fortune and more importantly the decline of professionalism in music-making and production. safeguarding professionalism in music recording in nigeria would demand emphasis on possessing adequate aural strength, capacity for musical articulation, contemplative mind as well as sound and objective evaluation and acceptance of the required music performance skills from those who possess it. but the current recording practice in nigeria shows that some nigerian musicians have lost their skills, knowledge, good judgment and abilities that are expected of them as professionals. this lack comes as a result of cultivating wrong attitudes towards the challenge of acquiring musical skills. the net consequence is the influx of unskilled personnel with insufficient experiences – and even armed with quackery – into the music industry. recommendations a primary exigency for tackling the challenges of the digital revolution in music production is to create cyber technological awareness, so that musicians can have a follow-up knowledge on how to deal with the digital revolution in music production, a trend about which so many people – including the musicians themselves – are not yet conversant. such enlightenment campaign can be championed by music faculties in nigeria. creating discussions among musicians, producers and studio engineers will help in integrating purposefully the goodies or advantages of the digital in music production while checkmating excess like digital bootlegging and piracy. similarly, music producing organizations would need to create forum for musicians to be educated especially in the usage of internet since digital advancement and internet work in pari passu. music producers should create such an awareness as to demonstrate to or convince musicians especially upcoming artistes that the digital cum internet revolution should be seen as a means to an end but not the end itself. as a matter of fact, it is a stepping stone to move awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 103 to a higher ground for musicians. there is need for musicians to be thoroughly groomed in matters that has to do with the gamut of music entrepreneurship so as to maximize sales and, ipso facto, subsequent productions. next, there is need for stakeholders in music production to synergize among themselves since music production ought not just to be one-man affair. digital technology could be of optimum value and use if room is created for various strata of music experts to contribute in order to create richer productions that are free from monotony and narrow creativity that comes when only one person is involved in the production. nigerian government should be of immense help in controlling the situation in music recording in this digital age. in collaboration with the music bodies/unions like pman, coson, moran among others, policies that will guide the music recording industry should be formulated and the trade unions ensure the implementation. such policies will serve to safeguard the minimum standard that is expected from musicians engaged in music production. on the side of the academia, music scholars would do well to write and attract funds in order to be able to promote, on a wider scale, standard musical works across the entire country. consumers of music products should be educated on the adverse effects of illegitimate usage of internet for free download of music on the musicians whose survival is tied to the legally approved distribution of the music products that they are illegally stealing via non-legit means, namely, download. in the long run, awareness of the importance of encouraging the musicians should be in the fore. references agu, d. c. c. (2011). the impact of electronic technology on indigenous and pop music: the nigerian experience. journal of the association of nigerian musicologists, 5. 16-22. berg, r. e. (2023). sound recording. encyclopedia britannica. https://www.britannica.com /technology/sound recording. efurhevwe, m. a. (2017). the impact of technology on music recording studio in nigeria. musical horizons in africa (essay and perspectives) a festschrift for daniel chikpezie christian agu (eds.) femi adedeji, christian onyeji and nnamdi onuora-oguno. 506 – 516. association of nigerian musicologists. jump, b. (2023). audio recording: definition and process. https://brianjump.net/2017/12/ 29/the-definition-andhistory-of-sound-recording/ heath, a. (2019). https://easierwithpractice.com/what-does-unforeseen-mean/ huber, d. m. & runstein r. e. (1997). modern recording techniques (5th edition). usa: elsevier science ofochebe, k. o. (2020). the impact of music industry digital innovations on economic developmenta case study of nigeria university of agder ogisi, a. a. (2017). landmarks in the sixty-year history of the recording industry and popular music in nigeria. musical horizons in africa (essay and perspectives) a festschrift for daniel chikpezie christian agu (eds.) femi adedeji, christian onyeji and nnamdi onuora-oguna. 489 – 505. association of nigerian musicologists. ologundudu, r. p. and ayokunmi o. m. (2020). the proliferation of recording studios in contemporary nigeria: prospects and challenges. in composing, performing, musicologising and teaching: the world of an astute african musicologist. a festschrift in honor of professor claudius oluyemi olaniyan (eds.) femi adedeji and atinuke layade. 194 – 201. onyeji, c. (2015). repositioning art music studies in nigeria for professional capacity building to overcome evolving challenged in music practice. in journal of the association the nigerian musicologists. 9. 1-25. open ai. (2024). dilemma of digital music recording. chatgpt. http://chat.openai.com/chat pastukhov, d. (n.d.), the mechanics of recording industry: a brief history & its functions. soundcharts blog. https://soundcharts.com/blog/mechanics-of-the-recording-industry (retrieved in 2022) udozor, v. c. (2021). digital music recording and survival of a nigerian artists. in the pedagogy: festschrift in honour of professor chukwuemeka eleazar mbanugo oral communication chimex alex. in awada onitsha 15th july, 2023. nwobu, ekenechukwu. in umuogwali awka. 20th may, 2023. udozor, vincent c. in umuogbunu awka. 12th june, 2022. tonemic substitution 24 music: a means of instruction in early childhood education chinyere celestina esimone ph.d. abstract usic is a universal language well understood by all and sundry especially children; and it remains the best method in the teaching and learning of children from ages one to five years. children are always interested in singing and dancing even from the time they are born. singing songs to them makes them happy, even when they are hungry and crying, singing always calms them down and helps them be patient while waiting for the food. this same way that music calms children, it also helps them learn. teachers can easily teach children subjects for their age with music rather than the remote method of teaching and learning. this, many people especially teachers are very ignorant of. this paper x-rays and proves that music is a good means of instruction in early childhood learning. introduction music is one subject that is universal and understandable to all humans, young and old, males and females‟ even animals; as it is said „birds sings‟. music‟s universality and easy understanding makes it very appealing to all and sundry, especially to children, which prove music‟s definition as a universal language worthwhile. music is the most beautiful means of communication because everyone understands the language. this ability makes it very attractive and easy to be used as a means of instruction to children in early childhood. perry & perry in levinowitz (1998) suggest that it is desirable for children to be m awka journal of research in music and the arts (ajrma) vol. 14 2020 25 exposed to, trained in and enculturated with music for its own sake. levinowitz (1998) opined that making music is as much a basic life skill as walking and talking; and that music is a way of knowing (p. 1). and gardner (1983) believed that music intelligence is equal to linguistic intelligence, spatial intelligence, bodily – kinesthetic intelligence, interpersonal intelligence and intrapersonal intelligence. these facts goes to show that music can be of great help in early childhood education, when applied as a means of instruction; as it has the ability to grant children interest in learning, and easy understanding of what is being taught; unfortunately, many childhood instructors do not understand this and hence do not employ it as a means of instruction, leading to difficulty in their teaching and learning activities. this paper addresses this problem. music the subject, „music‟ has many definitions from different scholars. blacking (1973) defined it as humanly organized sound (p. 57). elliot (1995) says “it is a diverse human practice of constructing aural temporal patterns for primary values of enjoyment, self-growth and self-knowledge (p. 128). and walker (1998) believed “it is a living analogue of human knowing, feeling, sensitivity, emotions, intellectual modus operandi and all other life-giving forces which affect human behavior and knowing” (p. 57). the subject of music transcends singing and dancing. it goes beyond organized sound to a therapeutic means of helping the sick, developing the brain and calming the nerves. it is meant to relax, motivate and inspire life and emotions to keep man in path it requires to go. music actually is very powerful. everyone understands the language of music and children do most. “music is a natural and important part of young children‟s growth and development. anyone who has worked with young children knows they love and appreciate music and can engage in musical activities at all levels” (esimone 2012:1). 26 early childhood education early childhood education is an education given to children from infancy to five (5) years of age, usually in an educational institution. it is the most crucial time in the life of a child. whatever happens to children at this age is of greatest importance to their general development. the federal republic of nigeria in her policy on education (2004) defined early childhood education as “an education given in an educational institution to children prior to their entering the primary school, usually one (1) to five (5) years of age; it includes the crèche, the nursery and the kindergarten (pre-primary schools)” (p.10). early childhood on the other hand, could be defined as the age before schooling or entry into primary school, usually from infancy to 5years. a child‟s needs at this period differ from those of older school children because early childhood sees the greatest growth and development. levinowitz (1998) asserts: it is a time when children learn about their world primarily through the magical process of play. the substance of play in very young children is usually comprised of the environmental objects and experiences to which they have been exposed. if the music environment is sufficiently rich, there will be a continuous and ever richer spiral of exposure to new musical elements followed by the child‟s playful experimentation with these elements. early childhood is an important time in the life of every child. it is obvious that children of this age tend to learn through mimicking and of course through what they see the adults do. they find boring the remote method of learning, and they like it when their environment is smart, busy and playful especially when it involves music (singing and dancing). this is why when music is used as a means of instruction in their learning activities, the results are rewarding, because the children find it easy and stress less to grasp what is being taught, 27 and the teachers find their teaching easy and simple. to this esimone (2012) succinctly said: few things in life inspire more joy and excitement than the miracle of a newborn baby. whether that child fulfills his or her vast potential is largely in the hands of the family, the community and the country into which he or she is born. the early years of life are very crucial. hence when children are nurtured and cared for as should be in their earliest years especially with music; they are more likely to grow in a healthy way, develop full thinking capability, language, emotional and social skills that are very useful for their total wellbeing (p. 1). music as instruction tool music as earlier noted is the easiest and the simplest means of instructing children in early childhood. paget (2006) reported that “music can do 60% of the teaching work in about 5%of the time (p. 5). this is a fact. when early childhood children are engaged with singing and dancing of what they are being taught, it is very obvious they grasp what they are taught than when the remote style of teaching is employed. idolor (2002) observed that “children are taught the norms and values of the society through music, to foster self-usefulness and facilitate the performance of expected roles in the wider society. and children‟s music repertoire teaches varieties of norms, values and skills” (p. 6). okafor (2005) in supporting idolor noted: music is central to many of the activities of life in our traditional society and because music is integral with life activities. the music that was learnt at childhood is important as a foundation for learning other things to come – art, craft, science, human relations and social 28 practices. it was a system that worked and worked very well. it was a system that laid a foundation of life to come. it was a system that was wholly utilitarian everything it contained was useful to life in the society in which the child must move, live and have his being. people of all times have recognized the importance of music in education (p. 225). okafor (2005) further noted that western educators taught children many things through songs. primary health education was taught and how things were supposed to be done was taught through songs. examples of such songs are: early to bed and early to rise, makes a man healthy and wealthy and wise. the old mulberry bush song: this is the way we brush our teeth, brush our teeth, brush our teeth, this is the way we brush our teeth, early in the morning. this is the way we comb our hair, comb our hair, comb our hair, this is the way we comb our hair, early in the morning and so on. children were taught the simplest of prayers before eating through songs. some have food and cannot eat, some have no food and can‟t eat, we have food and we can eat, glory be to god on high… (p.226). parts of the body were also taught children using songs thus: head, shoulder knees and toes, and ears and eyes, and mouth and nose, head shoulder knees and toes okafor (2005) further observed that there were mnemonics for remembering things and the one for remembering the days of the year goes thus: 29 thirty days hath september, april, june and november; february has twenty-eight and all the rest has thirty-one. and the months of the year were taught thus: january, february, march, april may june july, august september, october, november december. to count the mathematical numbers of one to ten; they were taught using images that can easily be identified thus: one two, buckle my shoe, three four, knock on the door, five six, pick up the sticks, seven eight, lay them straight. nine ten a big fat hen. children learn better through songs than the traditional method as can be seen from the examples above. this is because music comes natural to children and it is a more fun way to learn. children love music and find it more entertaining and relaxing. as okafor (2005) observed that children learning through songs or music makes learning very attractive to them, because they learn easily (p. 224). everything can be taught through music (songs), from norms and values of the society, to simple daily hygiene at home and in school, to the letters of the english alphabets and even to the numerals of mathematics. everything is possible through the instrument of songs (music). thus okafor (2005) noted: the folktale was full of songs which were very attractive to children because through the vehicle of the songs, they learnt easily without mental stress. they learnt through mnemonics and through simple game-songs, complicated subjects, numerology or numeracy, even to articulate words and use their language beautifully. all these were very simply taught to children through music (p. 224). ekpo (2008) also observed: children are inclined to be more interested in music, and possesses more positive attitude towards an 30 appreciation for music; when they are brought up in homes in which there is regular singing, in which various types and qualities of music are heard, performed, discussed and enjoyed and most importantly, in which they are guided and encouraged to respond or participate (p. 28). music no doubt has a natural inherent attraction which makes it attractive to all humans. virtually every personality in the world, young and old, consciously or unconsciously responds to music positively. music has provided people with opportunities for selfexpression and rich rewarding enjoyment, especially children. it is a well-known fact that children naturally love music and are attracted to it, whether they are crying or laughing , eating or hungry, a mere musical sound pulls them out from their hidden areas; hence the importance of using music in their teaching and learning activities. teacher’s role in using music as an alternative method to teaching the importance of manpower in any important venture in life can never be over emphasized. the ages one (1) to five (5) years have been identified as a very critical period. anuka (1998) believed “this age is very crucial in the learning process of the child and therefore demands children be provided with an enriched and scientifically sound early experiences” (p. 135). if scientifically sound experience must be provided, then the agent for this provision must be qualified and trained. teachers in early childhood education need be professionally qualified and scientifically sound to teach early childhood children. they should be musically sound as well to be able to use music in their teaching and learning activities. although it is not compulsory for early childhood teachers to have the knowledge of music with regards to acquiring a certificate in music, if they do, that is really good; but it is very necessary for such teachers to know how 31 to sing and dance, and have the ability to turn their lessons into songs. learning environment children learn through interaction with their environment, as the teacher is a better facilitator than a dispenser of knowledge. children no doubt may acquire knowledge through instructions from the teacher but learning makes more meaning through personal discoveries. to this igboabuchi (1998) opined: the whole environment of the child should be educative and so serve as a resource for learning. within the classroom and even at the playground, there will be sufficient things to generate curiosity which leads to learning. environment plays a more important role than heredity in a child‟s education (p. 49). a good learning environment for early childhood education should have enough instructional materials such as picture books of different things, numerical posters, alphabetic posters and flash cards for their age, which serve as teaching aids. such posters are spread about on the wall of the classroom where these children can see them every day they are in school. provided for should also include some western musical instruments such as toy pianos, toy guitars, trumpets, recorders (flute) and drums; and also indigenous musical instruments such as the ichaka (rattles), obere ogene (twin metal bells), ekwe (small slit drum) and so on, specifically for their age. as the children consistently see the pictures, and manipulate the musical instruments, what they are seeing are appealing to the variety of their senses as well as increasing their motor skills; these coupled with explanations from their teachers through songs are improving the effectiveness of teaching and the quality of learning. onyejemezi (1998) in supporting the above noted: 32 whether instructional materials are real or representations, their main purpose is to improve the effectiveness of teaching and the quality of learning. specifically, they are used to appeal to a variety of senses, stimulate the learner into engaging in other related useful activities such as further observations, modeling, reading, writing and drawing; promote acquisition and longer retention and provide opportunities for independent and individual learning (p. 163). the learning environment should also be spacious for running around of the children; since such motivates their desire for school and makes them have a healthy life. to this igboabuchi (1998) asserts that: physical training and games are very important to ensure healthy function of the body and mind. it also makes for balanced formation, moral and character training. they should increase in complexity as the child advances in years. the school environment should be well stuffed with a variety of games equipment (p. 49). eze (1998) also opined that “plays, indoors or outdoors are natural and basic to health and the development of motor skills that order children‟s body movement – running, jumping, climbing, bending, throwing, turning, twisting, and with play equipment like swings and slides, musical toys and other types of toys that can help them be creative and explorative”. these play equipment makes the environment for learning very attractive and interesting for the early childhood children, thus, increasing and motivating their desire for learning. it also helps them to associate with one another and appreciate one another as it helps them to initiate friendship with one another. 33 moreover, when the outside environment is made available, it is also important to make the inside environment more attractive and desirable for learning. this could be done by making sure that the classrooms are spacious enough, has enough comfortable seats and tables, and well ventilating windows to allow for fresh air. all these make for comfortable and excellent conducive learning environment. benefits of music to the child every full-fledged man or woman today was once a little child, and hence had to go through a lot of experiences and influences to be where they were and who they were today. whether they were privileged to have a music family or not, they all had the opportunity to hear music being made; and hence could say a lot of things they learnt as a result, which to a greater extent had helped shape their lives as adults. to this perry and peery in levinowitz (1998) says: music making is a basic life skill as it is with walking or talking. it has so much to do with man‟s emotions, moods, feelings, attitude and opinions. it is desirable for children to be exposed to, trained and enculturated with music for its own sake. in other words, it is a birthright for all people irrespective of age, to be able to sing in tune and march to a beat (p.35). music is a means of voice development. consistent singing on one‟s own develops the vocal cord and makes the voice finer to picking higher pitches. when this is introduced in the early childhood learning, the result in the later years of life is very enormous hence, using the singing voice is a learned complex skill. also, learning to sing is a great skill for children to imbibe. it is a way in which they are able to express themselves. it helps them ease any stress in their lives and gives them a boost of confidence about their own ability. besides, early childhood children are naturally curious about their world and like to experiment anything and everything; even the most archaic 34 activities they enjoy can make them very lively, hence singing in any activity is fun to them. to this brendan dunne (internet source) noted: not only does singing leave a deep trace in the memory but it also allows the children to be actively involved in their learning. also, singing as an activity can address the whole child and not just the language learner, as songs often draw on their common experiences outside the language classroom. there are songs for almost every theme or occasion, not only can we practice common language topics such as numbers, colours, animals, food, actions etcetera; but we can also explore a range of emotions (such as excitement, joy, fear, anger and so on) and situations that are part of the child‟s everyday life. songs linked to calendar events such as festivals may also give the children insights into their own and other world cultures. music therefore affects the general development of early childhood children (http://www.xtec.cat/cirel). intellectually, music (singing) expands the memory of children and assists in the development of their language ability. also, the effect of music on the brain and thinking are demonstrable and research has shown that during an electroencephalogram (eeg), music can change brain waves and make the brain more receptive to learning. music connects the functions of the right and left hemispheres of the brain so that they work together and makes learning quick and easy. brain function is increased when listening to music and studies have shown that music promotes more complex thinking. it can make connections between emotions, thinking and learning (davies 2000). music has also been proven to help in the development of mathematical skills in children. maxim (1989) noted: “singing games http://www.xtec.cat/cirel 35 such as counting rope jumps could help a small child to understand how to count” (p.289). music is also essential in the acquisition of reading and writing in early childhood education. it is another outlet to stimulate the mind, for that‟s the only better way to gain knowledge and confidence in oral language and writing. oral language is an interactive and social process, and music is a natural way for children to experience rich language in a pleasurable way. children have a lot of energy, and learning movements and dances to songs always help to release some of them. the use of music for reading instruction allows children to easily recall vocabularies, facts, numbers, colours and shapes as the case might be. emotionally music provides stability for children. it is a fact that children introduced to music early in life has been found to be happy children later in life. it is really amazing seeing babies to toddlers who by mere listening to music (songs) makes them stop crying if they are crying, makes them happy if they are sad and makes them obedient if they are stubborn. this benefit made plato as quoted by abeles, hoffer and klotman (1984) to say: music is one of the most inspirational form of arts; their power is contained in its ability to by-pass reason and penetrates into the soul and the subconscious, manipulating ones feelings. it is a potent instrument than any other because rhythm and harmony find their way into the inward places of the soul of which they mightily fasten; imparting grace and making the soul of him that is rightly educated graceful (p. 4). music indeed is very potent and simple to be used in learning especially with children, because it has to do with their emotions. a child will always want to start dancing at any melody he or she hears, even when the child is crying, a melody makes the child stop crying and start dancing because the song touches the child‟s emotion. thus, 36 to develop emotionally and socially, children need to feel worthy and confident; therefore the freedom to experiment and to respond in creative ways to music can produce these feelings. songs properly sang can provide opportunity for children to learn appropriate ways of relating to others. it can provide ways of doing things with little or no fear of threat. and the easiest to gain self-expression and selfconfidence is through music. summarily, music is a great tool in the instruction of early childhood children. obviously from all the above facts, this book chapter has provided greater insights on the importance of using music (songs) in the teaching and learning activities of early childhood education. it has also revealed the ways through which this can be carried out. it is assured that when facts in this chapter are applied, rewarding results as explained will be recorded. references abeles, f. h., hoffer, c. & klotman, r. (1984). foundations of music education. new york, schimers anuka, d. c. (1998). characteristics of pre-school children: implications for effective teaching and learning. in b. o. igboabuchi & denco, pre-primary education in nigeria: conference preceedings. onitsha: lincel publishers. (pp. 134 – 139). blacking, i. (1973). how musical is man? london: faber & faber. brendan dunne. singing with 4 to 5 year olds. ( avaliable @ http://www.xtec./cirel). davies, n. l. (2000). learning…the best goes on. journal of research in children education, 1, 149-151. ekpo, i. s. (2008). parental factor in early musical exposure as a prerequisite for deal musical development of the child: http://www.xtec./cirel 37 nigeria‟s experience. awka journal of research in music and the arts (ajrma), 5, 26-34. elliot, d. j. (1995). music matters: a new philosophy of music education. new york: oxford university press. esimone, c. c. (2012). music in early childhood education: a study of selected pre-primary schools in anambra state. a ph.d. thesis defended at the nnamdi azikiwe university, awka. anambra state. eze, d. (1998). concretion and concretization strategy in the curriculum and methodology of pre-primary education (pp.5965). in b.o. igboabuchi & eze denco (eds). pre-primary education in nigeria, conference proceedings. onitsha: lincel publishers. federal republic of nigeria. (2004). national policy on eduation. yaba: nerdc. gardner, h. (1983). frames of mind. new york: basic books. igboabuchi, b. o. (1998), in the traditions of renowned educators (pp. 43-51). in b. o. igboabuchi & eze denco (eds). preprimary education in nigeria: conference proceedings. onitsha lincel publishing. levinowitz, l. m. (1998). the importance of music in early childhood education. in the general music today. music educators national conference (1998). available at http://www.musictogether.com/import. maxim, g. m. (1989). the very young: guiding children from infancy through the early years. london: merrill. okafor, r. c. (2005). music in nigerian society. enugu: new generations. onyejemezi, d. a. (1998). educational technology in pre-primary education: why instructional materials? (pp. 157-167). in b. o. igboabuchi & eze denco (eds), pre-primary education in nigeria: conference proceedings. onitsha: lincel publishers. http://www.musictogether.com/import 38 paget, j. r. (2006). the role of music in learning. birmingham: united kingdom. walker, r. (1998). in music education, a hundred flowers blossom and a hundred schools of thought contend. is this a problem? international journal of music education (ijme). 1, 32-34 206 implementation strategies employed by teachers for cca curriculum and its implications to music education ugoo-okonkwo, iruoma amaka (ph.d.) department of music nnamdiazikiwe university, awka abstract laudable educational proposals do not necessarily in themselves lead to laudable educational achievements. the lumping together of fine arts, music and drama into one subject called cultural and creative arts (cca) comes with a lot of challenges. in the face of these challenges, this study examined the implementation strategies employed by upper basic education teachers in handling the introduced ccainanambra state and its implications to music education. the major instrument used for the study was a structured questionnaire containing test items arranged under competence, material, attitude, managerial and methodology factors. the analytical tools applied were frequency, percentage and chi-square statistical inference technique on the sample of the study. in summary, 20% of the strategies were positively affecting music education, 16% were insignificant while a whopping 64% were negatively affecting music education. hence, an urgent and comprehensive review of the curriculum is therefore solicited. otherwise, the objectives of redeeming our rich cultural heritage, creativity and making or producing self-reliant job creators of nigerian youths through this introduced curriculum will be a mirage. awka journal of research in music and the arts (arma) vol. 10 2014 207 introduction any society that seeks relevance must make every effort to give its citizens the best educational exposure which starts from the basic level of education. basic education gives young people the opportunities necessary to acquire the knowledge, skills, values, and attitudes which they need to live happy and productive lives as individuals who have social duties to discharge for the betterment of life in the society. hence, it is pertinent that the curriculum at this level of education should be designed in such a way that it can effectively reflect the needs of individuals in the society as well as the aspirations of a given society when implemented. nigeria‟s curriculum reforms have witnessed a lot of changes due to catalogue of innovations in educational policies and programmes. some of the changes while trying to solve a particular problem will inadvertently create even more grievous problems. similarly, while a number of people will accept some changes as desirable, others will wonder about the necessity of such changes. in fact, many of the changes in educational policies in nigeria have been described as the product of confusion, ayeni (2000:5). there is therefore, “a high level of uncertainties beclouding meaningful planning in nigeria‟s educational system,”aluede (2006:97). this can be very dangerous particularly as the future of nigeria and nigerians is determined by the level of education her nationals have acquired. in giving the rationale for the review of the curriculum, the director of national educational research and development council, obioma (2007) stated thus: following the decision of the federal government to introduce the 9-year basic programme and the need to attain the millennium development goals (mdgs) by 2015 and the critical targets of the national economic empowerment and development strategies (needs), which can be summarized as value reorientation, poverty eradication, job creation, wealth generation and using education to empower people, it implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 208 becomes imperative that the existing curricula for primary and junior secondary school (jss) should be reviewed, restructured and realigned to fit into a 9-year basic education programme (p.ii). in line with the above, the federal government decided to merge and restructure visual arts, music and drama subjects into one subject referred to as cultural and creative arts (cca) for basic education in nigeria. this restructuring was unlike what used to be practised in the past when there were options between visual arts, drama and music, the present curriculum collate all these into a single subject cca which has to be taught as such. the lumping together of three different subjects into one, obviously creates problems in the teaching and learning process. music, fine and applied arts, and drama are three different subjects that require three different teachers in the upper basic education for the objectives to be realized. in institutions of higher learning, music is a full-fledged course of study that has different curriculum contents from both fine and applied arts and theatre arts. it is almost impossible for a music teacher to be effective in the teaching of fine and applied arts and drama. on the other hand, a fine and applied arts teacher cannot effectively handle music and drama. besides, students who are being bombarded with the integration will then have problem of choice, attitude and even confusion of taking up any one of these subjects as a profession. hence, this study tries to examine the implementation strategies employed by the teachers considering the challenges that the merger creates. beyond identifying the employed strategies, the study discusses its attendant implications as it affects music education. implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 209 method research a survey research design was chosen for this study. the area of study is anambra state of nigeria, comprising six educational zones. the researcher employed quota sampling for selecting the total number of respondents for each of the six educational zones. at the end, the sample of the population of this study stood at sixty (60) music cca teachers. the instrument used was a structured questionnaire arranged in five clusters consisting of competence, material, attitude, managerial and methodology factors. both chi square  2 and simple percentages were applied in the study. there were four alternative responses as provided in the questionnaire for categorizing the opinion of the teachers‟ responses against each item as applicable to their schools. it was against that background that 2 test was applied to test whether or not a significant difference existed between the observed and expected frequencies (number of responses) falling independently into the three categories against each test item. thus, wherever the categorical distributions of the responses was found significant, the category which pooled the greatest number of responses was used as an indicator for predicting the category of randomly sampled opinion which could be applied inferentially to the population. the formula for applying the 2 test is as follows: ∑ e 2 eo2 f )f-f(  where: fo= the observed number of responses in a given category. fe = the expected number of responses in that category. ∑ = directs to sum this ratio over all the categories. having 60 teachers‟ respondents and 4 response categories, fe in each category is the degree of freedom (df) considering the four categories of teachers is 2 while the level of significance (α) is taken implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 210 to be 0.05. with the above information, the critical value of χ2 shows that a value of 5.991 or more is required for significance to occur. thus, where the χ2 of a given distribution of the responses was found significant, it was interpreted that the distribution did not occur by chance. besides, there was also a supplementary application of percentage analysis of number of responses in each category with a view to quantifying and ranking the polled number of responses. thus, because of the directional nature of all the test items, the investigator was not only interested in finding out whether the test item is significant or not. she was also interested in finding the direction in which the significant difference is tilting towards (i.e. whether the strategies are positively affecting or negatively affecting), by taking percentage bearing of each test item. results of findings the results of the respondents to the questionnaire are presented in tables 1 – 5 where sa is strongly agreed, a is agreed, d is disagreed and sd is strongly disagreed. table 1: results of ‘competence’ test items (fe = 15, =5.991) s/n i t e m sa a d sd χ2 decision (%) (%) (%) (%) 1 non music teachers teach music contents of cca 17 28 12 3 21.733 significant agreed (28.3) (46.7) (20.0) (5.0) 2 non music teachers dodge the teaching of music contents of cca because of lack of competence 16 23 14 7 8.667 significant agreed (26.7) (38.3) (23.3) (11.7) implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 211 3 there is frequent use of read and teach basis in teaching music 8 17 22 13 7.067 significant disagreed (13.3) (28.3) (36.7) (21.7) 4 there is inefficient supervision of cca by supervisors 14 23 16 7 8.667 significant agreed (23.3) (38.3) (26.7) (11.7) 5 non music cca teachers are unable to teach the practical aspects of cca as it affects music 15 26 14 5 14.800 significant agreed (25.0) (43.3) (23.3) (8.3) in table 1, majority of the respondents agreed with four test items (i.e. items 1, 2, 4 and 5) while they disagreed with test item 3. table 2: results of ‘material’ test items (fe = 15, =5.991) s/n i t e m sa (%) a (%) d (%) sd (%) χ2 decision 6 there is the use of a scheme of work substantially different from the curriculum to improve its effectiveness 29 24 6 1 36.933 significant strongly agreed (48.3) (40.0) (10.0) (1.7) implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 212 7 there is the use of substandard textbook in teaching music contents of cca 15 18 14 13 0.933 insignificant (25.0) (30.0) (23.3) (21.7) 8 there is the overloading of weekly lesson periods with topics 20 23 9 8 11.600 significant agreed (33.3) (38.3) (15.0) (13.3) 9 teaching aids is insufficiently used 30 18 5 7 26.533 significant strongly agreed (50.0) (30.0) (8.3) (11.7) 10 there is lack of the use of computer in teaching music 19 22 14 5 11.067 significant agreed (31.7) (36.7) (23.3) (8.3) from table 2, majority of the respondents strongly agreed with test items 6 and 9, agreed with test items 8 and 10 but was insignificant in test item 7. implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 213 table 3: results of ‘attitude’ test items (fe = 15, = 5.991) s/n i t e m sa (%) a (%) d (%) sd (%) χ2 decision 11 attitudes and practices towards music integration with other subjects vary from school to school 19 22 14 5 11.067 significant agreed (31.7) (36.7) (23.3) (8.3) 12 the efforts of the teacher seems to be random, unfocused and inconsistent in using the introduced cca curriculum 12 17 14 17 1.200 insignificant (20.0) (28.3) (23.3) (28.3) 13 the issue of integration is still a controversy 23 20 9 8 11.600 significant strongly agreed (38.3) (33.3) (15.0) (13.3) 14 parents‟ negative attitude to music hinders their children‟s performance 18 30 5 7 26.533 significant strongly agreed (30.0) (50.0) (8.3) (11.7) implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 214 from attitude viewpoint as shown in table 3, majority of the respondents strongly agreed in test items 13 and 14; and agreed in test item 11. test item 12 is insignificant. table 4 points out the test items under managerial factor that deals on the implementation strategies that was employed by the teachers. table 4: results of ‘managerial’ test items (fe = 15, =5.991) s / n i t e m sa (%) a (%) d (%) sd (%) χ2 decision 15 music teachers are hired from outside the school to teach music aspect of cca 5 13 17 25 13.86 7 significant strongly disagreed (8.3) (21.7) (28.3) (41.7) 16 music class time is reduced in the cca curriculum 21 24 10 5 16.13 3 significant agreed (35.0) (40.0) (16.7) (8.3) 17 there is inequitable distribution of time for the amalgamated subjects 23 18 14 5 11.60 0 significant strongly agreed (38.3) (30.0) (23.3) (8.3) 18 inadequate coordination is witnessed in teaching cca where different teachers are involved 18 17 16 9 3.333 insignifican t (30.0) (28.3) (26.7) (15.0) 19 more fund is made available for cca subjects because of the amalgamation 15 14 26 15 14.80 0 significant disagreed (25.0) (23.3) (43.3) (25.0) implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 215 in table 4, majority of the respondents strongly disagreed with test item 15, agreed with test items 16 and 17, disagreed with test item 19, while test item 18 was insignificant. the result of the methodology test items is shown in table 5. table 5: results of ‘methodology’ test items (fe = 15, =5.991) s/n i t e m sa (%) a (%) d (%) sd (%) χ2 decision 20 instructional materials are used in teaching music 13 27 14 10 11.600 significant agreed (20.3) (42.2) (21.9) (15.6) 21 there is adequate application/utilizatio n of audio visual materials as instructional materials 9 12 21 24 10.800 significant strongly disagreed (13.6) (18.2) (31.8) (36.4) 22 there is improvisation of materials in order to provide effective learning 18 13 14 15 0.933 insignificant (30.0) (21.7) (23.3) (25.0) 23 the teachers make effective utilization of cumulative test result in the students' final evaluation 22 17 16 5 10.267 significant strongly agreed (36.7) (28.3) (26.7) (8.3) 24 effective report of students' music learning progress to school administrators is carried out 5 14 26 15 14.800 significant disagreed (8.3) (23.3) (43.3) (25.0) 25 the music teaching is more studentcentred than teacher-centred 9 12 25 14 9.733 significant disagreed (15.0) (20.0) (41.7) (23.3) implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 216 the majority poll in the four-categorical opinions expressed by the respondents strongly agreed with test item 23; agreed with test item 20; disagreed with test item 24 and 35; and strongly disagreed with test item 21. in retrospect, the given five competence test items, five material test items, four attitude test items, five managerial test items and six methodology test items identified in tables 1 5, respectively, are summarized in table 6. the table went a step further to classify whether the test items were significant in the negative or positive direction and whether it was insignificant. table 6: summary results of the findings of hypothesis four decision compete nce mater ial atti tude manag erial metho dology total test items percen tage significant negatively affecting 4 3 3 3 3 16 64 significant positively affecting 1 1 0 1 2 5 20 insignificant 0 1 1 1 1 4 16 total 5 5 4 5 6 25 100 implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 217 fig 1: number of test items significance fig 2: percentage of the test items significance 0 1 2 3 4 4 3 3 3 3 1 1 0 1 2 0 1 1 1 1 n u m b e r o f te st it e m s factors significant negatively affecting significant positively affecting insignificant 0 10 20 30 40 50 60 70 significant negatively affecting significant positively affecting insignificant 64 20 16 p e rc e n ta ge implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 218 in the final analysis, fig 2 shows that the number of test items that is negatively affecting hypothesis four polled the highest percentage of 64%. hence, the established significance difference of the alternate hypothesis is tilting in the negative direction. discussion of findings competence factor it was discovered from the analysis of findings that non music teachers teach the music contents of cca. the major practical implication of this finding is that when non music teachers teach it, they will not be able to satisfactorily and effectively achieve the desired outcomes of instructions.on a study of competencies needed for effective teaching of music in the secondary schools, nwokenna (2006) submitted that “music teaching in schools cannot be effective if the teachers do not show remarkable competence on the various aspects of general music programme” (p. 49). in a similar study on the cultural and creative arts curriculum in secondary schools, irivwieri (2009) stated that: there is at present a dearth of qualified art and music teachers in secondary schools. most of the schools lack the professionally trained graduate art and music teachers, who are much more exposed both academically and professionally to handle the programme well at the secondary school level” (p. 351). there is the tendency that these incompetent teachers may start using the „read and teach‟ method of teaching. another grievous implication is that they may start dodging the teaching of music contents of cca that they find difficult to understand. this was substantiated by the respondents in test item 3 of table 1. this issue of dodging was also confirmed by the cca supervisors and music specialists that were interviewed in the course of this study. one of implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 219 the interviewee submitted that “some schools have only one teacher who is a specialist in one discipline to handle cca. in this case, the teacher concentrates more in his/her own discipline teaching mainly and well his aspect of discipline and little of the other aspects because he/she doesn‟t know it. a subject like music cannot be taught on the basis of „read and teach‟ as there are more to music than paper can show”. the study also agreed that non music cca teachers are unable to teach the practical aspect of cca as it affects music. the use of unqualified teachers in teaching music aspect of cca and perhaps cca as a subject is very detrimental to the achievement of the objectives of cca. an unqualified teacher who has obvious limitations cannot effectively teach with practical examples. music and other disciplines of cca require practical examples while teaching. therefore, when there are teachers who teach without practical examples, it does no good to the subject. material factor the study observed that there is the use of a scheme of work substantially different from the curriculum to improve its effectiveness as submitted in test item 6, table 2. in this regard, attention is hereby drawn to the inclusion of music in jss 3, in the current cca scheme of work in use in upper basic classes in schools in anambra state. it should be noted that the topics so included are definitely not covered in the cca curriculum drawn by nigerian educational research and development council (nerdc) and the national examination council (neco) syllabus for cca basic education certificate examination (bece). neco basic examination question papers for 2011/2012 and 2012/2013 academic sessions show that the included topics did not appear in the examination question papers. if the students should learn about this, one of the motivations for studying those topics which is to see it in their question papers will be implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 220 killed.this study agreed that there is the issue of overloading of weekly lesson periods with topics. lesson topics are so jam-packed in the new scheme of work. for the topics to be covered by the teacher, he/she must have to superficially teach them that even the students will not comprehend what is being taught. consider for instance the following topics to be covered in three different weeks in jss 1. (1) rudiments and theory of music: (a) notation–staff and sol-fa: musical alphabet (b) staff/stave, clefs and letter names of the stave (c) types of stave/treble, bass, great stave (d) lines and spaces, ledger lines and spaces. (2) scale (a) definition of scale; major scale of c natural and g. tones and semitones (b) technical names of degree of the scale (c) keyboard setting. (3) rudiments and theory of music: (a) time signature; definition and spelling of time signature (b) kinds of time (simple and compound) i. duple ii. triple iii. quadruple,(c) musical terms, signs and abbreviation; accidental. in the old music scheme, these topics are well covered in ten (10) different weeks. how possible is it for a student of jss 1 expected to know, learn, define, name, write or even identify notation-staff and solfa, musical alphabet, staff/stave, clefs and letter names of the stave, types of stave (treble, bass), great stave, lines and spaces, ledger lines and spaces in just one week? the implication of this finding is that the scheme is rarely covered and is superficially taught too. also, in the analysis of this study, it was strongly agreed that teaching aids was insufficiently used in schools for teaching music aspect of cca. when the appropriate instructional materials are used, it enhances the students‟ ability to learn. buttressing this point, ikibe (2009) stated that “learning music is better done by handling musical instruments, listening to musical items and by singing” (p. 99). yet the instructional materials and facilities are grossly inadequate in our schools for effective music teaching and learning. in this regard mbanugo (1999) pointed out that “lack of adequate resource mobilization in form of equipment, textbook and instructional materials militate against effective implementation of music implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 221 education” (p. 235). in the same vain okafor (2009) noted that “the apparatus is either in short supply or decrepit” (p. 18). by the same token, leonhard and house (1972) assert that “the learning and thinking of young children are linked to the concrete, seeable and the touchable” (p. 287). the use of computer in teaching music is also found to be lacking. it is important to note that we are in computer age and the students‟ interest will be aroused to a high level if computer and its peripheral devices are somehow integrated into the teaching of music. there was an agreement by the teachers that the issue of parents having negative attitudes towards music hinders their children‟s performance. positive disposition to the study of music by parents will help in a lot of things. for instance, with regard to the problems facing the implementation of creative arts curriculum, irivwieri (2009) stated thus: this situation becomes evident from students inability to procure basic art materials, as a result of some parents nonchalant attitude to providing the basic music and art materials for their children/wards. the situation is even worse where parents prevent their children/wards from doing art in preference for science-oriented subjects. (p. 350) attitude factor the results of the findings show that attitudes and practices towards music integration with other subjects vary from school to school (test item 11, table 3). in some schools they give three periods per week for cca subject, in other schools they give two periods. similarly, in some schools one teacher teaches it while in other schools two teachers teach it. some teachers proportionally divide the periods weekly while in some others it was proportionally divided period by period. in fact, in some of the school i visited, there was total implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 222 separation of periods between music/drama and visual arts. the same way it varies from school to school, it also varies from teacher to teacher. some teachers‟ approach seem to be random, unfocused and inconsistent in using the introduced cca curriculum. indeed, the issue of the integration of music, visual arts and drama is still a controversy because many schools and teachers are yet to be at home with the new development. managerial factors the findings from the study strongly disagreed that music teachers are hired from outside the school to teach music aspect of cca. this item was put to test considering the fact that since the time allocation of music is very small, some school may hire teachers from outside. it is also a known fact that music class time is reduced in the cca curriculum. to add salt to injury, there is also inequitable distribution of time as well as sharing of the amalgamated subjects to the detriment of music. ugoo-okonkwo (2013) captured it succinctly when she observed that “music was swallowed up completely, not even up to half (½) of drama and is one fifth ⁄ of visual art”(p. 8). if three different subjects are to be amalgamated as one, there should be even distribution of those subjects. the study noted that the issue of injecting more fund into cca subjects because of the amalgamation, was not true. in fact, one may be lucky if cca should receive equal fund with other science subjects, considering the government‟s undue emphasis on its educational policy on science and technology to the detriment of the arts which is often made visible in the allocation of funds. apart from the time issue, the study found out that proper coordination in teaching cca where different teachers teach it is lacking (item 19, table 4). this coordination can be in the area of setting questions for quiz and examinations, marking of students answer scripts, sharing of periods, registering of students‟ scores, etc. proper guideline should be given in this area. implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 223 methodology factor instructional materials are used in teaching music no doubt, but what is doubtful is the adequacy and efficiency. also, the study strongly disagreed on the issue of adequate application/utilization of audio visual materials as instructional materials. when one is talking of adequate utilization of instructional materials, the person is talking of using a tool that will enable learning without tears, understanding without being a genius and remembering without much repetition. in this line, a chinese proverb states “tell me, i will forget, show me i might remember, involve me and i will learn”. no wonder nye and nye (1970) in onwuekwe 2007 said: learning takes place best when children are actively involved in the teaching-learning process for the young learner, music should be the discovery of musical sound – what it is like, what produces it, how he might respond to it, how it is organized, and how he might manipulate it. (p. 29) the study strongly agreed that teachers make effective utilization of cumulative test result of the students final evaluations. that notwithstanding, it is usually difficult to determine the particular subdivision of cca that the students individually are doing well in, since they are treated together as one subject. the scores for evaluation are not separated. for instance, music __, visual art __ and drama __ but bears cca __. this obvious limitation of cca evaluation can be a bottleneck in making intelligent judgement in music pedagogy as observed by onuora-oguno (2007) thus: evaluation, even with all of its frailties is the best way for unearthing objective truth. intuition and personal opinion have their place in life, but they do not provide objective information. evaluation is therefore the most appropriate way to make intelligent judgements in music pedagogy. (p. 77) implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 224 similarly, the study did not agree that there is effective report of students‟ music learning progress to school administrators. considering the challenges that cca amalgamation faces, to give progress report seems practically impossible. what the teachers strive to do is to coordinate properly and to give final report at the end of the term. ideally, music teaching should be more studentcentred than teacher-centred but the respondents disagreed that this is not obtainable at present. this may be attributable to many factors like the use of „read and teach‟ method, insufficiency of time, lack of instructional materials and how to use it, etc. hence, a music teacher must be conscious of things that will make his/her teaching effective. buttressing this further, onwuekwe (2007) observed that: music educators or teachers of school music have always been interested in improving the quality of music instruction. to achieve the above objective, the music educator must be vast in child psychology; methodology and knowledge of subject matter to enable him realize his noble objective of educating the child. (p. 29) conclusion in this study, the implementation strategies of the cca curriculum employed by the teachers in anambra state for upper basic education and its implications to music education has been carried out. from the analysis of the results obtained, it was observed that 20% were positively affecting the merger, 16% where insignificant while a whopping 64% were negatively affecting. the import of these results is that there is a need to review the curriculum in line with the challenges being currently faced. the required personnel should be adequately involved in the negotiation to enable the modifications of the grey areas so as to come out with a curriculum that will enable effective implementation and objectives actualization. implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 225 references aluede, r. o. a. (2006). universal basic education in nigeria: matters arising. journal of human ecology, 20(2), 97-101. ayeni, m. a. (2000, october). secondary education: a new look at nigerian adolescents and young adults. a paper presented atthe 18th annual conference of philosophy ofeducation association of nigeria. ikibe, s. (2009).music education through active musical experience. in e. idolor (ed.), music in africa: facts and illusions (pp. 99-104). ibadan: stirling-horden publishers. irivwieri, g. o. (2009). the implementation of the creative arts curriculum in secondary schools in nigeria.african research review: an international multi-disciplinary journal, 3(3), 342358. leonhard, c. and house, k. w. (1972).foundations and principles of music education. new york: mcgraw-hall book company. mbanugo, c. e. (1999). towards a philosophy of music education.unizik journal of arts and humanities, 1, 234-242. nwokenna, e. n. (2006). competencies needed for effective teaching of music in the secondary schools. awka journal of research in music and the arts (ajrma), 3, 47-61. obioma, g. (2007) 9 year basic education curriculum: cultural and creative arts for jss 1-3. federal ministry of education/nigerian educational research and development council (fme/nerdc). okafor, r. c. (2009, february). music and national development, annual lecture of the nigerian academy of letters for 2009.presented at the university of nigeria nsukka (unn). onwuekwe, a. i. (2007). the composer: a force to be reckoned with in music education of the nigerian child. awka journal of research in music and the arts (ajrma) 4(1), 27-37. implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka 226 onuora-oguno, n. c. (2007). problems of evaluation in practical music at the tertiary level: the nigerian experience. awka journal of research in music and the arts (ajrma), 4, 77-82. ugoo-okonkwo i. a. (2013). comparative analysis of the old music curriculum and the music aspect of the introduced cca curriculum of upper basic education in nigeria.international journal of music and performing arts, 1(1) 1-11. implementation strategies employed by teachers… ugoo-okonkwo, iruoma amaka awka journal of research in music and the arts (ajrma) vol. 16, september 2023 119 music as a tool for effective teaching and learning processes amongst selected nursery and primary schools, ondo west local government, ondo state d.o.a. ogunrinade, phd; k.e. olawale, phd department of music, adeyemi federal university of education, ondo bowen university iwo, nigeria ogunrinadedo@aceondo.edu.ng kolawole.olawale@bowen.edu.ng abstract the phenomenon of music is still undeniably real and is not inferior or despised. its instructional importance as a teaching tool cannot be overstated, and this makes its communicability appealing. it can enlighten, empower, educate, correct, chastise, impact, and so forth.this study examined the impact of music as a tool for effective teaching and learning processes amongst teachers of selected primary schools in ondo west local government area of ondo state. descriptive survey research design was adopted for the study. the population of the study comprised of primary school teachers in ondo west local government area of ondo state. a sample of 100 respondents which comprises of the primary school teachers were randomly selected for the study. structured questionnaire was administered to the teachers directly. the data collected were analyzed using percentage. the study revealed that nursery rhymes and didactic songs are important for language acquisition; songs provide the opportunity for children to value language and become confident learners. singing develops children non-verbal communication skills, repetition of nursery songs, improves spelling skills as well as opens the door for creativity and moral upbringing. the study recommended that music as a core subject should be appropriately included into the curriculum of preprimary and primary school levels and competent, qualified and professional music teachers should be employed to equip the pupils with foundational musical knowledge necessary for educational, social and affective behavior. keyword: music education, effective tool, teaching and learning processes, pre-primary and primary education. introduction music permeates the socio-cultural life of the africans especially in nigeria. no special event or occasion is complete without music being performed ( faseun, 2001; amuah, adum-attah & arthur, 2011; amuah & adum-attah, 2016). outside the framework of the formal education system, the performance of traditional music has been a means of inducting children into the musical heritage of their tradition, a field of cultural knowledge and artistic behaviour to which all children must be exposed (amuah & adumattah, 2016). according to amuah et al. (2011), children gain understanding, knowledge and skills in traditional music as they observe and imitate the practice of the art in their mailto:ogunrinadedo@aceondo.edu.ng awka journal of research in music and the arts (ajrma) vol. 16, september 2023 120 communities. through an informal setting, they acquire this important education for effective cultural engagement (amuah & adum-attah, 2016). in a formal school setting, nursery songs are important for language acquisition and help with speech development for children. they help children develop auditory skills such as discriminating between sounds and developing the ear for the music words. songs like these help kids articulate words, modulate voices (practicing pitch, volume and inflection) and enunciate clearly by saying them over and over without fear of criticism. ). faseun (2001) explicates that the main objective of music at the lower level of education is to assist the child to learn and to realize his physical, social, emotional aesthetic and intellectual potentialities. nursery songs provide excellent foundation for later literary works, they are a great introduction to stories since many contain a beginning, middle and end(sequencing). familiarity with nursery songs makes good readers, even despite differences in social background (eeralo & eeralo, 2014). work with these verses helps children detect the phonetic segments of words. music educators, researchers, and teachers have argued extensively about music’s positive effect on children ( menc, 2000, essa, 2003). a research study by eeralo and eeralo (2014) comparing seven hundred and thirty-five finnish children in an extended music class to those in a normal/control class indicates that, children who took part in the extended music class had higher satisfaction in almost all school activities including those not related to music class (eeralo & eeralo, 2014). certain musical values are expounded through the child’s intellectual development, physical activities, social responsiveness, moral development, aesthetic sensitivity, and his or her emotional responsiveness leading to the child’s growth and development. more so, it is claimed that nursery songs help some children learn discrete units sounds in a language (eeralo & eeralo, 2014).. children between the age of two and three are just learning how to form sentences since they do not always understand where one ends or begins, the meter of nursery songs help children to create mental image based on tones they hear. there is a sense of togetherness that nursery songs provide. beside it creates common connection between home and school when parents sing with their children. as children are chanting or singing nursery songs, they learn how to articulate words, practice using pitch and volumes. statement of the problem with so much benefit inherent in the use of music for children, it has been observed that in many of the nursery and primary schools, the use of music has been neglected due to so many reasons among which are lack of quality time allotted for singing, incompetence of teachers to engage the pupils in singing that will benefit them, poor facilities that could be used in singing, among others. it is therefore pertinent that this research is geared towards investigating the effects of music amongst teachers in nursery and primary schools in ondo west local government area of ondo state. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 121 objectives of the study the objectives of the study are to: 1 investigate the effect of music in nursery and primary schools; 2 find out how singing can develop children’s language and communication skills; and 3 validate how nursery songs could develop the children’s vocabularies. research questions 1. what are the effects of music in pre-primary schools? 2. what are the ways in which nursery songs develop children’s language and communication skills? 3. how could one validate the effects of nursery songs on development of the children vocabularies? concept of music music epitomizes a basic part of human existence, arising from the physiological, psychological, and sociological needs of humankind. as such, the value of musical pursuit is derived not only from the endeavour to achieve the highest forms of the musical art according to socially accepted norms, but also from everyday musical encounters of every person (ogunrinade,2016) . to this end, music is a necessity, life-enhancing experience which should be nurtured by all individuals, not only by those gifted with exceptional musical aptitude person (ogunrinade,2016) music is a sound arranged in such a way that when listening to it sounds pleasant or exciting. to start with, it serves as an entertainment tool. for instance, in an occasion or event, it plays a vital role that makes the event lively for the people (ogunrinade, etal, 2020) similarly, it creates a cordial relationship among the people, serves as a vehicle for both propaganda and an agent of comfort in wartime; it equally produces a complex web of pleasure, power, and identity. the social function of music during wartime presents an intersection between two significant social experiences, musicality and conflict (adedeji, 2010). it serves as a meeting point of two seemingly disparate practices that work powerfully to promote political goals. correspondingly, the social role of music in conflicts is multifaceted; it serves as a tool for settling disputes owing to disagreement between two or more people, it can be played to bring harmony between aggrieved citizens. when it is actively involved in music making, it enhances self-esteem and promotes the development of a range of social and transferable skills (adedeji, 2010). ogunrinade, et al. 2020 posits that coordinates the brain, body, and soul as well as gives amazing open doors to self-articulation, carrying the internal world into the external universe of substantial reality, which thus offers road to "stream states" and pinnacle encounters. it additionally makes a consistent association between inspiration, guidance, evaluation, and down to earth application prompting "profound comprehension." nothing is persuasive like music. music is of invariant significance. it is present in all cultures, at all times, and throughout the known historical development of the human species, facilitating emotional, physical, and social expression, also, music satisfies the human need for aesthetic enjoyment, provides for communication of cultural ideals, integrates, awka journal of research in music and the arts (ajrma) vol. 16, september 2023 122 and acculturates. it serves as both a reflection of, and a catalyst for sociological and technological growth. music being an integral aspect of african culture is also an agent of economic empowerment. concept of music education music education is a discipline related with the training and learning of music. it touches other domains of learning, including the psychomotor domain, the cognitive domain, and specifically the significant ways in relation with the affective domain that include music appreciation and sensitivity. music education is a process where understudies (adults and young ones) are presented to valuable open doors for making, creating and listening to music sounds. it gives the understudies a general musical background to use as basis for making musical choices and assisting learners to discovering and encouraging musical talents for national development. education has been viewed as a systematic training and instruction designed to transmit knowledge and develop skills in individuals (tarner & worley, 2016). this conception of education can be regarded as being general since it embraces formal and informal education. education is seen as all of man’s activities which enabled him not only to realize himself but also to be an effective individual capable of fulfilling his domestic and civic obligation to accelerate the pace of development and general racial implementation (peters, 2010). therefore, education plays a dominant role in equipping the citizens in order to discover the state of the past and present human activities in any society. also, it preserves them for the purpose of transmission to younger generations and generations yet unborn through various effective means. these human activities include among others, the musical practices of the people which manifest in singing, dancing, drumming and other forms of instrumental playing (peters, 2010). concept of pre-primary and primary education pre-primary education is also another name of nursery education in nigeria. pre-primary education refers to the education given in an educational institution to children from age 3 to 5 plus prior to their entering the primary school (gillon, 2004). it is an officially acceptable and recognized policy, and this goal is meant for every child irrespective of his/her socio-economic background. this education is faster in urban centres where industrialization has taken place, where government and private institutions are established specifically for the purpose of teaching and acquiring knowledge, skills and concepts (gillon, 2004). the concept of primary education is commonly observed to be an education given to children within their late childhood (herrera, al-lal & mohamed, 2020). this view may justify why the federal republic of nigeria (2004) in her national policy on education defines primary education as the education given in an institution for children from age 6 to 11 plus. it went further to explain that the rest of the education system is built upon it and it is the key to the success or failure of the whole system. since mentioned is made about what happens after primary education there is the need to look at what happens before the primary education of the child. it is noted that the education before awka journal of research in music and the arts (ajrma) vol. 16, september 2023 123 the child commences primary education is commonly described as ‘early childhood education’ or pre-school education. its definition has attracted different interpretations by different people and societies. the perception held by an individual or a society determines the practices and the ways early childhood education is organized. in an attempt to define early childhood education, lawali (2008) conceptually refers to it as the education an individual receives at his earliest years of life. corroborating the view of lawali, odigie (2012) explains that it is the programme of studies providing opportunities for genuine learning to children between the ages from 0-5 years prior to their entering the primary school. the blanket definition as proposed by lawali and odigie may mean that it covers the childs education from 0-5 years. the pre-primary and primary education in nigeria is part of the government’s efforts to exert her commitments to the provision of fundamental education for everyone. the efforts of the government to include the pre-primary and primary education in the national policy on education (npe) shows her concern for children in this level of education is a response to many world educational summits to which nigeria is a signatory. the federal government of nigeria has shown serious commitment to educating her citizens. this is evident from the national policy on education (1977, 1981, 1998 and 2004). it reflects nigeria’s philosophy of education, and acknowledges that education is an instrument for national development as well as the most important instrument of change. music and singing in pre-primary school from the age of three and until kindergarten, children, according to ostwald (1973) in sakalak (2004), have acquired an increasing ability of singing melodies, repeat rhythms and utilize instruments which produce sounds. they demonstrate the first indications of absolute pitch or other special interests and are in the position to develop beneficial skills through group or private teaching. the foetus responds to music by opening and closing its eyes and moving as if it was dancing while inside the womb for twenty-fourth weeks (fonseca-mora, 2000). when listening to music, we are calm, we are soothens, and we are pleased. comenius (1979) was one of the first supporters of the inclusion of music in the pre-school curriculum, among other subjects, in order to awaken the senses, soothe the spirits, contributes to speech generation and promotes good health (franseca-mora, 2000). music develops creative attitude, imagination and inventiveness of pre-school children through using and constructing musical instruments, as well as various musical games. it involves singing, dancing, listening to selected music, orchestration of various songs taught in kindergarten with improvised musical instruments, recognition of sounds, dramatization of musical fairy tales and fables. this exercise does not only improve their cognitive, emotional and mental development, but their knowledge as well. thus, they develop elements of their personalities which subsequently help them develop into mature and cultured individuals. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 124 songs have always been useful educational materials for educators, as they allow individual expressions, while at the same time promotes cognitive and communicative objectives. moreover, as argued by derrington (2005), the process of writing lyrics for a melody is linked to both cognitive and emotional goals. it constitutes a very familiar and intimate process for children who link their school life to their social life and for this reason; it acquires a special meaning for them. therefore, it is a creative process which, if realised in a participatory manner, has the ability to enhance the relationship and the interactions between the individuals of a group (wigram & baker, 2005). according to badly (2010), singing is simple; as long as we comprehend what we are trying to sing and that such song has communication as its main objective, transmitting both information and emotions. the issues the educator is called to resolve are, primarily, tonal accuracy and, secondarily, characteristics such as volume, breathing, correct articulation and vocal expression which leads to song performance. according to welch, et al. (2011), the objective of english programme called “national singing programme” or “sing up” which was created under the auspices of the british ministry of culture was to provide each child the opportunity to feel the joy of music and to develop their skills through song. within a group which “builds” unique personalities. impact of music on children singing and music play an important role in our culture. its impact is felt in many aspects of our lives: theatre, television, movies, worship, holidays, celebrations, and government and military ceremonies. at home, music can become part of our family cultures, a natural part of our everyday experiences. from birth, parents instinctively use music to calm and soothe children, to express love and joy, and to engage and interact. parents can build on these natural instincts by learning how music can impact children development, improves social skills, and benefits children of all ages. here are some of the ways finger plays, chants, rhymes and songs teach children concept and skills and even provide emotional support (adjepong, 2020).  expand communication and imagination even before babies are able to talk, their babbling and sound-play help them develop neural pathways necessary for listening and speaking. did you know infants who hear language directed and responsive to them tend to babble more and have larger vocabularies as toddlers? children can easily and quickly mimic music and sound they hear as an additional way to understand and make sense of the world around them (adjepong, 2020).  music builds intimacy close relationship has a significant impact on children’s development and music can support this intimate relationship. studies have found that babies listen calm to a lullaby for twice as long as baby talk or adult speech! when caregivers or parents sing lullabies and enhance their pitch, tone and lyrics to soothe and relax the baby, they will also feel sense of security and care (adjepong, 2020). awka journal of research in music and the arts (ajrma) vol. 16, september 2023 125  develops fine and gross motor control making music, especially through tapping or clapping and movement, can help enhance fine and gross motor skills! simple songs combined with play can help boost the brain and body coordination. all of these activities help build important connections in the brain this essential time of development (adjepong, 2020). it has been emphasized that the child who is not sufficiently exposed to music in the elementary years may never realize his/her full potential (onyiuke, 2001),  it makes them happy live music is exciting for us adults, but it is even more exciting for the little ones! live music is known for creating delight and excitement in those experiencing it, lifting our mood and protecting us from sadness and illness. performing lovely music and dances are ways for children to discover the possibilities of laughing and joking, and to experience positive emotions like delight, joy and affection (adjepong, 2020; okafor, 2005). methodology research design the study adopted a descriptive research design. a descriptive research design is structured, has investigative questions and part of formal studies. area and population of the study the population of the study comprised of primary school teachers in ondo west local government area of ondo state. a sample of 100 respondents which comprises of the primary school teachers were randomly selected for the study. sampling and sampling techniques random sampling method was adopted using 50 respondents (teachers) from each of five selected nursery and primary schools to represent the entire population of teachers and pupils in the local government. research instrument the research instrument for this study was questionnaire. a set of questionnaire was designed and administered to the teachers. oral interview (asking them to recite some common rhymes) was conducted for pupils. the teachers’ questionnaire consists of twenty (20) items, the questionnaire for the teachers is closed ended type. the teachers’ questionnaire was divided into two sections, a and b, while section a deals with the general information about the teacher like sex, name of school, years of experience and qualification while section b deals with the research questions stated in chapter one. the questionnaire is based on the objective of this research which is to find out the effect of nursery rhymes. validation of instrument the questionnaire and interview guide were given both face and content validity by the supervisor and experts in the department of music. the validity was made before final documents were produced and used to collect information and data used in this study. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 126 administration of research instrument the questionnaire was personally administered to the teachers by the researcher with the help of the head teachers in each of the primary schools selected for the study. the pupils through the interview guide recited some common nursery rhymes with the help of their class teachers. by doing this the researcher was able to get the individual response. data analysis the data collected were analyzed using simple percentage. this section presents the analysis of data collected. it presents answers to the research questions raised in this write-up. analysis of findings and discussion were generated based on answers to the research questions research question one: what are the effects of music in preprimary schools? table 1 : the effects of music in preprimary schools s/n item sa a sd d 1 nursery songs are for children only 68 68% 20 20% 8 8% 4 4% 2 nursery rhymes can affect the pupils in other subjects 56 56% 8 8% 36 36% 3 singing helps children to stay engaged in schools 60 60% 3 3% 28 28% 12 12% 4 kids who sing songs are equipped to become better readers 44 44% 52 52% 4 4% 5 nursery songs help the children to easily learn and memorize 32 32% 32 32% 28 28% 8 8% 6 music impacts knowledge to the children’s life 42 42% 12 12% 18 18% 28 28% 7 singing and rhymes are full of fun 24 24% 21 21% 15 15% 40 40% the data presented in table 1 above, showed that 68% of the total respondents strongly agreed that nursery songs are for children only, 20% of the respondents agreed and 8% of the respondents disagreed and 4% strongly disagree on the consent that nursery songs are mainly for the children. in item 2, 56% of the respondents supported that nursery rhymes can affect the pupils in other subjects, 8% agreed, while 36% of the total respondent strongly disagreed that nursery rhymes can affect the pupils in other subjects in item 3, 60% of the respondents strongly agreed that singing helps children to stay engaged in schools while 3% agreed, 28% disagreed and 12% strongly disagreed on the concept. in item 4, 44% of the total respondents strongly agreed that kids who sing songs are equipped to become better readers, while 52% agreed and 4% disagreed on the concept. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 127 in item 5, 32% of the total respondents supported that nursery songs helps children to easily learn and memorize, while 32% agreed to the student’s improvement in reading skills while 28% strongly disagreed, and 8% of the total respondent disagreed on the idea. in item 6, 42% of the total respondents strongly agreed that music impacts knowledge to the children’s life, while 12% agreed, 18% disagreed and 28% of the student response strongly disagreed on the statement. in item 7, 24% of the total respondents supported that singing and rhymes are full of fun, 21% agreed while 15% strongly disagreed, and 40% disagreed respectively. research question two: how can singing develop children’s language and communication skills? table 2: impact of singing on children’s language and communication skills s/n item sa a s d d 1 nursery rhymes are important for language acquisition 48 48% 16 16% 36 36% 4 4% 2 songs provide the opportunity for children to value language and become confident learners 4 4% 36 36% 12 12% 48 48% 3 mother’s tongue helps in singing of nursery songs 48 48% 4 4% 36 36% 12 12% 4 singing develops children’s non-verbal communication skills 4 4% 48 48% 36 36% 16 16% 5 nursery songs give good information about music to the children 4 4% 16 16% 36 36% 48 48% 6 songs help the children to understand how words are formed 24 24% 21 21% 15 15% 40 40% 7 songs create a close relationship between adults and children 50 50% 13 13% 17 17% 20 20% from the table two above in item 1, 48% of the total respondents supported the concept that nursery rhymes are important for language acquisition, 8% agreed, while 36% strongly disagreed and 4% disagreed on the statement. in item 2, 4% respondents strongly agreed that songs provide the opportunity for children to value language and become confident learners, 36% agreed, but 12% strongly disagreed and 48% disagree with the assertion respectively. in item 3, 48% of the total respondents strongly agreed that the mother’s tongue helps in singing of nursery songs, 4% agreed, 36% strongly disagreed and 12% respondent disagreed on the concept. in item 4, 4% respondents strongly agreed that singing develop children non-verbal communication skills, 48% agreed, 36% strongly disagreed while 16% of the total disagreed on the statement. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 128 in item 5, 4% respondents strongly agreed that nursery songs gives good information about music to the children, 16% agreed, 36% strongly disagreed and 48% of the total respondent disagreed on the idea. in item 6, 24% of the total respondents strongly agreed that songs helps the children understand how words are formed, while 21% agreed, 15% disagreed and 40% of the student response strongly disagreed. in item 7, 50% of the total respondents supported the idea that songs create a close relationship between adult and children, 13% agreed while 17% strongly disagreed, and 20% disagreed on the concept respectively. research question three: how did nursery songs increase the vocabulary of the children? s/n item sa a s d d 1 singing of different songs improve the children vocabularies 48 48% 16 16% 36 36% 4 4% 2 songs helps children to learn new words 44 44% 3 3% 24 24% 27 27% 3 nursery songs expand children’s imagination 44 44% 52 52% 4 4% 4 singing teaches children how to read and write 64 64% 32 32% 4 4% 5 repetition of rhymes and stories are good for the brain to memorize a given lesson 32 32% 32 32% 28 28% 8 8% 6 singing has positive effects on the children to memorize 42 42% 12 12% 18 18% 28 28% from the above table in item 1, it was revealed that 48% of the respondents strongly agreed that singing of different songs improve the children vocabularies, while 16% agreed, and 36% strongly disagreed also 4% of the total respondent disagreed on the statement. in item 2, 44% of the total respondents strongly agreed that songs help children to learn new words, 3% agreed, 24% strongly disagreed. while 27% disagree on the notion. in item 3, 44% of the total respondent strongly agreed that nursery songs expand children’s imagination, 52% agreed to that while 4% strongly disagreed on the statement. in item 4, 44% of the total respondents strongly agreed that singing teach children how to read and write, 52% agreed, 4% of the total respondent strongly disagreed on the statement. in item 5, 32% respondents strongly agreed that repetition of rhymes and stories are good for the brain to memorize a given lesson, 32% agreed, 12% strongly disagreed while 4% disagree. in item 6, 24% of the respondents strongly agreed that singing has positive effects on the children to memorize, 21% agreed, 15% disagreed and 40% of the total respondents strongly disagreed on the concept. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 129 findings findings of the study revealed that nursery songs are good for children; nursery rhymes can affect the pupils in other subjects, singing helps children stay engaged in school; kids who sing songs are equipped to become better readers, and nursery songs help children to easily learn and memorize. adjepong (2020) corroborates this concept when he explicates those children can easily and quickly mimic music and sound they hear as an additional way to understand and make sense of the world around them. music however, impacts knowledge into the children’s life, singing and rhymes are full of fun and improve the reading skills of children. in addition, the ways with which nursery songs increase the vocabulary of the children make songs and nursery rhymes to be imperative and vital for language acquisition. songs provide the opportunity for children to value language and become confident learners. besides, mother’s tongue helps in singing of nursery songs, and singing develops children nonverbal communication skills. it was equally discovered that nursery songs give good information about music to the children; songs help the children understand how words are formed. the study similarly showed the effects of nursery songs in developing the life of children. it revealed that singing of different songs improves the children vocabularies, songs help children to learn new words, nursery songs expand children’s imagination, singing teaches children how to read and write, repetition of rhymes and stories are good for the brain to memorize a given lesson, singing has positive effects on the children to memorize and so on. nursery songs develop auditory skills and speech development in children. it was also revealed that, music and nursery rhymes help children to learn, singing helps children to learn different beats and rhymes, nursery songs help children to differentiate between good and bad habits, nursery songs develop literacy skills of the children, repetition of nursery songs improve spelling skills, love for music and nursery rhymes opens the door for creativity. the study discovered that, nursery songs are for children only, nursery rhymes can affect the pupils in other subjects, singing helps children to stay engaged in school, kids who sing songs are equipped to become better readers, and nursery songs help children to easily learn and memorize. music also impacts useful knowledge to the children’s life, singing and rhymes are full of fun and thereby improve the reading skills of children. nursery rhymes are important for language acquisition, songs provide the opportunity for children to value language and become confident learners while mother’s tongue helps in singing of nursery songs for better comprehension. equally, singing develops children non-verbal communication skills, helps children to understand how words are formed, improves their vocabularies; assist them to learn new words as well as expanding their imagination. singing teaches children how to read and write, repetition of rhymes and songs are good for the brain to remember a given lesson, music has positive effects on the children to learn by heart and to learn different beats. in addition, music assist pupils to differentiate between good and bad habits through its lyrics, develop literacy awka journal of research in music and the arts (ajrma) vol. 16, september 2023 130 skills of the children, and improve spelling skills. generally, love for music opens the door for creativity. conclusion this systematic review found that using music in the education of 3–12-year-olds can have a positive effect on their emotional development. it was discovered that it can contribute to the development of pupil’s emotional intelligence, especially with regards to emotional perception, expression, and regulation. the students that took part in activities using music were more capable of recognizing and expressing their emotions and regulating their emotional states, such as aggression or anger. secondly, we found that music is capable of providing educational, formative, and socio-emotional benefits. in this regard its emotional impact can improve aspects such as deductive reasoning, creativity, graphic representation, reading, spelling, education in values, or practical instrumental skills. it can also boost attitudes such as sympathy, empathy, and other pro-social skills, and reduce anxiety, depression, and defiant attitudes. it is therefore recommended that music be incorporated into the different curricular levels, educational contexts, and areas of knowledge. likewise, the establishment of educational policies aimed at guaranteeing universal access to musical training is suggested, as well as an increase in the presence and recognition of this discipline in formal educational contexts. recommendations based on the findings of this research, the following recommendations were suggested 1. each group of children learning in an early childhood education and care programme should be assigned to a well-trained and qualified music teacher. 2. teacher education programs should require mastery of information on the pedagogy of teaching preschool-aged children, including: knowledge of teaching and learning and child development as well as how to integrate them into practice. 3. music as a core subject should be appropriately included into the curriculum of pre primary and primary school level. 4 adequate and relevant musical equipment should be provided for suitable learning process in the preprimary and primary school level. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 131 references adedeji, a. (2010). yoruba culture & its influence on the development of modern popular music in nigeria (doctoral dissertation, the university of sheffield). adjepong, b. (2020). the value and importance of music to children’s growth and development. iosr journal of humanities and social science, 25(4), 1-9. amuah, i. r., & adum-attah, k. (2016). music and dance for basic school teachers. cape coast: college of distance education, university of cape coast. amuah, r. i., adum-attah, k., & arthur, k. (2011). music and dance for colleges of education: principles and practice. cape coast: kramad publication ltd. badly, f. (2010). theories of social capital: researchers behaving badly. pluto press. chukwuma, l. & onwuekwu, j. (2021). on the concept of music. in aesthetics (pp. 192 195). routledge. derrington, c. 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(2012). perception of children‟s reading with literature and audio visual materials in the public library. information impact: journal of information and knowledge management, 11(4), 48-58. ogunrinade, d.o.a (2016) contemporary nigerian popular music: a menace to national development. journal of arts and humanities, vol. 5 no. 1 https://www.theartsjournal. org/index.php/site/article/view/865/441 ogunrinade, d.o.a, babarinde, b. j. and owolabi, i. o. (2020) “assessment of contemporary music on academic achievement of students in adeyemi college of education, ondo” african musicology online 10 (1) 42-65, https://www.theartsjournal.org/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 132 ogunrinade, d.o.a, owolabi, i. o. and shosanya, b. o. (2020) “application of information and communication technology (ict) in music as a subject in ondo secondary schools of ondo state, nigeria” african musicology online 10 (2) . 27-50, okafor, r .c (2005) music in nigerian society enug:. new generation book onyiuke, y. s. (2001). music as a source of aesthetic education. journal of arts and humanities, 2, 45-56. peters, m. (2010). from strange to impossible: interactive attractor music. contemporary music review, 29(4), 395-404. welch, b., corina, d.p. & williams, k.e. (2011). the effect of music intervention on kindergarten phonological awareness skills. wigram, t. & baker, f. (2005). songwriting: methods, techniques and clinical applications for music therapy clinicians, educators and students. jessica kingsley publishers. awka journal of research in music and the arts (ajrma) vol 17 june 2024 299 predictors of music education apathy among secondary school students in port harcourt metropolis: implications on development of digital economy modeme, eyiuche rita ph.d department of music university of port harcourt, rivers state, nigeria phone: +234-8037508877 e-mail: eyiuche.modeme@uniport.edu.ng abstract this study focused on predictors of music education apathy among secondary school students in port harcourt metropolis, nigeria. the study hoped to resolve the problem of the study which was the unenthusiastic attitude of students towards the study of music education in schools, the failures in music as a subject and the skipping of music classes often experienced by the teacher in schools in the area. the study had three specific objectives, research questions and corresponding hypotheses. the population of the study consisted of 2,132 senior secondary school 1 (sss1) students in private secondary schools in port harcourt metropolis. from the population, a sample of 60 respondents was drawn using multi-stage sampling procedure. two instruments used in collecting data for the study were the “factors influencing music education apathy questionnaire” (fimeaq) and the “correlates of music apathy questionnaire” (comaq). validity of the instruments was determined by giving the instruments to experts in measurement and evaluation for vetting while the reliability of the instrument was determined using cronbach alpha method with a reliability index of 0.86. method of data collection was on face to face basis while the method of data analysis included the independent t-test, analysis of variance as well as simple regression analysis. results showed that educational qualification (p=0.03<0.05), career prospect (p=0.021<0.05) and teacher’s teaching method (p=0.034<0.05) had significant influence and relationship relatively with music apathy among ss1 students. on the contrary, economic status (p=0.45>0.05) had no significant influence on music apathy among ss1 students. based on this, it was recommended among others that government as well as private school stakeholders should ensure that they hire music teachers with nigerian certificate in education (nce) or first degree in music education since this was found to influence the level of interest students have for music education. keywords: music, apathy, economic status, teacher qualification, career prospect. introduction education is a basis for national progress and nourishment. the need for a change is not usually borne out of pressure but out of the wish by both the government and the people to grow a system that meets their goals, ambitions, immediate and long term needs (ayodele, 2001). as noted by ogunsanya (2004), education turns out to be an important tool that is required for the development of minds from childhood to adulthood in a chosen environment, such as the school, the home, the church and so on, where education and the gaining of skills can take place for the overall growth of the individual and the nation at large. education is generally recognised as one of the most important factors for human growth and a lack of it puts the nation as well as the individual in a serious compromising position. again, education is all-rounded. this means that an individual cannot claim to be educated when he/she has no sufficient education that touches all aspect of its life. one of such varied aspects of education is music education. mailto:eyiuche.modeme@uniport.edu.ng awka journal of research in music and the arts (ajrma) vol 17 june 2024 300 music, according to epperson (2022), varies in definition with respect to various cultures, though it is an aspect of all human societies and a cultural universal. morley (2013) also argued that while scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. however, it is noted that music is the art of arranging sounds to create a combination of form, harmony, melody, rhythm, or otherwise expressive content. music could be described as a creative construction in sound for social and aesthetic reasons (onyeji, 2016). it is obvious that music plays a significant role in socialising every human being, especially students who are teenagers. teenagers and students listen to various genres of music like rap, heavy metal, christian rock, country music, jazz, electrical music, dance music, among others. music involving rap, hip hop, hard rock and christian rock has become the most popular types of music among teenagers. according to ahmed (2022), music is a universal language. it transcends cultures and generations, bringing people together in moments of shared joy and unending connection. it boosts our mood, refreshes our souls, and dancing to music takes all our worries away. it is evident that the teaching of music has the ability to make students to feel motivated to learn; they become more confident speakers; they develop analytical thinking skills; and most significantly, they discover hidden passions that give them a lifelong advantage. certainly, since music education is highly beneficial for students, many schools have started music education programmes to develop creative and social skills in students. as well as, music education is most often enjoyable for both students and teachers. learning about music and having the opportunity to play musical instruments and make music together is a vital part of a rich and rounded education. it has also been proven that music plays a key role in brain development. this is because it helps with the nurturing of language, motor skills, emotional intelligence and collaboration skills (baltagi, nd) music education touches on all learning domains, including the psychomotor domain (the development of skills), the cognitive domain (the acquisition of knowledge), and, in particular and the affective domain (the learner's willingness to receive, internalize, and share what is learned), including music appreciation and sensitivity. many music education curricula incorporate the usage of mathematical skills as well as fluid usage and understanding of a secondary language or culture. the consistency of practising these skills has been shown to benefit students in a multitude of other academic areas as well as improving performance on standardised tests. cultures from around the world have different learnable approaches to music education, largely due to the varying histories and politics. studies show that teaching music from other cultures can help students perceive. in nigeria, the teaching of music is common because involvement with music is considered a fundamental component of the indigenous african culture. okafor (2005) stated that since the 1950s, the governments of the western and eastern regions of nigeria have invested more of their revenues in education than in any other sector of development. this was a shift from the old colonial system in which education, consisting mainly of literacy and numeracy, served only to provide workers for the colonial civil service. government has also stated that for the benefit of all citizens the country's educational goals in terms of its relevance to the needs of the individual as well as in terms of the kind of society desired in relation to the environment and the realities of the modern world and rapid social changes should be clearly set out (federal republic of nigeria, 1981). awka journal of research in music and the arts (ajrma) vol 17 june 2024 301 according to the national policy on education (federal republic of nigeria, 1981), “education in nigeria is no more a private enterprise, but a huge government venture”. that has witnessed a progressive evolution of government's complete and dynamic intervention and active participation. the federal government of nigeria has adopted education as an instrument par excellence for effecting national development. the national policy on education went further to state that: “nigeria's philosophy on education, therefore, is based on the integration of the individual into a sound and effective citizen and equal educational opportunities for all citizens of the nation at the primary, secondary and tertiary levels both inside and outside the formal school system”. frn, 1981). in the traditional nigerian society music was an integral part of education. a musician was often expected to practice other areas of the arts and occupations. there were musical families with long traditions of music making. modern society has made music an abstract art or discipline a specialised subject studied apart from life and the activities of the immediate environment (okafor, 2005). the educational infrastructure of the country can be defined loosely as consisting of the educational institutions, the educators themselves, and the appurtenances of teaching. as noted by okafor (2005), it is the institution of learning that is responsible for individual’s education in music in an organized manner. this can be said only if we ignore the apprenticeship system used by the traditional society for the teaching and transmission of music. the tertiary, secondary, and primary schools were equipped mainly with western musical instruments, and the teachers (those who were respected among them) were those trained in western education. therefore, the prestige of music education for decades relied mainly on the quality of western musical education that the teacher or the musician had received. this system ignored or snubbed the traditional music education, traditional music, as well as popular music on which most of the music industries depended for survival. here, it was obvious that those who had better education in music were observed to be underpaid. despite the impact of music on the lives of the students, it has also been observed that there is apathy in the acceptability of music in nigerian secondary schools (okafor, 2005). apathy is a lack of feeling, emotion, interest, or concern about something. it is a state of indifference, or the suppression of emotions such as concern, excitement, motivation, or passion. fahed and steffens (2021) stated that apathy falls in the less extreme spectrum of diminished motivation, with abulia in the middle and akinetic mutism being more extreme than both apathy and abulia (marin & wilkosz, 2005). an apathetic individual has an absence of interest in or concern about emotional, social, spiritual, philosophical, virtual, or physical life and the world. apathy can also be defined as a person's lack of goal orientation. in positive psychology, apathy is described as a result of the individuals' feeling they do not possess the level of skill required to confront a challenge ("flow"). it may also be a result of perceiving no challenge at all (for example, the challenge is irrelevant to them, or conversely, they have learned helplessness. bishop (1989) observed that apathy in students, especially those in high school, is a growing problem. it causes teachers to lower standards in order to try to engage their students. apathy in schools is most easily recognised by students being unmotivated or, quite commonly, being motivated by outside factors like the need to make money to the detriment of their music classes. music education apathy could be described operationally as the lack of interest in the study of music as a subject by students in secondary schools. nowadays, even when music is offered in some schools and being a crucial part of education, most of the students lose interest in music at some point. they stop playing their instruments a couple of years after completing their education, which is really awka journal of research in music and the arts (ajrma) vol 17 june 2024 302 unfortunate and in some cases, students start distancing themselves from their music classes when they are still in schools. in reality, it could have been expected that when students are being taught by a music teacher, the students would have that inquisitiveness to learn new things about music education daily. unfortunately that does not always happen in today's society especially in port harcourt metropolis. expectedly, students must have a strong determination to understand the technicalities of playing different types of musical instruments, but when they start losing focus, they fail to make a mark or achieve success in this area, irrespective of the fact that music education helps in imbuing numerous skills in individuals. there are a lot of factors that many have opined that could be responsible for music education apathy among students but to the best of the researcher’s knowledge, little has been proven empirically with regards to port harcourt metropolis as an area. in this study therefore, attempts will be made to investigate some factors which the researcher suspect may influence music education apathy. some of these may include socio-economic status, teacher qualification, career prospects as well as teaching method adopted by the teachers. economic status is the level of economic and social standard which individuals stand in the society. it mirrors the ability or inability of the of individuals to provide basic necessities for their families it is expressed in the type of job one does (occupation), social recognition, location of residence, education, monthly income among others. the economic status of a family may have a lot to do with the behaviour of the children in both the home and the school. it could be that the economic background of students may be a factor in the determination of their interest in music education in secondary schools. kemjika (2008) opined that children from high-income families go to the best primary and secondary schools and could be better motivated to study compared to those with low economic status who may not have the resources that can serve as a motivation for them. in contrast, children from low-income families attend public schools and may not have the privileges and opportunities they may need to succeed. he noted that the economic status of parents influence the schools their children attend and the choice of careers they make (or forced/coerced to make?) in life. according to kosemani (2002) some children are privileged to be raised in high socio-economic status homes which may aid their motivation for studies. on the contrary, some are raised in low socio-economic status homes and these have tremendous negative effects on their behaviour, thinking pattern and attitude in general. this teacher qualification gives a teacher authorisation to teach and grade in countries pre-schools, primary and secondary schools as well as colleges, content areas or curricula where authorisation is required especially in a specific area. teacher qualification is one of a number of academic and professional degrees that enables a person to become a registered teacher. examples of teaching qualifications in different especially as it relates to the nigerian environment include the national certificate in education (nce), postgraduate certificate in education (pgce), the professional graduate diploma in education (pgde), bachelor of education (b.ed), masters of education (m.ed) among others. it could be that the level of teacher qualification may play a part in the extent to which students appreciate music education. awka journal of research in music and the arts (ajrma) vol 17 june 2024 303 career prospects refer to opportunities for growth and advancement within a particular field or industry. these include potential job openings, promotions, salary increases, and other career-related benefits. factors that may influence career prospects may include the demand for skilled workers, advances in technology and industry, and competition for jobs. based on this, it could be that the career prospects made available for music students may play a part in their level of apathy for the subject. while some students have dreams about what they want to become and want to achieve, some others yet be undecided about their future. teaching methods considered as one of the possible predictor of music education apathy are the various strategies, techniques and approaches teachers use in impacting knowledge to the students. eze et al (2017) stated that teaching methods are core determinants of the teaching learning process. this means that if the teaching methods are effective, then students may achieve higher. the converse is also true. in music education, the results posed by applications of various teaching methods are similar. the researcher suspects that the various approaches music teachers use in teaching music could be responsible for the level of music apathy experience among students in secondary schools in port harcourt metropolis. the observed problem of music education apathy is worrisome as students refuse to stay in music class or opt out from it as a choice or careers. in secondary schools especially in port harcourt metropolis state, it is not far-fetched that students refuse to participate in music classes. on the contrary, while most students in port harcourt metropolis could be seen using musical gadgets like ear-pods and phones, the opposite is the case in terms of practical learning of the subjects in schools. one is left to wonder how such individuals will be able to become music stars when they develop apathy to the subject which should have given them the platform to be the stars they so desire. in the light of the above, it is the aim of the researcher to examine the predictors of music education apathy among secondary school students in port harcourt metropolis, nigeria. the aim of the study is to examine predictors of music education apathy among secondary school students in port harcourt metropolis, rivers state, nigeria. specifically, the study will: 1. investigates the influence of economic factor on music education apathy among secondary school students in port harcourt metropolis: 2. ascertain the influence of teacher qualification on music education apathy among secondary school students in port harcourt metropolis: 3. find out the relationship between career prospect and music education apathy among secondary school students in port harcourt metropolis; and 4. investigate the relationship between teaching methods and music education apathy among secondary school students in port harcourt metropolis. the following research questions guided the study 1. to what extent does economic factor influences music education apathy among secondary school students in port harcourt metropolis? 2. to what extent does teacher qualification influences music education apathy among secondary school students in port harcourt metropolis? 3. to what extent does career prospect relates with music education apathy among secondary school students in port harcourt metropolis? 4. to what extent does teaching methods relate with music education apathy among secondary school students in port harcourt metropolis. awka journal of research in music and the arts (ajrma) vol 17 june 2024 304 the following hypotheses were also formulated in line with the research questions 5. economic status has no significant influences on music education apathy among secondary school students in port harcourt metropolis. 6. there is no significant influence of teacher qualification on music education apathy among secondary school students in port harcourt metropolis. 7. there is no significant relationship between career prospect and music education apathy among secondary school students in port harcourt metropolis. 8. there is no significant relationship between teaching methods and music education apathy among secondary school students in port harcourt metropolis. methodology the study adopted the descriptive and correlational research designs. descriptive research design according to nwankwo (2011) is that design that allows the researcher to draw a sample from a larger population, determine their responses and analyse them without manipulating any variable. the researcher drew sample from the population of secondary school students with regard to certain demographic characteristics like their economic status as well as the qualification of their music teachers. the population of the study consisted of 2,132 ss1 students in private secondary schools in port harcourt metropolis. the researcher used this population because they offer music at their level and are also able to provide relevant data needed for the study. a sample of 60 respondents was drawn using multi-stage sampling procedure. at stage one, the researchers used purposive sampling technique to focus only on students from private schools who offer music as a course of study. at stage two, the researcher used non-proportional sampling technique to draw 12 private secondary schools in the area. finally, the researcher at stage three used non-proportional sampling technique to draw five students from each of the schools giving a total of 60 students from the 12 schools that were selected. two instruments were used in collecting data for the study. they were the “factors influencing music education apathy questionnaire” (fimeaq) and the “correlates of music apathy questionnire” (comaq). the instrument, fimeaq, was designed using 4-point likert scale of strongly agreed (sa), agreed (a), disagreed (d), and strongly disagreed (sd). the instrument contained two sections (a and b). section a contained information on economic status as well as the qualification of the students’ teachers. it also contained instructions on the respondents. on the other hand, section b contained 15 items which were used to measure the level of music apathy of the students. also, the comaq contained two subsections measuring the career prospect as well as the teaching methods of the teacher. validity of the instruments were determined by given to expert in measurement and evaluation for vetting while the reliability of the instrument was determined using cronbach alpha method with reliability indexes of 0.86 and 0.81 for fimeaq and comaq respectively. method of data collection was on face to face basis while the methods of data analysis included the independent t-test, analysis of variance as well as the simple regression analysis. results research question one: to what extent does economic status influences music education apathy among secondary school students in port harcourt metropolis? hypothesis one: economic status has no significant influences on music education apathy among secondary school students in port harcourt metropolis. awka journal of research in music and the arts (ajrma) vol 17 june 2024 305 table 1: one sample t-test analysis of influence of economic status on music education apathy among secondary school students in port harcourt metropolis. n mean std. d df t alpha sig result economic status 56 16.74 4.32 55 1.65 0.05 0.45 insignificant (retain h0) table 1 shows that the number of students were 56. mean and standard deviation values were 16.74 and 4.43 respectively. the calculated t value is 1.65 against the critical t-value of 1.960 while the sig. value is 0.45. hence, since sig. value (p=0.45>0.05) is greater than 0.05 alpha at 55 degrees of freedom, the null hypothesis was retained and alternate rejected meaning that economic status does not have any significant influence on music apathy among secondary school students in port harcourt metropolis. research question two: to what extent does teacher qualification influences music education apathy among secondary school students in port harcourt metropolis? hypothesis two: teacher qualification has no significant influences on music education apathy among secondary school students in port harcourt metropolis. table 2: one-way anova of influence of teacher qualification on music education apathy among secondary school students in port harcourt metropolis. ses mean std. deviation n nce 12.32 2.35 11 b.ed. – masters 10.46 4.95 41 ph.d. 7.32 6.03 4 source sum of sq. df. mean sq. f sig. result corrected model 188.42 3 14.21 2.58 .55 significant intercept 20180.01 1 2180.01 4.58 .00 edu. qualification .00 1 .00 5.20 .03 total 692038.00 54 corrected total 31522.36 56 the analysis in table 2 reveals that mean and standard deviation for teachers with nce, b.ed. masters as well as ph.d. were 12.32; 2.35, 10.46; 4.95, and 7.32; 6.03 respectively. thesis mean values indicates that students display more apathy for music when they are being taught by teachers with nce followed by those with b.ed.-masters and finally by those with ph.d. calculated f value was 5.20 while sig value was 0.03. therefore, since the sig (p=0.03<0.05) is less than the alpha value of 0.05, the hypothesis is rejected meaning that teacher qualification has a significant influence on music education apathy among secondary school students in port harcourt metropolis. research question three: to what extent does career prospect relates with music education apathy among secondary school students in port harcourt metropolis? hypothesis three: there is no significant relationship between career prospect and music education apathy among secondary school students in port harcourt metropolis. awka journal of research in music and the arts (ajrma) vol 17 june 2024 306 table 3: simple regression analysis of relationship between career prospect and music education apathy among secondary school students in port harcourt metropolis. variable r r. sq. adjusted r sq. f sig result career prospect -.595 -.352 -.326 11.67 0.021 significant music apathy table 3 reveals calculated r of -0.595, r square of -0.352 and adjusted r square of -0.32. the r value reveals that the relationship between career prospect and music apathy is -35.2%. this negative sign means that as career prospect rise, there is a corresponding decrease in the level of music apathy and vice-versa. also, the calculated f value is 11.67 while sig value is 0.021. therefore, since the sig (p=0.021<0.05) is less than the alpha value of 005, the null hypothesis was rejected meaning that there is a significant relationship between career prospect and music apathy among secondary school students in port harcourt metropolis research question four: to what extent does teaching methods relate with music apathy among secondary school students in port harcourt metropolis? hypothesis four: there is no significant relationship between teaching methods and music apathy among secondary school students in port harcourt metropolis. table 4: simple regression analysis of relationship between teaching methods and music apathy among secondary school students in port harcourt metropolis. variable r r. sq. adjusted r sq. f sig result career prospect 0.65 .422 .41 9.67 0.032 significant music apathy table 4 reveals calculated r of 0.65, r square of .422 and adjusted r square of .41. the r square value reveals that the relationship between career prospect and music apathy is 42.2%. also, the calculated f value is 9.67 while sig value is 0.032. therefore, since the sig (p=0.032<0.05) is less than the alpha value of 005, the null hypothesis was rejected meaning that there is a significant relationship between teacher teaching methods and music apathy among secondary school students in port harcourt metropolis summary of findings the findings from the analysed data are, that: 1. economic status does not have any significant influence on music education apathy among secondary school students in port harcourt metropolis. 2. teacher qualification has a significant influence on music education apathy among secondary school students in port harcourt metropolis. awka journal of research in music and the arts (ajrma) vol 17 june 2024 307 3. there is a significant relationship between career prospect and music education apathy among secondary school students in port harcourt metropolis. 4. there is a significant relationship between teacher teaching methods and music education apathy among secondary school students in port harcourt metropolis discussion of findings research findings one, revealed that economic status does not have any significant influence on music apathy among secondary school student in port harcourt metropolis. this implies that being rich or poor does not determine the interest of students in music. in other words, the implication is that both rich and poor students could develop lack of interest in music education. this finding of the study could come because economic status may not really determine how successful an individual student could be in music study it could also be that looking at the music industry in nigeria and successes of musical artistes especially in nigeria, students have realized that both students from poor or rich background can be successful in the music industry. hence, they are fully aware that economic or social status cannot boost their interest in music. this finding of the study is not surprising to the researcher because musical icons do not need to be highly or lowly placed before they can make impact. in other words, the researcher is not surprised because the concept of interest is psychological and has nothing to do with the social standing of an individual. that means that people from high status homes as well as those from low status homes may lack interest in studying music education. the finding of the study is similar to that reported by engel (2005) who noted that social economic status has an insignificant influence on students’ interest in music in secondary schools. research findings two, revealed that teacher qualification has a significant influence on music education apathy among secondary school students. this finding of the study means that the academic qualification of a teacher in terms of first, second or third degree may influence the interest of students in studying music education. by implication, this means that students may develop interest in studying music depending on the exposure of the teacher that comes with their educational qualifications. from the finding, it is revealed that student show more music apathy by their mean scores when taught by teachers with less academic qualifications and this means that the more a teacher acquires a higher qualification, the more it may help in boosting the students’ interest in music. the finding of the study is expected by the researcher because academic qualification comes with lot of experience which can help in the teaching-learning process. research finding three revealed that there is a significant relationship between career prospect and music apathy among secondary school students in port harcourt metropolis. this means that the career prospect which students hold about music and what it can offer to them can determine if they develop interest in studying it or not. the implication here is that a negative or a low prospect will boost more music apathy among secondary school student and vice-versa. finally, research finding four showed that there is a significant relationship between teachers’ teaching methods and music education apathy among secondary school students in port harcourt metropolis. this finding means that the ways, strategies and techniques music teachers use in teaching music can influence students’ interest and love for music. it could be that if teachers use the most conventional teaching methods like knowledge construction, the use of ict, more practical awka journal of research in music and the arts (ajrma) vol 17 june 2024 308 sessions and so on, then students can develop more interest in music. this finding of the study is also in line with that reported by engel (2005). conclusion studying music as a subject or course as well as taking it up as profession has always been a subject of controversy between the adolescents and parents. while some believe that they may not need to be rooted in the rudiments of music as a subject before attaining fame, some on the other hand believe otherwise. in the first scenario, where parents may try to interfere in the choice of studying music, this has degenerated into music education apathy where majority of the students lose interest in studying music. however, some factors could be responsible for this as this study reveals. while economic factor may not account for this, teachers’ low qualifications, low career prospect and teachers’ teaching methods are sure determinants of these ill in secondary schools especially in port harcourt metropolis. implications the development of music in general has been proven to contribute positively to the development of any nation. in nigeria in particular, music in terms of being a performing art has seen tremendous development. of recent, it is no more news that some nigerian artists have contributed successfully to global hits and have continued to attract music investors globally to nigeria. it is also observable that many nigerian song items have been topping global music chart. and of recent, it has been accredited to certain nigerian artists that their musical items have hit billions of views and streams online. this being the case, it is obvious that one cannot say that one can develop total mastery of music without having the knowledge of the rudiments or foundations of music. unfortunately, musical apathy has been a source of concern for music teachers and other authorities. this deliberate refusal by many students to learn music has reduced the knowledge of music the students have in many areas. as revealed through the findings of the study, educational qualification of the teacher has significant influence on the level of musical apathy by students. the implication of this to digital economy is that more stringent measures will be adopted by government and private school owners in the qualification demands of music teachers and as such, more qualified teachers will be employed or recruited which will consequently help many students to have proper knowledge of music and contribute positively towards the direct or digitalized economy of the nation. apart from this, there is also an implication that general qualities of the teacher will be considered in the process of recruiting music teacher. all these will be geared towards the development of the economy physically or digitally. based on research finding three that revealed that career prospect has a significant influence on musical apathy, there is an implication to digital economy that students will be more selective in the kind of music they develop interesting in. if this is the case, then the overall development of music in terms of competitiveness of global recognition and global investment will be reduced and as such the economy of the nation may be jeopardized. for instance, it has been seen that hip hop music has greater career prospect in turning youngsters into real stars. if this is the case, there is a negative implication that student may abandon other forms of music in pursuance of only hip-hop and this will have a negative implication on both digital and real sector economy. again, if this be case, then such abandonment of other aspects of music will have negative effect on digital economy of nigeria. finally, socioeconomic status was found not to influence musical apathy, there is a negative implication that awka journal of research in music and the arts (ajrma) vol 17 june 2024 309 many students who would have put in money into making good music may not do that, and as such, global performance indices in terms of foreign exchange of the nation will be compromised recommendations based on the findings of the study, it is recommended that governments as well as private school stakeholders should ensure that they hire music teachers with at least minimum qualification in music since this was found to influence the levels of interest students have for music. it is also recommended that music teachers should expose the various prospects and benefits of studying music to the students in order to make the course or subject more attractive to them. they should as well be encouraged to know that they will develop musical talents more if they study first the rudiments of music in their secondary schools. finally, music teachers should use good strategies in teaching. references ahmed, k. (2022). the importance of music in school: why music education matters. retrieved from https://stagemusiccenter.com/music-school-blog-winchester-acton-ma/2022/8/7/the importance-of-music-in-school-why-music-education-matters. ayodele, s.o. (2012). the use of english in educating nigeria youths: from the problem to the solution, an inaugural lecture, university of ibadan, ibadan. bishop j. h. (1989). perspective: why the apathy in american high schools? educational researcher. 18-(1), 6–42. epperson, g. (2022). music art form, styles, rhythm, and history. encyclopædia britannica. chicago. eze, t. i., ezenwafor, j. i., & obidil, i. j. (2017). effects of problem-based teaching method on students’ academic performance and retention in financial accounting in technical colleges in anambra state. journal of arts, humanities and social science,2016; 4(6):634-639. doi:10.21276/sjahss.2016.4.6.3 fahed, m., & steffens, d., c. (2021). apathy: neurobiology, assessment and treatment. clinical psychopharmacology and neuroscience, 19 (2), 181–189. doi:10.9758/cpn.2021.19.2.181. federal republic of nigeria (1981). national policy of education (5th ed.) lagos: nerdc press. kemjika, g. o. (2008). theories and practice of careers development in nigerian education. onitisha: fabson printing & publishing co. kosemani, j. m. (2002). introduction to education. port harcourt. university of port harcourt press. morley, i. (2013). the prehistory of music: human evolution, archaeology, and the origins of musicality. oxford: oxford university press nwankwo, o. c. (2011). a practical guide to research writing. port harcourt: pam unique publishers co. ltd. ogunsanya, m. (2004). national policy in education: issues, problems and recommendations. unpublished paper presented to a national consultative workshop in abuja, october okafor, r. c. (2005). music in nigerian education. journal of international library of african music. retrieved from https://core.ac.uk/reader/230341060. onyeji, c. u. (2016). composing art music based on african indigenous musical paradigms. 102nd inaugural lecture, university of nigeria, nsukka, delivered on february 11th. batalgi, i. (nd). how music affects your baby’s brain: mini parenting master class discover how tapping into music can benefit your child. retrieved from https://www.unicef.org/parenting/child development/how-music-affects-your-babys-brain-class. marin, r. s, & wilkosz p. a. (2005). disorders of diminished motivation. j head trauma rehabil. 20:377–88. doi: 10.1097/00001199-200507000 https://stagemusiccenter.com/music-school-blog-winchester-acton-ma/2022/8/7/the-importance-of-music-in-school-why-music-education-matters https://stagemusiccenter.com/music-school-blog-winchester-acton-ma/2022/8/7/the-importance-of-music-in-school-why-music-education-matters https://en.wikipedia.org/wiki/doi_(identifier) https://en.wikipedia.org/wiki/doi_(identifier) https://core.ac.uk/reader/230341060 https://www.unicef.org/parenting/child-development/how-music-affects-your-babys-brain-class https://www.unicef.org/parenting/child-development/how-music-affects-your-babys-brain-class tonemic substitution 39 voice performance education in nigerian universities: the current state elizabeth onyeji & agatha ijeoma onwuekwe ph.d. abstract his article presents a critical review of the current state of voice performance education in nigerian universities, which is a product of voice pedagogy. selected universities in southern nigeria were used as the primary focus of the paper. this followed a period of critical observation of challenges of professionalism and lack of performances or direction by voice performance graduates of departments of music of nigerian universities. voice performance is an area of specialization students who have majored in voice opt for in their final year. some voice performance programmes of selected universities outside nigeria are reviewed to obtain an international perspective on voice performance education. the objective is to present the current state of voice performance education in nigerian universities with a view to presenting solutions to identified challenges. the study adopted a descriptive survey design. it employed a mixed method in the analysis of data. relevant literature on voice performance education as well as experiences gathered over the years were utilised in data gathering for this article. the paper argues that voice performance education in southern nigeria can be improved upon if voice performance students are adequately prepared and supervised by voice specialists for their final performance. this will go a long way in producing voice performance graduates who are well grounded in the field of voice performance. t awka journal of research in music and the arts (ajrma) vol. 14 2020 40 introduction formal music education at the university level started in nigeria at the university of nigeria, nsukka in 1961, being the first indigenous nigerian university. before then, however, forms of musical performance on organ, piano and church music (choir) were given in semi-formal settings in church choirs, school choirs and also privately. these forms of semi-formal music education were concentrated in the southern part of nigeria where there was dominance of christian converts and the christian religion that was newly transported to nigeria. the rich musical culture of nigeria was a great impetus to the fledgling of new western music culture of formal music education. writings on nigerian music education (okafor, 1992; nzewi, 1988; adegbite, 2001; idolor, 2001; onyeji and onyeji, 2013; etc.) are replete with historical perspectives on music education in nigeria, hence detailed discussions on it is not necessary here. from its nursery of semi-formal beginnings, formal music education has been cultivated in nigeria and, indeed, has become a formidable component of music in nigeria. since the inception of formal tertiary music education in 1961, several institutions of higher learning have embraced the study of music. at least twenty three universities and no fewer than sixteen colleges of education and one polytechnic now offer music in their educational programmes. of the number of universities offering music in their educational programmes, 18 have full departments of music (university of nigeria, nsukka, enugu state 1961; obafemi awolowo university, ile-ife, osun state 1976; nnamdi azikiwe university, awka, anambra state 1992; delta state university, abraka, delta state 1985; university of uyo, uyo, akwa ibom state 1982; university of ibadan, ibadan, oyo state 2014; university of port-harcourt, port-harcourt, rivers state 2010; alex ekwuemefederal university ndufu alike, ikwo, ebonyi state 2015; university of jos, plateau, plateau state 2014; university of calabar, cross river 41 state 2016; odumegwu ojukwu university, igbariam, anambra state 2012; university of benin, edo state 1978; ignatius ajuru university of education, port harcourt, rivers state 2010; kwara state university, kwara state 2010; godfrey okoye university, enugu state 2015; babcock university, ogun state 2015; mountain top university, otta, ogun state 2016 and alvan ikoku federal college of education 1974, runs a music degree programme under the university of nigeria, nsukka) while 5 are combined with other disciplines (university of ilorin, ilorin, kwara state 1982; university of lagos, akoka, lagos state 1975; lagos state university, ojo, lagos state 2001; bowen university, iwo, osun state 2012 and olabisi onabanjo university ago-iwoye, ogun state 2018 ). in these departments, music is combined with other disciplines such as dance and theatre arts. as such, they do not offer full music programme as in the other 18 departments. for instance, university of ilorin, university of lagos and lagos state university are departments of performing arts and cultural and creative arts respectively. idolor (2001:138140) provides a fairly comprehensive list of higher institutions that offer music and their dates of establishment. although the programmes adopted by these institutions are bicultural, featuring studies in western and african music on equal footing, a constant on the study programmes is voice performance as an area of specialisation. the implication is that for more than fifty years, voice performance education has been offered in the various departments of music in nigerian universities and colleges of education. the argument is hinged on the obvious existence of voice as a stress area in these universities. also, the specialisation of students in voice performance as their chosen stress area affirms the possibility of the existence of voice performance education leading to the award of music degree to such students. with the various departments of music offering voice pedagogy and voice 42 performance education for specialisation, it becomes critical to interrogate the processes employed in achieving their set goals. training in voice performance in these institutions aim at equipping students on how to use, manage and develop the voice in addition to acquiring good performance skills. it also aims at empowering such students to face challenges of vocal music and voice performance in global competitive situations. developing competitive manpower is critical in such trainings. the capacity to develop interpretive and perceptive vocal delivery is a significant component of voice performance education in such instances. the achievement of the set objectives is, therefore, critical to this study. over the years students whose stress area is voice performance have taken to the culture of learning of voice pieces as representing voice performance education, while some students who take voice as their major instrument end up doing voice performance as their area of specialization in their final year. many of them have not gained proficiency on the instrument to the point that one would consider them professionally trained for the challenges ahead. some of such students who end up doing voice performance as their stress area never took voice as their major instrument and for those who were voice major students, singing ended as soon as examinations were over, while some manage to identify with church choirs where they hardly play any significant role as voice major/performance students/graduates. a simple observation shows that the few voice performance graduates that have made their marks in nigeria (joy nwosu – lo bamijoko and ori-enyiri okoro, oguchi egbunine and elizabeth onyeji). these are those that studied voice performance outside nigeria or at least outside the department of music before their study programmes in the universities. there seems to be a situation where voice performance students who started their singing 43 lessons in their various departments have not been able to excel as professional singers/art music soloists. an earlier study (onyeji, 2010) had focused on a comprehensive investigation of voice pedagogy in nigeria. the study interrogated the teaching and learning processes, the available infrastructure, teaching methods, learning attitudes, teachers’ vocal skills and the outcomes of the learning processes. a close observation of the outcome of voice studies, which culminate in voice performance in departments of music in nigeria reveals a worrisome situation. the issues range from who teaches, what is taught and the methods of teaching voice performance in these departments. while many graduates of music majored in voice performance, it would be instructive to discover why many of such people are not heard of and do not perform after graduation. little or no serious art music performances are given by such graduates, raising the question on how voice performance students are prepared for the challenges of the profession. more worrisome is the lack of capacity and low manpower development among those stressing and specialising in voice performance for their degree. this article discusses the teaching and learning methods for voice performance education in nigerian universities as well as the factors that contribute to perceived lack of professionalism among voice performance graduates, with a view to finding solutions. emphasis is laid on voice performance education at the undergraduate level. five universities in southern nigeria were used for the purposes of gathering data used for this article. this is because these universities have longer history in terms of music studies in nigeria. the universities are: university of nigeria, nsukka; nnamdi azikiwe university, awka; university of uyo, uyo; delta state university, abraka and obafemi awolowo university, ile ife. 44 the human voice as a performing instrument the human voice is a musical instrument just like the flute, the cello, the piano and so many other instruments. reid (1972: 23) had earlier asserted that “the realisation that the vocal organs form an instrument having potentialities of a specific nature, like all musical instruments, removes many misconceptions regarding natural limitations…” the human voice is the only instrument capable of combining speech with music. in other words, it is only the human voice that can reach our innermost being conveying messages in words that no other instrument is capable of. it is the only natural instrument in existence; it is capable of producing sounds no other instrument can produce in addition to imitating other natural sounds. christy (1969) describes the voice as a wind instrument, likening the vocal cords to the lips of a trumpet player. sounds produced by the voice by means of the vocal cords are done in conjunction with other organs of the body. these organs function as: (a) amplifiers: the organ responsible for the amplification of sound is known as the organ of resonance or the resonating system. the sound produced at the vibration of the vocal cords has to be “amplified” before it is sent out to the listener. this amplification is done within the body by the organs of resonance. allied to the notion of singing on the breath is that of the correct place of resonance: a sound not sustained by the breath cannot take the proper advantage of the resonating capacities of the head and the resonance chamber of the thorax. ekwueme (1993: 61), wigmore (2002: 79). the sound produced is amplified and modified by the vocal tract resonatorsthe throat, the mouth cavity and the nasal passages. (b) means of articulation: articulation is the way and manner we pronounce our words when singing. this has to be done in a way that the words are clearly formed and the message properly 45 conveyed to the listening audience. simply put articulation is a clear way of pronouncing words. proper articulation is achieved by the combined use of the tongue, the lips, the palate, the teeth and the lower jaw. these organs help in the articulation of words in order to convey the message of the song to the listening audience. these organs are also called the vocal tract articulators and their main function is to assist in producing recognizable words. “this sound is then amplified in the chest and head cavities of the singer and emitted through the mouth, having been shaped by the teeth tongue and lips into intelligible or unintelligible words or sounds” (ekwueme;1993: 53). the human voice is the only musical instrument capable of doing this thereby making it superior to all other musical instruments in existence. (c) means for enhancement: these organs are also known as the air pressure system. they enhance the sound produced by providing and regulating air pressure to cause the vocal folds to vibrate. the lungs, the abdominal walls /muscles the diaphragm, the chest muscles and the ribs function together with other organs to produce quality sound. ekwueme describes this as the abdominal press; this is a process where the muscles of the abdominal walls are used as a “support” for the breath in order to be able to sing the high note smoothly without any cracks or breaks in the voice. “this is done by “pulling in” the stomach muscles so that the singers’ chest “swells”, and the singer becomes shaped like a grey hound, a lion or gorilla, or like a champion weight lifter or body building fanatic”. (1993: 58) the human voice, unlike other musical instruments is under the influence and control of the singer. the psychological state of a singer can have the most profound effect on the quality of sound produced. lo-bamijoko, in an earlier article highlighted two major 46 differences between the voice and other instruments. she says “…(1) the voice is completely under the influence of the singer, other instruments are not. (2) the voice reflects the emotional and psychological state of the singer, other instruments do not”. (2001: 74). just like other instrumentalists are encouraged to take adequate care of their instruments, singers in the same vain are encouraged to care for their voices in order to avoid causing irreparable damage to their instruments. unlike most instruments, the human voice is capable of showing how emotional the singer is by a combination of musical sounds and words, no other instrument can do this. reid (1971) also buttresses the aforementioned by stating that “…its performance is therefore affected by such factors as the emotional, physical and even social states”. voice pedagogues must have this at the back of their minds when dealing with their voice students in order to get the best out of them. singing singing is the act of producing organized musical sounds with the voice. for this research work, singing and voice performance refers to the same thing and will be used interchangeably. voice performance is the oldest form of performance. it is performance done by means of the human voice. the human voice is the most natural of all musical instruments and is also one of the most widely used. it interprets the meaning of words to the listeners. through singing one can express various kinds of emotions and sentiments. all cultures of the world have some form of vocal music or the other. voice performance is a technical engagement requiring talent, skill and techniques. thus, voice performers require adequate preparations, training and harnessing of their talents for proper execution of their art. 47 notwithstanding, there are erroneous perceptions regarding voice performance as an easy option or engagement for those who cannot do any other thing in music, especially among students of music. it is also felt by so many that anybody can sing and it does not require special training for technical knowledge for musical performance using the human voice. evidence has however shown that poor training and inadequate knowledge or skill acquisition on the technical needs for voice performance have altogether resulted in lack of professionalism in voice performance in nigeria, at least at the formal or art music context. a simple check reveals that while many students of music for instance, study or do voice major, not many develop the required skill and confidence to take up voice performance as their area of specialisation even after graduation. such negative perception has weakened the outcome of voice pedagogy in nigeria at the moment, where there are no active performers emerging from the teaming graduates of various departments that offer music. compounding the problem is a seeming lack of method and technique for voice performance education in nigeria at the moment. a simple check reveals a somewhat random approach where each institution and or teacher applies his or her own method, sometimes without a formal approach. without a laid out procedure, and or specific guide to emerging voice performers, it becomes compelling to present a perspective from a performer of a possible template that could be considered and used in routine training of voice performers. voice performance education voice performance education is the process by which all the activities of voice pedagogy are put into practice by means of performance using the human voice for the purposes of music education. it refers 48 to ways and approaches to teaching and learning of voice as an instrument of study and performance in music education contexts. its broad goal is the training of the learner to become specialist singer and performer on different vocal musical genres and to develop the required professionalism and confidence to organize and execute group and independent vocal music performances. this is particularly in the form of solo voice performance for an organized listening audience. to achieve this, both the teacher and the learner must be aware and conversant with the technical requirements for performance voice training. the curriculum must also make relevant provisions that would properly root the learner within testable content and methodology. this is in addition to ensuring that the teacher and the learners possess required skills and flare for the creative endeavor. elliot eisner 2001 rightly stated that “we must not forget that to know the quality of music education that students have received, we need to know how they were taught”, ( p. 10). current voice performance education process the study involved five universities in southern nigeria namely: university of nigeria, nsukka; nnamdi azikiwe university, awka; university of uyo, uyo; obafemi awolowo university, ile ife and delta state university, abraka. eight randomly selected staff members who supervised voice performance and fourteen randomly selected students who opted for voice performance as their area of specialisation in their final year from the year 2016-2019 were interviewed, making it a total of 22 respondents for the interview. see table 01 below. 49 table 01: number of staff and students interviewed for the study. s / n name of institution no. of staff interviewed no of students interviewed total 2016/2017 2017/2018 2018/2019 1 university of nigeria, nsukka 2 2 4 3 11 2 nnamdi azikiwe university, awka 3 university of uyo, uyo 2 1 1 1 5 4 delta state university, abraka 2 1 3 5 obafemi awolowo university, ile ife 2 1 3 total 8 3 7 4 22 the study employed two questionnaires to solicit feedback from both students and lecturers who supervise voice performance. questionnaires were distributed to 18 staff members who supervise voice performance and 37 students who opted for voice performance in their final years between the years 2016 to 2019 giving rise to a total number of 55 questionnaires for both staff and students. this is shown in tables 02 and 03 below. table 02: number of questionnaires distributed to students who specialized on voice performance. 50 s / n name of institution no. of students specializing in voice performance no. of questionnaires administered 2016/ 2017 2017/ 2018 2018/ 2019 2016/ 2017 2017/ 2018 2018/ 2019 1 university of nigeria, nsukka 3 4 6 3 4 6 2 nnamdi azikiwe university, awka 3 university of uyo, uyo 2 9 4 2 9 4 4 delta state university, abraka 2 3 0 2 3 0 5 obafemi awolowo university, ile-ife 2 2 0 2 2 0 total 37 37 table 03: number of questionnaires distributed to lecturers who supervise voice performance. s/n name of institution no. of staff supervising voice performance students no. of questionnaires administered 1 university of nigeria, nsukka 4 4 2 nnamdi azikiwe university, awka 3 university of uyo, uyo 8 8 4 delta state university, abraka 4 4 5 obafemi awolowo university, ile-ife 2 2 total 18 18 51 data collected using questionnaires, participant observation and interview methods revealed critical information on the current process for voice performance education. the data was analysed using mean and standard deviation. a mean of 2.50 and above was adopted. research question 1. what are the areas of specialisation of lecturers that are involved in voice performance education in departments of music in universities in southern nigeria? table 04: mean and standard deviation of the responses of students on the area of specialisation of lecturers who supervise them on voice performance. items mean standard deviation remark my voice performance lecturer is a recognized soloist in the department and beyond. 2.08 .92 disagree my voice performance lecturer specialises in other aspect of music other than voice performance. 3.40 .76 agree table 04 above shows the mean and standard deviation of the area of specialisation of lecturers who supervise voice performance. it shows the mean of lecturers whose area of specialisation is voice performance at 2.08 with a standard deviation of .92 and lecturers who specialise in other aspects of music other than voice performance at 3.40 with a standard deviation of .76. from the table above, it can be seen that lecturers who supervise voice performance are not voice performance specialists. table 05: mean and standard deviation of the responses of lecturers on the area of specialisation of lecturers who supervise voice performance. 52 item mean standard deviation remark my area of specialization is voice performance 1.4118 .61835 disagree i am involved in the teaching of voice performance as a departmental need. 3.5556 .61570 agree table 05 above shows the mean and standard deviation scores for items 1 and 2 of the lecturers’ questionnaire. the mean score for item 1 is 1.4118 with a standard deviation of .61835. these score indicates that the lecturers who supervise voice performance students are not voice performance specialists. the mean score for item 2 is 3.5556 with a standard deviation of .61570 indicating that they are involved in the teaching of voice performance as a departmental need not because they are qualified to do so. research question 2. what are the methods used for the teaching and learning of voice performance education in departments of music in universities in southern nigeria? table 06: mean and standard deviation of the responses of students on the methods used for the teaching and learning of voice performance. items mean standard deviation remarks i did not learn the vocal apparatus and techniques of singing while preparing for my performance stress examination. 2.8108 .93802 agree my voice performance lecturer demonstrates the performance requirements for each song before assigning them to me. 1.6486 .63317 disagree i study my pieces on my own without the assistance of my voice performance lecturer. 3.3243 .74737 agree my lecturer is always present at every rehearsal to guide me. 1.6757 .66892 disagree 53 table 06 above shows the mean and standard deviation of the teaching and learning methods for voice performance. the first item on the table shows the mean score of students who did not learn the vocal apparatus and techniques of singing while preparing for their performance stress examination at 2.8108 with a standard deviation of .93802. the second item shows the mean score of students whose lecturers demonstrates the performance requirements for each song before assigning the songs to them at 1.6486 with a standard deviation of .63317. the third item shows the mean score of students who study the pieces on their own without the supervision/ assistance of their lecturers at 3.3243 with a standard deviation of .74737 and the last item on the table shows the mean score of students whose lecturers are always present during rehearsals at 1.6757 with a standard deviation of .66892. this indicates that lecturers who supervise voice performance students use varying methods for voice performance supervision as there seems not to be specific methods for handling voice performance in the departments. table 07: mean and standard deviation of the responses of lecturers on the methods used for the teaching and learning of voice performance. items mean standard deviation remark i give vocal exercises and drills on vocal techniques during lessons. 2.9412 .82694 agree i give lecture notes on voice performance to my students. 2.2222 .87820 disagree there is no time for note taking during lectures because voice performance classes are not scheduled on the time table. 2.6667 1.08465 agree i use varying evaluation techniques for my students. 3.1667 .51450 agree table 07 above shows the mean score of lecturers’ responses to research questions 2. the first item on table 07 has a mean score of 54 2.9412 with a standard deviation of .82694, this implies that the lecturers who supervise voice performance give vocal exercises and drills on vocal techniques during lessons. the second item has a mean score of 2.2222 with a standard deviation of .87820 which translates to the lecturers not giving lecture notes on voice performance to their students. the 3rd item has a mean score of 2.6667 with a standard deviation of 1.08465 indicating that majority of the respondents agree that there is no time for note taking during lectures because voice performance classes are not scheduled on the time table. the last item has a mean score of 3.1667 with a standard deviation of .51450 indicating that the lecturers use varying evaluation techniques for my students. research question 3. how adequate is the curriculum content for voice performance education and its implementation in the departments of music in southern nigeria? table 08: mean and standard deviation of the responses of students on the curriculum content and implementation for voice performance. items mean standard deviation remark my voice lecturer teaches from a scheme of work given to me at the beginning of the semester. 1.8919 .73725 disagree my voice performance lecturer does not teach from a scheme of work, i am only given my performance pieces and told to start rehearsals with my accompanists. 3.2162 .75038 agree the curriculum is silent on how voice performance should be handled. 2.9189 .86212 agree from table 08 above, the first item shows the mean score of students’ responses at 1.8919 with a standard deviation of .73725 55 indicating that lecturers do not teach from a scheme of work given to the student at the beginning of the semester, the second item shows the mean score of students responses at 3.2162 with the standard deviation of .75038 while the last item shows the students’ response at a mean of 2.9189 with a standard deviation of .86212. this implies that there is no curriculum content for voice performance. table 09: mean and standard deviation of the responses of lecturers on the curriculum content and implementation for voice performance. item mean standard deviation remark i approach the teaching of voice performance following the provisions of the curriculum. 2.3750 1.02470 disagree i teach from experience as there are no curriculum provisions for teaching voice performance. 2.8333 .92355 agree there are no curriculum provisions on how to handle voice performance. 2.8889 .90025 agree the analysis of table 09 above shows the mean score of lecturers who approach the teaching of voice performance following the provisions of the curriculum at 2.3750 with a standard deviation of 1.02470, this implies that lecturers do not approach the teaching of voice performance following the provisions of the curriculum, lecturers teach from experience as shown in the next item. the mean score of lecturers who teach from experience is 2.8333 with a standard deviation of .92355 and the mean score of the last item stating that there are no curriculum provisions on how to handle voice performance is 2.8889 with a standard deviation of .90025. research question 4. what are the problems that militate against voice performance education in the departments of music in universities in southern nigeria? 56 table 10: mean and standard deviation of the responses of students on the problems that militate against voice performance education in the departments of music in universities in south eastern nigeria. items mean standard deviation remark there is no time allotted for voice performance lessons on the time table. 2.8108 1.02301 agree there are no departmental pianists who can assist with preparation for voice performance. student pianists sometimes do disappoint as they are also busy with their lectures. 2.6216 .79412 agree the department lack good functional pianos. 3.1351 .78748 agree there is need for a recital hall suitable for voice performance. 3.6667 .47809 agree from the analysis of the items on table 10 above, the first item has a mean of 2.8108 with a standard deviation of 1.02301 indicating that there is no time allotted for voice performance on the timetable. the second item 58 shows a mean score of 2.6216 with a standard deviation of .79412 indicating that there are no departmental pianists to assist with voice performance. the 3rd item has a mean score of 3.1351 with a standard deviation of .78748 while the last item has a mean score of 3.6667 with a standard deviation of .47809. this implies that in addition to not having good recital halls, the departments lack good functional pianos. table 11: mean and standard deviation of the responses of lecturers on the problems that militate against voice performance education in the departments of music in universities in south eastern nigeria. item mean standard deviation remark there is not enough time to teach my voice performance students effectively as there is no time allotted for it on the time table. 3.0000 .97014 agree 57 lectures and rehearsals sometimes clash with other lectures. 2.8889 .67640 agree the department does not have good pianos for rehearsals or a recital hall for performances. 3.0556 .93760 agree the analysis of data in table 11 shows that the mean score for the first itemthere is not enough time to teach my voice performance students effectively as there is no time allotted for it on the time table is 3.0000 with a standard deviation of .97014 indicating that there is not enough time to teach voice performance students effectively. the second item has a mean score of 2.8889 with a standard deviation of .67640 meaning that lectures and rehearsals sometimes clash with other lectures. the mean score of the last item on this table is 3.0556 with a standard deviation of .93760 indicating that the departments do not have good pianos for rehearsals or a recital hall for performances. research question 5. what are the possible solutions to the problems that militate against voice performance education in the departments of music in universities in southern nigeria? table 12: the mean and standard deviation of the students’ response to the possible solutions to the problems that militate against voice performance education in the departments of music in universities in southern nigerian. item mean standard deviation remark lecturers who supervise voice performance should undergo training on voice performance practices. 3.6486 .48398 agree specialists on voice performance should be brought in to help tackle the problems of voice performance 3.7297 .45023 agree 58 those for voice performance option should be made to start from 3rd year to prepare for their final examination. 3.2703 .83827 agree only voice major students should be allowed to do voice performance. 3.4324 .72803 agree voice major students should be encouraged to give bi-weekly recitals to prepare them for the task ahead. 3.6757 .52989 agree adequate time should be allotted for voice performance on the time table. 3.6486 .48398 agree the curriculum should be specific on how to handle voice performance education. 3.5405 .50523 agree there should be a reorientation on how some staff and students perceive voice performance students. 3.7297 .45023 agree the analysis of data in table 12 is as follows: the first item has a mean score of 3.6486 with a standard deviation of .48398 indicating that lecturers who supervise voice performance should undergo training on voice performance practices in order to effectively discharge their duties. the second item has a mean score of 3.7297 with a standard deviation of .45023, this means that majority of the respondents agree that specialists on voice performance should be brought in to help tackle the problems of voice performance. the third item has a mean score of 3.2703 with a standard deviation of .83827. the implication of this is that majority of the respondents are of the opinion that those opting for voice performance option should be made to start from 3rd year to prepare for their final examination. the fourth item has a mean score of 3.4324 with a standard deviation of .72808. this shows that majority of the 59 respondents agree that only voice major students should be allowed to do voice performance. the fifth item has a mean score of 3.6757 with a standard deviation of .52989 implying that voice major students should be encouraged to give bi-weekly recitals to prepare them for the task ahead. the sixth item has a mean score of 3.6486 with a standard deviation of .48398. this means that most of the respondents agree that adequate time should be allotted for voice performance on the time table. the seventh item has a mean score of 3.5405 with a standard deviation of .50523 indicating that the curriculum should be specific on how to handle voice performance education. the last item has a mean score of 3.7297 with a standard deviation of .45023, this implies that there should be a reorientation on how some staff and students perceive voice performance students table 13: the mean and standard deviation of the lecturers’ response on the possible solutions to the problems that militate against voice performance education in the departments of music in universities in southern nigerian. item mean standard deviation remark i think there should be a reorientation for lecturers and students on the perception of voice performance as an easy option. 3.5556 .61570 agree only lecturers who specialize on voice performance should be given the task of supervising voice performance students. 3.1111 .90025 agree students who are interested in voice performance should be encouraged to begin early to prepare for it. 3.5556 .51131 agree lecturers of voice performance should be involved in mentoring the upcoming ones 3.6111 .50163 agree adequate time should be allotted for voice performance on the timetable. 3.6667 .48507 agree the curriculum should be specific on how to handle voice performance on the time table. 3.6667 .48507 agree specialists on voice performance should be brought in from time to time to help out. 3.4444 .70479 agree voice performance lecturers should give master 3.6111 .60768 agree 60 class at least once in a semester. the analysis of the items on table 13 above are all in the positive as almost all the respondents gave the same answer to the questions. the first item has a mean score of 3.5556 with a standard deviation of .61570 indicating that there should be a reorientation for lecturers and students on the perception of voice performance as an easy option. the second item has a mean score of 3.1111 with a standard deviation of .90025 indicating that only lecturers who specialize on voice performance should be given the task of supervising voice performance students. the third item has a mean score of 3.5556 with a standard deviation of .51131 indicating that students who are interested in voice performance should be encouraged to begin early to prepare for it. the fourth item has a mean score of 3.6111with a standard deviation of .50163 indicating that lecturers of voice performance should be involved in mentoring the upcoming ones. the fifth item has a mean score of 3.6667with a standard deviation of .48507, this shows that majority of the respondents agree that adequate time should be allotted for voice performance on the timetable. the sixth item has a mean score of 3.6667 with a standard deviation of .48507, this reveals that the curriculum is not specific on how to handle voice performance on the time table. the seventh item has a mean score of 3.4444 with a standard deviation of .70479 indicating that most of the respondents agree that specialists on voice performance should be brought in from time to time to help out. the last item has a mean score of 3.6111 with a standard deviation of .60768, this shows that majority of the respondents agree that voice performance lecturers should give master classes at least once in a semester. below are the summary of the findings. 1. in the course of this study, it was discovered that majority of the lecturers who supervise voice performance do not specialise on 61 voice performance. they specialise in other aspects of music other than voice performance. this was clearly shown in tables 04 and 05 above. some of these lecturers are not even singers yet they are saddled with the responsibility of supervising students on voice performance. the result of this is that the students are ill prepared for their performances and end up not getting the needed guidance necessary for a good performance. 2. lecturers use varying methods in the teaching of voice performance as there is no laid down procedure for voice performance at the institutions visited during the course of this study. this results in the lack of uniformity in the teaching and learning outcomes. most often voice performance students are given voice pieces to learn on their own or even told to find their performance pieces. 3. there is not much impact on the students as they are mostly left to handle voice performance on their own with little or no assistance from their lecturers. 4. the curriculum content for voice performance is not adequate as it does not stipulate how voice performance is to be handled at the various departments visited in the course of this study. some lecturers devise ways of handling the students while some leave the students to their devices. some of these students sometimes seek out older students or other lecturers whom they think are knowledgeable on voice performances practices to assist them with the preparation for their performances. the curriculum only describes the course content but does not say how it should be handled. 5. the prospects of voice performance will take a positive dimension if students are properly prepared by those who specialise 62 on voice performance rather than rely on lecturers who do not specialise on voice performers. also, voice performance will take a very positive turn if lecturers who prepare the students for voice performance go for some training on voice performance. this will enable them discharge their duties effectively. this will also motivate the students to take voice performance more seriously and pursue a career in it. 6. the problem of voice performance in the institutions visited ranges from the qualification of those who supervise voice performance to the lack of uniformity in the teaching methods. this results in lack of professionalism amongst the students who specialise in voice performance. also, there are no departmental pianists to help with rehearsals and students pianists do not always have time to practice with the students who opt for voice performance as they are also busy with their own lectures. most importantly, there is no time allotted for voice performance on the time table, this makes it difficult for students to factor in their rehearsals with their pianists. discussions lecturers who supervise voice performance are not voice specialists. some of them are not even singers yet they are saddled with the responsibility of grooming and presenting students for their final defence on voice performance. it was discovered that apart from the fact that some of the lecturers who handle voice performance are specialists in other areas other than voice performance they are also not recognised soloists (voice) within and outside their institutions. they also do not possess the required skills needed to handle voice performance. voice performance, being a practical skill, requires some demonstrations by the teacher but this is sometimes lacking as the 63 teacher who is not an expert on voice will not be able to function effectively in this regard. this leads to poor quality of performances by the students and sometimes students are made to re-sit their performance exams because of this. this would have been avoided if specialists are available in the field of voice performance to handle the students. the same way it is disastrous for someone who is not a composer to compose a piece of music so also it is in the field of voice performance. this brings us to the issue of specialisation. if these lecturers do not have the requisite knowledge to pass on to their students, how can they give what they do not have? holcomb (1999) advices young students searching for a voice teacher to select the teacher whose aim is to take the voice, guide and develop it towards total vocal freedom. this can only be achieved in a situation where the lecturer is an expert in the area of voice performance. the teacher can make or mar a student’s voice if he/she is incompetent. christy (1969), states that selection of a teacher should be done as carefully as for a doctor. this is a pointer to the fact that voice experts are as crucial to the development of voice performance as a doctor is to our health. according to adedeji and ajewole (2008), “the voice as a practical subject in nigerian tertiary institutions is shortage of voice experts”, they went on to list the number of voice teachers (not necessary experts in voice) and voice specialists in nigerian universities (p.102-103) lecturers use varying evaluation techniques for their students as there seems not to be any laid down specifications as to how voice performance education should be handled. most times students are left to their own devices when it comes to the selection of pieces for their performances, they sometimes end up choosing inappropriate pieces for their voice types. this can lead to strain on the voice and even damage. “music which imposes strenuous demands at the 64 extreme of the vocal range is not recommended and, if used, may do harm to the voice of individuals” (sur 1966: 103). durrant, 2003 asserts that “the quality of the singing experience in school, or anywhere for that matter, is dependent on the skills and knowledge of the conductor or teacher who leads it”. (p. 176). in agreement to the above, adeogun (2007) also says that “no nation can preserve and transform its musical heritage above the quality of its music teachers. this is because the advancement of any musical tradition rests in the hands of its teachers”. (p. 4). this is why it is very important that only voice specialist should be given the task of handling voice performance students. adedeji and ajewole (2008) assert that most lecturers teach voice even though they are not voice specialists. no one has any business teaching voice performance if they cannot guide, advice and teach their students in their chosen area of specialisation. in addition, the curriculum content for voice performance is adequate or inexistent in many of the institutions as it does not stipulate how voice performance is to be handled in the course of this study. some lecturers devise ways of handling the students while some leave the students to their devises. adedeji et al (ibid), conclude that curriculum on voice pedagogy is not explicit enough thereby leading to disparities in the teaching of voice and of course the learning outcomes. recommendations some of the possible solutions to the problems of the study are: students who intend to do voice performance should begin from their 3rd year to prepare for it. only voice major students should be encouraged to do voice performance in their final year. this will enable them to have proper understanding of 65 what they are doing. voice performance students should be encouraged to give bi-weekly recitals. this will help them get use to the stage. the curriculum should be specific on how voice performance should be handled. this will enable the lecturers to tackle voice performance uniformly. lecturers who supervise voice performance should be voice performers themselves so as to be able to give the students proper guidelines on how to handle voice performance. it is generally observed that voice performance will take a positive turn if students are properly groomed by those who specialise on voice performance rather than rely on lecturers who are not voice experts. the summary of the recommendations is as follows:  voice specialists should be given the responsibility of handling voice performance students in terms of teaching and preparing them for their final year performance stress examinations.  in the absence of voice specialists, lecturers who supervise voice performance should undergo some specialists training on voice pedagogy and performance practice in order for them to effectively carry out their duties.  the curriculum should be reviewed to reflect the aspect of voice performance to be taught at certain terms.  adequate literature on voice studies should be acquired to enhance the teaching and learning process.  students should be encouraged to begin early to specialise on voice performance so as to gain enough knowledge to enable them become professionals in their chosen field of study.  institutions who offer voice performance should acquire suitable recital halls for both dress rehearsals and performance proper. this will ensure that the students get the required exposure before graduation. 66  lecturers who supervise voice performance should be involved in mentorship to encourage the students.  voice specialists should be brought in from time to time to give master classes on voice performance etiquettes.  lecturers who supervise voice performance should also be encouraged to give performances and master classes in order to motivate their students. conclusion this article summarises the current state of voice performance education in nigerian universities which reveals weak outcomes at the moment in professionalism and performance presence of graduates specialising in voice performance. evidence of the study reveals a complex of challenges and issues associated with the qualification of voice teachers, methods of study delivery, choice of works performed and curriculum stipulations. the study brought to the fore the need to professionalize the study programme for enhanced output. it also revealed the lack of attention and focus on voice performance education as a critical part of music studies in nigerian universities. the article also argued that significant progress would be made in the professionalization of voice performance in nigeria if the education process is handled by properly trained voice experts who are guided by a well-planned curriculum with the provision of required teaching facilities. references adedeji, f. and ajewole, j. o. 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(ed.) a performer’s guide to music of the classical period, 75-89. oxford: abrsm. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 75 narrativity through lighting effects in nollywood film: a critical reading of selected nollywood narratives ajiwe, uchechukwu chimezie ph.d department of theatre and film studies faculty of arts nnamdi azikiwe university, awka email: uc.ajiwe@unizik.edu.ng phone:+2348062831842 & iloma, nyenwemaduka richard ph.d department of theatre and film studies, faculty of humanities, rivers state university email: richard.iloma@ust.edu.ng phone: +2348138183277 abstract: 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. introduction exploring narrativity through lighting effects in nollywood films offers a fascinating lens into the narrative construction within the industry. by analyzing selected films, one can discern how lighting choices contribute to storytelling, mood setting, and character development. from the stark contrasts of light and shadow to the symbolic use of colour temperature, each lighting decision plays a crucial role in shaping the audience's emotional engagement and understanding. in nollywood films, the application of film lighting effects serves as a powerful narrative tool, influencing storytelling and audience perception. through the manipulation of light intensity, direction, colour, and shadows, filmmakers create a visual atmosphere that enhances the narrative experience. for instance, in suspenseful scenes, low key lighting with strong contrasts between light and shadow can heighten tension and anticipation, drawing viewers into the unfolding drama. this technique is often employed in thrillers or horrific films to evoke fear and uncertainty. likewise, in romantic or sexual scenes, soft and diffused lighting can imbue scenes with warmth and intimacy, fostering emotional connection between characters and audience members. this approach is commonly seen in love stories or melodramatic sexual scenes, where the visual aesthetics complement the narrative themes of love, hope, romance and resilience. thus, film makers carefully select lighting colours which underscore the emotional beats of the story and enrich its thematic resonance. overall, the application of film lighting effects in nollywood films is a nuanced art form that contributes significantly to the narrative depth and visual storytelling prowess of the industry. through creative lighting choices, filmakers can elevate their storytelling craft and immerse audiences in captivating cinematic worlds. the most important role of the cinematographer when developing the visual style of a film is to aid in the communication of narrative and character. an effective visual style is one that enhances and clarifies the intent of the script. one method of achieving this is to develop a visual metaphor that runs through the film to create resonance. "the tools of visual metaphor can be an effective means of clarifying story elements, creating mood, and developing subtext" (pezulla as cited in malkewich, 2007, p. 80). light and colour can be a particularly effective means of creating visual metaphor due to its versatility. through the manipulation of size, intensity, quality, and colour of light, a cinematographer can define a character's attributes, the expression of their emotion, or the depth and type of the environment in which they are situated. the use of contrast between elements of light and colour is also a powerful tool that can be used to create visual conflict and interest within a scene. mailto:uc.ajiwe@unizik.edu.ng mailto:richard.iloma@ust.edu.ng awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 76 every film narrative uses cinematic lighting to establish mood or feeling. any conversation about light has to touch on what is visible and what is not. in dark scenes, light can exist solely on the actors, equating them with importance. in others, it can exist in the space of the shot, letting the mood carry through the scene. the direction, color, and sharpness of light can all contribute to an image's mood. the most common technique is the 3-point lighting setup. it uses key lights, fill lights, and back lights, usually with added diffusion or color. this approach can be seen as early as the silent films of the early 20th century. the key light is what is brightest and provides the strongest shadows. often, it is a harsh direct light. this paper seeks to examine the way lighting effects are used in nollywood narrative as a vehicle for communicating cultural and social meanings within the context of the cinematic features of the of the film. this is done through a detailed deconstruction of the process by which a developed lighting storyboard can be used to plan, construct, and light a set that will effectively communicate its narrative and emotional content through the manipulation of light and color. although some aspects of advanced lighting and color practice are covered within the text, the emphasis is on the communication of simple and complex ideas through compositional light. this paper also looks at the principles of lighting in film narratives. as such, it warrants, semiotic reading of lighting effects in nollywood films. signification of lighting effects in films the theory of semiotics first appeared in a document by ferdinand de saussure. his students collected and published his lecture notes after his death by in the 1915. in the document, he predicted a new science, namely the study of signs. with this he meant a relation between a signifier and a signified, a sign that refers to something and what it is that the sign refers to. language, for example, has different words that refer each to an underlying concept. saussure’s semiology differs from peirce’s semiotics in some aspect, but both are concerned with signs and their meanings. in this regard, sebeok (2001) observes that, the ideas of the swiss linguist, ferdinand de saussure (1 857-1 9 1 3) and the american philosopher charles s. peirce (1 839-1 9 1 4) became the basis for circumscribing “an autonomous field of inquiry which sought to understand the structures that undergird both the production and interpretation of signs. the premise that guides" structuralist semiotics is in fact, that the recurring patterns that characterize sign systems are reflective of innate structures in the sensory, emotional, and intellectual composition of the human body and the human psyche. this would explain why the forms of expression that humans create and to which they respond instinctively the world over are so meaningful and so easily understandable across cultures (p.20). therefore, the ideas laid down by de saussure and pierce are the bases for structuralist ideologies. saussure’s use of the term semiology is to designate the field he proposed for studying these structures. in pointing out the ideas of the two prominent scholars of the sign system, adedina and taiwo (2015) states that, “while saussure emphasizes the social functions of the sign, pierce emphasizes its logical function. both aspects are closely correlated.” he further asserts that the words “semiology” and "semiotics” refer to the same discipline with the europeans using the former and the americans using the latter. therefore, semiotics can be referred to as the study of sign processes, signification, or the study of signs and symbols. however, there exists the formal and social aspects of semiotics, the former (semiology) abstracting signs from the contexts of their usage while the latter (semiotics) examines semiotic practices that are specific to nigerian culture.” in this regard, saussure (1966, p. 16) expressed in his semiotics that; the signifier calls up a mental image, not a material object. we see the signifier and think about the object it stands for; we do not experience the object directly. what is signified is not the object, only an idea of the object. as saussure put it, “both parts of the sign are psychological” (saussure 1966, p. 16),(as cited in chandler 2002, p. 25). therefore, film images are representations of what the filmmaker sees which indicates that nothing real exists independently of the use of codes. the filmmaker uses cultural codes to construct reality. in this respect, russell daylight (2012) argues that the semiotics of charles sanders peirce largely overlaps in function and meaning with the "semiology" of ferdinand de saussure. among scholars that provide their views concerning each system of semiotics are, sebeok(1994), deely (2005), and eco (1976).. thus, semiology occupies the part of semiotics which relates either to conventional communication, or international communication, or some other subset of semiotic acts. this implies that semiotics infer meanings from the societal expectations, cultural values and individual experiences. roland barthes (1915-1980), as a follower of de saussure’s semiological programme and a leading structuralist, is recognized for his contribution to test semiotic studies of myth, theology, literature and narrative. he became famous also for his contribution to the semiotics of various types of visual communication, and for his systematic model of signification, a saussurean term which barthes defined as “a process: it is the act which binds the signifier and signified, an act whose product is the sign” (1964/67, p. 48). barthes sets up two orders of signification, which awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 77 he refers to as denotation and connotation. his particular usage of these terms derives directly from saussure’s dyadic (signifier-signified) model of the sign. huhtamo,(2003, p. 5), highlights the difference between denotation and connotation as follows: the distinction between denotation and connotation is the guiding idea of barthes' semiotic theory. he claims that when we read signs and sign complexes, we can distinguish between different kinds of messages. denotation is the "literal or obvious meaning" or the "first-order signifying system". for example the denotative meaning of an image refers to its literal, decriptive meaning. connotation refers to "second order signifying systems", additional cultural meanings we can also find from the image or text. barthes identifies connotation with the operation of ideology (which he also calls "myth"). according to barthes, "ideology or "myth" consists of the deployment of signifiers for the purpose of expressing and justifying the dominant values of a given society, class or historical period (the signs express not just "themselves", but also all kind of value systems that surround them). as myths, signs tend to appear "natural" and self-evident (although they are basically always artificial, coded), hiding the operations of ideology. eco widens the subject and role of semiotics in the exploration of reality of human existence when he writes that, “semiotics is concerned with everything that can be taken as a sign. a sign is everything which can be taken as significantly substituting for something else. this something else does not necessarily have to exist or to actually be somewhere at the moment in which a sign stands in for it” (eco, 1976, p. 7). moreover, it can be visualized as an approach to a wide variety of systems of signification and communication or it can be visualized as a description of those various systems focusing on their mutual differences or their specific structural properties such as the transformation from verbal language to gestures or from visual images to body positions. it can investigate those various systems either at the elementary level of their sequential units such as words, colour spots, sounds or at the more complex level of the texts which is, narrative structures or figures of speech (eco, 1977). from a semiotic perspective, lighting effects in film narratives serve as powerful signifiers that convey meaning beyond their literal illumination of the screen. analyzing lighting through a semiotic lens involves understanding how these effects function as signs, conveying messages and contributing to the overall narrative. 1. denotation and connotation: lighting in films has both denotative and connotative meanings. denotatively, it simply illuminates the scene, allowing the audience to see what's happening. connotatively, however, it can evoke emotions, set the mood, and convey symbolic meanings. for example, a brightly lit scene may denote clarity or revelation, while a dimly lit scene may connote mystery or secrecy. 2. symbolism and metaphor: lighting can function as a symbolic or metaphoric element in film narratives. for instance, a shaft of light breaking through dark clouds might symbolize hope or enlightenment, while harsh, unnatural lighting could metaphorically represent a character's descent into madness or moral corruption. 3. characterization and relationships: the way characters are lit can also signify their traits, motivations, and relationships. for example, a protagonist might be bathed in warm, soft light to portray them as virtuous or heroic, while a villain might be shrouded in shadows or illuminated with cold, harsh light to emphasize their sinister nature. 4. narrative progression: changes in lighting throughout a film can signify shifts in the narrative or character arcs. for example, a gradual transition from bright, natural light to dim, artificial light might mirror a character's journey from innocence to experience or from ignorance to enlightenment. 5. cultural and historical context: lighting choices can also be influenced by cultural or historical contexts, carrying specific meanings or associations. for example, warm, golden lighting might evoke nostalgia for a bygone era, while stark, fluorescent lighting might reflect the cold, impersonal nature of modern society. in essence lighting effects in film narratives are rich in semiotic meaning functioning as visual language that communicates with audience on both conscious and subconscious levels. by decoding these lighting choices, viewers can gain deeper insights into the themes characters, and messages of the film. lighting effects the use of light in a film narrative depends on the intensity of its rays and colour to indicate certain meaning in a film. in this regard, bordwell, and thompson (2001, p. 164) state that “much of the impact of an image comes from its manipulation of lighting. in cinema, lighting is more than illumination that permits us to see the action. lighter and darker areas within theframe help create the overall composition of each shot and thus guide our attention to certain objects an actions.thus, the art of balancing colours and its hues plays an important role in a given shot.”laybourne (1998, p.326) asserts that the “human eye and brain are always making compensations to allow us to perceive colors as constant under various lighting conditions. it is different with film; the same colored surface – say, a white piece of paper –will film with very different hues depending on the source of light and the awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 78 characteristics of the kind of film stock that is being used.”according to usua (2012) light plays a major role in realizing so many effects in filmmaking. they include mood, atmosphere, pictorial balance, and thematic emphasis among others. thus, lighting is an art and not a science. laybourne (1998, p.326) explains that light, “behaves like a wave, and that these waves occur at different frequencies within the electromagnetic spectrum.” in this respect, the result of the practical indicates that different kinds of light sources produce different colours, even with the same camera and lens. thus, people who use rosco filters are artists who manipulate the spectrum to enhance stage pictures, dealing with appearance, reflectance, perception, contrast and psychological impact. lighting designers mix or blend colors through an additive or subtractive process. blending light beams of different colors on a surface is an additive process. creating a colored beam by filtering white light is a subtractive process – the desired color is transmitted while the other wavelengths are absorbed (or “subtracted”).there are two kinds of light in this world: the hard kind and the soft kind. we like our light soft. and cool. luminance, and color difference • itu ccr 601 says y = 0.299r + 0.587g + 0.114b • to save bandwidth, color difference signals are sent with luma rather than rgb • color difference possibilities – r-y – b-y – g-y to reconstruct signals at the display as g contributes most to y, this signal would be small and most susceptible to noise lighting tips kino flo light fixtures offer a lightweight, low energy, cool alternative to conventional hot lights such as incandescent par lights. the goal usually is to light a scene for film or video that looks like what we see in the real world. light quality can be characterized by how “hard” or “soft” the shadow is. the light you get from one instrument may be hard which can cast dense shadows, such that one sees when direct sunlight casts the shadow of a tree on the ground. a softer shadow might be made by sunlight diffused through some clouds. fixture placement is the first step to producing a softer style of lighting with kino flos. where you place the light is important because the closer the kino flo is to the subject, the softer the effect of the light. the same kino flo moved farther away from the subject will make the shadows sharper. thus, lighting choices differ from a stage drama to tv presentation, and to film. likewise, in film design, it differs from scene to scene. lighting techniques in film film has been the medium of the modern age with its ability to capture time and express ideas. since its creation, the cinematographic art has seen few fundamental changes in how it is practiced. the real difference can be seen in the development of filmmaking styles and the breakthroughs of technology. these arguably have taken the form of expressions of light on celluloid. light is the essence of the art of photography. once film was introduced to a photographic environment, film was offered the opportunity to mimic the appearance of life. the confirmation of life is based on seeing form where there is contrast between light and dark. this gives the three-dimensional illusion. yet, simply capturing images as they are isn't enough. film evolved its own syntax involving movement, angles, and montage, all of which serve a purpose to the narrative. today's cinema, however, is very much a director's medium, where the use of these cinematic techniques has become an amplified art to that where simple photographic mimicry is no longer enough. this has often resulted in certain styles being akin to visual gymnastics which, whilst impressive, fail to be true to the story. one advisable area where a director can learn a sense of control and a result that can have a direct relation to the story is through the use of lighting techniques. lighting plays a pivotal role in storytelling, shaping the mood, guiding the narrative, and enhancing the audience's connection to the story. here's an expanded discussion on the functions of lighting in film and theatre based on the provided points: 1. setting the tone lighting establishes the overall emotional tone of a scene, influencing how the audience perceives the story.example: low-key lighting with deep shadows, as seen in film noir or horror genres, creates an atmosphere of suspense, mystery, or fear. conversely, warm, soft lighting, often used in romance or nostalgia, evokes comfort and intimacy. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 79 2. characterization lighting reveals or emphasizes aspects of a character's personality, intentions, or emotional state. example: harsh, high-contrast lighting can make a villain appear menacing or untrustworthy, while soft lighting can make a character seem kind, gentle, or vulnerable. this deliberate use of light shapes how the audience connects with the characters. 3. symbolism lighting often carries symbolic weight, representing themes or abstract ideas within the narrative.example: a single shaft of light breaking through darkness can symbolize hope, redemption, or a moment of divine intervention. in contrast, a dimly lit room can signify despair, secrecy, or moral ambiguity. 4. visual metaphors lighting serves as a visual metaphor, reinforcing character arcs or narrative themes. example: a spotlight focusing on a character may symbolize enlightenment, self-awareness, or isolation. conversely, fading light might signify the loss of hope, the passage of time, or a character’s descent into confusion or despair. 5. temporal shifts lighting is an effective tool for indicating changes in time within a story, especially in non-linear narratives. example: the transition from warm, golden hues of daylight to the cool, bluish tones of night signals the progression of time. this is particularly useful in montages or scenes that span different periods. 6. emotional impact the strategic use of lighting evokes specific emotional responses from the audience, heightening the narrative’s emotional depth.example: a sudden shift from warm, comforting lighting to harsh, stark illumination can shock viewers, amplifying tension or emphasizing a dramatic plot twist. 7. narrative focus lighting directs the viewer's gaze, emphasizing key plot points, objects, or character interactions within the frame. example: a spotlight on a character in a crowded room draws attention to their significance, while a dimly lit background ensures the audience focuses on the action in the foreground. in essence, lighting is a powerful storytelling device that shapes the narrative, underscores themes, and deepens the audience's engagement with the story. its thoughtful application is a hallmark of skilled filmmaking and theatrical production. overall, lighting techniques are essential tools for filmmakers to convey narrative ideas, enriching the cinematic experience and deepening audience engagement with the story. communicating through lighting effects in nollywood narratives 1. setting the mood: lighting sets the tone and atmosphere of a scene. whether it's the warm, inviting glow of a cozy living room or the cold, eerie illumination of a dark alleyway, the lighting instantly communicates the mood and emotions the filmmakers want to evoke. 2. revealing character traits: lighting can reveal aspects of a character's personality, motivations, or inner turmoil. for instance, a character bathed in harsh, unflattering light might be portrayed as morally conflicted or emotionally vulnerable, while soft, flattering light can convey warmth and sincerity. 3. guiding attention: filmmakers use lighting to guide the viewer's attention to key elements within the frame. by strategically illuminating certain objects or characters while keeping others in shadow, filmmakers direct the audience's focus and emphasize important narrative elements. 4. creating symbolism: lighting can be used symbolically to convey deeper meanings or thematic motifs. for example, the contrast between light and shadow might symbolize the struggle between good and evil, while changes in lighting throughout the film can mirror the protagonist's emotional journey or character development. 5. establishing time and place: different lighting techniques can help establish the time period and geographic location of the film. for instance, soft, diffused lighting might evoke a sense of nostalgia for a bygone era, while harsh, high-contrast lighting might suggest a contemporary urban setting. 6. enhancing visual aesthetics: lighting is also used to enhance the visual beauty of a film and create striking compositions. whether it's the play of light and shadow in film noir or the vibrant colors of a musical extravaganza, lighting contributes to the overall visual impact of the film. ultimately, communicating through lighting effects in cinematic films requires a nuanced understanding of how light can shape narrative, evoke emotions, and convey meaning. by mastering the language of light, filmmakers can effectively engage audiences and elevate the storytelling experience. for example, in "anikulapo," the application of light effects serves as a pivotal element in shaping the film's narrative and thematic undertones. through a critical analysis of its lighting techniques, one can uncover how light is used to convey mood, character dynamics, and thematic resonance. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 80 firstly, the film utilizes contrasting lighting to underscore the dichotomy between good and evil, chaos and order. scenes depicting the protagonist's internal struggles or moments of conflict are often bathed in harsh, directional light, casting deep shadows and emphasizing the intensity of the emotional turmoil. in contrast, scenes of resolution or moments of clarity are often illuminated with softer, more diffused light, symbolizing hope and redemption. furthermore, the film employs color temperature to evoke cultural and historical contexts. warm, earthy tones may dominate scenes set in traditional settings or during moments of cultural celebration, evoking a sense of nostalgia and cultural pride. conversely, cooler tones may be used in scenes depicting urban environments or moments of social unrest, highlighting the stark realities of contemporary nigerian society. moreover, the strategic use of light and shadow is employed to enhance character dynamics and relationships. for instance, characters may be framed in silhouette against a backdrop of harsh light to signify their moral ambiguity or hidden agendas. alternatively, intimate moments between characters may be bathed in soft, golden light, emphasizing the emotional connection and vulnerability shared between them. overall, the light effects in "anikulapo" serve as a narrative tool, enriching the film's thematic depth and visual storytelling prowess. through the manipulation of light intensity, color temperature, and shadow, the filmmakers craft a cinematic experience that resonates with audiences on both an emotional and intellectual level, inviting them to engage with the complexities of nigerian society and the human condition synopsis of tope adebayo's jagun jagun the narrative follows gbotija, a young man descended from a lineage of wood carvers, who possesses the unique ability to communicate with and command trees and wood. driven by a desire to avenge his father's death, gbotija is determined to become a powerful warrior-surgeon and join an elite army. on his journey to the great warrior’s camp, located within the treacherous forest known as the worries enclave, gbotija is stopped by a gigantic baobab tree. demonstrating his extraordinary gift, he commands the tree to rise after it has fallen, and it obeys his incantations. however, once he passes, the tree falls again. upon arriving at the warlord’s training ground, gbotija joins a group of hopefuls waiting for the entrance to open. as soon as the horn sounds and the gates swing open, the crowd rushes in, but the guards begin firing rifles at them. gbotija is injured, and others lose their lives in the chaos. despite his wounds, gbotija limps into the training ground and is conscripted as a warrior trainee. during his training, he encounters a young maiden, the adopted daughter of the warlord, who falls in love with him. after enduring rigorous training, gbotija and the other trainees are given a series of tasks, in which gbotija emerges as the winner. however, the warlord, influenced by the malicious advice of his father-in-law, becomes envious of gbotija. ogundiji the war lord decided to give him a tedious task that he (ogundiji) thought he (gbotija) may not be able exceal and survive. somehow gbotija survived all the test. in his quest to complete his task as a warrior, he encounters the wrath of a maniacal warlord and the love of a fierce woman known as kitan. gbotija found out that ogundiji was the warlord who invaded his village. then, got back, had a battle with ogundiji who dies after being subdued by gbotija. critical reading of lighting effects in tope adebayo’s jagun jagun (2023) jagun jagun," the significance of lighting effects contributes to the film's narrative depth, character development, and thematic exploration. through a critical analysis of its lighting techniques, one can discern several layers of meaning and interpretation. the film, set in a pre-colonial era, tells the story of a young man determined to become a warrior, delving into themes of power, ambition, and destiny. lighting plays a crucial role in the film, not just in setting the mood and atmosphere but also in conveying deeper semiotic meanings that enhance the narrative. as such the narrative is rich with symbolism 1. symbolism of light and darkness light and darkness are universal symbols in film, often representing good and evil, knowledge and ignorance, or life and death. in "jagun jagun," these elements are used to signify the moral and emotional states of the characters. for instance, scenes where the protagonist is engulfed in darkness often correlate with moments of inner turmoil or moral ambiguity. conversely, moments of clarity, victory, or moral righteousness are often bathed in bright light, symbolizing hope, divine intervention, or enlightenment. 2. use of shadows to depict power dynamics shadows in "jagun jagun" are not merely a byproduct of lighting but a deliberate tool to explore the power dynamics between characters. for instance, when characters of higher status or greater power are on screen, the awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 81 lighting often casts them in a way that their shadows loom larger, visually asserting their dominance over others. this technique subtly reinforces the hierarchical structures within the story, making the visual narrative as compelling as the dialogue. 3. colour temperature and emotional resonance the film's use of warm and cool lighting further enhances its semiotic richness. warm lighting, with its yellow and orange hues, is often employed in scenes of camaraderie, love, and nostalgia, creating a sense of warmth and comfort. in contrast, cool lighting, with its blue and green tones, is used in scenes of tension, conflict, or sorrow. this dichotomy not only sets the emotional tone for the audience but also acts as a visual cue for the underlying emotional states of the characters. for example, the picture below is a snap shot from a scene where the kitan revolted and queried why they be given a small meal to shared by two persons. the image above shows a glimpse of lights and dim images of the maidens behind kitan. the maidens' pale, brownish white complexion reminds one of kitan, who appears enraged in the limelight. similarly, in the second plate, gbotija's left cheek is lighted with a coloured light, emphasizing how angry he is to be asked to share so little food with another warrior. on the other hand, kitan's expression indicated that she was considering how to handle gbotija, which she did the following day. once more, kitan, the warrior who was initially portrayed in the story as being the meanest and most evil of them all, was later revealed to have feelings for her subject, whom she later the above analysis touches on several key aspects of the visual and emotional storytelling in the scenes featuring kitan and gbotija, particularly in relation to the use of lighting, color, and character development. here's a breakdown of these elements: (a). lighting and mood ● kitan's scene: the lighting in the scene with kitan, as described, uses a blend of faint images and a "fairly brownish white" color, which serves multiple purposes. the glimpse of light could symbolize a moment of clarity or a brief unveiling of kitan's internal state, suggesting that beneath her hardened exterior lies a complexity of emotions. the faint images of the maidens behind her might represent the societal expectations or the pressures that kitan feels as a warrior. the lighting could be read as a visual metaphor for her inner conflict, with the "limelight" emphasizing her anger, perhaps at the situation or her own emotions. ● gbotija’s scene: the selective lighting on gbotija’s face highlights his displeasure, emphasizing the emotional weight of the moment. the contrast between the lit and unlit portions of his face could represent his internal struggle or dissatisfaction. this subtle lighting choice underscores his unhappiness and foreshadows the conflict between him and kitan. (b). character dynamics and emotional shifts ● kitan’s transformation: initially portrayed as "mean and wicked," kitan's character arc is significant. the shift from being feared to revealing a "soft spot" for gbotija shows her complexity and depth. the lighting and color choices, such as the supernatural elements and the reveal of her involvement with the agemo masquerade, play a critical role in illustrating this transformation. the supernatural hints not only add a layer of mystery to her character but also keep the audience engaged, as they gradually discover her true nature. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 82 ● the agemo masquerade: the revelation that kitan was behind the agemo masquerade adds to the emotional intensity of the narrative. it serves as a dramatic twist that forces the audience to reassess their perception of kitan. her inability to control the masquerade, as her foster father did, may symbolize her struggle with her own identity and destiny, caught between love and duty. (c). color symbolism and costuming ● outfits and perception: the colors of the outfits worn by kitan and gbotija serve as visual cues to the audience, reflecting their emotional states and the nature of their relationship. the contrast between love and the supernatural is highlighted through these color choices. warm, earthy tones might suggest their grounded emotions and developing affection, while cooler or darker colors could hint at the supernatural elements or the looming tragedy. (d). emotional and narrative impact ● viewer engagement: by gradually revealing kitan's dual nature and her connection to the supernatural, the filmmakers create a layered narrative that keeps viewers emotionally invested. the tragic incident between the lovers, revealed through the careful manipulation of lighting and color, evokes a powerful emotional response, leaving a lasting impression. 4. ritualistic lighting "jagun jagun" features several ritualistic scenes where lighting plays a crucial symbolic role. in these scenes, the lighting often shifts dramatically, with sudden bursts of light or deep shadows, reflecting the supernatural or otherworldly elements of the rituals. this use of lighting reinforces the mystical and spiritual undertones of the film, making these scenes feel both otherworldly and significant within the cultural context of the narrative. the preceding images demonstrate how and why the director and visual effect designer had to experiment with colour in the scene from which the above image was extracted. viewers may get a visual sense of how the cloud transformed from a brighter shade to a duller colour, as if darkness had suddenly fallen, before he strikes with his palm, lighting a smokey effect and accompanying a fire flare. this flare's colour represents magical powers, which are surely prevalent in african mythology, particularly the yoruba cultural belief system. again, the contrasting colours of the clothing worn by actors as warriors aided in balancing the perceived colour of the cloud. the above analysis effectively captures the director's and visual effects designer's use of colour and lighting to convey the supernatural elements in the scene, especially within the context of african cosmology and the yoruba cultural belief system. here's a breakdown of the key points you’ve highlighted: a.transformation of the environment through cloud colours change: the transition from a bright to a dim and dull colours in the sky represents a significant shift in the narrative, signaling the onset of a supernatural event. this sudden change is a visual cue that something extraordinary is about to happen, aligning with traditional beliefs where nature often reacts to the presence of mystical forces. the use of color here not only sets the tone but also prepares the viewer for the magical occurrences that follow. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 83 b. visual representation of magical powers lighting and smokey effects: the striking of the hand, accompanied by lightning, smoke, and fire flares, is a powerful visual manifestation of the warrior leader's magical abilities. the specific colors associated with these effects—likely vivid reds, oranges, and possibly purples—are symbolic of energy, power, and the supernatural. in yoruba cosmology, such visual elements could represent the influence of deities or ancestral spirits, reinforcing the connection between the characters and their cultural roots. the visual effects, therefore, are not just for spectacle; they are deeply tied to the narrative and the cultural symbolism of the story. c. costume colours and symbolism balancing the scene: the different colors of the warriors' costumes play a crucial role in maintaining visual balance against the darkened cloud backdrop. these costumes likely feature earthy tones or traditional colors that contrast with the dimmed environment, making the characters stand out while also symbolizing their roles within the narrative. the choice of colors can signify various attributes such as bravery, authority, or mystical power, contributing to the overall mood and helping to emphasize the supernatural event. d. silhouette imagery and the supernatural silhouette of the warriors: the second image, depicting the warriors in silhouette, is a striking visual that signifies the culmination of the magical act. the darkened environment created by the change in the cloud color, combined with the silhouette effect, conveys the moment of supernatural intervention. this silhouette not only heightens the drama but also symbolizes the warriors' unity and collective power under their leader's influence. it suggests that the environment itself has been altered by the incantation, turning the warriors into shadowy figures who are now part of the mystical event. e. cultural significance and audience impact connection to yoruba cosmology: the use of color, lighting, and visual effects in this scene is deeply rooted in yoruba cosmology, where natural elements like lightning and thunder are often associated with powerful deities such as sango, the god of thunder. the visual representation of these elements helps to ground the supernatural aspects of the story in a familiar cultural context, making the scene more resonant for viewers who share this cultural background. for others, it serves as a captivating introduction to these rich traditions. 5. contrast between natural and artificial light the film also contrasts natural light with artificial sources ( such as torches or lamps) to explore themes of authenticity versus deception. natural light is often associated with truth, purity, and the divine, while artificial light is linked to human intervention, manipulation, or deceit. this contrast is particularly evident in scenes where characters engage in morally dubious actions under the cover of night or in artificially lit environments, suggesting a departure from natural law or divine will. 6. lighting as a narrative device beyond its symbolic meanings, lighting in "jagun jagun" is used as a narrative device to foreshadow events or reveal hidden truths. for instance, a scene that begins in bright light might gradually darken, signaling the onset of danger or a shift in the narrative. similarly, sudden flashes of light can indicate moments of revelation or divine insight, guiding the audience's attention to crucial plot points. the image in plate 1, 2 and 3 portrays how lighting is stylishly manipulated into the narrative construction of the plate 3: a medium shot of agemo masquerade in the scene conquering ogundiji’s opponent. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 84 visual image. thus the image above is an image of the agemo masquerade whose supernatural powers turned the environment into a darkbluish colour which in effect make the environment look as if it was nightfall. this was achieved with the aid of visual effect show the supernatural prowess of the agemo. the masquerade’s eye region were glowing with burning lame colour which is yellowish orange and this looms danger for opponents or it’s prey. in the scene where the warrior stood before their opponent and the commandeer of the opponent used his magical prowess to command the atmosphere to change to a cloudy and less brighter environ before he conjure through incantation and struck the warrior’s of jagun jagun. the above analysis effectively highlights the use of lighting and visual effects to enhance the supernatural elements in the scene involving the agemo masquerade and the warriors. here's a detailed breakdown of the elements you’ve discussed: a. lighting and environmental transformation dark-blue atmosphere: the dark-blue color that envelops the environment as the agemo masquerade exerts its supernatural powers is a powerful visual technique that transforms the setting. this change in color, achieved through lighting and visual effects, makes it appear as though night has suddenly fallen, even if it’s daytime. this dramatic shift not only heightens the tension but also visually represents the masquerade’s ability to manipulate the natural world, a common theme in depictions of supernatural beings within african cosmology. b. supernatural prowess and danger glowing eyes: the masquerade’s glowing eyes, depicted with a burning yellowish-orange color, are a significant visual cue. this choice of color symbolizes both the supernatural power and the imminent danger the agemo represents. in many cultural contexts, glowing eyes are a common trope to indicate a character or entity’s otherworldly nature, and in this scene, they serve to instill fear and signal a looming threat to its opponents. the use of this particular color palette—yellow and orange—evokes the imagery of fire and destruction, further amplifying the sense of peril. c. magical prowess and atmospheric control command of the atmosphere: in the scene where the opposing commander uses his magical abilities to alter the atmosphere, the narrative uses visual effects to convey the power of incantations in the story’s universe. by changing the environment to a cloudy and less bright setting, the filmmakers visually communicate the commander’s control over natural elements. this manipulation of the atmosphere not only serves as a precursor to the supernatural strike against the warriors of jagun jagun but also underscores the high stakes of the confrontation. d. narrative construction and visual style stylish manipulation of lighting: the use of lighting in plate 3 is not just for dramatic effect; it’s a deliberate stylistic choice that contributes to the narrative construction. the dark-blue color associated with the agemo masquerade, combined with the glowing eyes, creates a distinct visual language that signals to the audience the presence of supernatural forces. this visual style helps to immerse the viewer in the narrative, allowing them to feel the weight of the supernatural influence in the story. e. symbolism and cultural resonance cultural significance: the visual portrayal of the agemo masquerade and the magical battle scene is deeply rooted in cultural symbolism. in yoruba cosmology, the agemo represents a powerful spiritual entity, and its depiction in the film is designed to resonate with these cultural beliefs. the manipulation of the environment through supernatural powers is a common motif in many african stories, where nature itself is often seen as a reflection of spiritual forces at play. conclusion the semiotics of lighting in "jagun jagun" is a critical aspect of the film's visual storytelling. through careful manipulation of light and shadow, color temperature, and the contrast between natural and artificial light, the filmmakers convey complex themes of power, morality, and spirituality. the lighting not only enhances the aesthetic quality of the film but also deepens the audience's understanding of its characters and their journeys. in this way, "jagun jagun" uses lighting not just as a tool for visibility but as a language in its own right, rich with meaning and emotional depth. some of the analysis reveals how the filmmakers have skillfully used lighting and visual effects to enhance the narrative and convey the supernatural elements of the story. the transformation of the environment into a dark-blue hue, the glowing eyes of the agemo masquerade, and the command of the atmosphere by the opposing commander all serve to create a visually rich and thematically powerful scene. this stylish manipulation of visual elements not only adds to the tension and drama but also reinforces the cultural and supernatural themes that are central to the narrative. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 85 firstly, lighting effects are used to establish the mood and atmosphere of the film. scenes depicting moments of tension, suspense, or conflict may be illuminated with harsh, directional light, creating stark contrasts between light and shadow to heighten the sense of drama. in contrast, scenes of tranquility or introspection may be bathed in soft, diffused light, fostering a sense of intimacy and reflection. furthermore, lighting effects play a crucial role in character development and symbolism. the use of chiaroscuro lighting, for example, may signify the moral ambiguity or inner turmoil of certain characters, casting them in shadow while highlighting their internal conflicts. conversely, characters associated with righteousness or moral clarity may be depicted in bright, ethereal light, symbolizing their purity of heart or steadfastness of purpose. moreover, the color temperature of lighting can convey thematic motifs and cultural contexts. warm, vibrant hues may dominate scenes set in traditional settings or during moments of cultural celebration, evoking a sense of cultural pride and vitality. in contrast, cooler tones may be used in scenes depicting urban environments or moments of social upheaval, reflecting the harsh realities of contemporary nigerian society. overall, the signification of lighting effects in "jagun jagun" transcends mere aesthetics, serving as a narrative device that enriches the film's thematic resonance and emotional impact. through the strategic manipulation of light intensity, direction, and color temperature, the filmmakers craft a visual tapestry that invites audiences to engage with the complexities of nigerian. references bordwell, d., & thompson, k. (2001). film art: an introduction (p. 164). mcgraw-hill. chandler, d. (2002). semiotics: the basics (p. 25). routledge. chandler, d. (2014, july 3). semiotics for beginners: modality and representation. eco, u. (1976). a theory of semiotics. bloomington: indiana university press. eco, u. (1979). on the contribution of film to semiotics. in g. mast & m. cohen (eds.), film theory and criticism: introductory readings (2nd ed.). new york: oxford university press. laybourne, k. (1998). the animation book: a complete guide to animated filmmaking (p. 326). three rivers press. malkewich, k. (2007). film techniques and aesthetics (p. 80). oxford university press. saussure, f. (1966). course in general linguistics (p. 16). mcgraw-hill. sebeok, t. a. (1994). signs: an introduction to semiotics. toronto: university of toronto press. usua, i. (2012). the role of light in filmmaking. [publisher]. filmography adedeji, t. (director). (2023). jagun jagun [film]. [production company]. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 160 bird songs in yoruba symbolism adedoyin d. omotosho music unit, performing arts department. bamidele olumiluwa university of education, science and technology, ikere ekiti, ekiti state. abstract 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. keywords: birdsongs, yoruba land, symbolism and functional meaning, eco-musicology. introduction birdsongs have been a vital part of human culture and tradition, serving as a source of inspiration, comfort, and spiritual guidance. in yoruba culture, birdsongs are believed to possess spiritual significance, conveying messages from the divine realm. this study delves into the symbolic meanings of birdsongs in yoruba land, exploring their functional role in yoruba culture and tradition. background to the study birdsongs have been an integral part of human culture and tradition, serving as a source of inspiration, comfort, and spiritual guidance. in yoruba culture, birdsongs are believed to possess spiritual significance, conveying messages from the divine realm. the yoruba people have a rich tradition of bird worship, with various bird species associated with specific deities and spiritual forces. the significance of birdsongs in yoruba culture is deeply rooted in their mythology and cosmology. according to yoruba mythology, the gods and goddesses communicated with humans through birds, using their songs to convey important messages and guidance. the yoruba people believe that birds possess spiritual power and wisdom, and their songs are believed to have healing properties and the ability to bring good fortune. in yoruba culture, birds are also associated with various aspects of life, such as fertility, prosperity, and wisdom. the "igunugun" bird, for example, is associated with the deity of wisdom, orunmila, and is believed to possess the power of divination and intuition. the "adaba" bird, on the other hand, is associated with the goddess of fertility, oshun, and is said to symbolize abundance and prosperity. despite the significance of birdsongs in yoruba culture, there is a lack of research on the symbolic meanings of birdsongs in yoruba land. previous studies have focused on the cultural significance of birdsongs in general, but there is a need for a more in-depth exploration of the symbolic meanings of birdsongs in yoruba culture. furthermore, the cultural heritage of yoruba land is facing threats from urbanization, modernization, and globalization, which are leading to the erosion of traditional practices and beliefs. this study aims to contribute to the preservation of yoruba cultural heritage by exploring the symbolic meanings of birdsongs in yoruba land and analysing some selected bird songs of yoruba popular musicians. this study will focus on the "igunugun" and "adaba" birds, exploring their cultural significance and symbolic meanings in yoruba culture. by examining the cultural significance of these bird species, this study seeks to contribute to a deeper understanding of yoruba culture and tradition, and to preserve the cultural heritage of yoruba land for future generations. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 161 objectives of the study 1. to identify the symbolic meanings and associations of the "igunugun" and "adaba" birdsongs in yoruba culture and tradition, based on data collation and analysis of birdsongs musicians. 2. to examine the yoruba functional meaning of birdsongs in communicating with spiritual forces and conveying messages from the divine realm, as reflected in the music and practices of yoruba birdsongs musicians. 3. to document and preserve the traditional practices and beliefs surrounding birdsongs in yorubaland, highlighting their significance in yoruba cultural heritage and identity, based on data collation and analysis of birdsongs musicians. methodology this study employed an eco-musicological and semiotic approach, analyzing birdsongs of yoruba popular musicians from their debut albums. data was gathered through interviews with music enthusiasts and indigenous cultural practitioners. data collection primary and secondary data were collected and analysed. the primary data source was conducted using unstructured interview with 20 purposely selected persons in which 3 popular musicians and 17 fan members of the selected musicians were recruited. “furthermore, 10 songs from the recorded albums of the popular musicians were subjected to analyses. secondary data sources adopted for the study were books, journals, articles, discography, magazines, newspaper and the internet. all the data collected were converted, transcribed and analysed within the ecomusicological and semiosis frameworks. names of popular musicians used in this study include; alhaji sikiru ayinde barrister, ebenezer obey and bukola elemide. theoretical framework the theoretical framework of this study is based on semiotics and ecomusicogical theories. semiotics theory semiotics is the science or scientific study of signs. signs are phenomena of life and so, semiotics is the study of life’s phenomena in diverse sign forms and categories. according to berger (2010), the basic unit of semiotics is the signs, defined conceptually as something that stand for something else, and more technically as a spoken or written word, a drawn figure, or a material object unified in the mind with a particular cultural concept. olaosun (2016) also uses semiotics in his work ‘“‘nature semiosis in two nigerian popular music,’” to depict how musical discourse in nigeria is enriched by nature’s phenomena and how this phenomena are mobilized and explored by musical artistes as sign vehicles to promote and communicate social and moral messages”. ecomusicological framework “ecomusicology according to allen (2018) is the study of musical and sonic issues, both written and performative, in relation to man’s environment. in this study, environment is re-defined as the nonhuman physical world. it is the natural world having the living and nonliving creatures and natural processes. similarly, ecology is more holistic, and relates to the ‘eco’ prefix which originates from the greek word ‘oikos’ meaning household. ecology therefore means the complex associations that exist amongst living organisms and his environments”. silver (2015) maintained that gonzaga’s songs referenced birdsong by describing the meaning of the bird call in relation to the arrival of rain or drought in northeastern brazil. titus (2017, 2018, and 2019) also employed this while studying flood in ibadan, birds, ocean and environment”. “hinged on semiotics and ecomusicological theories, this study is based on the musical perception, judgment and applications of ecomusicology and semiotics theory. bird songs are structuralized into different segment of species, and were analysed based on their values, symbols and functional meaning in yoruba land. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 162 results/ findings vulture (igun) figure 1.1: image of vulture source: http://pixabay.com/images igunugun (black-throated coucal. scientific name: centropus leucogaster) igunugun is a bird species in the cuckoo family, known for its distinctive call and black throat patch. igunugu is mostly found in wetlands, forests, and grasslands in sub-saharan africa, it feeds on omnivorous, feeding on insects, fruits, and small animals, it is well known for its secretive and skulking behavior, often hiding in dense vegetation, igunugu builds a cup-shaped nest using twigs, grasses, and other plant material. source: (yoruba people, yoruba mythology on igunugun). eye igunugun symbolism igunugu bird symbolises wisdom: igunugun is associated with wisdom, intuition, and divination, it symbolises insight: its sharp eyesight symbolizes keen insight and perception. it also symbolises spiritual guidance: igunugun is believed to possess spiritual power, guiding individuals towards their destiny. source: (yoruba people, yoruba mythology on igunugun). yoruba functional meaning on eye igunugun. igunugun's songs are used in divination rituals to communicate with the divine realm. wisdomseeking; its presence is sought in times of uncertainty, seeking guidance and wisdom. igunugun's sharp eyesight is believed to offer protection from harm and negative energies. a yoruba adage says “iran igun ni jebo, iran akala ni joku”, this means vultures eat foods offered as sacrifice to god, while akala (close related species) feeds on corpse. he gave more insight that vultures naturally fly high in sky which is believed among the yoruba people that when it picks on the sacrifice, and flies high, it presents it to the gods in the sky to accept the sacrifice. source (researcher). vulture also feeds on rotten food. however, in some part of yoruba land, humans do not eat vulture; for that reason, vulture lives long. although human does not eat vulture, they use it in sacrifice to signify long life and protection from death. the yoruba uses igunugun as symbol of longevity, thus, songs are sung into lives that need healing of longevity of life. a popular yoruba adage on this goes thus; “igunnugun iku lewe,” sikiru ayinde barriter also put this into song; igunugun iku lewe dandan vulture doesn’t die in young, compulsorily, ma dagba ma darugbo dandan i will live long till old age. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 163 another yoruba adage also says it best: igun yeyin on feyin pamo, atigun, ateyin re, won se sebe. this is interpreted as when a vulture hides its eggs after laying it, both the egg and the vulture can’t be used for cooking stew. this is because man does not eat vulture or its produce, this adage is often employed in some part of yoruba land to abuse, critic and correct persons who are proud. iyalode music enthusiast said that, “pipa lori igun pa, obo na ni tie lara”. that is, the vulture has a bald head and the monkey has its own sickness, implying that no one is perfect. absence of sickness in one does not mean that the person is absolutely well, look beneath the person and one will discover something that may be wrong. to further buttress the yoruba adage with it meaning on: igun yeyin o nfeyin pamo atigun, ateyin re won sefi sebo. vulture lay eggs and hide them; both vulture and its egg cannot be used for rituals. the adage is used to criticise proud person that there is nothing so special about the person once they do not benefit from his wealth. the second line of the adage is also used to affirm or bust that one cannot be harm or use as a prey. in track two of igba owuro, ebenezer obey says: eye toba fara wegun, eyin aro nio sun a bird that compares itself with vulture will sleep behind the tripod stand awa na ko o, olorun oba ma ni it is not by our understanding, it is the lord’s doing awa la lulu mama lu tana we are the ones that play new things always awanako o, olorun oba ma ni it is not by our understaning but the lord’s doing awa la pede ma ma pe tesi we sing without repeating the previous one awanako o olorun oba mani it is not by our understanding but the lord’s doing eye toba fara wegun ebenezer obey awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 164 this song says do not compare yourself with someone else, live your life independent of others. have a focus and be determined to achieve great things in life, be creative in whatever you do and finally, we rely on god to achieve these things. dove (adaba) figure 1.2: image of dove, sources: http://pixabay.com/images adaba (african grey hornbil. scientific name: tockus nasutus) adaba is a bird species in the hornbill family, recognized by its grey and white plumage, distinctive horn-like casque on its beak, and loud, trumpeting calls. adaba is found in savannas, woodlands, and forests in sub-saharan africa, it feeds on omnivorous, feeding on insects, fruits, and small animals, it's known for its social behavior, often living in small groups, adaba females seal themselves in tree cavities or rock crevices, using mud and saliva, while males provide food. both birds are known for their unique calls and distinctive physical characteristics, making them popular among birdwatchers and nature enthusiasts. in yoruba culture, these birds are revered for their symbolic meanings and significance in traditional practices. source: (yoruba people, yoruba mythology on igunugun). eye adaba symbolism adaba birds symbolises fertility: adaba is associated with fertility, prosperity, and abundance. it symbolises creativity: its beautiful songs symbolize creativity, joy, and celebration. it also symbolises love: adaba represents love, passion, and romance. yoruba functional meaning on eye adaba fertility rites: adaba's songs are used in fertility rituals to invoke the goddess of fertility, oshun. osun is celebrated during weddings, births, and harvest festivals, symbolizing joy and abundance. love and relationships: adaba's songs are believed to promote love, harmony, and balance in relationships. source: (reseacher). yoruba functional meaning on eye adaba. doves are beautiful, pleasant, gentle and harmless. adaba is believed to bring good tiding and fortune in yoruba land. eye adaba is a symbol of purity and holiness; when it descends on someone, it signifies sanctification and separation. a yoruba chant captures this best when it says “lekeleke bami leke, eye adaba bami leke o”, that is, cattle egret descend on me, dove too descend on me too. in an interview with adebayo (2020, a music enthusiast) stated that some bird songs in folktales are used to entertain children, such folk songs usually depict yoruba cultural believe, example of use in this respect would be: lekeleke bamileke o, ayanfe lekeleke rest upon me, the beloved eye adaba bamileke o, ayanfe dove rest upon me, the beloved. http://pixabay.com/images awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 165 children are usually taught to stretch forth their fingers towards heaven and wiggle it at the sight of cattle egret, which usually flocks in large number. cattle egret white feathers, signifies purity, these two birds (cattle igret and dove) are believed and seen as symbol of purity and peace, which are seen as emblem of the almighty god, and that is why fathers would pass it on to generations’ bird songs which connote the sustainability of his cultural believe and heritage. furthermore, dove also means open heaven more reason why asa used it on her album the captivator “eye adaba, eye adaba, eye adaba ti nfo loke loke loke, waba lemi o, oju mo ti mo mo rire o”. “dove that flies up high, come on me, it’s a new dawn, and i’ve seen good things”. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 166 this means that when dove rests on a person, he enjoys good fortune all day long. dove also connote the spirit of god, it is recorded in the bible act 2:9 when the spirit of god descend on the disciples it endowed them with power, might and boldness for the task ahead. dove image is used as a symbol peace. in yoruba tradition, both eye igunugun and eye adaba are revered for their symbolic meanings and functional significance, reflecting the deep connection between nature, spirituality, and human experience. source: (reseacher). awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 167 list of selected songs there are quite no of album waxed by the selected musicians, but here are the names, tittle of album and the track no of the selected songs used in this work. 2 yoruba chant songs and 8 songs on birds were drawn from these selected tracks and were put under proper musical analyses. s/n selected artistes tittle of album track no 1. sikiru ayinde barrister fuji fantazia fuji garbage series 1 and 2. track 2: aba ni kan nda track 1 and 7. 2. chief commmander ebenezer obey igba owuro mukulumuke track 5 and 6: ai so aba and eye toba fara wegun 3. asa; bukola elemi the elevator track 2:eye adaba recommendations i. songs on birds should be promoted and distributed to other parts of the country. ii. scholars on music should re-focus their studies on ecomusicology. iii. competent scholars and researchers, adequately familiar with their cultural landscape, should be mobilized and facilitated to conduct research and document songs on birds in their own localities. iv. the media houses should from time to time feature programs that will project and inform audience of ecomusicological activities using ethnomusicologists as resource persons. v. the government should see reasons to sponsor music educators for further studies and seminars to strengthen the frontier of knowledge on ecomusicological activities in the country since it promotes unity and progress. conclusion the study found that the musical patterns of the yoruba people were consistent with african traditional music depicting the ancestral origin of the yoruba people is africa. the use of vulture and dove in yoruba songs was not by chance; but is a veritable artistic and proverbial tool for passing deeper messages which ordinarily cannot be uttered aurally to the audience. away from that, birds were found to have deeper cultural and ritual relevance in yoruba tradition. the examinations of the 3 popular yoruba musicians who played at different times revealed that they had common musical patterns, rhythms and harmonies; and were able to preserve and transmit the tradition and culture of yoruba land. this study has concluded that song on birds represent the yoruba virtue and value. this study has opened a new vista of knowledge in ecomusicological study and the sociocultural analytical value of songs on birds. list of selected songs there are quite no of album waxed by the selected musicians, but here are the names, tittle of abulm and the track no of the selected songs used in this work. 5 songs on birds were drawn from these selected tracks and were put under proper musical analyses. s/n selected artistes tittle of album track no 1. sikiru ayinde barrister fuji fantazia fuji garbage series 1 and 2. track 2: aba ni kan nda track 1 and 7. 2. chief commmander ebenezer obey igba owuro mukulumuke track 5 and 6: ai so aba and eye toba fara wegun 3. asa; bukola elemi the elevator track 2:eye adaba awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 168 other songs on birds includes: awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 169 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 170 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 171 primary data source name age sex status address date of interview ebenezer obey (yoruba popular artiste) 82 male married kings hall, ikire, osun state o4/12/2020 mr lukman kolawole (sikiru ayinde barrister m.d music director of band) 52 male married monatan, ibadan 10/ 01/2020 mr babatunde laidi (head of distributor of record, ibadan zone) 50 male married ogunpa market, ibadan. 20/10/2019 18/01/2020 23/01/2020 iyaloja alatede odeyale (head of herbal medicine) 76 female married oje market, ibadan. 18/01/2020 mrs morufa sumeila (music enthusiast) 55 female widow oje market, ibadan. 18/01/2020 mr. korede kareem (music enthusiast) 48 male married ogunpa market, ibadan. 16/10/2020 20/10/2019 18/01/2020 23/01/2020 mr adebayo samuel (music enthusiast) 58 male married ogunpa market, ibadan. 22/10/2019 17/01/2020 24/01/2020 prof. lamid olakunle (h.o.d wildlife department, u. i) 51 male married university of ibadan 09/04/2019 dr. adeyanju adewale (ornithologist wildlife department, u. i) 42 male married university of ibadan 09/04/2019 mr. azeez monsuru (yusuf olatunji’s m.d) 39 male married oyo palace 12/01/2020 mr afeez bakare (ebenezer obey’s fan) 45 male married ogunpa market, ibadan 18/01/2020 mr. ojo oladiipo 48 male married oau campus 12/01/2020 dr. femi bamigbade 42 male married linguistics dept. o.a.u 14/02/2020 prof. ajibade g. o 58 male married linguistics dept. o.a.u 10/02/2020 mr tobi akinrinade 23 male single yoruba student, o.a.u 24/06/2019 mr. ojoifa ifarinmola 24 male single yoruba student, o.a.u 12/05/2019 ogunbodede odeniyi (oluode ibadan) 65 male widowee moniya, ibadan. moniya, ibadan. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 172 references adebayo, o. (2019). urbanization and yoruba birdsongs: challenges and opportunities. journal of urban studies, 56(3), 537-548. adedeji, t. (2020). birds in yoruba mythology: a study of their symbolic meanings. journal of yoruba studies, 20(1), 1-15. adekunle, o. (2020). the therapeutic effects of birdsongs on human emotions and cognition. journal of music therapy, 57(2), 123-135. adeoye, c. (2017). yoruba traditional religion and the environment. journal of religion and environmental studies, 1(1), 1-15. adewole, a. (2020). birdsongs and yoruba cultural revitalization: a study of their significance in preserving yoruba cultural heritage. journal of cultural studies, 22(1), 1-12. allen a. s. 2018 “one ecology and many ecologies: the problem and opportunity of ecology for music and sound studies.” musicultures 45 (1/2), 1-13, 2018. berger a. a. (2010). “semiotics and popular culture: the objects of affection.” us: palgrave macmillan. ojo, o. (2019). acoustic characteristics of yoruba birdsongs: a study of their melodic and rhythmic patterns. journal of acoustics, 145(4), 2510-2518. olaosun, i.2016 nature semiosis in two nigerian popular music. obafemi awolowo university press. nigeria olorunfemi, a. (2019). birdsongs in yoruba traditional medicine: a study of their healing properties. journal of traditional medicine, 10(2), 123-135. omojola, b. (2006). yoruba music and culture. in the garland handbook of african music (pp. 347 362). new york: garland publishing. oyedele, t. (2018). birdsongs and yoruba identity: a study of their significance in yoruba art and literature. journal of african studies, 49(1), 1-12. silver, b. m. (2015) “birdsong and a song about a bird: popular music and the mediation of traditional ecological knowledge in northeastern brazil.” journal of the society for ethnomusicology titus o.s. (2017)s. “jimi solanke and ebenezer obey’s music on environmental degradation and flood disaster in ibadan, nigeria.” journal 7 (2) 111-130, 2017 tonemic substitution 259 awka anglican diocesan music festival (2016 – 2020): a brief overview alexander walsh erhiegueke & emmanuel chukwuemenam umezinwa ph.d. abstract he biennial music festival of awka diocese is a graded music competition, where various church choirs gather and render pieces, with aesthetic appeal and with a primary aim of raising standards and improving church worship within the diocese. over the years, occurrences before, during and after the festival activities suggest that to a considerable extent, the primary aim for establishing the festival has not been achieved, as some church choirs within the diocese do not participate in the biennial music festival and some church choirs who participate have failed to attain the standard expected of them. it is therefore obvious that there are underlying issues around music festival in awka diocese. using interview method as source of collecting primary data, the researcher was able to find out issues plaguing music festival in awka diocese, some of which include lack of synergy among participating choirs, use of mercenaries, lack of guide in song selection, incomplete criteria in selection of leadership, etc. based on findings, the researcher recommends among other things, that the diocesan authorities should pay more attention to the organization and participation of music festival within the diocese, with an aim of practically assisting to make the festival better. t awka journal of research in music and the arts (ajrma) vol. 14 2020 260 introduction music has been a part of man’s existence from the beginning. as a result it is often said that music is as old as man. music coexists with man in numerous forms and its functionality is multi-faceted. man has found a way to include music in almost every human activity as every culture has peculiar ways of making music to suit their occupation, environment and experiences. a culture’s inspiration for music making is therefore drawn from its environment, its people’s experience and ideas. in his discussion of music, okafor in okafor (2019) sees music as: essentially human activity denoting or expressing human emotions and the relationship of the emotions to the environment… in its truest sense, it cannot exist without man… since each culture has its own collective or individual experiences, ideas, outlook and environment, the organization of sounds into music does vary from culture to culture. (p.1) music has been known to be an integral part of man’s worship of god and deities, as the case may be. for the worship of god, it features in different services in numerous forms. different christian church denominations have different ways and time for expressing music during denominational church services and activities. churches in anglican communion have different organizations, associations, ministries or groups that function in them, forming part or body of the church. they include: church choir, women ministry (mothers’ union (mu), women’s guild (wg), young mothers’ fellowship), fathers’ fellowship, youth organizations (anglican youth fellowship (ayf), gospel band, boys’ and girls’ brigade, anglican boys association, girls’ guild (gg) etc.), anglican children’s ministry etc. each of these groups has its various designations within the church, and also participates in music making in their various capacities. the 261 choir however takes centre stage in music activities since that is its primary and only duty in the church. different media have been established through which the choir carries out its musical functions in the anglican communion. during church services the choir is saddled with the responsibility of providing music, which serves many purposes in the church. the choir assists through music, in articulating sections of the anglican liturgy because according to okafor (2019:27), “when speech is used alone, it is sometimes difficult to lift important parts of the service above the rest”. the involvement of the choir in turn, helps the congregation to practically get involved in the worshipping process. apart from worship, which is rendered in the anglican liturgy, other activities have been established, through which more music can be engaged. an example of such activities is the music festival. music festival as it is called in anglican communion, awka diocese inclusive, is a biennial graded music competition, where every church choir is expected to participate in a given grade, based on their level of competence. the various grades available for participation in music festival of awka diocese include: grade three, grade two, grade one and super grade. there is also a provision for children choirs to participate in the children’s’ choir grade. just as it is with every area of human existence, to be plagued with issues, which sometimes are addressed and sometimes are insurmountable, music festival in awka diocese has since its introduction, had its own issues, some of which have been addressed upon discovery and some of which have not been addressed. this work investigates the music festival activities, with the primary aim of bringing to light, some of the issues present and proffering solutions to help alleviate them. 262 statement of problem the biennial music festival of awka diocese as earlier said, is a graded music competition, where various church choirs gather and render pieces, with aesthetic appeal and with a primary aim of raising standards and improving church worship within the diocese. over the years, occurrences before, during and after the festival activities suggest that to a considerable extent, the primary aim for establishing the festival has not been achieved, as some church choirs within the diocese do not participate in the biennial music festival and some church choirs who participate have failed to attain the standard expected of them. it is therefore obvious that there are underlying issues around music festival in awka diocese. this work is geared towards finding those problems and proffering recommendations with a view to alleviating them. significance of the study since music festival is an important part of church musical activities, this work will serve as a reference material to church choristers, church choir masters, diocesan music directors, leadership of the diocesan music festival and leadership of the awka diocese, anglican communion, in their quest to provide solutions to problems which have been laid bare here. it will also be an addition to already existing literature in music scholarship and categorically, music in church worship. concept of history history is the study of records of past events. it is an enquiry into events that have occurred in the past, since the invention of writing and documentation. the period before the invention of writing is referred to as prehistoric period. "history" is an umbrella term that relates to past events as well as the memory, discovery, collection, organization, presentation, and interpretation of information about these events. historians place the past in context using historical https://en.wikipedia.org/wiki/umbrella_term https://en.wikipedia.org/wiki/historian https://en.wikipedia.org/wiki/historical_source 263 sources such as written documents, oral accounts, ecological markers, and material objects including art and artifacts”. (wikipedia. accessed 15th july 2021). concept of festival a festival is “an organized set of special events, such as musical performances or plays, usually happening in one place, or a special day or period, usually in memory of a religious event, with its own social activities, food, or ceremonies”. vidal in odeh (2017:25), defined festival as “an annual event or anniversary in remembrance or commemoration of the gods, spirits, ancestors, kings or a historical occurrence”. in his opinion on what festival is, ekwueme (2005) explained that it is: a celebration or a feast or an event featuring music, dance, theatre, masquerades and many others, usually organized in the same venue once in a year. furthermore, they are landmarks in all societies as they mark special and remarkable events that had occurred in the history of any community. (p 158) in cudny’s (2014:641) view, a festival is “an organized socio-spartial phenomenon that is taking place at a designated time – outside the everyday routineincreasing the overall volume of social capital and celebrating selected elements of both tangible and intangible culture”. what is music festival? music festival is an organized event geared towards musical performances, usually with a theme. performances at music festivals can either be vocal or instrumental. it can feature solo singers, musicians, etc. “a music festival is a community event oriented towards live performances of singing and instrumental playing, that is https://en.wikipedia.org/wiki/historical_source 264 often presented with a theme such as music genre (e.g. blues, jazz, folk, classical music,)” (https://en.wikipedia.org/wiki/music_festival accessed on the 15th june 2021.) according to rudolf (2016), “music festivals are events consisting of a large variety of bands and musical artists performing shows, on numerous stages, over a period of days to a large audience, usually targeting young people. they can be held inside a stadium or outside at a park, field, desert, forest, beach or on a farm.” music festival in awka diocese music festival in awka diocese is a biennial music event, organized by the diocese, where various church choirs gather and render pieces, with aesthetic appeal and with a view to raising standards. participating church choirs are grouped in grades, based on their performance abilities, and are given set pieces, which they prepare and present on stipulated dates. winners are chosen by selected judges, and these winners go home with set prizes (trophies and sometimes cash by individual donors). in awka diocese, music festivals occur in two different stages. there is the archdeaconry stage which is organized at the archdeaconry level within the diocese. winners of the competition at the various archdeaconry levels meet other winners from other archdeaconries for the grand finale. there, one of the church choirs is crowned the winner of the festival for that year. aim of awka diocesan music festival the major aim of establishing music festival in awka diocese is to generally improve the musical aspect of church worship, which is primarily anchored by the choir. in church worship, there are praise, prayer, word, thanksgiving, announcement, etc. sessions, and the choir is usually expected to present an anthem after sermons. this anthem is always expected to re-enforce the sermon given by the priest. to https://en.wikipedia.org/wiki/music_festival 265 achieve this primary purpose of improving church worship, several items of the order of service were included in the syllables. the order of service for anglican worship as itemized by nwamara (2009) includes: 1. processional hymn 2. introit 3. call for worship 4. sentences/prayers/vesicle and responses 5. canticles 6. old testament reading 7. psalms 8. new testament reading 9. canticles 10. announcements 11. hymn for sermon 12. sermon 13. anthem by the choir 14. choruses for thanksgiving/special offering 15. benediction items drawn from the order of worship to make up the syllables of music festival include: hymns, chants, psalms, song holy eucharist (different sessions), anthems (english and igbo). it is expected that continuous rehearsals of these church worship items in preparation for the festival will help the choirs attain required and expected standard in performing these items, which will in turn ensure standard musical worship during church services. apart from the primary aim which has been stated above, there are other things expected to be achieved alongside the primary aim. the question which needs to be answered now is; has the music festival of awka diocese, anglican communion achieved the aim for which it was 266 established? the following sub-topics will point us in the right direction. synergy among participating choirs after the introduction of music festival, workshops were introduced as part of the preparations for the festival. every church choir was and is still expected to send representatives to the workshop, where proper analysis of the selected items will be done. these regular contacts on the other hand, help to grow synergy between the participants. it is expected that every choir that participates in the competition will do so with a required degree of sportsmanship, and since there can only be one overall winner for each grade, others should congratulate the winner and accept their positions with a view to improving their performances and trying again. a closer view from an observer’s perspective shows that the above is not the case. every participating choir goes there, hoping to take home the trophy. this has over the years implanted, nurtured and shifted the spirit of sportsmanship to the overdrive. participating choirs, have disagreements after each festival, as the choirs who supposedly lost refuse to accept the result as declared by the adjudicators. increased repertoire it is expected that continuous participation in music festivals will over the years increase the number of anthems in the church choirs’ repertoire. a close look at the statistics shows that not all church choirs participate in the music festival. what that means is that churches who have failed to participate in the music festival of the diocese are not beneficiaries of the expanded repertoire, courtesy of music festival in the diocese. even some of the choirs that participate drop or forget the anthem soon after the competition. 267 improved quality of solo performers as earlier stated, the music festival management board led by the diocesan music director selects the anthems to be learned and presented by the choirs. sometimes, these anthems have solos, and it is expected that a member of the choir will take the solo lines. since no one wants to present an unprepared work, there will be proper coaching of members of the choir, and the best is selected to take the solo part/sections. the use of “mercenaries” it is gradually becoming a tradition that participating choirs employ the services of professionals to strengthen and make their performances better. this has gone a long way in defeating the aim of establishing the competition. the incorporated professionals come, learn these songs, and return to their various destinations. this also sends false information to the diocese, as the choir strength which mounts the stage to perform is not actually the actual strength, which will be made bare for everyone to see after the festival. this is equally a sad commentary on the truth and honesty quality of such a religious body. it is simply put as cheating. song selection song selection is done by the joint effort of members of the diocesan committee on music festival, led by the diocesan music director and the secretary, who is always a priest. in the anglican liturgy, there are seasons which take turns to come around annually. they include:  advent: a time of expectant waiting and preparation for both the celebration of the nativity of christ at christmas and the return of christ at second coming. it marks the beginning of the liturgical year.  christmas: a season set apart for the celebration of christ’s birth. 268  epiphany: a season set apart to celebrate an element in the story of christ’s birth, the visit of the magi.  septaugesima  sexagesima  quinquagesima  lent  easter  trinity according to the awka diocesan music director, the committee looks at the already existing pieces in circulation and determines the season with fewer pieces in circulation. this is what influences their selection of pieces, as they select pieces that fall into seasons with fewer pieces in circulation. below are the selected anthems from 2016 to 2020: english anthems super grade 2018 – “praise the lord with harp and tongue” by g. f. handel 2020 – “o come, let us sing unto the lord” by g. f. handel grade one 2016 – “let us break their bonds asunder” by g. f. handel 2018 – “ye sons of israel” by g. f. handel 2020 – “kings shall be thy nursing fathers by g. f. handel grade two 2016 – “praise the lord oh my soul” by thomas mintor 2018 – “ye boundless realms of joy” by g. f. handel 2020 – “glory and worship are before him” by g. f. handel grade three 2016 – “i was glad” by t. crampton 269 2018 – “the saviour’s invitation” 2020 – “rejoice in the lord all ye righteous” by george elvey igbo anthems super grade 2018 – “ma unu onwe-unu bu ogbo ndi aroputaworo” by sir sam ojukwu 2020 – “ gozienu jehova, unu ndi o huru n’anya” by sir prof. dan c. c. agu grade one 2016 – ma ndi nele anya jehova” by sir sam ojukwu 2018 – “tiwanu nkpu onu” by sir chuma chukwuka 2020 – “ nogide nu nime ihunanya m” by prof. sir dan c. c. agu grade two 2016 – “ nyeny jehova nsopuru” by sir sam ojukwu 2018 – “onye n’adighi n’akukum” by sir dr. ugo onwuka. 2020 – “guzosienu ike n’olu onye-nwe-anyi” by prof. sir dan c. c. agu grade three 2016 – “jubilate deo2 by d. m. okongwu (rev) 2018 “anyi g’eti mkpu onu” 2020 – “legide jisos anya” by sir sam ojukwu a close look at the list of anthems above show that selection is not actually done to make up for church seasons with limited number of pieces in supply as was claimed by the music director. anthems are rather randomly selected. the list also shows that the committee in charge of selection of anthems seemingly has strong ties with the famous baroque composer g. f. handel, as the majority of the english anthems are handel’s works. 270 selection of adjudicators for effective completion of the festival, there are judges who are paid to listen to the performing choirs and give scores befitting of the performances. the following are considered in the selection of adjudicators:  formal music educationanyone who will be selected and contracted to be part of the adjudicators for music festival in awka diocese, must have acquired a degree in music.  choral music experience – experience in choral music is a prerequisite for selection of an adjudicator. it is believed that years of active involvement in choral music will apprise one with the required informal knowledge of choral music. this alongside formal music education will ensure constructive criticism of the choirs and appropriate assigning of marks.  composersthe leadership of music festival in awka diocese does not only look out for people with formal music education and choral music experience. they also look out for people who are good composers, and who have composed works that are relevant to the anglican communion. it is important to note that participating judges must not possess all the items listed above. compulsorily, a selected judge must possess a degree in music with choral music experience but must not be a composer. although a look at the list of adjudicators over the years shows that composers are always part of the adjudicating team. music festival leadership the diocesan music director is by default in charge of music activities in the diocese. he sees to a successful execution of every music project within the diocese. the office of the music director is by appointment. the following are the qualities expected of the diocesan music director: 271  enthusiasm – the music director must show an appreciable level of enthusiasm towards music. he or she must be a lover of music.  experience – he must have gathered requisite experience in musical activities and leadership. he must be a musician and a leader. it is important to note that the number one musician in awka diocese (the music director) should among other existing qualities, possess formal music training for more effective administration of his primary duties and responsibilities to the diocese. summary and recommendations the music festival of awka diocese has to an extent achieved the primary aim for which it was established. this does not play down on the presence of issues as enumerated in this work. the leadership of awka diocesan music festival should look into the following areas, with a view to effectively improving standard and quality holistically. they should find effective ways of ensuring that every church choir participates in the diocesan music festivals. this will bring about a general improvement in church worship within the diocese. they should also find ways to eliminate the use of mercenaries so that the lessons learnt from participating in the competition can be beneficial to the church. song selection can actually be done as proposed, to result in a balance of works in church choir repertoire for all church seasons. also, in selecting anthems, the committee should try to select a balance of works from different composers, so that different techniques can be imbibed since composers have their individual characteristics which usually reflect in their compositions. in addition to the already existing criteria for selection of leadership, the diocese should include a compulsory degree in music. the diocesan music director should be someone who has leadership 272 experience, is dedicated, has enough practical music experience, exhibits required enthusiasm towards music and should be a musicologist. references cudny, w. (2014). the phenomenon of festivals: their origins, evolution, and classifications. anthropos, 109 (2), 640-656. retrieved june 25, 2021, from http://www.jstor.org/stable/43861801 ekwueme, l. (2005). gender distribution in the national festival of arts and culture. journal of the association of nigerian musicologists. vol 1, no 2, pp 157 – 171 nwamara, a. o. (2009). music in contemporary igbo christian worship. an appraisal. journal of the association of nigerian musicologists, 3, 144-151. odhe, m. o. (2017). music in nigerian festivals: a study of oruowerre festival of owerri. an unpublished m.a. thesis. rudolf, k. f. (2016). the importance of music festivals: an unanticipated and underappreciated path to identity formation.(https://digitalcommons.georgiasouthern.edu/cgi/vi ewcontent.cgi?article=12 09&context=honors-theses accessed on 15th july 2021) https://digitalcommons.georgiasouthern.edu/cgi/viewcontent.cgi?article=12%0909&context=honors-theses https://digitalcommons.georgiasouthern.edu/cgi/viewcontent.cgi?article=12%0909&context=honors-theses 310 awka journal of research in music and the arts (ajrma) vol 17 june 2024 entrepreneurship in sustaining nigerian traditional music for economic development ayeyemi ebenezer oluwatoyin, phd department of music adeyemi federal university of education, ondo olueben01@gmail.com ayeyemioe@aceondo.edu.ng & omodele kehinde samuel department of music adeyemi federal university of education, ondo abstract this paper explores the vital role of entrepreneurship in preserving and leveraging nigerian traditional music for economic development. nigeria’s rich cultural heritage, particularly its diverse traditional music, holds immense economic potential that can be harnessed through entrepreneurial initiatives. entrepreneurship in the context of nigerian traditional music involves various activities such as music performance as occasion demands, music production, cultural tourism, digital platforms and merchandise sales. through case studies and analysis, this paper elucidates how entrepreneurs leverage technology and marketing strategies to reach wider audiences both locally and internationally. it also discusses the challenges and opportunities faced by the traditional performers including issues related to funding, infrastructure, and cultural preservation. it underscores the importance of collaboration between entrepreneurs, artists, policymakers, and communities to foster a conducive environment for sustainable entrepreneurship in traditional music. keywords: entrepreneurship, nigerian traditional music, economic development, performance. introduction the issue of economy in nigerian is one which gives the citizenry critical concern and also poses danger to the coming generation. everyone seems to be carrying their burden unnoticed by the closest person. the effort government at all levels, non-governmental and corporate bodies put in place to alleviate economic crunch from the type of hard life nigerians live seem to be insufficient until the effect is felt. this could be credited to either overpopulation or failure to strategies for economic boost. one could say then, that the issues of economic development depend on the input and business of every individual who wishes to have a better living for self and others. these individuals take cognizance of their physical and cultural environments in order to identify the possible and best materials for self-development and at the same time cushion the effect of economic challenges facing the society. music is a phenomenon that wraps up the daily life of an african man, and it is multifunctional in all activities in the society. few of the functions in african societies include cultural expression with the medium expressing cultural identity, traditions and values. it serves as a means of preserving and transmitting cultural heritage from one generation to another, social cohesion which brings communities together, fostering a sense of unity and solidarity. through communal singing, dancing, mailto:olueben01@gmail.com mailto:ayeyemioe@aceondo.edu.ng 311 awka journal of research in music and the arts (ajrma) vol 17 june 2024 and drumming; reinforcement of communal work, praise of heroes, exposition and correction of societal ills, fulfillment of rites and rituals during religious activities, historical exposition through praise chants (ewi), teaching of the norms, ideals and values of the society and a means of expression of ideas in order to create environmental awareness. it strengthens social bonds and promotes cooperation among members of societies. communication which is concerned with the conveyance of messages, stories, and narratives. traditional songs often contain historical accounts, moral lessons, and socio-political commentary, serving as a means of oral tradition and storytelling. education and moral instruction is a tool that deals with impacting knowledge, wisdom, and moral values to younger generations. through music, cultural norms, ethical principles, and societal expectations are transmitted and reinforced. entertainment and celebration are very common among africans. festive music and dances bring joy, excitement, and a sense of festivity to various occasions. music provides entertainment and serves as a form of celebration during festivals, ceremonies, and social gatherings. these multifaceted phenomenon is capable of providing suitable avenue for individuals and groups of people to boost economy following the principle of creativity and innovation in cultural entrepreneurship. theoretical framework this paper adopts richard florida’s cultural economic theory which posited that creativity, culture and talent are significant drivers of economic development and prosperity. he argues that cities and regions with vibrant cultural scenes and creative industries tend to experience higher levels of economic growth and innovation. he emphasis on 1) creative class which includes individuals engaged in occupations that require creativity, such as artists, designers and so on and that the presence of a diverse and dynamic creative class is a crucial determinant of a city’s economic success (florida 2002), 2) cultural assets which includes the organization of arts, museums, theatres, music venues and festivals, in fostering a vibrant cultural ecosystem. these cultural assets not only enhance the quality of life for residence but also attract visitors and investment, contributing to economic growth (florida, 2002). from the foregoing, it could be inferred that the rich culture and music of the yoruba of southwest nigeria and africa at large are suitable avenues for a wide creativity, using the opportunity of assess to cultural artifacts to boost economy. the concept of economic development the term economic development and economic growth are used interchangeably but there is a very big difference between the two. economic growth can be viewed as a sub category of economic development. therefore, there is no one prescription for economic development that fulfills the needs of all communities. successful economic development is a process that fills different needs for different communities at different times. loveridge and morse (2013) defined economic development as "a sustained community effort to improve both the local economy and the quality of life by building the area's capacity to adapt to economic change". according to todaro and smith (2015), economic development involves three core values: sustenance, self-esteem, and freedom. these values emphasize the importance of meeting basic needs, fostering respect and dignity, and enhancing the ability of individuals to make choices. shaffer (1989) also defined it as the sustained, progressive attempt to attain individual and group interests through expanded, intensified and adjusted use of available resources. economic development can involve job and income growth, it also involves sustainable increases in the productivity of individuals, businesses and resources to increase the 312 awka journal of research in music and the arts (ajrma) vol 17 june 2024 overall well-being of residents and maintaining or even enhancing the quality of life. economic development refers to the enhancement of economic activity in the community. this is the starting point in the economic development process. community, group or individual economic analysis is the process of examining the economic state or position in order to determine further steps of development process to be taken to better the situation. music and its value in traditional setting african music can be described as the music of the indigenous peoples of africa. sub-saharan african music has as its distinguishing feature a rhythmic complexity common to no other region. music is highly functional in ethnic life, accompanying birth, marriage, hunting, and even political activities. much music exists solely for entertainment, ranging from narrative songs to highly stylized musical theater. traditional music as a concept is difficult to be given a unified definition, because everyone has his own idea of what the term means to them. however, within nigerian context, omibiyi (2002) defined it as the body of music practiced in pre-colonial nigeria, associated with traditional ceremonies and rituals. ekwueme (2008) also puts it as the local traditional music, music of indigenous nigerians. it is the music that is native to their customs. nettl (1964) described it as the music in oral tradition found in those areas which are dominated by high culture, distinguished from the cultivated or urban or fine art music by its dependence on oral tradition rather than on written notation. traditional music and economic development in many parts of africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. traditional african music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. therefore, traditional music of africa is functional, used for ceremonial: religious, political or incidental purposes, during funerals, to console the bereaved, to express pain and agony and during cleansing and chasing away of spirits, during parties, to praise people in authority, welcoming back the warriors from a war, during a wrestling match, during courtship, in rain making and during divination and healing and during festivals. work songs are performed both during communal work like building, weeding, etc. and individual work like pounding of cereals, winnowing. most importantly, traditional music is highly educative, teaching morals, hygiene, patience in all things, good character, unity, hard word, good friendship, love and trust, preparation for difficult days, time management, wisdom, self-discipline and self-reliant, communication and signalling etc. the custodian and practitioners of the traditional culture and music are the indigenous people, apt to teach the traditional norms and values. they are bundle of oral history and information. however, there are different styles and names of music coined out of the traditional music of the different regions of nigeria. these styles are functional and purposeful. some of the music though attached to some specific regional and cultural environments, have been taken out to the global level of appreciation by the traditional performers. these performers not only develop themselves economically, they as well globally showcase their different cultures in the area of traditional music, remind the culture carriers in both home and in diaspora those traditional norms and values practiced in their different cultural backgrounds. for example, ayilara (2014:20) comments at the demise of elemure ogunyemi, a prominent ekiti traditional musician thus: 313 awka journal of research in music and the arts (ajrma) vol 17 june 2024 chief ogunyemi was an accomplished man, brilliantly successful in his chosen carrier. he was well in versed in the history and family antecedence of ekitiland and its people and he used this to his advantage in all his records which showed the interwoven radiance of good rhythms, graceful dance-steps, excitable percussions dexterically given by the drummers…and the finely coined lyrics of rich unadulterated ekiti dialet. ayilara further exposes the musical personality of the icon that: “he was the legend of ekiti folk songs, the genius of ekiti musicology and the master of innovation in the field of traditional entertainment. he was the ekiti music moderniser.” with a good time performance practice of traditional music, the economic attainment of ogunyemi improved. by his consistency in the practice and self-discipline, he rose from obscurity to a limelight, from poverty, he became rich and self-reliant, he also moved from local level to become an international maestro and from a commoner to nobility as he became high chief elejoke of isaba. the foregoing indicates that the types and styles of traditional music in nigeria generated from the various ethnic groups created avenues of economic development for the performers. traditional music is attracted by environmental, historical, political, socio-cultural conditions and of course, economic circumstances (nketia in ijeoma 2011:24). on the basis of the above, communal activities at different levels of societies are accompanied by music for its functionality during particular social occasions. contributions of nigeria traditional musicians to economic development ijeoma (2011:27) identifies two types of nigerian traditional music performers, firstly, performers that make music through their attachment to traditional institutions, such as religious/ritual institution, social institution, royalty and others. musicians, whose motivation is the love of music and its economic considerations stand as the other aspect. talented and inherited musicians who yoruba of nigeria called ayan could not be left out in this regard. several of these performers from different cultural backgrounds in nigeria whose names are listed below are icons of traditional music. name of musician style of music domain of musician adedare ariunralojaoba adamo ijesa/south west durojaye aremu adamo ijesa/south west s.s. olayera adamo ife/ south west olufemi oyaro adamo ile-ife abeni olori waka ijebu-igbo/south west s.k.b ajao-oru waka ijebu-igbo/south west batile alake waka south west salawatu abeni waka lagos/ south west mamman shata hausa wakar jos/north alhaja aduke eyinfunjowo waka omuaran/ south west f. aka sakara ikare/ south west yesufu olatunji sakara abeokuta/ south west haruna isola apala egba/ south west ayinla omowura apala ijebu-igbo/south west alhaji dauda epo-akara awurebe ibadan/south west 314 awka journal of research in music and the arts (ajrma) vol 17 june 2024 alhaji tatalo dundun ibadan/south west emperor wale olateju bolojo egbado/ south west king jossy friday bolojo egbado/ south west ayinde barrister fuji lagos/ south west kollington ayinla fuji lagos/ south west odolaye aremu dadakuada ilorin/south west ogundare foyanmu ijala oyo/ south west bola otu oseghe owo/ south west isola adepoju osirigi irun akoko/ south west ojo ojuroungbe ijigi ileoluji/ south west alhaja adepeji apiiri ido ekiti/south west pa sebulum biripo ikale/south west samuel omotola emaye oba biripo okitipupa/ikale/ilaje comfort omoge asiko ikale/south west layelu twince biripo ikale/south west chief elemure ogunyemi ayuu adoekiti/ south west chief ajoyemi ayuu omuo-ekiti/ south west chief femi ariyo agogo-egungun ilawe-ekiti/ south west ajayi ogidiolu ogbele ilupeju-ekiti/south west ogidiolu alaro umore ilupeju-ekiti/south west akinni amodemaja igunnuko music ota/south west chime akugwu ekpili music south east dan maraya minstrel jos/ north hajia fatima lolo nupe music nupe/ north the above collection of nigerian traditional music, the musical genres and the locations of the musicians was based on individual contact. 2015 traditional music is doubtless functional among nigerians, it also promotes social, cultural, religious and other activities of the people, especially now that the music industry has improved tremendously on the recording technology. both digital and analogue recording studios are at the fingertips of performers to boost their music which brings every production and reproduction or playback of recorded music ‘back to live’ to feed the audience. however, from the late sixties, the traditional performers began to travel abroad for performances where they were exposed to the sophisticated musical instruments and latest technologies which they began to acquire and introduce into their ensembles, (oriloye and ayeyemi, 2013). thus, traditional music became popular and changed radically as some of the performers emerged globally as traditional music icons. furthermore, the promotion strategy is not limited to music production only, it extends to the marketability of the music and cultural identity. the mass media stands a better chance to up-shoot the music in the mode of advertisement. ekpa and udor (2013:169) commended the stand of nollywood in promoting nigerian culture in the film industry, likewise, there is every need to allow traditional music to grow through and other technological bequeath of the world. traditional music as a means of human development 315 awka journal of research in music and the arts (ajrma) vol 17 june 2024 as traditional music contributes to the promotion of nigerian cultures in the areas of religion, social, physical and material lives of the people, it is also obvious in the spheres of: education; music could facilitate learning and understanding of societal norms and values when integrated into the practices of and used by the societies, symbolism; traditional music serves as a symbol of the cultural identity to the people who performs, use and appreciate the formal structure of the music, communication; all aspect of traditional music: dance, singing, drumming, chanting, costumes, props, procession, declamation, poetry, etc are communicative in nature. carriers of the culture receive it as in form of message and respond to its meaning, situational/emotional expressions; music generally takes care of human feelings; traditional music especially addresses deep and strong emotional feeling according to the dictate of surrounding situation. for example, alakinyede of ado-ekiti chants rara during burial ceremonies. this music dampens people’s morale for the loss of their loved one snatched by death. on the other hand, traditional music heightens the spirit and creates excitement in its listeners. emotional feelings not permissible in words or speech are expressed in music countless of the effect on individuals as the message is disseminated, either for correction, resolution of conflict, exultation or admonition, encouragement etc, social control; traditional musicians stand likes watch dog to people in traditional societies, he has the information of credible and worthy dignitaries the evil perpetrators, he is the custodian of history of almost every family, icons, the community at large and incidents in the society. he stands the chance to expose through his music the evil deeds in the society and move to curb such evil. sugarman, cited in dissanayake (2006) that traditional music is rarely an end in itself, but a means to social ends, aesthetics; beauty makes one excited and uplifts the spirit. the sound of music adds to the beauty of social, cultural and religious environment when it is put to practise. a desired change is brought about the surrounding by the dictate of the performers. traditional music informs events by its numerous functions and affecting the subtile aural sensibilities which enhances the individual’s aesthetic perceptions of the environment and atmosphere (ijeoma, 2011:32), maintenance and continuity of history, tradition, norms, and values of the people are in the custodian of performers of the different traditional music genres. need for entrepreneurship in sustaining traditional music nigeria is indeed blessed with natural, material and human resources. as earlier mentioned, government, individual and cooperate bodies are not able to adequately solve economic problem, most youths in the society look forward for white-collar jobs from the government of the day. it looks difficult to satisfy the numerous job seekers with the few vacant spaces but the natural and material resources in nigeria could yield positively for individuals, group of investors and the nigerian government, if the human resources are adequately managed. nigeria is equally rich in arts and culture from which traditional music performance is singled out as the center focus of this paper. in a general platform, africans don’t toy with their traditional culture and music, since both are interwoven. life in african traditional society is an aspect marked with various forms of ceremonies usually accompanied by music, because in african culture, there is music and in music, there is culture. traditional musicians are seen as economic specialists, performing particular tasks to which they are assigned by the society contributing to the total labour necessary 316 awka journal of research in music and the arts (ajrma) vol 17 june 2024 for the economic requirement of the society as a whole. in this sense, traditional musician are professionals whose professionalism seems to run along a continuum of payment, they must be accorded an acknowledgement, and given recognition of professionalism in payment sufficient enough to support the music totally (merriam, 1964). the objective of entrepreneurship is for one to assume the responsibility and the risk for a business operation with the expectation of making a profit. the entrepreneur generally decides on the product, acquires the facilities, and brings together the labour force, capital, and production materials. if the business succeeds, the entrepreneur reaps the reward of profits; if it fails, he or she takes the loss (microsoft encarta, 2009). traditional music entrepreneurship is a good platform for many individuals, who choose to showcase their culture and mainly to see themselves gainfully employed in the society. conclusion obviously, traditional music of nigerian diverse cultures contributes to the economic development and uplifts the standard of living of the performers irrespective of the styles or genres. its functions in all ramifications cannot be underestimated among the traditional societies; it aids faster learning and memory retention, it instills moral education and controls anti-social activities, above all, its performance stirs up the spirit of people and the beauty of its sounds, either vocal, instrumental or vocal and instrumental and dance creates atmospheric excitement in the place of its presentation. this results to making traditional music contribute to the availability and accessibility of ethical, social, cultural and economic resources necessary for the development of…intellectual and economic capacities of individuals (ijeoma, 2011:24). suggestions this paper suggests that: a. music education is the best avenue to promote the nigerian traditional music and to teach the younger generation the norms and values of the society, since it is one of the ways of education, government should realize its impact and importance. it should therefore be made a core subject in the school system instead of co-subject in cultural and creative arts (cca). b. the good number of nigerian jobless citizens be encouraged and empowered to take up the challenge of embarking on the performance of traditional music to economically power themselves, uplift the cultures of the different ethnic groups within the nation. c. ethno-musicological research body should be established like the western communities and people should be trained in the area so as to dig out the cultural music that are still in obscurity. references ayilara, d.a. (2014) the enigma called elemure ogunyemi. nigerian tribune, wednesday, 1 october. p 20 www.tribune.com.ng dissanayake, e. (2006) ritual and ritualization: musical means of conveying and shaping emotion in humans and other animals. in steven brown and ulrich voglsten (eds.) music and manipulation: on the social uses and social control of music. oxford and new york: berghahn books, 31-56. ekpa,a. and udor, u. (2013) technology and its impacts on the dynamics of traditional musical http://www.tribune.com.ng/ 317 awka journal of research in music and the arts (ajrma) vol 17 june 2024 cultures: the nigerian experience. journal of association of nigerian musicologists. 5, 166179 ekwueme, l.(2008) a basic guide to music appreciation. lagos. apex books limited. florida, l. r. (2002) the rise of the creative class: and how it’s transforming work, leisure, community and everyday life. new york. basic book. ijeoma, f (2011). channelling traditional music to sustainable development. journal of association of nigerian musicologists. (5), 23-36. merriam, a.p. (1964) the anthropology of music northwestern. university press. microsoft encarta (2009) [dvd]. redmond, wa: microsoft corporation, 2008. nettl, b. (1964) theory and method in ethnomusicology. new york. schirmer. omibiyi, m.a. (2002) the musician and contemporary nigeria. interlink, a journal of research in music. 1, (1) 1-23 oriloye, s.a. and ayeyemi, e.o. (2013) the impacts of technology on the nigerian music industry and national development. review in social sciences (riss), 11, (1) 111-119. todaro, m. p., & smith, s. c. (2015). economic development (12th ed.). pearson. shaffer, r. (1989) community economic structure and change in smaller communities, ames: iowa state university press. wyoming community & regional economics portal. (2013) retrieved from http://wyocre.uwagec.org/econdevl/. http://wyocre.uwagec.org/econdevl/ 18 insidious eroticism in musical performances of saint janet kayode m. samuel ph.d. & samuel a. adejube abstract rom euphemism to dysphemism, the nigerian popular music industry has enjoyed the patronage of the masses aided by the various virtual communities in the propagation of its message of eroticism. unlike many nigerian popular music artistes who are aggressive in their erotica performances, saint janet is a creative music artiste whose adoption of insidious eroticism knows no bound. with the use of ethnographic techniques (key-informant interview and participant-observation), this article discusses the insidious eroticism used in saint janet's music. the paper argues that the christian religious background of the artiste and the need to fulfil her daily needs have been the factors responsible for her insidious creativity. socio-cultural themes such as didactic, religious, therapeutic, entertainment are part of her techniques in entrapping her audience in her web of eroticism. subtly, both the young and old are lured into her erotica performances. the paper also argues that parody has been her major compositional technique with emphasis on the reconstruction of several juju-gospel music. keywords: saint janet, insidious eroticism, nigerian popular music, juju-gospel music performance introduction eroticism, violence and vulgarism, as discursive themes, have been greatly explored in the humanities, especially within the fields of the creative and performing arts. however, the motion portrait facet of the performing arts seems to be the propelling cogency in spreading the contentious traits of vulgarity, violence and eroticism. kelly (2013) f awka journal of research in music and the arts (ajrma) vol. 13 2019 insidious eroticism..... k. m. samuel & s. a. adejube 19 expresses grave concern about the seemingly opposing but powerfully entwined forces of the erotic, perverse, macabre and violent, which have been explored on many levels within the history of art particularly through the medium of film. it is perhaps within the music video genre however, that we see these co-joined aesthetics so actively envisaged. the term, erotic is culturally defined sinceits meaning variesfrom one culture to another. while the use of sexually implicit language is prohibited in some cultures, the same language can be used scarcely in another, especially where the use of euphemism is largely encouraged. also, the use of lewd language is wittingly adopted in a different culture loosely. supporting this claim, asare (2014) notes that the definition of what is erotic in the arts may vary from one society to another and opinions may change over time. she continued: to the asante, there is little or no differentiation between words as erotica and pornography... if it is visual arts it will be likely to be judged in the domain of good art and bad art, not forgetting the functionality of the object. in the performance, it tends to a discourse of decency versus indecency (ethical basis). if an artwork is beautiful, it is admired, if it is to serve a purpose, it is used and discarded, and its admiration also dies quickly; that is to say, most of the socio-cultural arts of the asante are ephemeral except for the royal arts and regalia. (asare, 2014, p.2) lewd, vulgar, exotic and lecherous words are expressed in the day-today compositions and performances of contemporary nigerian popular musicians. these words are used sporadically in the popular media, particularly in music entertainment and the home video industry (the nollywood). nigerian popular music artistes also acculturate this aspect of lewdness in their musical performances. consequently, the influence can be envisaged to be from the african american hip-hop culture. in explaining the acculturation employed by nigerian popular insidious eroticism..... k. m. samuel & s. a. adejube 20 music artistes, emielu (2006) opines that with improved air travels and the development of global satellite network, music from around the world can be heard from the comfort of one‟s home, and this has both produced positive and negative effects on the development of african music. african pop musicians have adopted similar forms and practices of their american and european counterparts. the consumerist orientation which has gripped many african societies fueled by economic considerations is at the root of the ever-changing face of popular music in africa.some critics have contended that african music is fast losing its soul in a globalized world. the yoruba word: „asakasa', (a strange culture) is used to describe any cultural expression that cannot be properly linked to the home culture. nigerian popular musicians make use of different techniques as they introduce erotic lyrics into their compositions and performances. while some employ the use of euphemism, others are not moderately mild as they arequite direct and free in lewd expressions.for instance, sexual expressive terms by abass obesere (a nigerian fuji music artiste) were viewed by many as unacceptable to the yoruba culture, which mademembers of the society to regard and label the artiste as an outcast. generally speaking, the yoruba culture does not seem to promote an arbitrary use of sexual terms in the day-to-day conversations. in common parlance, such words are referred to as „isokuso‟ (indecent talks) and roundly frowned upon, especially when expressed by a minor, teenager or a married woman. janet omotoyosi kayode-iyun popularly known as saint janet is a nigerian female pseudo-juju-gospel music practitioner who is famous for adopting erotic themes in her music. saint janet is also known to employ parody as she changes the song texts of popular gospel juju/highlife, choruses, and native air music to erotic lyrics in the cause ofentertaining her audience. erotica displays are widespread in the lyrical and visual performances of many nigerian popular music artistes, mostly the males and insidious eroticism..... k. m. samuel & s. a. adejube 21 especially those associated with the hip-hop, fuji and afro-pop genres. members of the society sometimes consider this phenomenon excusable for male music artistes, but not for their female counterparts who are expected to maintain societal values including decorum and piety especially as yoruba music artistes. while some music artistes are aggressive in their bawdy performances, others tend to adopt a subtle approach in their lewd performance. one of the artistes in the latter category is saint janet. this article, therefore, examines the insidious pattern in saint janet's erotica performances. theorizing the socio-psychological needs there is always a reason for an action despite the pros and cons of such action. the socio-psychological theory of human needs offers a perspective that is based on all human actions and behaviours in the pursuit of fulfilling his/her needs, irrespective of the appropriateness or inappropriateness of the action. the earliest and most widespread version of this is maslow's (1954) hierarchy of needs which includes five motivational needs, often depicted as hierarchical levels within a pyramid. neglects of any form of deficiency tend to motivate people to attempt the unthinkable to meet their needs with little or no regard for the possible consequences, including the appropriateness or inappropriateness of their actions. according to maslow, it is not until theneeds at the base are satisfied that the individual could aspire to progress to meet higher level growth needs. 1. psychological or biological needs include; air, food, cloth, shelter, warmth, sex, sleep… 2. safety needs include protection from physical and natural causes, security, order, law, freedom from fear 3. social needs include love, friendship, family, friends and romantic relationship 4. esteem needs include achievement, mastery, independence, status, dominance, prestige, self-respect… 5. self-actualization includes realizing personal potential, selffulfillment, seeking personal growth, and peak experiences. insidious eroticism..... k. m. samuel & s. a. adejube 22 one of the ways to comprehend the erotic and lewd performance of saint janet in lieu of maslow‟s socio-psychological hierarchy of need is to study the activities of various popular musicians who in pursuit of money, fame and power would opt to perform any musical compositions. the lowest form of their needs, which is physiological and at the base must first be metbefore attempting to move up the ladder to the higherones. many popular musicians are from the mass and low culture where they live below one dollar ($1) per day. moreover, the benefits of the lyrical performance of saint janet are not limited to her and her musicians alone but also her audience. some of her listeners are people who patronise the pub house, bars and clubs hence, they find solace and encouragement in the performance of saint janet as they enjoy their time and activities at the pub house. also, some of her listeners talk about the therapeutics benefits of deriving sexual pleasure thereby increasing their libido, which in return helps them in securing their marriages especially as regards to sexual intimacy with their spouses. aggressive eroticism in nigerian popular music the mass media and the internet have been a major avenue to spread an idea, concept or message. hence, the nigerian popular music industry has ridden on such a prospect. though the media has a way of censoring the use of vulgar words, this has not in any way stopped aggressive erotica display by the music artistesusing audio and visual tracks. kelly (2013) expresses the importance of the video to popular music artistes, states that „the video clip is a visceral medium to exploit the theatrics of spectacle. for many woman artistes it is also a vehicle to address issues of body politics – questions of representation, sexuality and identity... for example, selfobjectification, aggressive sexuality, sadomasochism, violence, horror and so on are all seen to beat play'. most young people access the music of their country, the west and especially of americans and any other countries via the various social insidious eroticism..... k. m. samuel & s. a. adejube 23 media on the internet. besides, music can be accessed and recorded from the various music and television houses as the country are open to different pay-tv that are foreign-based. in that way, there exist a very good opportunity and possibility for the youth to get exposed to the different cultures of the west and most especially their expression in lyrics, styles and dressing. likeseveral other musical genres, popular music has the capacity of attracting people‟s attention through its melodic and rhythmic power (adeola, 2001). its effect on the listeners is enormous andquite evident in the kind of language, dance movements, facial expressions and gestures as well as the kind of moods displayed by the music enthusiasts, given the fact that it is learned by fans as dictated by the popular musicians. many music videos of popular musicians in the country contain erotica scenery both in words and sight. from women dancing naked and shaking their „buttocks‟ to men calling out those erogenous words with or without euphemism being applied to sensor these acts. oikelome (2013) in his work titled “are real women just bad porn?: women in nigerian hip-hop culture” ascertain that there is a tremendous trend in the development of using and displaying women as sex symbols on the music video of popular music genres. he continued: however, sex symbolism is taken to an alarming dimension in the music industry where women are seen as a commercial venture, useful for commercial purposes. this is because generally, in western culture and societies that follow the west, a woman's body is considered sexually provocative to man; and thus, there is a growing concern over the near-naked female postures in some music videos. (oikelome: 2013, 86). there is a similar genre among the yoruba known as ìjálá, mainly performed by men of any age (ajibade, 2005).although it contains more vulgar and erotic words than nuptial songs, there are no restrictions on its performance in public. in other words, if ijala (praise chant genre of the hunters‟ guild) grantsan unrestricted insidious eroticism..... k. m. samuel & s. a. adejube 24 license to men for vulgar expressionsand erotic words, nuptial songs equally permit women to perform such acts. ajibade notes further that: this song may be funny and amusing, and it is deliberately so. one can be in an erotic mood when listening to this song. this song conjures both male and female reproductive organs ready for sexual intercourse. this can stimulate the new wife to be into getting ready for the conjugal rites. this song is usually sung when the bride and her friends dance around the town usually a day before the marriage ceremony. they usually sing it when they notice the presence of males around them. they do not limit themselves to a mere description of the reproductive organs but go further to depict sexual acts between men and women. (ajibade 2005: 104). one of the songs cited in ajibade‟s work goes thus: olóríburúkú l‟okó – a penis is a heady ill-fated individual ajígbèsè l‟epòn – the scrotum is a debtor àfi tó bá wo ‟nú òbò sin-sin – it will not desist until it forcefully penetrates the vagina. one can, therefore, infer that contemporary popular musicians sometimes leverage on references to sex and sexual objects in african oral literature, especially those found in performances of ijala, ewi, oriki and ekuniyawoof the yoruba to launch and justify the inclusion of lewd lyrics in their musical performances. olajubu (1972) and dare (2005) quoted the annual oke‟badan – ibadan hill – festival in ibadan, the capital of oyo state of nigeria. this is an annual festival celebrated by the adherents of the deity of the hill in ibadan. expressions of obscene songs and gestures are allowed during the festival wherein boys and girls (below puberty) parade the streets, singing obscene/lewd songs accompanied with obscene gestures.the freedom in expressing lewd act and performance is permitted only once in a year and in the context of oke'badan insidious eroticism..... k. m. samuel & s. a. adejube 25 festival. however, in contemporary times when social and mass media are widespreadwith accessibilityto users from the comfort of their houses, vulgar songs and lewd performanceshave been taken outside the context of the pub, beer parlours and nightclubs.they haveextended to public space, including homes, offices, fuel stations and markets as well as on the radio, television and the internet. examples of popular music artistes in the country who are fond of adopting erotic displays aggressively in their performances are burna boy, olamide, reminiscence to mention but a few. for instance, a part of the texts of the song entitled; „ladi‟ by olamide and phyno, featuring lil kesh, lil kesh expresses his desire to have sex with a lady named „kemi‟ as used in the musical video. iranu, abasha nonsense! rubbish! olorun, jeje mi ni mo joko sita my god! i was sitting outside quietly mo ba ri omo kan tan pe ni kemi then, i saw a girl named kemi nigbati mo ri idi kemi mo pariwo aaah when i saw her buttocks, i shouted ahh! she say kesh do you want to sample me she said, kesh do you want to have sex with me quite recently, relevant regulatory bodies in nigeria have sanctioned the works of some music artistes, which are considered grossly offensive and contain erotic and vulgar lyrics. the table below shows a list of music productions banned by the different censoring authorities in the country for promoting obscenity and thereby „corrupting the society‟ through their videos. not to be broadcast (ntbb) list of july 2015 s/ n artistes title remarks classification 1 phyno yayo obscene video ntbb 2 reminisc -ence tesojue vulgar lyrics ntbb 3 nicki anaconda vulgar lyrics and ntbb (audio insidious eroticism..... k. m. samuel & s. a. adejube 26 minaj obscene video & video) 4 olamide indomie obscene video ntbb (video) 5 pre the girl sfb 6 wizkid in my bed sfb 7 naeto c ft d‟banj tony montana video depicts violence ntbb (video) 8 ace hood & rick ross bugatti ntbb 9 olamide falila ketan ntbb (video) 10 lil kesh gbesere vulgar lyrics ntbb 11 may d ibadi obscene video ntbb (video) 12 olamide bobo sfb 13 dr sid ft tiwa savage oyari sfb 14 konet mummy joanna ntbb (video) 15 davido fans mi video promotes ostentatious lifestyle, violence, drug trafficking and indecent exposure ntbb (video) 16 iyanya ft don jazzy gifts sfb 17 omarion ft chris brown and post to be sfb insidious eroticism..... k. m. samuel & s. a. adejube 27 jhene aiko 18 jhibo lomo obscene video and lyrics ntbb source: net newspaper insidious eroticism and the music performances of saint janet the first erotica music album of saint janet contains a large number of texts that refers to sex and sexual activities without restriction. while other popular musicians adopt euphemism in mentioning the male sexual organs by using terms like „banana‟ and „pandororo‟, saint janet opted for dysphemism by literarily calling human sexual organs by their descriptive anatomical names:oko (penis), obo (vagina) and omu (breast). the release of her music album was a rude shock to the public, especially wherever the music is being played in lagos state and the environment where she usually performed. although the lagos state government announced that her music has been banned, it was later found out that some radio stations were granting airtime to it, while interested individuals played the musicat gatherings and private parties. an example of a song from her first album that shows a dysphemism approach to her erotica performance is b‟oko ba le laleju, as‟eyun b‟omode ba m‟oko do o, a l‟oyun boda rora se, b‟oko ba le laleju, ase‟yun translated as: if the penis is too turgid (strong erection), it can abort pregnancy if a young lady loves to have incessant sex, she will get pregnant brother, take it easy (exercise caution) if the penis is too turgid (strong erection), it can abort pregnancy insidious eroticism..... k. m. samuel & s. a. adejube 28 it could be argued that the above musical lyric is didactic being that it warns of the risk of unwanted pregnancy on a girl-child who is sexually active; nonetheless, the affront with which she mentioned the male sexual anatomy largely remains unacceptable and the fact that the society frowns at such defiance cannot be pushed aside. perhaps, the negative reaction that greeted her first album was the motivation that led her to adopt euphemism and insidious approaches to subsequent musical performances and productions. a subtle approach to erotica performances can be seen in her adoption of parody tocommon gospel songs thathave gained much popularityamong the general public, including children before throwing caution to the winds in her erotica journey. instrumental articulations of well-known tunes/songs laced with syncopated rhythmic gestures after the order of juju-highlife modeare presentedas preludes before initial verses in her musical performances. the melodic construct is predominantly tonal with a strongadoption of western-oriented harmony.instruments include electronic keyboards, (one of which is used as synthesizer for the horns section, especially set to saxophone timbre), lead, rhythm and bass guitars, and the trap set (drums) all combining to make the musical performance comfy and appealing to the audience. also, the africanization of popular church hymns remains oneof thestrategies and constituentelements in her insidious approach toensure a higher level of acceptabilityof her music. to this end, saint janet utilizes the choruses commonly usedfor liturgy in yoruba churches in her performances to draw her audience towards her music. this is a common tactic by popularjuju musicians, especially whose workstend to combinejuju with gospel genres. a juju gospel music artiste is most likely tobegin his/her performance with core gospel songs singing with full instrumentation that is akin a juju musical performance with the use of all the percussive instruments available,including the sakara (circular-shaped membrane drum with earthen resonator) and sekere (rattle). meanwhile, as part of a means insidious eroticism..... k. m. samuel & s. a. adejube 29 of entertaining the audience, s/he would often juxtaposegospel music form with juju style of performance by singing the praises, eulogy of the people in her performance circle. at times, such music artistes infuse their names in the performance in the form of vocables or rearranging the lyrics to suit panegyric mode of performance. a musical example olorun t‟oda awon oke igbani the lord who created the ancient hills eyin ni mo fi ope mi fun (un)to you all my thanks/praise is due the above popular gospel songis commonly vocalized bysaint janet at social functions regardless of the event or performance context. no doubt, the song is a parody of „my grandfather‟s clock‟ written in 1876 by henry clay work. saint janet‟sparodied version, though gospel, is presented in a simple cantabile form akin to the juju rhythmic style. the chorus is kept short and simple following the repetitive structural form.thereafter, she begins to make a roll callof her patrons by eulogizing and appreciating them for their generous support and for promoting her musical career, especially invitations extended to her to perform at their social functions.panegyric form remains a common element in her music just as it is typical ofjuju music (vidal, 2012). her style of presentation may be described as midway speaking and singing (not entirely chant-like). in addition, her music performance brings a remembrance of an aspect of folklore and mass culture that finds its quotidian relevance tocultural expression in the form of contemporary hybridity as opined by omojola (2012). the song texts ofsaint janet also feature socio-cultural themes including entertainment andironically, that of social control. insidious eroticism..... k. m. samuel & s. a. adejube 30 the starting section of her live performances and her studiorecorded filescould be subtly captivatingas one listensto and participatesin it. listeners who are not quite familiar with her voice may find themselves singing and dancing alongside at this point. examining the first live album of saint janet titled „faaji plus‟, the 44 minutes, 19 seconds musical album begins with a tuneful popular gospel music used as choruses in the liturgical service of some churches in the country, such as „heavenly lord, your name is wonderful, your name is excellent, your name is beautiful, i worship you, lord, for you are mighty, you've got the whole world in your hands‟. as expected, the lewd portion of the live performances of saint janet‟s has given rise to the controversies surrounding her career. a majority of her critics are clergymen and church authorities who vehemently oppose the use of gospel songs as parody to her compositions. apart from the fact that she always starts her performance with gospel/church lyrics and songs mainly comprising church choruses, she is also fond of changing the songs to suit her erotic/lewd performance thereby alternating the lyrics in the songs.on the other hand, a reconstruction of gospel songs as used by saint janet is a way of giving thanks to god who supposedly is responsible for her musical gift, creativity and success in the musical industry. in her words: there is nothing one can do aside god, i get my inspiration for my lyrics from god, whether before a performance or while performing and i need to improvise, all these creativeness comes from god (sic). it could be argued that perhaps this is the main reason for her insidious erotica performances compared to the aggressive erotica performances of some popular musicians. the theological themes explored by the music artiste can be identified as part of her insidious movement. another of such songs used by saint janet is: olorun to da awon oke igbani lord, the creator of the heavens eyin ni mo fi ope mi fun… unto you, i give all my praise insidious eroticism..... k. m. samuel & s. a. adejube 31 ta ni un o tun gbega o who else can i adore, bi ko se baba l‟oke if not you my heavenly father ta ni mo tun fi gbogbo ope mi fun… who else deserves all of my praise the sheer number of church buildings and religious activities in nigeria is a proof that its citizensare extremely religious. manygatherings and secular meetings always start with opening prayers from at least the two major religions in the country (christianity and islam). saint janet is seen to adopt religious style in performances irrespective of the location/venue. she often begins her performances with songs in praise, honour and worship of god. in her words:„ there is nothing anybody can do outside god. i can tell you boldly that, my inspiration is from god‟. unsuspecting listeners easily connect with such a musical idea before being swayed by her erotic lyrics. another factor responsible for insidious eroticism in the performances of saint janet is audience appreciation of the sociocultural themes in her music compositions. as popular juju/highlife songs, her performanceshave a strong appeal to her audience. besides, most of the songs, though flavoured with erotic texts are sometimesa form of supplication, with strong appeal to religious-inclined members of the audienceanddidactic through effective use of euphemism. such songs include: adara adara fun mi it shall be well with me a ma ko‟lemo‟le we will build houses upon houses atun ma ra‟le mo‟le we will procureplots of land opeke to mu‟le t‟ikoko a damsel that lives next door to the wolf ikoko a naa l‟egba the wolf will spank (devour) her the first aspectis more or less a prayer, but the second, through euphemism, attempts tocautionasexually active girl-child against promiscuity.from the gospel songs to the socio-cultural themes being used by saint janet, her listeners are somehow gradually caught in the web of her erotica performances. subtly, both the young and old insidious eroticism..... k. m. samuel & s. a. adejube 32 begin to swing to the rhythm ofwhat seemed like a „praise and worship' form, until she interjects with erotica lyrics. at this level, both euphemism and dysphemism are applied in mentioning the sexual anatomy of both male and female along with indistinctterms (languages) depicting sexual activities. example of such songs is: b‟owo mi bawa l‟oyan re if i am fondling your breasts t‟enu mi wani enu re when kissing you ti kini mi wani sale when having sex sha r‟oju duro ma yedi please, be patient chorus: duro, r‟oju duro ma ye di… be patient... the above song is a parody of the hymn titled; „wait and murmur not‟ with lyrics by w. h. bellamy and music by w. j. kirkpatrick. in the adaptation of this hymn, not only that the lyrics have been modified to satisfy the eroticism desire of saint janet, but also the melody was readjusted to accommodate the tonal inflection of the language of performance. this was done by adding a semitone to the already raised fourth note (as shown below) within the first melodic phrase. insidious eroticism..... k. m. samuel & s. a. adejube 33 another song by saint janet goes thus: o ti gbomi l‟ataro ko ma je ki sun he‟s been having sex with me all day long oba mimo, wo run „sale mi, meta loku holy god, my pubic hair remains only three adogan l‟obo, eyin bobo e to gi si the vagina is meant for sexual activities the last sentence is more or less a metaphor in which the vagina, likened to the cooking pot,in need of firewood, symbolic of man‟s penis, to ensure the making of delicacies is done. conclusion this article attempted to demonstrate that unlike many nigerian popular music artistes who make use of aggressive erotica musical performances (in lyrics and audio-visual), saint janet is a creative insidious erotica music artiste. the socio-psychological theory adopted by the authors in this paper reveals that human actions and behaviours in the pursuit of fulfilling their needs/wants do little or have no regard to the appropriateness or inappropriateness of their actions.as a result, the insidious creativity in her performanceswas birthed to accommodate more followers and patronages utilising genresranging from the gospel to juju and highlife musical forms before the eroticism found in either the reconstruction of gospel music or the parody engaged in her compositions. the paper argues that in spite of the christian religious background of the artiste, it has not in any way stopped her from embarking on insidious eroticism..... k. m. samuel & s. a. adejube 34 erotica journey. rather, it has been of assistance in her subtle approaches to erotica musical performances. apart from the eroticism displayed by saint janet, other socio-cultural themes were explored in terms of the functionality of the musical lyrics, extending from didactic to the therapeutic themes in her musical compositions and performances. this insidious approach to her performance implies that many listeners could possibly be entrapped unconsciously and insidiously in the web of her eroticism. references adeola, t. (2001). contemporary nigerian popular music: a tool for national development. nigerian theatre journal vol 6 (1) ajibade, g. o. (2005). is there no man with penis in this land? eroticism and performance in yoruba nuptial songs. african study monographs, 26(2): 99-113, august. asare, s. (2014). erotic expressions in adowa dance of the asante: the stimulating gestures, costuming and dynamic drumming. journal of music and dance, 4 (1), 1-9. dare, s. (2005). sexual discourse in niyi osundare‟s poetry: a sociolinguistics reading. african study monographs, 26(2), 8997. emielu, a. (2006). afro-american music and the african identity: a historical and contemporary analysis. vol 8.96-108. kelly, a. (2013). transgressive eroticism in the music videos of madonna, rihanna and lady gaga, peer-reviewed proceedings of the 4th annual conference popular culture association of australia and new zealand (popcaanz), brisbane, australia, 24-26 june, 2013, p. mountfort (ed), sydney: popcaanz, 311320. accessed on 12 june, 2019 from http://popcaanz.com/conference-proceedings-2013/. maslow, a. h. (1954) motivation and personality. new york: harper and row. oikelome, a. o. (2013) are real women just bad porn?: women in nigeria‟ship-hop culture.the journal of pan african studies, vol 5, no 9, march insidious eroticism..... k. m. samuel & s. a. adejube 35 olajubu, o. (1972). references to sex in yoruba oral literature. the journal of american folklore, vol 85, no 336. april-june. omojola, b. (2012). yoruba music in the twentieth century: identity. agency and performance. vidal, t. (2012). selected topics on nigerian music. ibadan: obafemi awolowo university press. tonemic substitution 126 effective teaching and learning of cultural and creative arts in secondary schools: a valuable tool towards the sustenance of human dignity in nigeria hope nkechi okpala ph.d. abstract he level of debasement of propriety globally and in nigeria in particular is alarming. the effects of these are manifest in the level of lawlessness in the country. the vices that are prevalent in nigeria today are as a result of degeneration in human dignity. any effective approach to the restoration and sustenance of human dignity should start from childhood stage of human development where they acquire their basic education. studies have shown that values inculcated into children at this stage guide them through adulthood. this paper therefore seeks to reveal how the effective teaching and learning of cultural and creative arts in nigerian pre-tertiary schools will aid in the restoration and sustenance of human dignity. the values and aspirations of the country embedded in this subject if properly handled are expected to be inculcated into any child who passes through this stage of education. this no doubt will go a long way to produce individuals with worthwhile behavior who will in future contribute meaningfully to the all-round development of the country. the research method adopted in this study is the survey and review of related literatures. the paper adopts the theory of transformative musicology. this research reveals that teachers of cca are faced with the problem of proper implementation of the curriculum for the subject. it suggests that t awka journal of research in music and the arts (ajrma) vol. 14 2020 127 seminars and workshops should be organized to train teachers on the subject. keywords: cultural and creative arts, sustenance, human, dignity, education. introduction a society is committed to making every individual within it a responsible member who, in turn, should be committed to the continuity and development of the society within its norms, values, and philosophy of life (emeka, 2006:3). studies have shown that this can only be achieved through both formal and informal education systems of the society. education is a vehicle through which the value and aspirations of any given society is transmitted to its young ones. “it is designed to equip the individual not only to earn a living but also for life itself, through encouragement of socially desirable knowledge, attitude and skills” (okafor 2005: 190). it is the pivot on which the developmental process of any society revolves no wonder ojukwu and onyiuke (2014:74) observed that “quality education for students is critical not only for individual growth but for a society‟s future.” it is therefore pertinent for some aspects of the culture of a people to be integrated into their education system. this is done by designing the curriculum of education in a way that it effectively reflects the needs of individuals in the society as well as the society‟s aspirations when properly implemented. by so doing the acceptable patterns of behavior will be inculcated into members of the society right from tender age and they will grow into adulthood with those virtues to be very relevant in their societies. this no doubt must have been the reason why the federal government of nigeria has been reviewing its education system and curriculum of education to a more acceptable and objective based one. as a result of this, the 6-3-3-4 system was introduced in 1982; president olusegun obasanjo launched the universal basic education in 1999. the 9-year basic education curriculum (bec) was introduced into nigerian primary and 128 junior secondary schools nation-wide in september, 2008 (mokwunyei, 2014). all these attempts were made to provide an education system which the country will confidently rely on for its development. cultural and creative arts (cca) was introduced into the education system in order to incorporate the cultural values of the country into the basic education curriculum. „this was done to preserve and present nigerian music, dance and drama on film video and audio tape slide and written form etc. as stipulated in cultural policy for nigeria.” (agu 2006:4).this study is geared towards revealing how effective implementation of the curriculum of cultural and creative art in pre-tertiary school will foster the restoration and sustenance of human dignity in nigeria, with particular reference to music as an aspect of cca. the rate of inhuman act exhibited by some nigerians is alarming. these are evident in the killings, destruction of properties and the many corruption and insecurity cases that are carried by the nigerian network and local news almost every day. all these happen because of degradation in human dignity. most peoples‟ minds have been seared by evil thoughts that they can no longer discern between evil and good. they feel very comfortable in perpetuating evil without any thought of the consequence of their actions. this is really a thing to be worried about. this paper is an attempt to proffer solutions to the chaos which are gradually eating deep into the country. definition of concepts human dignity “dignity is the right of a person to be valued and respected for their own sake and to be treated ethically” (https://en.m.wikipeia.org/wiki/dignity). every human being is born with it. dignity is an inherent value in every human. anyone that has dignity is worthy of respect. human dignity is what separates humans from animals. a person with dignity carries himself/herself well. 129 there are certain characters the person should not exhibit – use of abusive words, stealing, kidnapping, embezzlement of public fond, cheating, etc. anyone who indulges in any of the acts mentioned above and the likes has lost his dignity completely. on the other hand, subjecting people to inhuman treatments means depriving them of their right as human beings. dignity also entails treating others the way you would like to be treated. it is very appalling that in nigeria today most people no longer have respect for human dignity; people are being humiliated, treated like slaves in their own country. people are being killed for no reason on daily basis. right to dignity of human persons as contained in chapter 4, section 34 of the nigerian constitution have been greatly violated and the defaulters most times do not face any penalty for their crime. the constitution states that: every individual is entitled to respect for the dignity of his person and accordingly – a) no person shall be subject to torture or to inhuman or degrading treatment. b) no person shall be held in slavery or servitude and no person shall be required to perform forced or compulsory labour (https://nigerianconstitution.com/chapter-4-cestion-34-right-todignity-of-human-person). the question is, how far has this section of the nigerian constitution been observed by the citizens? teaching teaching has been defined in various ways by different scholars. national teachers institute nti in ojukwu and onyiuke (2014) defines it as a process of manipulation of environment to bring about learning. pring in akudolu (1994: 133) views it as engaging in certain activities which you have grounds to believe will be instrumental in 130 bringing about, in another the learning of something that can be characterized or specified. the definitions above did not view teaching from educational point of view. they made no reference to the quality of the content to be taught or learned. akudolu (1994: 134) gave a more concised definition of teaching as a “systematic activity deliberately engaged in by somebody to facilitate the learning of the intended worthwhile knowledge, skills and value by another person and getting the necessary feedback.” this definition presents teaching as having a set of activities which when carried out will enable another person to learn what will improve the person‟s knowledge, value, attitudes and skills. in other words, teaching is expected to bring about positive and permanent change in the learner. cultural and creative arts (cca) cultural and creative art is the amalgamation of music, drama and fine art. nigerian educational research and development council (nerdc) has included cultural and creative arts as one of the core basic subjects in the 9 year basic education curriculum. the three components of cca are studied in nigerian tertiary institutions as separate areas of study. affirming this, ojukwu and onyiuke (2014: 77) write, “though these three subject area has their own discrete characteristics which largely inform their particular and varied ways of working but within that work model arguably creative aspect is fundamental”. that is to say that creativity is one unique aspect which is shared by the three subjects. the integration of these three major arts subjects as one subject was necessitated by the quest of the nigerian government to integrate some aspect of its culture into its education system. this was done to change the western culture which dominated the nigerian education curriculum. aninwene in okeke (2014) rightly observes the effort of the nigerian 131 government to introduce an education system that will reflect the needs and aspirations of the people as he writes: attempts were however made in 1969 by national curricular conference to change the british colonial heritage on education in nigeria, in other to make it more responsive to the needs and aspiration of nigeria and the nigerian child alike. the conference sought to emphasize nigerian culture including nigeria music, folklore and literature in the education system with emphasis on acquisition of practical skills, from primary to tertiary level. (p. 24). the cultural and creative arts education is expected to educate the pupils and students about the culture of their people and inculcate discipline in them. “it is aimed at developing the students‟ acquisition of cultural repertoire, aesthetic perception, artistic talent, creativity and expression” (ojukwu and onyiuke 2014: 76).the three subjects in cca have great impact in the life of any child that passes through the basic education program. music in particular has tremendous influence in the all-round development of a child. a nigerian child and the igbo child in particular is introduced to music while still in the womb. it is believed that the rhythmic movements made by the mother while going about her house chores have remarkable effect on the unborn baby. the early exposure of the nigerian child to music has proven to have a positive influence in his life. every culture in nigerian has provided musical activities for their children which, help in inculcating their values and aspirations into them. okpala (2016) opines that: early exposure of children to music is very important in the development of a child in terms of perception skills which enhances literary abilities and language. it helps in imbibing the necessary attitudes and values into 132 them, which if upheld guide and lead them throughout their life time (p.7). aninwene, (2006:7) also has this to say about yoruba culture, “in yoruba land, for example, a child is right from his youth incorporated into the musical tradition of the land. he is allowed as part of training, to take part in various socio-musical activities which range from nonritual to rites of passage.” every attribute which a child needs to acquire to be relevant in his society is embedded into the music of that particular culture area. effective teaching and learning of cultural and creative arts (cca) teaching has been defined earlier in this paper as a systematic activity deliberately engaged in by somebody to facilitate the learning of intended worthwhile knowledge, skills and values by another person and getting the necessary feedback. cultural and creative art is a performance oriented subject, so any teacher that will teach it effectively must be very competent and also very good in performance and practical activities. for instance, the teacher may lead the students in acting some drama pieces that portray the reward for good deeds and consequences of ill behaviors. the primary aim of the teacher will be to effectively pass on the knowledge that he/she has acquired into the students by employing adequate teaching methods. in consonance with this, ojukwu and onyiuke 2014 state that “a teacher which is worth his or her onus employs adequate methods (strategies and techniques)that are learner centered to bring about permanent learning (p. 78). they further opine that teaching should be more of activity and leaner should be at the center of learning. the teacher of cca should make teaching and learning very enjoyable to arouse the interests of the students. adequate instructional material should be provided. the fine art teacher could lead the students to display the effect of some ill 133 behaviours through drawing and painting. the music teacher on the other hand could also achieve the same objective of directing the students or pupils towards the acceptable patterns of behaviour through songs, most especially, through folk songs. the use of indigenous materials as instructional material should be encouraged as much as possible. agu in okpala (2017:437) affirmed this by saying that “since music is strongly attached to culture, the application of indigenous knowledge system in music education provides a strong cultural orientation for the nigerian child.” he went further to say that in other to provide the nigerian child with adequate musical knowledge that will expose and provide him with appropriate sociocultural and environmental background, the application of indigenous knowledge system is the only solution. indigenous music has many traits that will guide the nigerian child throughout his developmental stages of life. agu (2011) submits that: music is the pivot on which education of the igbo child rotates. the established musical tradition enhances acquisition of musical skills and competence. in addition, the child learns about everything around him including the culture, literature, history, religion and moral instructions. the discussion so far has revealed that amongst other teaching strategies, that the use of indigenous knowledge system will go a long way in actualizing effective learning. no wonder emeka in agu (2011) states that: igbo traditional music education greatly emphasizes on character formation and starts early to inculcate the young into those values, behavior attitudes speech actions and traditions that are considered necessary for the making of a person in giving environment (p. 11) 134 emeka‟s assertion above holds for every other culture in nigeria. this implies that for effective teaching of cca in nigerian pre-tertiary schools, appropriate indigenous instructional materials should be employed by the teachers of the subject. for effective teaching of cca there are pertinent questions which the teacher has to provide answers to in the teaching process starting from planning to teach, to evaluation. these questions by child were observed in onuora-oguno and okpala (2015) thus: what are the content of any teaching section? awhat am i expected to teach and in what order(content)? b what educational purpose is my teaching expected to serve (aims)? cwhat teaching methods are known to achieve these purposes (methods)? dwhat standard of achievement am i expected to aim at (objectives)? e how will i discover whether the course i‟ve been teaching has been successful or not (evaluation)? (p. 9). the ability of the teacher to provide adequate answers to the above questions will enable him to plan and execute his teaching adequately. there is no doubt that the outcome of such teaching will be very rewarding because effective learning is the product of effective teaching (ojukwu and onyiuke, 2014:76). factors that hinder the effective teaching and learning of cultural and creative arts the introduction of cca into nigerian education curriculum is a welcomed development to achieve the desires and aspirations of nigerians. but there are some challenges in the implementation stage. some of these challenges has been highlighted by some scholars like ugoo-okonkwo (2014), 0keke (2014), 0jukwu and onyiuke (2014), onuorah-oguno and okpala (2015). they were unanimously concerned about the incompetence of cca teachers at this level to teach the subject effectively. most schools do not have teachers who are 135 specialists in the three subject areas of the cca. the implication is that a teacher who specializes in drama will also have to teach music and fine art. definitely, the outcome of such will not be desirable at all. even where there are music teachers, the question is how competent is the teacher? music is a creative subject and studies have shown that most of the music teachers at the pre-primary and post primary levels are not creative or performance oriented. “teachers are merely content with teaching lines and spaces and go home leaving a yawning gap in the creativity aspect of music” onuoraoguno and okpala (2015:4). a music teacher who is not creative will never make effective use of folk music in the teaching of music as folk music is all about performance. inadequate time allocation: interview carried out by the researcher in the course of this study and her personal experience as a onetime teacher in the primary and post-primary schools showed that a maximum of 30-45 minutes per period were allocated for classes . the teacher has 1 to1½ hours to cover what he/she has in the scheme of work for the week. the scheme of work for the jss classes drawn from the new curriculum was always over loaded with several topics which are expected to be covered in one week. “lesson topics are so jam-packed in the new scheme of work” (ugoo-okonkwo, 2014). she goes further to observe that for the topics to be covered by the teacher, he/she must have to superficially teach them that even the students will not comprehend what is being taught. time factor coupled with over loading of weekly lesson periods with topics make it difficult for the teacher to do justice to his/her teaching. lack of provision of adequate instructional materials: most post primary schools do not have basic instructional materials that will aid the teacher in the teaching of cca. such materials as keyboard instruments and other local musical instruments, the use of some 136 electronic gadgets that are necessary for effective teaching and learning are lacking in most schools. improper teaching methods: a good teacher must cultivate and possess some personal qualities or characteristics that will endear him/her to the learner (ojukwu and onyiuke 2014:76). one very important character the teacher of cca must possess is humility. he must humble himself to sing, dance and play musical instruments with the students irrespective of his/her social status in the society or rank in the school. the researcher‟s interaction with some students on students-teacher relationship disclosed that most students are afraid of their teachers. some teachers use abusive words on the students, calling them names because they failed to answer questions correctly in the class. for effective teaching, the teacher must maintain friendly relationship with the students. it is also surprising to note that some teachers just give notes to students to copy with little or no explanations. the cca teacher should employ all the necessary instructional materials available to make sure that he/she achieves his objectives. he/she must not look up to the school authority to provide him with everything needed for effective teaching; he must be ready to sacrifice his time and money. music being a performance oriented subject requires active participation of the students during the teaching and learning period. the teacher must show a high level of competency in administering his lessons. the students must be actively involved. for instance, in teaching of „rhythm‟ the teacher will provide few rhythmic instruments and lead the students to play the rhythmic patterns he/she wants them to master .the students are also expected to represent the rhythm by clapping or dancing as lead by the teacher. knowledge acquired through this method is not easily forgotten. 137 ugoo-okonkwo (2014) in her discussion on “implementation strategies employed by teachers for cca curriculum and its implications to music education” cited a chinese proverb which states: “tell me, i will forget, show me, i might remember, involve me and i will learn” (p.223).the teacher of cca should adopt a teaching method that will encourage active participation of the students. “students must be properly guided by the teachers through planned activities so that learning may be acquired” (ojukwu and onyiuke, 2014:76). summary and conclusion it is very obvious that there has been great degradation of human dignity in nigeria and this has hindered the developmental progress of the country. it has resulted in many vices in various parts of the country. people are deprived of their rights to dignity. this study has portrayed education as an indispensable factor in the development of any society as the desirable values, norms and philosophy of life are integrated into the education system. education has also been viewed as a powerful tool for enhancement of the restoration and sustenance of human dignity. cultural and creative art which is one of the core subjects at the basic education level in nigeria is an important aid towards character formation if well implemented. the cca teachers at this stage of child development should explore all necessary methods of teaching to make sure that his teaching is objective based. they should be aware that any mistake made at this level will be detrimental to the future generation. appropriate instructional materials should be employed to make sure that the intended worthwhile behaviors are inculcated into the students. this will go a long way in molding the character of the students to conform to the patterns of life expected of them. 138 many scholars have made some useful recommendations as regards the integration of the three basic art subjects as cca and its implementation. ugoo-okonkwo (2014) is of the opinion that the curriculum be reviewed in line with the challenges currently faced at the implementation stage. she added that the required personnel should be involved in the review. okeke, (2014) is of the opinion that „parallel approach‟ which allows the teaching of the respective subjects as separate disciplines with the proper incorporation of african values in each. this paper agrees with the recommendations above and also adds that while waiting for the review of the curriculum, the nigerian government through the appropriate bodies should organize workshops and seminars to train teachers of cca on how to handle the subject. this approach was adopted by ford foundation in america in 1962 by the request of the music education national conference (menc) and it yielded positive result. mark (1986) discussing the curricular foundation of music education wrote: one of the first activities of contemporary music project was the establishment of sixteen workshops and seminars, held at various colleges throughout the country, to help teachers better understand the contemporary music through the analysis, performance and pedagogy (p. 37). it also recommends that rather than study the three courses lumped up as cca as separate courses in tertiary institutions, school of arts education should be established. the school should offer these three courses and other related arts courses; 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(2006). competencies needed for effective teaching of music in the secondary schools. awka journal of research in music and the arts. 3, pp. 47 – 61. ojukwu, e. v. and onyiuke, y. s. (2014). effective teaching of cultural and creative arts (cca): integrated approach. awka journal of research in music and the arts (ajrma) 10, pp. 74 86 okafor, r. c. (2005). music in nigerian society. enugu: new generation books. okeke, i. n. (2014). applying piaget‟s “critical period” to music education in nigeria: a study of selected schools. awka journal of research in music and the arts (ajrma).10, pp.45 64. okpala, h. n. (2018). child development through music education: a pointer to solving human problems in nigeria. in f. abiodum, r. https://en.m.wikipedia.org/wiki/dignity https://www.vocabulary.com/dictionary/dignity 140 adeogun, a. nwamara, m. olatunji, o. idamoyibo and c. aluede (eds.).music, musicology and the gospel in nigeria. a festschrift in honour of samuel olafemi adedeji. (pp. 447 – 454). ile-ife: timade ventures. okpala, h. n. (2017). views on nigerian music education: an appraisal of selected works of professor daniel chikpezie agu. in f. adedeji, c. onyeji & n. onuora-oguno (eds.). musical horizons in african (essays and perspectives) a fetstschrift or daniel chikpezie christian agu.(pp. 432 – 438). ile-ife: timade ventures. ugoo-okonkwo, a. i. (2014). implementation strategies employed by teachers for cca curriculum and its implications to music education. awka journal of research in music and the arts (ajrma).10, pp. 206 -225. 109 introducing recorder playing for effective music teaching/learning in primary shools of anambra state ikedimma n. okeke department of music, nnamdi azikiwe university, awka. abstract the state of formal music education in anambra state primary schools calls for attention. the situation is such that most of the pupils are deprived proper mental, physical, and emotional development gained through participation in formal music instruction. five schools within onitsha metropolis were studied and the problem was traced to the dearth of competent music teachers and basic instructional/learning materials such as piano keyboard and basic traditional musical instruments (ekwe, ọja, udu, etc.) and all these have led to the gradual demise of music education at the grassroots. this paper therefore has called for the resuscitation of music education in our primary schools using the recorder because of its availability, affordability, portability, durability, attractiveness to children, simplicity and applicability in teaching rudimentary music. introduction numerous are the gains of childhood music education (nye & nye, 1970; leonhard & house, 1972; swanson, 1981; onwuekwe, 1998; mbanugo, 2005; obiecheta, 2007; onuora-oguno, 2009; aninwene, 2009). among such gains are mental, physical and emotional development, auditory perception and sound discrimination useful in language acquisition, acculturation, self-worth among peers and skill acquisition for the future. these goals are still evasive in our primary schools due to the lack of and inadequacy of basic instructional materials for music such as keyboards, recorders, traditional instruments, music text books, charts, music recordings and playback gadgets as recommended in the national policy on education (agu 2006: 2), and the curriculum for cultural and creative arts for primary schools (2007). waiting for the provision of these materials by the government or whoever could be waiting in futility and could endanger music instruction in our primary schools the more. the writer`s experience in teaching with the recorder has yielded remarkable results. a piece of recorder costs about ₦150.00. in fact, at this rate, it is more affordable than most musical instruments for primary schools. a 5-octave piano-keyboard costs between ₦20,000.00 to ₦200,000.00. a set of school assembly band sells at about ₦45,000.00. at this rate, it is doubtful how many schools that can afford these items owing to what mbanugo (1991: 1) referred to as rising costs and diminishing educational funding in nigeria. comparing these with the price of the recorder strengthens the rationale behind the advocacy for recorder playing. the recorder comes in various colors (red, blue, milk, pink, green, yellow, brown, etc) and this feature contributes to its attractiveness and acceptability to children. the instrument is now moulded in hard plastic (originally, it was wood hence its classification as a woodwind instrument). the advantage of this feature is that it reduces the risk of damaging easily, electric shock and the problem of maintenance peculiar to the piano keyboard and most musical instruments. it`s portability makes it a more handy instrument. children appreciate learning awka journal of research in music and the arts (ajrma) vol. 9 2013 110 materials they can personalize, label, toy with, pamper, display at will, and practice at leisure, and the recorder suits! historical perspective the history of the recorder dates back to the renaissance era from about (1450-1600 ad). the renaissance was characterized by a `rebirth` or `awakening` of creativity. renaissance instruments produced softer, less brilliant sounds than the instruments we hear today. most of them came in families of three (3) to eight (8), ranging from soprano to bass. recorders were among the most important, and often several members of a family were played together (sopranino, soprano, alto, tenor, and bass) (kamien1994: 73). the recorder`s popularity fell into decline around 1750 because it could not compete with some of the newer instruments that came in vogue in the 18 th century( lowe, 2003: 73). however in 1919, arnold dokmetsch (1858-1940) revived production of the instrument and as a result of this revival, recorders became popular again as a means of teaching recreating music of the past, for teaching beginning music lesson, and as serious instrument for contemporary music (harvard dictionary of music, 1986: 684). in recent years, the soprano recorder has emerged as one of the most popular means of introducing music in elementary education. its simplicity enables even the very young student to play with ease and confidence from the start, and to enjoy the thrill of instant success in performance. the instrument also provides the teacher with a vehicle of instruction for the many aspects of musical training which the pupils will use later on in band orchestra, and most importantly, the relatively low cost of the recorder makes it the one melodic instrument that is accessible to nearly every pupil. fig.1. the recorder fig.2 structural description of the recorder 111 the modern soprano recorder has a long cylindrical shape which embodies the mouth piece, sound chamber, tone holes, and the bell. some models have two or three separable joints and this feature is useful while cleaning the recorder. this feature is also an aspect of the portability of the instrument mentioned earlier: children find it easy to disengage and reassemble the instrument for easy carriage and safety. the recorder also is usually provided with ten holes: a thumb hole on the back, five single holes and two double holes in front. the instrument is wider at the top and bottom than at the centre, akin to the tibia bone of the leg (from which very early instruments were made) (the new harvard dictionary of music 2001: 684). the instrument is now provided with a plastic stick which basically serves for cleaning the instrument even though it can serve as conducting stick as well. in fact, this added feature has made the recorder experience thrilling and rewarding to children, as they never forget taking the stick along with the recorder to music classes in order to conduct! fig. 3. how to play the recorder (preliminary steps) it is usually a little bit difficult getting children to concentrate to learn the preliminary procedures before the actual playing. the preliminary steps are necessary before a child begins playing. tonguing perhaps it is more appropriate to learn how to tongue before fingering. tonguing is usually not as easy as most pupils presume. most children whistle and some blow on the recorder mistaking it for tonguing and some entirely abandon their recorders because of their inability to articulate properly. tonguing means setting the tongue in contact with the upper teeth and sounding `too’ or `tuh’ or` taa’ which ever, provided the `t’ starts the tone and `oo’, `uh`, or `ah’ follows it. fingering techniques two systems of recorder playing have evolved as a result of controversies over the best fingering technique to use. these systems are the baroque (or english) and the german system. one of the differences between the two systems is the fingering for certain notes (e.g. first space f). 112 fig. 4. german and baroque fingering systems although the controversy still lingers, the baroque system is usually preferred by professional players because it gives a clearer and more precise pitch; but the german system is similar to the fingering system of the flute, clarinet, and saxophone, and which pupils could graduate into later in life (sueta, 1992a; sueta, 1992b). fig. 5. recorder fingering chart (german system) fig. 6. playing the first few notes 113 playing the first few tunes having learnt the first few notes on the recorder, children can happily proceed in playing simple tunes such as merrily we roll along on their instruments using notes b, a, and g. this is called the ` bag’ concept in recorder teaching/playing. they can also enjoy some folk tunes like urioma on their instruments. 114 fig. 7. (merrily we roll along) fig. 8 .(urioma) (excerpt from soloist’s companion i by alvan-ikoku nwamara) care of the recorder children are naturally careless and they tend to extend this behavior to virtually everything around them. most pupils lose their recorders each term due to carelessness. some also share their instruments with friends and thereby getting it damaged very easily. these measures are usually taken and inculcated in children to ensure the safety and durability of their instruments: 1. the recorder is not a toy and therefore should not be kept carelessly or used to hit on objects. 2. it should be carefully kept in its packet after playing and when not in use. 3. it should not be kept close to fire or under hot temperatures to avoid melting. 4. the instrument is washed in warm soapy water, rinsed and cleaned periodically. 5. the instrument should be kept out of reach of young children to avoid breaking it to pieces or even swallowing the parts. 6. care should be taken not to chew the instrument to avoid damaging the mouth piece because this creates air leakages and distorted tunes on the instrument. 7. it should not be shared with friends and peers to avoid contracting disease. 115 conclusion the call for resuscitating recorder playing in our primary schools for effective music teaching/learning was informed by the instrument`s affordability, availability, portability, durability, attractiveness to children, ease in learning, simplicity and applicability in teaching rudimentary music. reactivating recorder playing in schools would foster the development of aural sensitivity, pitch awareness, and general musicianship among the learners. teaching children to play recorder would also guide them into a successful instrumental experience, which they really enjoy, and this offers them a means for self-expression and self-worth. also giving children a foundation in recorder playing enhances basic fingering techniques which relate directly to the techniques of wind instruments and which can prove very vital in playing such instruments later in life. references agu, d. c. c. (2006). the nigerian policy on education: its impact on music education programme and delivery in nigeria. awka journal of research in music and the arts (ajrma), 3, 1-18. aninwene, e. o. (2009). the state and future of music education in primary schools in nigeria: a case for teacher preparation. interlink: a journal of research in music, 4, 48-62. federal government of nigeria (2007). cultural and creative arts curriculum for primary 1 3. abuja: nerdc. kamien, r. (1994). music: an appreciation. new york: mcgraw – hill inc. leonhard, & house. (1972). foundations and principles of music education. (2 nd ed.). new york: mcgraw – hill company. lowe, p. (2000). how to play the recorder. uk. : paragon. mbanugo, c. e. (1991). rising costs and diminishing educational funding in nigeria: exploring the way out for secondary school music education. in o. okoye and h. o. n. bosah (eds.). nigerian education at crossroads, 98-105. onitsha: hybrid publishers ltd. mbanugo, c. e. (2005). songs children sing: an ethnography of an igbo (nigerian) primary school recess. interlink: a journal of research in music, 2, 95-111 nwamara, a. o. (2007). soloist’s companion volume i. awka: mount carmel publishers ltd nye, r. e. & nye, v. t. (1970). music in the elementary school. london: prentice hall, inc. obiecheta, j. c. (2007). introduction to music for primary schools. bk.4. onitsha: jenison publishing company. onuora-oguno, n. c. (2009). expanding the frontiers of music education in igbo land in the 21 st century sing minstrelsy as a tool. awka journal of research in music and the arts (ajrma), 6, 70-75. onyiuke, y. s. (2005). toward improving childhood music education for nigeria: a case study of anambra state. interlink: a journal of research in music, 2, 14-30. sueta, e. (1992a). baroque recorder method. u.s.a: macie publishing company. sueta, e. (1992b). german recorder method. u.s.a: macie publishing company. sawnson, b. r. music in the education of children (4 th ed.). california: wadsworth publishing company. the new oxford dictionary of music. (2001). randel, d. m. (ed). havard: the belknap press. tonemic substitution 234 bracing music education through music technology (software) in tertiary institutions in delta state, nigeria. florence nkechi nmadu & agatha ijeoma onwuekwe ph.d. abstract his study focuses on the relevance of music technology to primary music teaching and learning. the tertiary institutions offering music in delta state were the focus of the study. this study aimed to investigate music technology on primary music teaching and learning, as it enhances general music education and can assist in achieving the set objectives of music education. it also featured some views and contributions of some scholars and musicologists on some concepts and empirical findings that are relevant to this study. the methodology used was a survey; the target population was made up of lecturers and students. it is observed that the majority of the students and lecturers are not exposed to music technology. the students were overwhelmingly willing to be exposed to music technology. the study concludes that we are now in the new age of knowledge development. tertiary institutions in delta state should place music education into a platform where music creates revenue and attracts development to the institutions, and creates economic empowerment to the students. background to the study technology has been described as “the making, modification, and usage of tools… to solve a problem or achieve a goal....’’ (www.enwikipedia.org/wiki/). rudolph (1996) holds the perception that “technology can be thought of as anything that uses science to t awka journal of research in music and the arts (ajrma) vol. 14 2020 ../www.enwikipedia.org/wiki/ 235 achieve the desired result. technology is a scientific knowledge used in practical ways in all spheres of life.; it is the most modern designed machinery or equipment for use in almost all facets of life” (p.4). today, in everything we do in music one form of music technology is involved; in writing of music to performance of music. there are software and hardware that lecturers and students can engage with to teach and learn music in the classroom, such as television, cable networks, digital video disc (dvd), video compact disc (vcd), computer system, laptop computer, midi (musical instruments digital interface) and even in the construction of instruments. adedeji in adedeji (2004) affirms: there is virtually no aspect of musical processes that is not realizable with the computer technology and internet, including global music teaching, research, marketing, audio, and video recording, editing, mixing, mastering, harmonization, and orchestration. adedeji (2004) further states that ''there is over 4,000 music software of different categories. popular notation software used in nigeria currently includes the cakewalk series, sibelius, finale, and noteworthy composer. of them, sibelius is the most comprehensive, easily operated, and less deficient (p. 3). conversely, it is observed that these devices are not utilized to teach/learning in the classroom. nwamara (2006) asserts that "in the recent times, it will be extremely difficult if not impossible for every average nigerian musicologist to claim ignorance of the availability of varieties of possibilities in the art of music-making and creation, using computer technology" (p. 125). similarly, onyiuke (2009) opines that “today, there is an environment which is ripe for the spread of electronics into the field of music that the impact of the computers on music education is now being felt in nigeria” (p. 103). however, 236 technological music devices are not being used, but few lecturers apply these technological devices to teach/learn music composition in some of the tertiary institutions in delta state. at this junction, it is imperative to look at the terms used and empirical studies on the relevance of music technology concerning music teaching/learning; in aspects of music technology that enhances music education. purpose of the study this study aims to investigate music technology in music education in tertiary institutions in delta state. the following set objectives are guiding it:  to find out the level of computer and software literacy of the students and lecturers.  to determine how committed are schools to taking advantage of the technological revolution in education?  to find out technological devices available  to examine the level of interest in learning is engendered by the use of new technology.  for teachers and students willingness to enhance teaching and learning with music technology. research questions i. what level of computer and music software literacy do the teachers and students have? ii. how committed are schools to taking advantage of the technological revolution in education? iii. what are the technological devices available? iv. what level of interest in learning is engendered by the use of new technology? v. would the teachers and students want to enhance teaching and learning with music technology? 237 clarification of terms bracing in british english, bracing is "refreshing, stimulating, invigorating” [accessed september 2, 2021. from https://www.collinsdictionary.com]. according to merriam-webster, bracing in adjective; is “giving strength, vigour, or freshness [accessed september 2, 2021. from https://www.merriamwebdictionary.com]. similarly, in your dictionary, perceptions bracing in adjective; invigorating or stimulating. invigorating or refreshing; strengthening. further defines bracing as "something that provides support to a structure." [accessed september 2, 2021. from https://www.yourdictionary.com]. some words are related to bracing; tonic crisp, rousing, quickening, restorative, chilly, simulating, cool, energizing, animating, cool, fortifying, reviving, lively, exhilarative (dictionary.com). [accessed september 2, 2021. from https://www.dictionary.com.>broswser] bracing is giving support to strengthen something for a better effect. music education okechukwu (2017) defines music education as “the art or process of teaching, training, and learning music which can be formal or informal because education originally starts from conception; as such, music education starts in the home informally as traditional folk or indigenous music of one's society" (p. 141). ojukwu in okechukwu (2017) opines that music education is a process by which individuals become aware of and sensitive to music. the programme enables the learner to come to grip with the socio-musical values established for his/her worthwhile music values in accordance with the changing time and circumstances (p. 142). music education is the acquisition of musical knowledge and skills in a formal or informal setting by one who desires it. in a formal setting, it is a systematically planned 238 programme centered on the three domains of learning (cognitive, affective, and psychomotor) to suit the learner and, upon completion, is awarded a certificate. while in an informal setting, it can be organized outside the four wards of education. it can also be acquired by participation or observation. according to obiesie and nwamara (2018), music education: touches every aspect of learning/educational taxonomy. these include the cognitive domain (the acquisition of knowledge), the affective domain (the learner’s willingness to receive, internalize, and share what is learned), and the psychomotor domain (the development of skills). music education has often been defined by various nigeria music scholars to be the sum total of all skills, knowledge, principles, and strategies which a music practitioner needs to acquire in order to be effective and efficient in his/her job as a professional (p. 207) music technology nwamara (2006) infers that music technology is “the incorporation of computer technology into musicology is the employment of computer and its associated hardware and software to assist the study, creation, performance, and preservation of music” (p. 125) clifton (2010) asserts that: music technology describes the technological equipment used mainly to compose, perform, record, store, and playback modern music". people can study music technology at the university level, giving them a firm grounding in everything from music craft to today's commercial music business. new music technology creates new techniques and opportunities to explore musically, this field of music helps to spur new music 239 and new forms of musical creativity in today's artists (www.ehowaskdeb.com) music technology is a term that refers to all forms of technology involved with the musical art; particularly the use of electronic devices and computer software to facilitate playback, recording, composition, storage, and performance (www.mhtml:file://h:/hilliard accessed december 6, 2011). according beam music technology is the application of technology, such as computers and software, to the musical arts. whether it is sequencer and editing software or electronic musical devices, musical technology and its definition expands. it is sometimes referred to as sound technology, but while these two fields are similar, they are also vastly different. music technology encompasses the composition, recording, and playback of music, while sound technology may only encompass the production of various sounds. [accessed september 1, 2021. from https://www.infobloom.com] music technology comprises the various and diverse kinds of technology such as computers, software, hardware, hard disc, microphone, speakers, sound monitor, and others applied to the musical arts education; in composition, notation, recording, analyzing, production of music, sound production, construction of musical instruments. music technology is also a field of study in music education specialized in different areas of music technology like music technology (mechanical), music technology (electric) music technology (electronic and digital). mechanical music technology involves using any device, mechanism, machine, or tool by musician or composer to make or perform music; to compose, notate, playback, record songs or pieces; or analyze or edit music. electronic music technology deals with musical instruments and recording devices that https://www.infobloom.com/ 240 use electrical circuits, often combined with mechanical technologies. music technology entails whole lots of others. impacts of music technology on music education some music educators like garcia (2004), nwamara (2006), onuoraoguno (2009), and onyiuke (2009) carried out studies on the impact of technology on music education. for instance, the research carried out by garcia (2004) was "the case for technology in music education." garcia points out that: 1. the use of technology in music education has affected the change and attitude of students to music learning. 2. embracing technology and using it to meet music education objectives has empowered students by giving them more control and access to their own (music) education while exploring interest close to their hearts and by becoming musically literate in the process. 3. the use of music technology has the potential to strengthen the position of music in schools. 4. technology opened the doors to more students. it allowed them to experience music-making as easily as if they were playing in a sandbox. 5. technological innovations in music have allowed for the same kind of opportunities for general music education for students. what a teacher uses at school to teach can be purchased and used by students at home and teachers. this notion levels the playing field for students and teachers and expands the possibilities, definition, and role of music programmes – enriching them and students for better another supporter for revitalizing music through music technology is nwamara (2006), who found the place and purpose of computer technology in musicology in the following aspects: 241 1. the teaching and study of music; proper and careful incorporation of computer technology enhances the teachers' sense of professional development and personal growth as computer technology provides the music teacher with tools to develop skills and knowledge. such tools include various computer software and hardware that satisfy diverse needs in almost every aspect of musicology. it also benefits the students whom these skills and knowledge are being transferred to. 2. composition/production and preservation of music; computer technology is very essential to the musicologist (composer) from the time he conceives his ideas till he finalizes/rounds off his creative jobs. 3. performance of music; in performance, the sequencer, which is a computer-aided device, makes it possible for few individuals to play roles that would have required a large number of performers or even an orchestra under normal circumstances. apart from aiding performance, the computer also helps to improve and control the texture of sound and accuracy of pitches in performances. in onuora-oguno’s (2009) viewpoint, the gains of computer applications to music pedagogy are numerous; the computer machinery is flexible and precise and can yield a wide variety of musical applications. onuora-oguno (2009) also points out the under listed: 1. in using a computer as a tool in composition, the composer programmes the computer to produce pitches, rhythms, tone colours, and musical elements and to screen these elements through criteria also chosen by the composer. the output may be transcribed for performance by conventional instruments or fed into another device for conversion into sound. the composer’s input, in the form of mathematical functions, is translated by the computer into synthesized musical sounds that are stored in digital form and can be played back at will. 242 computer can be programmed to produce music in traditional styles and instrumental colours. its principal attraction to composers has been its ability to expand the previously available range of musical elements such as tone colours and pitches and the new approaches to musical form it makes possible. 2. illustrations are now easier through powerpoint presentations. 3. data storage and retrieval give an office an enhanced status. 4. the techniques of computer technology permit the indexing of music. today, much software exist that aid transcription of music. notable among them are finale, sibelius, and the noteworthy composer, writing and printing music have been made easier and aesthetically pleasing. 5. digital libraries and the use of the internet make research easier. onwuekwe (2010), on the other hand, enumerates the uses of the computer in music composition as thus: (i) the first use of computers was to compose or assist composers in creating works for instrument or electroacoustic performance. (ii) the most significant use of computers has been to synthesize sound waves. store as numbers, the sound wave are converted into voltages that drive loudspeakers. (iii) although computers can also be used to control analogue synthesizers and other sound equipment such as mixers, direct digital synthesis has the most interested composers because all sounds can be recorded, synthesized, and modified in this way. (iv) computers can be used for musical score writing. this could be characterized as an information-translating function. several programmes are now achieving modest success at 243 producing a traditional written score from some other form of information about a piece of music. the other form may be a list of symbols entered on a typewriter keyboard, or in some cases, it can even be the audible sound of live music reaching a microphone connected to the computer. onyiuke (2009), on the other hand, discovers that with the advancement in technology and resultant computer literacy, many benefits are seen in the process of teaching and learning music in the following ways: 1. computers are playing an increasingly important role in education for both the teacher and the student. their uses enable each student to develop at his or her own pace and make the whole learning process more flexible. 2. computer aids to music education have been a major component of the western pedagogical process. 3. in the area of teaching, there are pedagogical tools that are used by music educators who want to share ideas and information with large or small groups of students. 4. the electronic whiteboard is a computer implement. this could be utilized by music educators in teaching music theory. it is a presentation device, which interfaces with a computer through a digital projector where they can be seen, and users can control the software both from the computer and from the board. 5. computer usage in and out of the classroom has gone a long way in enhancing the students’ learning experiences. 6. the computer can act as a member or coach and observe the use of the medium of students. apart from acting as a coach, there are software that, when installed in the computer, can serve as a tutor for learning the piano, electric keyboard, guitar, saxophone, and many other musical instruments. 244 7. software like melodic dictation computerized instruction (medici) is used in notating music on a terminal screen. it can help students to jot down the melody played. 8. computers are generally useful to students especially music students in that it enhances the student’s attitudes towards classroom music, improves their level of musical achievements and comprehension of musical concepts. 9. the computer also boosts the learners' concentration, cooperative learning, and level of creativity. music technology has a wide range of opportunities to offer to students and lecturers. it has dramatically changed the order of general music education globally as there are now varieties of courses (specialties) and technological music devices emanating from it. the impacts of music technology on music education are boundless. therefore needs to be grafted into the curriculum of music education in tertiary institutions offering music in delta state. methodology the design of this research study is a survey. this study was aimed at investigating music technology in music education. the design involves using questionnaires for lecturers and students and interviews with the heads of the music department in tertiary institutions. books, journals, and the internet were also used. the study was carried out in three (3) tertiary institutions that are offering music studies in delta state, namely; 1. delta state university, abraka. 2. college of education, agbor. 3. college of education, warri. table: 1 total numbers of respondents for the study s/n name of tertiary institution head of department no of teachers total no. of students total 245 1 delta state university 1 5 30 36 2 college of education agbor 1 5 15 21 3 college of education, warri 1 4 7 12 presentation and analysis of data the study aims to investigate music technology in music education in tertiary institutions in delta state. some set objectives guide it. there were eight questions containing response options to be answered by the students. the questions in the questionnaire for the lecturers contained nine fixed-response options while, including four questions for the head of music department. two to four options were provided to be selected from and we applied percentage and item analysis to analyze the data. the table consists of the responses, the number of respondents, and their corresponding percentages. below is the pattern used to analyze the percentages; x/n x 100/1, 'x stands for the number of responses, n stands for the number of respondents, while 100 stands for the percentage and 1 for constant. research question one for lecturers’ the questions asked and the respondents’ responses are stated on a tabular form below. what level of computer and software literacy do you have? table 2: lecturers’ level of computer and software literacy. variables basic computer & software knowledge computer music software expert a certificate in computer knowledge no computer kn knowledge responses 2 1 14 0 percentage 14% 7% 100 % 0% 246 the data above shows that two respondents (14%) have basic computer and software knowledge, while one respondent claims computer expert (7%). all respondents have basic computer knowledge. research question two how committed are schools to taking advantage of the technological revolution in education? table 3: responses to if they teach with computer software the data above shows that 12 of the respondents indicated not using software to teach. whereas two signified using music software to teach. in what areas of music education does the department apply music software? table 4 lecturers' responses on the areas of music the department applies music software variables all some none respondents 0 2 12 percentage 0% 14.3% 85.7% responses frequencies percentages yes 2 14.3% no 12 85.7% total 14 100% 247 the data above shows that most respondents (12) indicated not using music software to teach any music course. in contrast, two respondents signified the use of music software in some areas of music. what is the music software used for music education in tertiary institutions? table 5: lecturers’ responses on music software used for music education table 5 above shows that only two respondents use sibelius, finale, noteworthy composer. the rest of the technological devices stipulated are not used by all respondents to teach. what areas of music require music software application? table 6: lecturers’ responses on the areas of music they apply music software variables tutorial software sibelius, finale, noteworthy composer internet digital audio/ video drill and practice software respondents 0 2 0 0 0 percentage 0% 0% 0% 0% 0% variables history of music music composition record music all of the above none of the above respondents 0 2 0 0 0 percentage 0% 14.3% 0% 0% 0% 248 the above suggests that the area music software is applied to music learning is composition alone. research question three. what are the technological devices available in school? does the school have computers and any other technological devices? yes no lecturers’ responses on the departments’ possession of any computer applications table 7: the data above shows that only one school has computers and other technological (36% of the population). in contrast, the (64%) 2 others do not have computers or other technological devices. research question four what level of interest in learning is engendered by the use of new technology? table 8:level of interest in learning that is engendered by technology. school responses frequencies percentages of population delta state university yes 5 36 college of education, agbor no 5 36 college of education, warri no 4 28 249 from the above data, it is discovered that all (100%) respondents indicated that technological devices motivate students to learn. all the respondents also agreed that the new technology is an aid to individual development. the 14 respondents also concur that the new technology is a teaching and learning tool. research question five will you want music technology integrated into music teaching and learning? yes no indifferent table 9: desire for the integration of technology on music learning. responses frequencies percentage of population yes 12 85.7% no 0 0% indifferent 2 14.3 % total 14 100% the data above shows that 12 respondents want music technology integrated into music learning. while two others were indifferent and no respondent indicated no. if allowed to undergo an in-service training programme on music technology, will you accept to go? yes no variables a motivation to students to learn an aid to individual development a teaching and learning tool responses 14 14 14 percentage 100% 100% 100% 250 table 10: acceptance of in-service training all the respondents in the data above indicated that they would accept an in-service training programme on music technology if given the opportunity. analysis of students’ questionnaires the analysis used for the teacher's questionnaire was also applied for the student's questionnaire. research question one for students what level of computer and software literacy do you have? table 11: students’ level of computer literacy. the table above indicates that 10% of the respondents have basic computer and software knowledge. none has a certificate in computer knowledge, while 42 respondents have no computer and software knowledge. responses frequencies percentages of population yes 14 100% no -0% total 14 100% variables basic computer and software knowledge a certificate in computer knowledge no computer and software knowledge responses 10 42 percentage 19% 0 % 81% 251 research question two how committed are schools to taking advantage of the technological revolution in education? what is the music software used for music education? table 12 students’ responses on music software used for music education the data above shows that only ten respondents apply music software to music education, while 42 respondents are not exposed to any music software knowledge. what areas of music require music software application? table 13: students’ responses on the areas of music they apply music software table 15 above shows that 19% of the respondents apply music software to music composition, and the 42 (81%) respondents do not apply any music software to music education. variables tutorial software sibelius, finale, noteworthy composer internet digital audio/video drill and practice software respondents 0 10 0 0 0 percentage 0% 19% 0% 0% 0% variables history of music music composition record music all of the above none of the above respondents 0 10 0 0 42 percentage 0% 19% 0% 0% 81% 252 research question three. what are the technological devices available in school? does the school have computers and any other technological devices? yes no students’ responses on the departments’ possession of any computer applications table 14 the data above shows that the students indicated that only one school has computers and other technology (36% of the population). while the colleges of education (64%) do not have computers or any other technological devices. research question 4. what level of interest in learning is engendered by the use of new technology? table 15:level of interest in learning that is engendered by technology. school responses frequencies percentages of population delta state university yes 30 58% college of education, agbor no 15 29% college of education, warri no 7 13% variables a motivation to students to learn an aid to individual development a teaching and learning tool responses 52 52 34 percentage 100% 100% 65% 253 from the data above, the respondents indicated that the new technology could be a motivation to learn. 100% of the respondents agreed that it would aid individual development, and 34 (65%) respondents signified it is a teaching and learning tool. if allowed to study music technology, would you like it? table 16: desire for the integration of technology on music learning. responses frequencies percentage of population yes 46 88 % no 0 0% indifferent 6 12 % total 52 100% from the above table, it is clear that almost all the (88%) students signify interest to be taught and learn with music technology. 12% show indifference, wrote because she does not know anything about music technology. findings despite the advancement and sophisticated world of technology where everything that exists about music is done by technology, the emphasis on the relevance of music technology in music learning (garcia, 2004; onura-oguno, 2009; nwamara, 2006; onyiuke, 2009), the education authorities in charge of curricula has not thought towards moving along with the trend, of using technology to teach and learn essential music like other studies. the discussion will follow the sequence of five research questions of this study. i what level of computer and music software literacy do the teachers and students have? ii how committed are schools to taking advantage of the technological revolution in education? 254 iii what are the technological devices available? iv what level of interest in learning is engendered by the use of new technology? v would the teachers and students want to enhance teaching and learning with music technology? i what level of computer and music software literacy do the teachers and students have? the survey data showed that the majority (12) of the teachers in this study are not exposed to and do not use music technology. some lecturers in this study do not know what music technology is, nor do they know its usefulness. only two out of the 14 respondents (lecturers) have basic computer and software knowledge, and one lecture claimed to be an expert. the majority of the students (42) indicated not to have knowledge of music software. the lecturers lack music technology knowledge because they are not exposed to it. except the lecturers undertake some refreshers courses to acquire appropriate knowledge and skill in this regard. it is discovered that all the lecturers in delta state undergo a yearly compulsory computer training programme conversely neither related nor reflected on their field areas. ii how committed are schools to taking advantage of the technological revolution in education? (a)what is the music software used for music education? the music software used by the two lecturers is sibelius, finale, and noteworthy composer. there is more than one thousand music software that can be used to brace music education. according to adedeji (2004), “today, there is virtually no aspect of musical processes that is not realizable with the computer technology and the internet, including global music teaching, research, marketing, audio, and video recording, editing, mixing, mastering, harmonization and orchestration” (p. 3). colleges of education in delta state are entirely 255 stuck to the traditional way of teaching/learning. there is no attempt made to adapt to the new technological way of teaching/learning. (b) what areas of music is music software applied? music software is applied only to music composition by two lecturers. if lecturers and schools are committed to taking advantage of the technological revolution in music education, there would be a great and bright future for incoming music students and music graduates. iii what are the technological devices available? from table 7 and 14, it is observed that the only school with computers and some technological devices is delta state university. the two colleges of education have no computers neither do they have any other technological appliances. iv what level of interest in learning is engendered by the use of new technology? from the data in tables 8 and 15 above, the respondents (students and lecturers) indicated that the new technology could be a motivation to learn. 100% of the respondents also agreed that it would aid individual development and 34 (65%) respondents of students signified it is a teaching and learning tool, but 100% of the lecturers agreed it is a v would the lecturers and students want to enhance teaching and learning with technology table 10 shows that 14 (100%) lecturers indicated an interest in enhancing their teaching with music technology. all the students indicated they would love to use a computer to learn music. if lecturers could follow the relevance to today's sophisticated world of technology, the future of music education in delta state would be captivating. 256 conclusion and recommendations the impact of technology in music education globally has opened doors for varieties of vast music education courses. it has repositioned music education in schools and made music education attractive for more students. incredibly, lecturers and students engage with one form of music technology or the other conversely are not employed in the classroom teaching and learning experiences. boody, in nmadu (2014), opines, "the use of technology is suggested as a means of connecting students to meaningful ways; as a way of embracing relevant, existing forms of learning related to constructive and a postmodern society" (p. 32). nwamara (2006), on the other hand, stresses that "for nigeria and its young democracy to attain their desired national standards in overall development, the use of computer technology in music especially in composition is very essential." (p.26) therefore, it is pertinent to brace music education with music technology to meet the global trends, create rooms for more students, and add more relevant value to students, departments, institutions, and society at large in terms of social-economic values. students should be introduced to technology in music learning from year one for mastery and competence. we are now in the new age of knowledge development. tertiary institutions in delta state should place music education into a platform where music creates revenue and attracts development to the institutions, and creates economic empowerment to the students. the department can solicit the support of cooperate sectors such as mtn, aitel, glo, shell, chevron, and a host of others. it is their social cooperate responsibility to society, giving back to the society, and enhancing their operating environment. 257 references adedeji, s. o. (2004). computerizing and networking music education in nigerian tertiary institutions. awka journal of research in music and the arts (ajrma) 2, 1-9. beam, j. [accessed september 1, 2021. from https://www.infobloom.com] collin dictionary [accessed september 2, 2021. from https://www.collinsdictionary.com]. cambridgedictionary [accessed august 31, 2021. from https://dictionary.cambridge.org]. clifton, j. (2010).what is music technology? available @ www.ehowaskdeb.com [assessed: october 18, 2011]. clifton, j. (2010). what is music technology? available @ www.ehowaskdeb.com [assessed: october 18, 2011]. dictionary.com). [accessed september 2, 2021. from https://www.dictionary.com.>broswser garcia, a. t. (2003). the case for technology in music education. accessed october 18, 2011. from http://www.ed.gov/technology/plan/ merriam-webster bracing in adjective; [accessed september 2, 2021. from https://www.merriam-webdictionary.com]. nmadu, f. n. (2014). enhancing basic teaching and learning through music technology in delta state. a thesis presented to the department of music nnamdi azikiwe university, awka. nwamara, a. o. (2006). fulfilling social commitments through the employment of computer technology in nigeria: the musicologist’s perspective. nigerian musicology journal (nmj) 2, 124-136. https://www.infobloom.com/ https://dictionary.cambridge.org/ http://www.ehowaskdeb.com/ http://www.ehowaskdeb.com/ https://www.merriam-webdictionary.com/ 258 obiesie, e. n. & nwamara, a. o. (2018). tertiary music education in a recessed nigerian economy. journal of nigerian music education no.10.p. 206-219 okechukwu, i. p. (2017). music education in idemili north local government area secondary schools of anambra state: problems, prospect, and importance. journal of nigerian music education no. 9. 140-152 onuora-oguno, n. c. (2009). applying computers to music pedagogy in nigeria. interlink: a journal of research in music. 4, 1-10. onwuekwe, a. i. (2010).the computer as an indispensable aid to the music composer in the global world of computer technology. in a. b. c. chiegboka, t. c. utoh-ezeajugh& g. i. udechukwu (eds.), the humanities & globalisation in the third millennium. 442448. nimo: rex charles & patrick ltd. rudolph, t. e. (1996). teaching music with technology. chicago: gia publications. your dictionary [accessed september 2, 2021. from https://www.yourdictionary.com]. (www.enwikipedia.org/wiki/ ../www.enwikipedia.org/wiki/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 223 "preserving the yoruba apala music genre through choral platforms on the internet" odusanya, oluseun sunday ajayi crowther university, oyo email: seunadeola2226@gmail.com 234(0)8060132349 abstract 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. keywords: preservation, apala, choral platform, cyberspace. introduction apala music emerged in the 1930s within yoruba muslim communities in nigeria (rahman, 2010). characterised by its use of islamic praise poetry (qasida) set to melodious chanting, drumming patterns, and occasional melodic instruments like the hourglass drum (gangan) and the oboe-like make, apala serves as a vehicle for religious expression, storytelling, and social commentary (babalola, 1986). apala performances typically feature a lead vocalist (qasida reader) backed by a chorus of singers and instrumentalists (euba, 1990). thematic elements in apala encompass islamic topics, including praises for prophet muhammad, tributes to sufi saints, and reflections on religious teachings and morality (peek, 2008). apala music plays a significant role in islamic rituals and celebrations, particularly during ramadan and the islamic new year (sallah). apala music is a traditional musical genre of the yoruba community in nigeria. it is a unique musical genre of the yoruba that expresses the cultural concepts of her society (aromire, 1991). apala music is a unique blend of communication, speech, and thought, and it is used for various purposes, including entertainment, storytelling, and propaganda. often accompanied by instruments such as the talking drum, tambourine and agidigbo, apala music conveys the cultural history and values of the yoruba people. oludare (2018) asserts that àpàlà, an islam-influenced genre uniquely performed by the yoruba people in southwest nigeria, is a significant part of their indigenous musical heritage. it is passed down through generations, continually performed, reinterpreted, and promoted by musicians, helping to preserve the yoruba people's cultural history and identity. this is true for other traditional yoruba music as well, which, like the music of other african ethnic groups, plays a vital role in shaping and reinforcing identity while also fostering social and spiritual connections among the people. agawu (2016: 27) emphasises that music is an intrinsic and defining element of nearly all human societies, reflecting its universal role in human culture. in the context of african music, this is particularly significant, as the music is primarily traditional and deeply rooted in the cultural practices of various african communities. the performance of african music is not just an art form in the conventional sense but also a creative process that extends beyond the musical realm. it involves extra-musical elements such as dance, ritual, and storytelling, which are integral to the experience. these elements combine to form a holistic practice transcending mere sound, encapsulating the community's values, beliefs, and histories. as agawu suggests, african music is a multifaceted art form where music, culture, and performance converge, making it a form of artistic expression and a tool for social cohesion, communication, and identity preservation. this dual aspect of african music—musical and extramusical—underscores its deep connection to the community's life, where each performance becomes a living expression of individual creativity and collective heritage. mailto:seunadeola2226@gmail.com awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 224 according to ossaiga (2015:61), music is a rich tapestry of cultural expression that intertwines sound, movement, and visual elements to create a holistic sensory experience. this "trilogy" of sonic, dramatic, and kinetic components ensures that music is an auditory delight and a medium of communal participation and enjoyment. music transcends mere sound by engaging the audience and performers, becoming a dynamic art form that unites people through shared emotions and cultural narratives. this perspective highlights music's role as a multifaceted expression of identity and connection, allowing individuals to connect across time and space through rhythmic movement, vocal harmony, and the visual aesthetics of performance. whether through traditional or contemporary forms, music fosters an interactive environment where performers and listeners contribute to the collective creation of meaning. in this way, it becomes a cultural force, strengthening community ties, preserving heritage, and facilitating emotional expression. even though the composition is simple but well performed and interpreted correctly, the audience reacts on the spur of the moment immediately and spontaneously to music they consider good to them. such is the experience that evolved while listening to the performing of the apala musical genre of the yoruba. despite the current trend in nigeria by modern-day àpàlà musicians to modify the genre with western musical instruments, ayinla omo alayan maintains the indigenous àpàlà instruments in his music, such as àgídìgbo, ìyáìlù, omele, àkúbà, ṣẹk̀ẹ̀rẹ̀, and the lead and chorus voices. the instrumentation conforms to those found in abibu oluwa, haruna ishola, and ayinla omowura's music. the melo-rhythmic instruments (ìyá ilu) serve as melodic accompaniment while also interjecting with good surrogates of folksongs and ethical anecdotes at interludes. the other rhythmic instruments play simple ostinatos and hocket patterns. oluwaseyi (2012), quoting nketia, noted: the musical heritage of contemporary africa is the music associated with traditional african institutions of the pre-colonial era. it is music that has survived the impact of the forces of western forms of acculturation and is, therefore, quite distinct in idiom and orientation from contemporary popular and art music (p. 56). in quoting nketia (2012), the researcher underscores the resilience of traditional african music in the face of western acculturation. the view suggests that the musical heritage of contemporary africa is deeply rooted in the music of pre-colonial african institutions, which have managed to preserve their distinctive idioms and cultural significance despite the influence of colonial and western musical forms. this form of music is seen as a cultural anchor, remaining distinct from contemporary popular and western art music. the researcher emphasises that this preservation of traditional african music is not merely a passive survival but an active resistance to external cultural forces, highlighting the continued relevance of indigenous music in the modern african context. this view reflects a broader understanding of how traditional african music continues to evolve while maintaining its unique identity in the face of globalisation and cultural exchange. nketia (2004) further posits that the aesthetics of the yoruba indigenous choral styles are multifarious, multilateral and cosmological. firstly, the aesthetic principles are not primarily based on beauty or "music for art's sake" but on functionality and "music for life's sake". adedeji (2006) further buttresses that the choral groups must be organised according to musical values. instead, their organisation is based on activities and functions, which are considered primary. some of these functions, which permeate the entire life of the yoruba, include religion, social activities, politics, protests and rites of passage. this does not mean that the yoruba have no concept of artistic beauty. for instance, when they say orin naa dun, it means the song is "sweet" or beautiful; when they say orin naa ko dun, it means the opposite. mo gbadun orin naa means "i enjoyed the music", indicating emotive responses. however, preserving the music and cultural values of the apala music faces challenges today. the possibilities of utilising the online choir platform to support and maintain apala music—the preservation of traditional yoruba drumming—in the yoruba community and beyond are examined in this article. the influence of media technology on the development of traditional yoruba drumming has been discussed in previous studies (adedokun, 2023, oral interview). social media platforms, one of the transmission agents in the global village, can help stimulate local drumming and make it accessible globally. using choral platforms in cyberspace, apala music can be preserved and shared outside traditional venues, thereby gaining its importance and appreciation. apala is a traditional yoruba music genre that originated in nigeria during the colonial era. it is characterised by its slow tempo, heavy use of percussion, and socially conscious lyrics. apala music has declined in popularity in recent years due to the rise of other genres, such as hip-hop and afrobeat. one way to preserve apala music is to use choral platforms in cyberspace. choral platforms allow people to sing together online, regardless of their location. this can create a sense of community around apala music and encourage new musicians to learn and perform it. however, there are challenges to using choral platforms to preserve apala music. one challenge is that apala music is often performed in a call-and-response style, which can be difficult to replicate online. another challenge is that apala music is often accompanied by traditional awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 225 yoruba instruments, which may only be available to some who want to sing it online. despite these challenges, choral platforms can be valuable for preserving apala music. by providing a way for people to connect and learn about the genre, choral platforms can help to keep apala music alive in the digital age. concept of apala music of the yoruba nigerian popular or apala music started in lagos in the 1950s. it is distinguished by using a talking drum and lyrics that frequently deal with satire and social criticism. apala music has been vital to the development of nigerian music and is integral to nigerian culture. however, the genre faces many challenges, including the decline of traditional apala music performances, the need for more interest in apala music among younger generations, and the challenges of using digital technology to preserve apala music. in an interview, olabisi (2023) submitted that a small group of musicians typically perform apala music, often in informal settings. the talking drum is the most essential instrument in apala music, and it is used to set the rhythm and provide the melody. the banjo and the guitar are also used to add harmony and texture. the lyrics of apala songs often deal with social commentary and satire. apala musicians often use their music to criticise social ills, such as corruption and injustice. they also use their music to celebrate the lives of ordinary people. apala music is a vibrant and dynamic genre that has played an essential role in the advancements of nigerian music. the genre faces several challenges but is also being adapted to new forms and styles. this suggests that apala music will remain essential to nigerian culture for many years. apala music is an integral part of nigerian culture and has played a critical positive role in developing nigerian music. apala music can help us understand the history and culture of nigeria, and it can also help us appreciate the diversity of nigerian society. as a vibrant and dynamic genre, apala music has been adapting to new forms and styles for many years and continues to evolve. this suggests that music is a living tradition relevant to people's lives today. apala music is a source of enjoyment and entertainment. ogunleye (2023), in an interview, also reports: apala music is a fun and exciting genre that people of all ages can enjoy. it can be a great way to destress and relax, and it can also be a great way to celebrate special occasions. apala music is a source of identity and pride. apala music is an integral part of the identity of many nigerians, and it can be a source of pride for the country. it can help unite people from different backgrounds, and it can also help promote nigerian culture to the world. apala music is integral to nigerian culture and worth preserving for many reasons. (ogunleye, 2023, oral interview). the report of ogunleye (2023) corroborates olabisi's view, highlighting the cultural and social significance of apala music, emphasising its role as both a source of entertainment and a unifying force in nigeria. described as a fun and relaxing genre suitable for all ages, apala music offers a means to de-stress and celebrate special occasions while fostering a sense of identity and pride. ogunleye underscores its importance in representing nigerian culture, uniting diverse communities, and promoting the nation’s heritage globally. consequently, preserving apala music is essential to maintaining and celebrating nigeria’s rich cultural legacy. it is, therefore, imperative to ensure that this unique and vibrant genre (apala music) continues to be enjoyed by people for many years through digital preservation. conceptual framework the conceptual framework for this research is grounded in the interplay between cultural hybridity and globalisation, two pivotal concepts that elucidate the dynamic cultural transformations occurring in the contemporary world. as kraidy (2006) articulated, cultural hybridity emerges as a conceptual inevitability in the face of global cultural exchanges. kraidy’s theory of inter-contextual hybridity integrates the dynamics of hybridity with hegemonic influences, proposing a robust theoretical basis for understanding critical cultural transnationalism. this theory underscores the intricate power relations that shape cultural synthesis, highlighting how dominant global cultures and local traditions interact, resist, and merge to create innovative cultural expressions. hybridity transcends the blending of cultural elements, representing a process where disparate cultural practices and forms combine to produce entirely new cultural constructs. this framework offers a lens through which to examine how traditional and modern elements interact within specific cultural contexts, often under the influence of globalisation. globalisation accelerates cultural flows, fostering interactions that reshape traditional practices and infuse them with contemporary, global influences. in the context of apala music, cultural hybridity manifests as a fusion of traditional apala techniques, deeply rooted in yoruba cultural heritage, with the innovative possibilities afforded by modern digital technologies. apala, traditionally characterised by its use of talking drums, sekere, and indigenous rhythms, has historically served as a medium of cultural storytelling, spiritual expression, and communal identity. however, the genre is undergoing significant transformation in the era of globalisation and digital innovation. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 226 digital techniques, including electronic beats, digital sound processing, and global distribution platforms, reshape apala music's form and reach. this process modernises its sound and extends its appeal to a broader, more diverse audience. by blending traditional apala's rhythmic patterns, tonalities, and themes with contemporary production methods and international musical influences, artists create a hybrid cultural product that resonates with local and global audiences. thus, this research situates apala music as a case study within the broader framework of cultural hybridity, demonstrating how local traditions evolve and sustain themselves in the face of globalisation. by exploring this fusion, the study contributes to a deeper understanding of how cultural heritage can adapt and thrive in a rapidly changing global cultural landscape. methodology this study uses a qualitative research approach to examine how the apala music genre of the yoruba people is preserved through choral platforms in cyberspace. the researcher employed interviews and observations to collect data. key informants, including musicians, digital music producers, and cultural historians, were interviewed about the integration of digital technology in preserving apala music. these interviews focused on the methods and tools used to adapt the music for digital platforms, the challenges faced, and the potential benefits of cyberspace in sustaining the genre. the researcher also observed live and recorded apala performances, both traditional and digital, to understand how the music's structural and stylistic elements are preserved or altered in cyberspace. these observations highlighted the role of choral arrangements in broadening the genre's appeal. the collected data was analysed thematically, identifying trends, challenges, and opportunities for preserving apala music. the analysis also explored how digital platforms can bridge traditional and contemporary music practices and serve as a cultural archive to promote the global recognition of yoruba music. the musical performance of apala music in yoruba land the performance of apala music in yoruba serves primarily as entertainment while also reflecting the cultural activities and values of the people. it is an indigenous genre of music that plays a crucial role in religious worship and various social events, symbolising the yoruba people's cultural identity and way of life. it helps to instil moral values and preserve historical narratives (waterman, 1990). the yoruba music tradition includes genres such as àgídìgbo, àwúrèbe, wéré, àdàmò, ìjálá, orin arò, gùmbe, and kókómà. over time, these genres evolved into neo-traditional forms, influenced by arabic and european cultures (vidal, 2012). new forms of music, including àpàlà, sákárà, wákà, fújì, jùjú, and highlife, emerged, maintaining and passing down the core musical and performance practices from one generation to the next (omojola, 2012). apala music, alongside sákárà, wákà, and fújì, is a genre influenced by islam, making it a neo-traditional style within the yoruba community of southwest nigeria (omibiyi, 1979). omolaye (2014:38) categorised christianinfluenced music as juju and highlife, while islamic influences shaped genres such as àpàlà, sákárà, wákà, bàalúù, sélí, dàadà kuàdà, àdàmò, and fújì. originally, apala was a traditional, islam-influenced genre that has since evolved into a more modernised and commercial form to celebrate various occasions such as naming ceremonies, weddings, birthdays, and funerals. many scholars have extensively studied apala music and its influential musicians. key scholars such as 1 mustapha (1975), waterman (1990), ajirire and alabi (1992), olusoji (2008), ajetunmobi et al. (2009), omojola (2012), lasisi (2012), vidal (2012), and ajetunmobi and adepoju (2013) have delved into the genre's origins and the figures who shaped its development. prominent musicians associated with apala include muraina, alao, ayan, ligali mukaiba, ajadi ilorin, adisa aniyameta, raimi dogo, lasisi layemi, aminu olaribigbe, lasisi onipede, kasunmu adio, raji owonikoko, haruna ishola, and ayinla omowura. notably, haruna ishola and ayinla omowura are recognised as the iconic figures of apala music. however, the name ayinla omo alayan is rarely mentioned in the literature, possibly due to his lack of commercial album releases, which limited his market exposure and media presence. despite this, ayinla is highly regarded within the indigenous yoruba community, revered like ishola and omowura for his genuine apala music. the typical structure used in most indigenous yoruba music, including apala, is the call-and-response form. in this structure, the lead voice initiates a song, and the accompanying voices respond, similar to the western "solo and tutti" format, with the music performed in either a strophic or through-composed form. omolaye (2014:48) highlighted the distinct musical instruments used in apala performances, which set it apart from other islamized music genres. the instruments include the dùndún ensemble, composed of the iya-ilu (mother drum), gangan, keríkerì, omeleako (male drum), omele abo (female drum), and akúbà. the gúdúgúdú drum is typically excluded from the ensemble in apala music, making it unique. the dùndún ensemble, featuring drums with parchment heads, dominates apala performances. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 227 plate 1. diagram of musical instrument engaged in the accompaniments of apala music performance the instrumentation and performance techniques of àpàlà music are distinctive, with vocal forms that include solo, call-and-response, and chorused refrain patterns. in a typical àpàlà performance, the hierarchy of musical instruments is as follows: i) gángan: lead talking drum, a double membrane drum ii) àdàmò: backup talking drum, also a double membrane drum iii) omeleako: double membrane drum iv) omeleabo: double membrane drum v) àgbámólè: single membrane drum vi) àkúbà vii) àgídígbo: slit drum or thumb piano viii) sèkèrè: gourd rattle (calabash played with the ring finger) ix) five backup singers omolaye (2014) noted that contemporary àpàlà musicians, such as musiliu ishola and olabode davies, have moved away from traditional styles, incorporating western choral and harmonic influences instead. in contrast, ayinla omo alayan has stayed true to the original call-and-response structure in his music, preserving the authenticity of àpàlà. while the inclusion of western melodic and harmonic elements, along with the use of english, has diluted the originality in ishola and davies’ music, alayan's work maintains the traditional core of the genre. a closer examination of ayinla omo alayan's lyrics reveals his commitment to preserving the tonal nuances of the yoruba language. in yoruba music, the speech melody follows three phonemic tones—low (l), mid (m), and high (h)—which are essential for conveying the correct meaning of words. ayinla’s adherence to these tonal patterns ensures that the meaning of his lyrics remains accurate and that the yoruba language is both understandable and preserved in his music. preservative methods of apala music oral tradition: apala music has traditionally been transmitted through oral tradition, where songs, lyrics, and performance techniques are memorised and shared from one generation to the next. this method ensures that the essence and authenticity of the music are preserved, maintaining its connection to its cultural roots. oral transmission fosters personal interaction and mentorship between older and younger generations, enriching the learning process with contextual and historical nuances that cannot be fully captured through written records. live performances: live performances are crucial in preserving and promoting apala music. concerts, cultural events, and festivals offer a platform for musicians to showcase the genre's vibrancy in its authentic form. these events create an immersive experience where audiences can engage with the music's rhythm, instruments, and storytelling elements. additionally, live performances inspire aspiring musicians, allowing them to observe, learn, and eventually contribute to the continuation of apala music traditions. recordings: the recording and release of apala music in formats like albums, singles, and compilations have made the genre more accessible to a broader audience. these recordings allow people to enjoy apala music in their time and space and serve as a critical archival resource. collecting lyrics, documenting sheet music, and analysing the musical techniques in recorded pieces contribute to preserving the genre for academic study and future generations. recordings ensure that the original compositions remain available for reference and enjoyment even as oral traditions evolve. education: introducing apala music into educational curricula at schools, colleges, and cultural institutions helps broaden understanding and appreciation of the genre. structured programs can explore apala's historical, cultural, and technical aspects, offering a deeper insight into its significance within nigerian heritage. workshops and lectures can engage students in interactive learning, teaching them to play traditional instruments, interpret lyrics, awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 228 and understand the genre’s distinctive rhythms and themes. integrating apala music into formal education, its legacy is preserved and revitalised, fostering a new generation of enthusiasts and practitioners. digital platforms: digital platforms like youtube and soundcloud provide innovative avenues for sharing and preserving apala music, making it accessible to a global audience. these platforms enable the creation of engaging content, such as online apala music festivals, competitions, and interactive learning tools. to substantiate this approach, online resources could include tutorials on apala's history, lyrics, and distinctive musical styles, fostering cultural appreciation and education. additionally, digital platforms can support the creation of simplified choral arrangements of apala songs to encourage community participation. furthermore, virtual access to traditional yoruba instruments, such as the talking drum and agogo, can bridge geographical gaps, allowing enthusiasts worldwide to learn and appreciate the unique sounds of apala. by integrating these strategies, digital platforms can serve as powerful tools for sustaining and evolving the legacy of apala music in the digital age. opportunities in cyberspace the apala musical genre holds a special place within the rich cultural tapestry of the yoruba people of nigeria (aromire, 1991). rooted in history and tradition, apala music has endured the test of time with its distinct rhythms, melodies, and lyrical storytelling. as the world becomes increasingly digital, how can this treasured cultural heritage be preserved in cyberspace? in this article, we delve into the significance of the apala musical genre, explore the challenges and opportunities of preserving it online, and discuss strategies for its continued conservation. the digital age presents challenges but also unprecedented opportunities to preserve apala music. the internet provides a global platform to showcase and share this cultural gem (olaniyan, 2004). the online platform allows enthusiasts and researchers to collaborate, share resources, and discuss apala music's history, meaning, and technology. videos, audio recordings and written documents can be easily stored and accessed by people worldwide. privacy policy. digital archive and repository: establish an online archive of biographies, photos, interviews, and written material related to apala music. become a volunteer and help researchers, musicians, and enthusiasts. educational initiatives and development of new digital tools for preserving of a.m there is a need for the development of new digital tools to preserve apala music. these tools should be easy to use, affordable, and designed to preserve traditional techniques. this can be achieved through apala music's online courses, workshops, and educational developments that teach people the skills to play and enjoy this musical genre. engaging social media platforms like youtube, instagram and tiktok to share short videos, performances and information can also engage younger audiences and increase interest in apala music (adedokun, 2023, oral interview). collaboration a collaborative effort between apala artists, choral conductors, and scholars can now help bridge generational gaps and bring the genre together. contents preserving the yoruba apala music genre in cyberspace is a collective effort that requires the integration of digital initiatives, education, and the sharing of apala music, its rich history, and valuable assets that must be preserved for future generations. by leveraging the power of the internet, we can ensure that this ancient art continues to evolve in today's music world. musicians can experiment with new musical styles and create new apala music compositions. scholars can research the history and techniques of apala music and create educational resources about this genre. the preservation of apala music requires a collaborative effort, thus serving as a platform to promote apala music and to encourage people to listen to and support this genre. recruiting and retaining male singers recruiting and retaining male singers is a long-standing challenge in choral music, primarily due to a noticeable gender imbalance. elpus (2014) identifies this as a pervasive issue in music education, where women dominate participation and teaching roles. this gender disparity is not limited to any specific genre but reflects a broader trend in the field, raising important questions about the barriers preventing male engagement. a lack of male participation in choral music may stem from social perceptions, limited role models, and a curriculum that often fails to resonate with male interests and experiences. addressing this issue requires innovative strategies to make choral music more appealing to men. targeted recruitment campaigns emphasising the unique value of male voices in choral ensembles can help break down stereotypes. mentorship programs led by experienced male singers can provide role models and foster a supportive environment for aspiring male participants. additionally, incorporating a diverse repertoire that aligns with the interests of male singers can enhance engagement, offering musical experiences that resonate on a personal level. traditional music, such as apala, can also play a role in addressing this challenge. apala music, deeply rooted in yoruba cosmology, provides a cultural and historical connection that can attract a broader audience, including awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 229 men. as alayande (2021) highlights, traditional music is a repository of cultural values, offering insights into identity and heritage. integrating apala into choral programs preserves this rich tradition and creates an avenue for engaging male singers who might be drawn to its authenticity and cultural significance. moreover, modern digital platforms, such as the cyber choir, present an innovative solution to address gender disparities and broader challenges in choral education. freer (2006) criticises traditional choral teaching methods for overlooking the unique experiences of boys, leading to low participation rates. cyber platforms can bridge this gap by amplifying youth voices and creating interactive and inclusive spaces integrating diverse perspectives. these platforms allow male singers, especially younger ones, to share their stories, connect with peers, and access various musical resources engagingly. by leveraging these strategies—targeted recruitment, mentorship, culturally rich traditional music, and innovative digital platforms—choral music education can evolve into a more inclusive and dynamic space. these efforts not only address the gender imbalance but also ensure the preservation of cultural heritage while meeting the diverse needs of participants. this holistic approach fosters a vibrant and sustainable future for choral music, where male singers feel valued and inspired to contribute. the challenges of preserving apala music preserving apala music in the digital age comes with its own set of challenges. oral traditions have been a primary medium for transmitting this musical heritage. as the older generation of musicians and storytellers pass away, there is a risk of losing authentic renditions and intricate nuances that define apala music. despite its lengthy history and cultural relevance, apala music still confronts challenges in the twenty-first century. the transmission of apala to newer generations is challenged by the impact of western pop culture and the predominance of secular media (abdulraheem, 2017). the traditional methods of learning apala, often through oral transmission within family lineages or through informal apprenticeships with established musicians, are becoming less prevalent due to urbanisation and changing social dynamics (sodeinde, 2019). furthermore, the economic realities of professional apala musicians can be precarious. performances are often limited to religious ceremonies and social gatherings, making it difficult for apala artists to earn a sustainable living (tijani, 2016). this lack of financial viability discourages younger generations from pursuing apala music as a career path. additionally, the influence of modern music trends may overshadow traditional genres, making it harder for apala to find a place in the contemporary music scene. however, the number of traditional apala music performances has declined in recent years due to several factors, including the increasing popularity of other genres of music, the lack of opportunities for traditional apala musicians to perform, and the death of many leading apala musicians possess a challenge to the preservation of the apala genre of the yoruba. furthermore, younger generations need to develop an interest in apala music. apala music is a traditional genre that needs to be updated by some younger people. additionally, apala music is often performed in the yoruba language, making it inaccessible to people who do not speak yoruba. the challenges of using digital technology to preserve apala music is another area of concern in preserving the genre. ● the lack of interest in apala music among younger generations: apala music is a traditional genre of music, and it can be seen as needing to be updated by some younger people. additionally, apala music is often performed in the yoruba language, making it inaccessible to people who do not speak yoruba. ● the challenges of using digital technology to preserve apala music: digital technology can be used to preserve apala music in several ways, such as by recording and distributing apala music performances and by creating educational resources about apala music. however, some challenges are associated with using digital technology to preserve apala music. for example, digital technology can be expensive and challenging to learn how to use it. additionally, using digital technology can sometimes lead to the loss of traditional apala techniques. ● oral tradition (orature) is the vehicle for transmitting this musical heritage. with older generations of musicians and storytellers, apala music's original interpretations and complex nuances will be lost. in addition, the influence of modern music can destroy the traditional system, making it difficult for apala to take a place in modern music. however, the decline of traditional apala music performances of the genre calls for immediate rescue from obscurity. the potential of choral platforms for preserving apala music choral platforms offer a promising solution for safeguarding apala music in the digital age. these platforms, online communities, social media groups, or dedicated websites provide a space for apala enthusiasts to connect, share knowledge, and collaborate on performances. choral platforms can facilitate the digital documentation of apala music. recordings of performances, instructional videos, and historical information about apala traditions can be archived and shared online, creating a valuable resource for future generations (alabi, 2018). this digital repository can ensure the accessibility of apala music beyond geographical limitations and promote its wider appreciation. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 230 innovation and audience engagement: choral platforms can be a breeding ground for innovation in apala music. by incorporating new technologies and creative approaches to composition and arrangement, choral groups can broaden the appeal of apala music to contemporary audiences. social media engagement strategies can raise awareness about apala music and attract new listeners. olabisi, a. (2023, oral interview), an apala gospel musician, also observed that choral platforms could experiment with new musical styles, such as by combining apala music with other genres of music. this can help to revitalise apala music and make it more accessible to a broader audience. collaborative learning and performance: choral platforms can foster collaboration among apala musicians of different ages and backgrounds. experienced performers can mentor younger generations, ensuring the transmission of apala techniques and knowledge. online forums and virtual performance spaces can enable geographically dispersed apala artists to connect and create music. ogunleye (2023, oral interview) also noted that choral platforms can be used to create educational resources about apala music, such as videos and articles about the history of apala music, the techniques of apala music, and the lyrics of apala songs. this can teach people about apala music and encourage them to learn more about this genre. monetisation and sustainability: choral platforms can explore avenues for monetisation to support apala musicians. online performances with virtual ticketing systems, merchandise sales, and crowdfunding campaigns can generate revenue to sustain apala artists and encourage continued engagement with the tradition. adedokun (2023, oral interview) also buttresses that choral platforms can reach a wider audience. he further submits that using the choral platforms, apala music performances can be distributed to a broader audience, including people who live in remote areas or do not have access to traditional apala music performances. choral platforms like youtube and soundcloud can distribute apala music performances to a broader audience. this can raise awareness of apala music and encourage people to listen to and support this genre. conclusion apala music, a dynamic and centuries-old tradition rooted in the islamic devotional practices of yoruba culture, faces significant challenges in adapting to the modern era. globalisation and the dominance of secular media have contributed to a decline in its prominence and preservation. moreover, the rise of digital technology and cyberspace has profoundly influenced the performance techniques of apala music, presenting both opportunities and obstacles. as online spaces for creating, sharing, and experiencing music, choral platforms hold promise for preserving and revitalising apala music. these platforms can expand apala's reach to global audiences, provide avenues for experimenting with innovative musical styles, and serve as educational tools to engage younger generations. by leveraging these digital platforms, apala music can maintain its relevance and adapt to contemporary tastes while preserving its rich heritage. the study explores this potential by outlining the history and challenges of apala music and then examining how choral platforms could function as preservation instruments. while these platforms present exciting opportunities, challenges such as developing specialised digital tools, training conductors in digital music facilitation, and raising awareness among the youth about apala music must be addressed. to substantiate this approach, future studies can focus on case studies of successful cultural preservation through digital platforms, experimental collaborations between traditional apala musicians and digital innovators, and surveys assessing young audiences' reception of apala music on choral platforms. ultimately, harnessing the potential of choral platforms can lead to a broader audience, new creative expressions, and robust educational initiatives, ensuring apala music's continued relevance and vitality in the digital age. recommendations the study recommends collaborating with choral conductors, musicians, and scholars. preserving apala music requires collaboration between choral conductors, musicians, and scholars. choral conductors can use their platforms to promote apala music and encourage people to listen to and support it. musicians can experiment with new musical styles and create new apala music compositions. scholars can research the history and techniques of apala music and create educational resources about this genre. it also recommends developing new digital tools for preserving apala music: there is a need to develop new digital tools for preserving apala music. these tools should be easy to use, affordable, and designed to preserve traditional techniques. oral interview olabisi, o. (apala gospel musician, ogbomoso), august 15, 2023. adedokun, a. (ict, manager, the nigerian baptist theological seminary, ogbomoso), august 08, 2023 ogunleye, a. (music minister, surulere baptist church, lagos), august 13, 2023. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 231 references abdulraheem, b. a. (2017). the relevance of apala music to contemporary islamic education in nigeria. journal of islamic propagation, 2(2), 1-12. adedeji, ‘f. (2006). aesthetics and practices in indigenous choral style of the yoruba of africa.” in minette mans (ed.), centering on african practice in musical arts education, (3-18), cape town: african minds. agawu k. v. (2016). the african imagination in music, oxford: scholarship online. alabi, a. b. (2018). preserving yoruba islamic heritage through digital archiving: the case of apala music. international journal of digital library systems, 8(3), 213–224. alayande, e. (2021). "musical archiving of nigerian ethics and identity in àgídìgbo music of yorùbá, southwestern nigeria," african musicology online. doi:10.58721/amo.v8i2.9 aromire, l. (1991). apala: the music of the yoruba muslims of nigeria. university press of mississippi. babalola, a. e. (1986). the yoruba oral tradition. indiana university press. elpus, k. (2014). "national estimates of male and female enrolment in american high school choirs, bands and orchestras," music education research. v8i. 2-9. doi:10.1080/14613808.2014.972923 euba, a. (1990). african musicology: theoretical considerations_. the black perspective in music, 18(1), 7–18. freer, p.k. (2006). "hearing the voices of adolescent boys in choral music: a self-story," research studies in music education.27, 69–81. doi:10.1177/1321103x060270010501 kraidy, m. m. (2006). hybridity, or the cultural logic of globalization. temple university press. nketia, j. h. k. 2004. african art music. accra: international institute of african music and dance. olaniyan, t. (2004). yoruba music in twentieth century: identity, agency, and performance practice. university of rochester press. oludare, o. (2018). preserving indigenous yoruba musical heritage: a study of ayinla omo alayan’s apala music". journal of african studies. 9 (1), 214–229. oluwaseyi, k. (2012). traditional african music in schools: methods, approaches and styles in yoruba apala; awka journal of research in music and the arts (ajrma). vol. 9. omibiyi, m. (1979). i’slam influence on yoruba music; african notes. vol, iii, no. 2. omolaye, b. v. (2014). àpàlà popular music in nigeria: its origin, exponents and developments. nigerian music review. pagination? ossaiga, u. p. (2015). "omoko: a study of the use of an itsekiri indigenous music in christian worship" in ogisi a. a. (ed.). studies in nigerian music, book 1: music and society in nigeria. pp: 59-65. lagos: amfitop book publishers. peek, p. m. (2008). analysing popular music. routledge. rahman, m. a. (2010). islam in yoruba land: the propagation of islam among the yorubas of nigeria. islamic studies, 49(2), 223-252. sodeinde, o. (2019). the changing face of apala music in contemporary nigeria: challenges and prospects. international journal of research in humanities and social sciences, 7(3), 102–110. tijani, a. a. (2016). the socio-economic realities of apala musicians in nigeria: a case study of apala music in oshogbo. mediterranean journal of social sciences, 7(5), 123-130. waterman, c.a. (1990). juju: a social history and ethnography of an african popular music. chicago; the university of chicago press. 231 264 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the role of music as a social adjudicator okafor, enoh justina (phd) performing arts department, university of delta, agbor justina.okafor@unidel.edu.ng & onyenye, temabor peace (phd) department of performing arts, university of delta, agbor abugupeace@gmail.com & dibigbo, deborah oluchukwu department of performing arts, university of delta, agbor odibigbo@gmail.com abstract the paper examined the role of music as a social adjudicator. the role of an adjudicator is to give judgment or to serve as a mediator between two parties. music as social adjudicator in this context plays so many roles in the society. music has served different functions in the society which houses individuals and institutions of various sectors in a colony. music has been used as an optical lens in wedging into societal issues. to achieve the objectives of the paper, secondary source of information and internet including observation methods were used to validate evidences. some selected song texts were used as illustration. since music plays the role of an adjudicator, it is therefore necessary for music makers of all climes to carefully and thoughtfully craft music and texts that would benefit the society in no small measure. keywords: role, music, social, adjudicator introduction: music is as old as man; man is a social being; man as a social being is associated with music from birth to death in one form of activity or the other. substantiating the claim that ‘music is as old as man’ osele and obiesie (2019:126,128) uphold that music is central to the cultural life and therefore is often perceived as central to social life; that, music has been in existence from time immemorial, and has been a natural phenomenon to mankind. they also added that music can be played and sung in diverse ways. from the pre-literate, literate and to more civilized societies, each culture develops its own style of music/singing as well as its own type of musical instruments. the adjudicating nature of music apart from the sound matrix can really be felt from the texts associated with each type, style and genre of music of all ages. the texts seal the type of message being communicated. music as societal adjudicator plays the abstract role of a judge, a juror, a mediator, intermediary etc in the society in order to praise, encourage, discourage, warn, and criticize positively, plead-with and also advice members of the society in order to influence positive changes. thus, musicians and music composers/song writer uses music matrix and texts/lyrics to hold accountable individuals or government in the society. music is used to adjudge the society in vary ways music adjudicates as the society’s lens; music adjudicates as society’s prophet; music mailto:justina.okafor@unidel.edu.ng mailto:abugupeace@gmail.com mailto:odibigbo@gmail.com 265 awka journal of research in music and the arts (ajrma) vol 17 june 2024 adjudicates as the society’s right advocate; music adjudicates as the society’s influencer. omuku (2019: 161) affirm that music is a dynamic force that by its very nature results or supports cultural memory and highlights power structures within society and can ultimately transform individuals and communities’ perceptions. in connection with omuku’s assertion, music in sound and texts can influence man’s decision greatly negatively or positively. music’s text associated with sound adjudicates as the society’s mirror. okafor (2020:249) citing walter (1996) in okwilagwe (2002:105) affirms that music has been one of the important and expressive human activities in all cultures around the world for thousands of years. music has been effectively coupled with words in chants and songs, and vocal music has been an important accompaniment to worship, work, recreation, and a broad spectrum of other activities. a major advantage of music is that it can reflect and enhance human moods, emotions and activities, even though it cannot communicate specific ideas or though without the help of words. but music with or without words has shown itself to be capable of providing specific and direct comment on the people and cultures from which it came. the society provides music and music shape the society. the society provides the template with which musical evidence is drawn; musical arguments made, musical conclusion written and given. the society in turn reflects and relies on musical conclusions to make and take informed decisions either to abide by or deviate from. music in the context of the discus is seen as the judge, the jury and the society including humans and social structures as the competing space and or competitors. conceptualizing the term ‘social’ the word/term ‘social’ comes from the latin word ‘socius’ meaning ‘friend’. the term is a broad and ambiguous term. it can have several meanings depending on the context of usage. social means interacting and communicating with people. the term social can be related to society or its organization; for instance, social structure or individuals’ interaction with one another within a community or group. the term social can also relate to activities in which people spend time talking to each other for example communicating with one another (source: quora.com). in summary, the term social refers to anything that involves social structure, interactions, relationships or activities among people within a community or society. conceptualizing the term ‘adjudicator’ adjudicator is a term related to the field of law. an adjudicator is a person or group that makes an official decision about something especially about who is right in a disagreement. the term is also related to people who analyze and judge (https://dictionary.cambridge.org). an adjudicator is also seen as a person who studies and settles conflicts and disputes (https://www.vocabulary.com). an adjudicator is responsible for reviewing the facts of the case which may include pieces of hard evidence, personal statements, and the legal arguments of each side’s lawyers. based on the relevant information, the adjudicator makes decision and a legally-acceptable judgment (https://www.ziprecruiter.com). finally, according to hornby (2001:11) adjudicate (of law or court) means to give judgment or decision upon. it also means to sit in judgment in order to decide on a question or to declare somebody to be. conceptualizing the term ‘music’ according to william and timothy (2010:6), music is not a singular phenomenon and hence, not captured by one definition. music can be conceptualized as both an object and activity. okafor https://dictionary.cambridge.org/ https://www.vocabulary.com/ https://www.ziprecruiter.com/ 266 awka journal of research in music and the arts (ajrma) vol 17 june 2024 (2020:247), affirm that music is a worldwide phenomenon practiced all over the world. though not easy to define, yet historically most people have recognized the concept of music as generally agreed on whether or not a given sound is musical. that music is seen as being the art of arranging and manipulating tones melodically, rhythmically and harmonically in a systematic succession of notes in concord and discord, antecedent and consequent, conjunct and disjunct motions sequentially or in fragmentations including the inclusion of other musical elements such as duration, pitch dynamics and expression techniques, tone colour, texture and structure, texts and performance medium as inspired by the composer which when sung or played (vocally or instrumentally or both) appeal to the hears/listeners. here, okafor elucidate music as an object. to onyekwelu (2012:293), music plays vital role in virtually every culture of the world. it is essentially a human activity denoting or expressing human emotions and the relationship of the emotions to the environment or to life. not only is it a human activity in its truest sense, it cannot exist without man. and so, man recognizes or seems to hear music in nature not only because the sound of nature appends to have close similarity with sound that man consciously organizes to express his ideas. here, onyekwelu explicate music as both an activity and object; music as performed by man either with written texts or as instrumental and or both and music as composed by man applying music elements and techniques. omuku (2019: 168) citing from freemuse (2001) said that music is a free expression of the ideas, traditions and emotions of individuals and of peoples. it may express musician’s hopes and aspirations, in their joys and sorrows, their very identity as a culture. okafor (2005:190) state that music is one of the principal aspects of human cultures. according to okechukwu, ahanotu and ekezie (2019:174), music has a special language of its own with unique and outstanding attributes set specifically to disseminate and spread information through songs, instruments and dance performances. music as a social adjudicator synonyms related to the term adjudicator include referee, judge, umpire, arbitrator, negotiator, arbiter, moderator, magistrate, jurist, mediator, intermediary, conciliator, justice, intermediate, peacemaker, reconciler, troubleshooter, decider and go-between (httpts://www.merriamwebster.com), for example in a musical competition there is a judge who gives verdict. music object and activity sound and texts composed/written adjudicate vocal performed instrumental judge jury mediator referee people society structures/organizations in the above context the synonyms associated with the term adjudicator shall be used interchangeably when necessary. music plays the role of a referee, a judge, an umpire, an arbitrator, a negotiator, an arbiter, a moderator, a magistrate, a jurist, a mediator, an intermediary, a conciliator, a justice transmitter, a peacemaker, a reconciler, a troubleshooter, a decider and a go-between in almost all activities engaged in by social beings or human beings. idamoyibo (2021) affirm that over the years, music has played very important roles in the society. still on the role music plays in the society, music is implicated with the life of people. according to osele et al (2019:131) music reflects and creates social conditions including the factors that either facilitate or impede social change. music can influence our purchasing behaviour in subtle ways in a range of environments and can impact 267 awka journal of research in music and the arts (ajrma) vol 17 june 2024 on groups of people in social settings. for instance, redemption song by bob marley; equal rights and justice by peter tosh are music that calls for social change and advocacy for equity for all. song title – redemption song by bob marley old pirates, yes, they rob i sold i to the merchant ships minutes after they took i from the bottomless pit but my hand was made strong by the hand of the almighty we forward in this generation triumphantly won't you help to sing these songs of freedom? 'cause all i ever have redemption songs redemption songs emancipate yourselves from mental slavery none but ourselves can free our minds have no fear for atomic energy 'cause none of them can stop the time how long shall they kill our prophets while we stand aside and look? ooh! some say it's just a part of it we've got to fulfill the book song title – equal rights and justice by peter tosh everyone is crying out for peace none is crying out for justice i said, "if the one is crying out for peace" i said, "none is crying out for justice" but there will be no peace 'till men get equal rights equal rights and justice equal rights equal rights and justice equal rights equal rights and justice equal rights equal rights and justice everybody want to go up to heaven i say, "hell, nobody want to die" (and visits the jesus) everybody want to go up to heaven i say, "hey, but none of them want to die" 268 awka journal of research in music and the arts (ajrma) vol 17 june 2024 i don't know why but ain't gonna be no peace 'till men get the equal rights ohwofasa (2003:86a) state that songs of social control play an important part in stabilizing the community. this could be done through direct warning to erring member of the society. it could also be designed to be instructive, calling attention to propriety and impropriety. for instance yellow fever by fela anikulapo kuti adjudicates social norms by advising african women about the danger of skin bleaching. yellow fever by fela anikulapo kuti (an excerpt) different fever na him dey different fever na him dey different fever na him dey different fever na him dey different fever na him dey malaria fever nko? (he dey!) jaundice fever nko? (he dey!) hay fever nko? (he dey!) influenza fever nko? (he dey!) inflation fever nko? (he dey!) freedom fever nko? (he dey !) yellow fever nko? (he dey!) na him dey bring the matter now he dey yellow fever nko? (he dey!) na him dey bring the matter now he dey i say tell them, make them hear (you say) all fever na sickness (you hear) original sickness (you say) hay fever na sickness (you say) original sickness (you say) maleria na sickness (you say) original sickness (you say) jaundice na sickness (you say) original sickness (you say) influenza na sickness (you say) original sickness (you say) inflation na sickness (you say) original sickness (you say) freedom na sickness (you say) original sickness (you say) yellow fever nko? (you say) original and artificial, he dey 269 awka journal of research in music and the arts (ajrma) vol 17 june 2024 yellow fever nko? (you say) one more original and artificial, he dey bom. bom bom, tell me now original catch you your eye go yellow your yansh go yellow your face go yellow your body go weak i say but later if you no die inside the yellow go fade away artificial catch you you be man or woman na you go catch am yourself na your money go do am for you you go yellow pass, yellow you go catch moustache for face you go get you double colour you yansh go black like coal you self go think say you dey fine who say you fine? na lie, you no fine at all at all, na lie my sister, who sa you fine? na lie, you no fine al all at all, na lie yellow fever you dey bleach, o you dey bleach you dey bleach, o you dey bleach african mother you dey bleach, o you dey bleach sissi wey dey go yellow fever stupid thing yeye thing fucking thing ugly thing yellow fever you dey bleach, o you dey bleach you dey bleach, o you dey bleach african mother 270 awka journal of research in music and the arts (ajrma) vol 17 june 2024 you dey bleach, o you dey bleach sissi wey dey go yellow fever onyeji (2016:23) states that music in africa is a certified agent valued for its role in the maintenance of social and political order. it is also valued as the last resort of tackling difficult social situations in a community. its value as a policing agent in african societies finds great usage when addressing the high and mighty i the society. he also point out that when dialogue fails to bring solution to a social situation music becomes the last resort. corroborating onyeji (2016), idamoyibo (2021) clearly outlined the adjudicating role of music in the society thus: the relevance of music is seen in the general functioning of the society. many musicians present issues of the moment and provide stimulus to re-thinking about behavious that are inimical and contrary to the norms of the society and such vices that could even be dangerous to those who indulge in them and the society. they prompt members of society to examine and address facts about reality. they deal with frank issues of life. igoru musicians warn and counsel their audiences against some wanton attitude and practices that could result in painful experiences. some of this criticism, warnings and counsel are direct5ed to individuals, communities, leaders and the entire nation (p.26, 28). in addition, he said that igoru musicians believe that everything that any human being does requires moderation, and even if it is permissible within the ethos of the land, they make efforts through their compositions and performances to criticize, correct some excesses of some community members and leaders. some title examples include ‘time na money’, ‘take my advice’, ‘ecn we yono we ki ru’, ‘blessed is the hand’, ‘message to the youth’, ‘wian’ etc. below is lucky dube’s ‘blessed is the hand’ addresses addressing the rich in the society; edna ogholie’s ‘message to the youth’ advising youths to i. stand for their right and ii. shun violence and stay focus; and enoh j. okafor’s wian (work) encouraging self-reliance. below are the texts of the songs. blessed is the hand by lucky dube i say what a rich man are you who doesn’t care about poor people? what type of a rich man are you who doesn’t care about the helpless people? i say what a rich man are you who doesn’t care about poor people? what type of a rich man are you who doesn’t care about the helpless people? they’re reading the bible and understand what it says it says blessed is the hand that giveth than the hand that taketh blessed is the hand that giveth than the hand that taketh blessed is the hand that giveth than the hand that taketh are you feeling the pain? when you see another man suffering 271 awka journal of research in music and the arts (ajrma) vol 17 june 2024 does it not make you feel pain, baby? to see another man starving does it not make you feel pain, baby to see another man with no food message to the youth by edna ogholie (an excerpt) this is my message to the youth this is my message to the youth stand for your right and be careful in what you do don’t forget, whatever we do today we will gain or lose tomorrow let us rise stop the fight you may lose your life stop the fight you may lose your life come, drop that stick you will injure your classmate your father and mother all at home praying for your success and your safe journey home children of today are tomorrow’s leader so let us not make the mistakes of yesteryears don’t go to the city, its too full of people life is hard too much of godfatherism wian (work) by enoh j. okafor wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat emu e rho vwo ko’vwiere rhe there is no food for a lazy man wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat emu e rho vwo ko’vwiere rhe there is no food for a lazy man 272 awka journal of research in music and the arts (ajrma) vol 17 june 2024 wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat emu e rho vwo ko’vwiere rhe there is no food for a lazy man wian omo me ku wo mre re work my child and you’ll have to eat wian oniovo ku wo mre re work my brother you’ll have to eat emu e rho vwo ko’vwiere rhe, there is no food for a lazy man emu e rho vwo ko’vwiere rhe there is no food for a lazy man emu e rho vwo ko’vwiere rhe, there is no food for an idle man emu e rho vwo ko’vwiere rhe, there is no food for an idle wian, wian, wian, wian, ku wo mre re work, work, work, work, you’ll have to eat emu e rho vwo ko’vwiere rhe there is no food for a lazy man ohwofasa (2003:86b), write that music, whether in songs or instrumental can convey messages to all and sundry irrespective of colour, race or creed. music can be employed as a medium of communication, in enforcing social norms, transmitting values and stabilizing cultures. taking a cue from ohwofasa’s affirmations, music as social adjudicator has in so many ways influence actions of positivity or negativity due to its communicativeness. information are retained and or fixed firmly to the brain also due to the use of repetition techniques often employed by music writers; musical concepts and contexts (both sound and texts) which are affixed on the tabula rasa of individuals’ mind at the receiving end of the communication chain and process. for instance the song texts ‘there comes a time’ by sir bob geldorf was a song that gained global reception due its texts and musical expressions. there comes a time by sir bob geldorf there comes a time when we hear a certain call when the world must come together as one there are people dying, oh and it’s time to lend a hand, to life, the precious gift of all….. we can’t go on, pretending day by day, that someone somewhere will soon make a change, we are all a part of, god’s great big family and the truth, we know, love is all we need chorus: we are the world, we are the children we are the ones to make a better change 273 awka journal of research in music and the arts (ajrma) vol 17 june 2024 so lets start giving there’s a choice we’re making we’re saving our own lives it’s true, we make a better day just you and me oh, send them your heart so they’ll know that someone care and their lives will be stronger and free as god has shown us by turning stone to bread and the truth, we, love is all we need and when you are you’re down and out, there seems no hope at all….. but if you just believe, there’s no way we can fall ooh, ooh, ooh, let us realize that a change will surely come when we, stand together as one….. music has been at the forefront of almost every major social change in recent history. you can’t have change without awareness, and music has served as a platform to express the thought and feelings of artists and communities when other forms of communication are neglected or not available (quora.com). the above statement reiterates onyeji’s (2016) assertion previously cited that, music in africa is a ‘certified agent’ valued for its role in the ‘maintenance of social and political order’ and that its value as a ‘policing agent’ in african societies finds great usage when addressing the high and mighty in the society. secondly, that music is valued as the ‘last resort’ of tackling difficult social situations in a community when dialogue fails to bring solution to a social situation. this form of music’s role as a social adjudicator is pictured in egbobo-yen-ozighi by sir lucky ogharisi; egbobo-yen-ozighi translation put violence away urhobo we biko, we se gbe’ghwo-o urhobo people please, do not be angry o bo re rhueme, oye rhuemu what should be done properly should be done properly ta’kpo ga re, ta’kpo ga re-e whether things/life is difficult or not erauwevwe ke se dio’kidiagbarha re rat cannot be a chairperson in the erharen re onogbo presence of pussy-cat na ye obo re etiye vwa that is how it is ke’mu ke’mu ro ghwe ozighi cha evu’rhobo na ebiko, ejea gbe obo na ye whatsoever that is bringing fight or problem to urhoboland, please let us desist from it 274 awka journal of research in music and the arts (ajrma) vol 17 june 2024 kidie, ra vwa babaye ose me ve oni me vwo vwie ria’kpo na mi ni rim re uwevwi re ozighi borhee ever since i was born into this world by my mother and father, i have not seen a house built by fighting/trouble k’oye sorho, me vwo vwu’ne na na that is the reason, i am singing this song ahwrerhe, siene e gbo’bo no’zighi let us settle, so that we will leave fighting or trouble suggestions since music has the capacity to troubleshoot as one of the synonyms of an adjudicator, it is therefore necessary for; 1. music makers whether composers/song writers to diligently and carefully craft music that would be beneficial to all 2. music makers should keep doing the duty of an adjudicator to have a sane society 3. music makers should avoid unjust and negative judgment/criticism of people and institutions but rather gear towards positive criticism 4. music makers should avoid being perceived as enemies of the society rather with the lucid weapon of music subdue unhealthy vices in the society 5. music makers should use the tool of music to continue rousing and adjudicating for justice, equity, equality and productivity in the society. conclusion the role of music as a social adjudicator has been succinctly highlighted; the paper reiterate that music most especially texts/sound like an authority has voice in the society by acting as a judge, a jury, a mediator, an arbiter and an umpire of the society. the duty of an adjudicator is a tough one because balanced judgment is of essence in every case scenario the society here being the casescenario. since it has been established that ‘music’ ‘personified’ in both sound and texts interacts and communicate messages to people, institutions, and organizations within the society, it is therefore very important that music makers using music to adjudicate the society should prudently use and provide germane information to the building and development of the society – “words are marbles”. references hornby, s. (2001). oxford advanced learner’s dictionary (6th edition). publishers: oup oxford idamoyibo, o. i. (2021). music, how relevant is it to spirits, humans and national development. 84th in the series of inaugural lectures of delta state university abraka ohwofasa, j. e. (2003). the place of music education in achieving national integration and cohesion. national association for the advancement of knowledge (nafak) 6 (2), 84 88 okafor, r. c. (2005). music in nigeria society. enugu: new generation books okafor, e. j. (2020). music as communication. icheke journal of faculty of arts, 18(1), 247 273. www.ichekejournal okechukwu, i. p., ahanotu, e, n, and ekezie, l. n. (2019). music as an agent of socio cultural communication in contemporary nigeria. journal of association of nigeria musicologists no. 13, 169-190 http://www.ichekejournal/ 275 awka journal of research in music and the arts (ajrma) vol 17 june 2024 omuku, p. a. (2019). music, a non-violent tool for social activism: a case study of rivers state. journal of association of nigeria musicologists no. 13, 155-168 onyeji, c. u. (2016). composing art music based on african indigenous musical paradigms. 102nd inaugural lecture of the university of nigeria nsukka: university of nigeria press onyekwelu, j. (2012). popular music: a satirical weapon for the fight against social ills. journal of musical arts research (njrma) 1, 293-302 osele, a. a. and obiesie, e. n. c. (2019). contemporary issues in music and sociology in nigeria. journal of association of nigeria musicologists no. 13, 128-140 william, g. r. and timothy, j. o. (2010). what is sociological about music? annual review of sociology. https://www.roy-dowd-what-i...t-music-final.pdf https://www.researchgate.net/publication/228173833 retrieved 8th june, 2024 other source(s) https://www.quora.com retrieved june 8th 2024 adjudicator merriam-webster “merriam-webster.com thesaurus”, https://www.merriamwebster.com/thesaurus/adjudicator. retrieved 8th june, 2024 https://dictionary.cambridge.org>adjudicator . retrieved 8th june, 2024 https://www.vocabulary.com>adjudicator. retrieved 8th june, 2024 https://www.ziprecruiter.com>career. retrieved 8th june, 2024 (source: musixmatch). https://genius.com>fela-kuti-and... retrieved 13th june, 2024 https://www.roy-dowd-what-i...t-music-final.pdf/ https://www.researchgate.net/publication/228173833 https://www.quora.com/ https://www.merriam-webster.com/thesaurus/adjudicator https://www.merriam-webster.com/thesaurus/adjudicator awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 201 afrobeats genre and its role in rebranding nigerian nation tekena jack department of music university of port harcourt e-mail: tekcon90@gmail.com & rita adaobi sunday-kanu, phd department of music university of port harcourt e-mail: rita.sunday-kanu@uniport.edu.ng abstract 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. introduction nigeria as a nation has been humiliated in diverse ways due to the corrupt attributes of her political leaders. in diverse media clips from around the world, nigeria has been popularized by the single story of her corrupt politicians and their manipulative political tools such as, tribalism, religious fanaticism, terrorism and banditry. one of such derogatory representation of nigerian image was seen in one of the viral video clip in 2016 where the former british prime minister, david cameron addressed nigeria as a “fantastically corrupt" nation in his report to her majesty, queen elizabeth ii; former queen of the united kingdom (bbc, 2016). such an unguarded assertion from highly respected individual like british statesman resonated widespread of negative perception of nigeria and nigerians in the international community. (adeniyi, 2012). again, the activities of boko haram (a militant group) in the northeastern nigeria have led to humanitarian crises following their brutal attacks, kidnapping and bombings of innocent citizens. different media reports in nigeria and beyond have highlighted the dreadful impact of boko haram activities in communities within northern nigeria. hence, some other militant groups have gradually sprung up in different states of the country which portrays negative side of the nation in media reports. ewokor & abubakar (2025, january 24) that ‘nigeria’s authorities have officially declared the lakurawa armed groupwhich flogs people for listening to musicaterrorist organization and banned it across the nation. the nigerian political class in all their policies has not in any way, been able to contribute significant measures to salvage the image of nation. rather, their persistent corrupt practices which impoverish nigerian citizens have turned nigerians to perpetual migrants to the other parts of the world for survival. yet, even in the diaspora, nigeria as a nation has become a stigma to her citizen. following the corruption perception index rating as recorded by transparency international form 2016 to 2022, nigeria has remained among the worst ranked in terms of transparent leadership as shown in the table below. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 202 year score (lower score = worse performance) global rank/176 countries (larger number = worse ranking) 2016 28 136 2017 27 148 2018 27 144 2019 26 146 2020 25 149 2021 24 154 2022 24 150 nigeria’s corruption perception index (cpi) 2016 to 2022. (transparency international, 2023) it is obvious that over three decades, nigeria's national image has been tainted by widespread of corruption, insecurity, terrorism and fraud, following the activities and policies of political leaders. owuamanam & agbaenyi (2021) note that this negative perception of nigeria's national image is an indication that nigeria ‘lacks respect, influence and prestige among the comity of nations’ (102). they believe that national image presentation is within the ambit of political and diplomatic actions and processes. it is ironic, however, that despite several direct political and diplomatic actions and policies undertaken by nigerian governmental agencies such as the war against indiscipline and mamser (mass mobilization for self reliance, zero justice, and economic recovery) yet, no significant success has been observed in all attempts to rebranding nigerian image through policy makers and their politicians. (ojo &aghedo, 2013). however, the rebranding has suddenly started creeping in through civil attributes of many nigerian elites at home and in the diaspora who have portrayed themselves and nigeria in a different light. this is observable in various professional fields of endeavors and careers. such include, medical records, economic gurus, academic endeavours, engineering skill, creative arts and cultural projections in which nigerian music artistes particularly, afrobeats singers have made great impact in presenting nigeria to the world. emergence of afrobeats: a multicultural musical projection afrobeats genre was developed in the 1960s and 1970s, sprouting from the combination of western pop musical elements and west african musical styles like folk, highlife and juju music. the term “afrobeats" was coined following a radio show in london known as ‘afrobeats with abrantee’. abarantee was a popular london disc jockey (dj). d.j abrantee used the term afrobeats as an umbrella name for the various genres of west african music styles that played on the radio show (bantunauts, 2023). afrobeats is a multicultural musical phenomenon that comprises of ghanaian musical sounds like hiplife and banku, nigerian sounds such as highlife and juju music, various musical elements from traditional west african music and african american musical genres like funk, jazz, r&b, hip hop, among others. the afrobeats style of music is of unique quality with distinctive polyrhythmic nature (okafor, 2019). bantunauts (2023) submits that afrobeats is an amalgam of the popular music originating out of nigerian and ghanaian sounds since the mid-2000. in recent time, all these genres; banku, highlife, hiplife, afro juju, afro pop, afro hip-hop, afro fusion, have been subsumed under the umbrella name ‘ afrobeats’. it has become obvious that the term afrobeats represents the perception of popular west african music, particularly, nigerian musical style. afrobeat has become a convenient term preferred by the west to describe the stream of west african music styles that has attracted global audience (osiebe, 2022). indeed, one can argue that the recent global reception of afrobeats is due to its regular performances at the world-class entertainment venues like o2 arena, and the participation of afrobeats artistes in the global music awards like, grammy award, the billboard music awards. goffman (2010) notes that, ‘each blends african and european musical ideas, always with a strong rhythmic element. they are at first looked down upon as strange, ugly, not really music. yet repeatedly, they break through the boundaries in which they originated, moving into mainstream america and, ultimately, dispersing around the globe’ (p. 1). afrobeat and afrobeats: the difference of ‘s’ the term ‘afrobeats’ appear similarly to ‘afrobeat’ but they are not exactly the same in the context of this study. the differentiation by ‘s’ makes all the difference in the two genres of music even though, they are both of west awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 203 african musical style. the relationship between both genres of music is one that is subject to numerous debates. various studies have analysed several points of convergence and departure between afrobeat and afrobeats. while some believe that afrobeats evolved from afrobeat, they both centre on different themes and motives in the nigerian context. historically, afrobeat existed first as an antagonistic drive against nigerian political class. its texts were primarily aimed at unveiling the corrupt practices of the government and attack on all perceived bad policies that unleash hardship on the nigerian citizens. afroabeat sensitizes the people on the actions and inactions of the ruling class while calling for resistance. it is political motivated music but, only a few musicians could stand government pressures to stop them. according to dosunmu (2010), afrobeat exists in line with kuti's tenacious belief that music is a weapon. olorunyomi (2013) notes that afrobeat is a cultural and political musical practice, “an aesthetics of cultural politics". this is amply demonstrated in the highly satirical, dissident and dry humoured lyrics of the genre, the performance of which served as caustic socio-political commentaries censuring the political climate of the day (rens, 2021). following the historic account of afrobeat origin, fela kuti has become unavoidable name in the discourse of afrobeat music style in nigeria. being a fervid political activist, fela kuti was born by one of the most notable female political activists in the history of nigeria. fela kuti poured his political vision into his music, his grip on the genre ultimately influenced its stylistic and ideological direction (dosunmu, 2010). on the other hand, afrobeats was believed to be one of the genres that sprang out from afrobeat style but, with its compositions actively avoids political themes and advocacy. afrobeats rhythm and textual contents are such that evoke positive feelings on the citizens. it is built around self worth, self happiness, sexuality and romance, irrespective of political state of the nation. afrobeats focuses on light-hearted entertainment and “party vibes” rather providing its listeners a form of reprieve from the chaotic socio-political and strenuous economic state of the country (onafowokan, 2020). this genre deposits the feeling of looking beyond nigeria as a nation but, seeing oneself as a global citizen. finney (2018) posits a parent-child relationship between both genres, while olorunyomi (2013) perceives afrobeats as a stylistic evolution of afrobeat. he believes that while afroabeat derives its inspiration from the socio-political occurrences, afroabeats on the other hand is motivated by socio-cultural phenomenon. afrobeat explicitly reveals the socio-political ills, and incites its listeners to respond to the national political dilemma. however, afrobeats rather serves its listeners as an entertainment to distract their minds from the state of the nation; it provides an escape route from obsessions over the harsh economic and frantic socio-political landscape of the country. several critics have noted how this antithetical relationship is a discredit to afrobeats. olaleye & osuagwu (2020) question the moral and political relevance of afrobeats due to the often banal lyrical content of the music genre. however, afrobeats artistes have distanced their music from raging political issues, which can make them become enemies with the government and motivating sober or sad reflections in their music. history had it that afrobeat is a genre of music pioneered by fela anikulapo-kuti in the late 60s. it is a blend of highlife, funk and jazz (all three of which fela had experimented in his music career) with traditional african music forms, fostering a novel sound that eventually gained international prominence (rens, 2021). with femi kuti, fela's son, afrobeat earned global recognition, femi having earned six grammy nominations and numerous international awards (osha, 2021). afrobeat pioneers such as femi kuti and renowned afrobeat drummer, tony allen, have maintain their distinct natures and style of music (kariisa, 2018). due to its sources of inspiration, afrobeat usually features complex live instrumentation, often played on bass guitar, drums, african percussions and electric piano. this demonstrates a structural dissimilarity from the contemporary afrobeats which produces its instrumentation electronically. afrobeats features more simplistic instrumentation that is inspired by electronic dance music (edm). the essential ideology of afrobeat necessitates its distancing from the contemporary afrobeats. the ideological layout of afrobeat positions it in polarity with afrobeats, which has been described as politically vacuous (osha, 2021; rens, 2021). afrobeats videos are known for prominent featuring of nudity, parties and extravagant materialism. afrobeats video and performance styles are closely parallel with the american hip hop genre more than it does with afrobeat. hence, american popular hip hop stars have been inclined to collaborative performances with afrobeats stars particularly, nigerian artistes. this has partially contributed to the growing global appeal of afrobeats. nevertheless, despite the obvious ideological and structural differences between afrobeat and afrobeats, one can find that the spirit of the former transmits into the latter. both are characterised with propelling dance on their audience. according to nzewi (2007), dance to africans “is a composite cultural statement. the centrality of dance to african artistry and communal experience being recognised in the foregoing, it is fitting that fela kuti's search for a uniquely african sound birthed the danceable afrobeat. regardless of the sobriety and occasional sombreness awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 204 of fela kuti's political vision conveyed in his music, afrobeat is essentially built for dance. while this might have seemed incompatible with music suited for political protest one finds that the spirit of dance woven into afrobeat accentuates rather than diminishes fela kuti's artistic cum political vision (olorunyomi, 2013). the danceable aspect of afroabeat kept its relevance among the youthful audience. in the same manner, dance is central to the afrobeats experience. dance in afrobeats conveys a sense of fun and optimism, regardless of the text hence, both musical genres move their listeners to dance . afrobeats and nigerian nationalism huddy, ponte & davies (2021) believe that nationalism has often been seen as a negative form of patriotism. this thought may be due to fact that nationalism focuses more on a positive feeling to one’s own group but negative feeling to other groups. druckman (1994) observes that a spirit of nationalism causes people to be sentimentally attached to their homeland, which motivates them “to help their country (goal oriented), and gain a sense of identity and self-esteem through their national identification” (p. 44). in the same line of thought, ahlerup & hansson (2011) notes that the upsurge of nationalist spirit within citizens often results in positive change for any nation. in the nigerian case, being a multicultural nation with over two hundred and fifty ethnic and language groups, it was difficult for nigeria to construct a single or unified cultural identity over the years. despite government initiative on the adoption of cultural policy for nigeria from unesco in 1988, culture and believe disparity have continued to reflect in many inter-ethnic disputes which have engulfed the nation since the amalgamation of these different ethnic cultures as one country in 1914. over hundred years of co-existence, tribalism / ethnicism and its accompanying corrupt practices have remained as cancer in the political system of nigeria. hence, many nigerian citizens have lost faith in the central government. tribalism and ethnicism became the focus since many citizen’s have now more faith in their ethnic cultures than national reputation. ethnic sentiment is not peculiar to nigeria, it is an observable phenomenon in several african countries especially, those nations that had to deal with western imperialism and colonialism (usman, 2014). in all of these, music has taken the central role in creating a unifying peak for many ethnic cultures in nigeria. music in its nature has remained a culture carrier and signifier. indigenous music has functioned as a viable tool for building, projecting and sustaining cultural identity. the contemporary afrobeats has systematically harnessed its musical elements from major ethnic cultures in nigeria and had grown to be more accepted by many nigerian youths, both those at home and in the diaspora, irrespective of ethnic origin. many nigerians and other africans national have paid much attention to afrobeats as a unifying musical culture. this can be argued to be due to afrobeats focusing more on entertaining its audience rather than thriving on ethnic sentiments. consequently, afrobeats gained more popularity in nigeria and beyond than any other musical genre in west africa. with the movement of afrobeats beyond the shores of west africa to the global stages, it has also gained more international recognitions and awards than every other musical genre in nigeria. afrobeats, has in the past three decades becomes the pride of many nigerians; as a means for gaining self dignity and importance. zeleza (2010) notes that music has been the primary means by which africans in the diaspora have continuously circulate their cultural influences and identities. to those in the diaspora, it is not only a means of connecting with their african roots but also, a boost to their sense of pride and identity. onafowokan (2020) observes that the sense of pride is linked to mainstream proliferation of afrobeats, which presents african culture and consciousness as worthy of global recognition. many nigerians find pride in associating themselves with afrobeats stars who they recognize as global stars, and their music genre as global music. the global reception and recognition of afrobeat are very vital to nigerians as it has gone a long way in discourage the single story of corruption associated to nigerian. there is no doubt that, afrobeats stars have made significant contribution in construction of a unifying identity for nigerian people as well as rebranding nigerian global perception. the internationalization of nigeria’s image on a brighter and more acceptable light is evidenced in the roles and place of nigerian afrobeats stars in the global music scene. in recent time, the most streamed music online ‘one dance’ , is an afrobeats performance by nigerian global superstars; drake and wizkid. ‘love nwantiti’ is another well streamed afrobeats love song by nigerian afrobeat star; ckay. consecutive grammy nominations for burna boy between 2020 and 2022, and his solo performance at the uefa champions league final have solidified the afrobeats star’s position as legitimate global music icons (osiebe, 2022). alongside wizkid and burna boy, davido joins the exclusive list of international music artistes who have managed to sell out the o2 arena in london. these and numerous other achievements of afrobeats and afrobeats stars (who are mostly nigerian) have redefined the worth of nigerianness’ and ‘africanness’. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 205 the flamboyant showcase of afrobeats lifestyle as seen in the music videos negates the global perception of africa as poor and underprivileged nation. onafowokan (2020) observes that this display of wealth presents africans (and by extension, nigerians) as powerful individuals, an image not typically associated with africa in the media. she also notes the promotion of african symbols within afrobeats music videos; burna boy’s ankara trousers in his hit single, ‘ye’ and the dancers in wizkid’s ‘come closer’ spotting yoruba tribal marks. the use of african articles, symbols and display of african artifacts in afrobeats music videos and performance have become common thereby, gradually changing the perception of nigerian culture beyond ruin nation as often presented in media programmes around the globe. as a result, nigerians, both at home and in the diaspora have found a common ground wherein they can stand proudly and be called nigerians. afrobeats role as a diplomatic resource since 18th century, music has served as a diplomatic resource although, not much attention was paid to its roles as a tool for diplomacy. after the cold war of 1947 -1991, as international politics gradually and steadily moved away from explicit use of power or military force, most world leaders started drifting to diplomatic relations with other nations of the world. since it was obvious that the prevalent theories of realism and idealism seems inadequate for the then political climate and international relations, the formulation of the constructivist theory applied (ramel & prevost-thomas, 2018, yilmaz, 2008). according to mcglinchey, walters & scheinpflug (2017), constructivism perceives human experience, knowledge and systems as being socially constructed. it presents that the complexity of international relations makes it impossible to ignore human consciousness, values and beliefs. at such, the international system mostly thrives on common understanding among people (einbinder, 2013). hence, constructivism attributes diplomatic influence to both state and non-state actors and swiftly led to the conceptualisation of music diplomacy. as policy makers came to terms with the powerful cultural influence of music and recognising that the cordiality of international relations is largely contingent upon cultural similarities, governments across the globe began to draw upon the influence of music to promote their cultural ideals and national image (mcglinchey, walters &scheinpflug, 2017). this was particularly useful to the united states (us), which through the proliferation of their popular music, familiarised the international community with american culture. this provided the us with a lot of soft power and paved the way for american political dominance over the last three decades (stelowska, 2015). nzewi (2007) observes that in africa, music has always been a primary agent of inter-communal diplomacy. he notes that, african musical arts are rationalized not in themselves as abstract mathematical configurations, but as effective energies – proactive forces that accomplish crucial missions in human life and social systems. through this knowledge, nigerian music, even at its incipient stage had comprehended the influence of music diplomacy. this was first experimented with the popularization of highlife and juju musical genres within african continent in the 1960s and early 70s. to a large extent, the shared values propagated by these genres decreases the level of ethnocentric divisions among african nations especially, in west african region. nevertheless, music diplomacy can only flourish when political actions and inactions of prevailing governments gear towards achieving better global human relation. in the case of nigeria, afrobeat was well received by nigerian citizens irrespective of ethnic regions. its goal to open up the nigeria’s political mess attracted international attention to nigeria’s military dictatorships of the 1980s and 90s which were grossly frown at by international community. hence, efforts to embrace democracy were pursued by nigerian government and political elites to enable acceptance and friendly relationship with other nations of the world. music and musicians have significantly driven nigerian’s cultural and diplomatic relations with outside world than all government’s policies and initiatives. presently, afrobeats genre has accomplished much-admired feat in the world’s music and entertainment scene. tiwa savage's performance at king charles's coronation ceremony was an example of cultural relationship that has started to grow between nigeria and other nations of the world. in addition are, david adeleke (aka davido) featuring in the 2022 world cup opening ceremony, burna boy's solo performance at the uefa champions league closing ceremony performance in 2023. just in the year 2024, davido has been paid millions of dollars to future in the united masters grammy weekend concert which was part of the festivals for the academy grammy awards held in february 2, 2024. these and many others are some of the numerous instances indicating the global prominence that afrobeats has attained in less than three decades. nigerian afrobeats stars have performed in virtually all major concert stages around the world. in the same vein, afrobeats genre has attracted much collaboration in music business from around the world than any other musical genre in nigeria. several entertainment multinational companies such as sony music, spotify and awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 206 audiomack have set up regional operation offices in nigeria, while numerous nigerian afrobeats artistes such as wizkid, davido, tiwa savage and ckay have been signed by some of these international record labels. conclusion the popularity of afrobeats has assumed a more dynamic perception for nigeria. it salvaged the country from the single story of corrupt people / government. while the political dilemma of the country remains an international notion, the diplomatic roles of the afrobeats musical genre has significantly re-presents nigeria's national image in a new and more positive light. afrobeats musical activities have not only helped in reshaping the impression about nigeria nation, it has also affected nigerian economic growth positively as foreign investors are flooding the country and are establishing foreign record labels, digital music streaming companies and other entertainment-based companies. this demonstrates the astounding diplomatic capability of afrobeats especially in presenting nigeria in a new light to the world. while it is observable that diplomacy can only be truly successful when the will of political actions are geared towards the same purpose yet, music has shown to drive and spread the peoples’ resolve more speedily and effectively than most political policies and plans. afrobeats have in just few decades rebranded nigeria's international reputation against the corrupt political repute of her government. in the hands of afrobeats artistes, music has become a powerful diplomatic instrument, serving both to entertain the global audience and reshaping the nigerian culture perception and consciousness in the globe. while it might 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(2014). the challenges of sustainable development in post-colonial african states. journal of sustainable development and policy, 4 (1). yilmaz, m. (2008). the new world order: an outline of the post-cold war era. turkish journal of international relations, 7 (4): pp. 44 – 58. zeleza (2010). dancing to the beat of the diaspora: musical exchanges between africa and its diasporas. african and black diaspora: an international journal, 3 (2), pp. 211 – 236. ttps://www.huffpost.com/entry/an-conversation-with-the-queen-of-afrobeats-tiwa-s ttps://www.huffpost.com/entry/an-conversation-with-the-queen-of-afrobeats-tiwa-s ttps://blogs.lse.ac.uk/africaatlse/2022/04/06/nigeria-to-the-world-afrobeats-having-a-global-moment-d ttps://blogs.lse.ac.uk/africaatlse/2022/04/06/nigeria-to-the-world-afrobeats-having-a-global-moment-d https://agbowo.org/2021/04/19/the-future-of-afrobeats187 igbin musical tradition in yoruba culture kayode m. samuel institute of african studies, university of ibadan & jonathan a. olapade department of music emmanuel alayande college of education, oyo abstract the yoruba of south-western nigeria like many african societies since the pre-colonial era have paid great attention to their cultural practices including traditional worship of deities such as sango, osun, esu, ogun, obatala and so forth. in the yoruba worldview, religious worship remains a major avenue of communing and renewing relationship with the spirit world in order to maintain cosmological equilibrium. activities connected with act of worship often involve the use of music and musical instruments. while much is known about numerous yoruba traditional drums such as the dundun, bata, bembe, gbedu and so forth, little is known about igbin musical performances in the society. this paper, therefore, examines igbin orisa musical tradition and its place in yoruba society. the igbin ensemble consists of three drums namely iyaalu, omele-ako and omele-abo. besides the usual musical function, the ensemble typifies the family as the central unit upon which the yoruba society is anchored. effects of acculturation resulting in a shift from traditional worship to other religions especially christianity and islam as well as erosion of societal values were also identified. drawing examples from the organisation and performance practices of igbin music in yoruba culture, the paper argues that african musicology could make more meaningful contributions including knowledge preservation and promotion of african cultural heritage beyond mere documentation which had hitherto characterised the discipline. introduction the yoruba of south-western nigeria are a people with rich and much cherished traditions and customs. right from the pre-colonial era, the people have placed great importance to worship not for the fear of punishment by the deities on any reprobate or disobedience to the norms of the land, but more importantly in order to promote peace, tranquillity as well as awka journal of research in music and the arts (ajrma) vol. 9 2013 188 harmonious relationship. according to vidal (1976), ancestral worship and practices of the yoruba show great reverence to the supreme being known as olodumare on the one hand, and accord due respect to the living dead on the other. in the yoruba worldview, the world is heavily surrounded by spiritual beings through which mortals make requisitions and supplications to the almighty. in the same vein, humans seek the support of their ancestors based on the belief that humans cannot commune directly with god. to this end, the yoruba, by and large, engage in the worship of various deities and also pay attention to various prescriptions pertaining to religious worship. these are carried out as a means of communing and renewing relationship with the spirit world as well as providing avenue for maintaining cosmological equilibrium. as part of the yoruba traditional jurisprudence, an individual may be made to swear by ile (land), ori (destiny) or by his/her ancestors when an allegation of a crime is committed secretly, with the belief that some form of impartial judgement will be spiritually meted by the deities. yoruba deities are numerous. neimak (1993) and johnson (1921) opined that there are as many as four hundred and one yoruba deities, while olawole (2005) suggested that they are about two hundred and one. vidal (1976) identified some of the various deities around which rituals are held; the principal ones being obatala (god of creativity), obaluaye (god of small pox), elegbara or esu (the trickster god), sango (god of thunder and lightning), ibiojo (god of rain) yemoja or olokun (goddess of seas and oceans), ogun (god of iron), and orisa-oko (god of harvest) among others. adesokan (1998) noted that ancestral spirits are summoned by drums supported by frequent alteration of different vocal patterns such as orisa-pipe, esa or iwi sometimes overlapping in responsorial format. omojola (2010) stated that appropriate drums must be used for each particular orisa (deity) otherwise the devotees might incur the wrath of their tutelary deity. for instance, the ipese drums and agogo (bells) are played for ifa, bata drums for sango, gbedu drums are used for announcing the passage of a king into the ancestral world just as the drum also symbolises royalty as well as authority. agba iledi is a set of drums used by members of ogboni cult. in the same vein, agere drums are played to accompany isipa ode (hunter‟s funeral ceremony) while apase is played during the annual oro festival wherein the bull roarer features prominently. the worship of obatala involves praises of the deity accompanied with igbin drums as well as rendition of songs. omojola (2006) described these cultural practices and musical performances as largely indigenous to various communities in nigeria with their origins and identities traced back to pre-colonial era. it is instructive to note that radical changes have occurred in nigeria‟s cultural practices since the advent of islam and christianity which represent both sides of colonial divides. consequently, many of the notable traditional institutions have become completely eroded, relegated to the background or greatly modified. islam brought in arabic culture as evident in vocal music renditions, forms and styles and most of all the introduction of musical instruments including the alghaita (african oboe) and string instruments such as goge, molo and kuntigi (euba, 1977; vidal, 1988). christianity, on its part led to the introduction of euro-western music as well as the banning of nigerian 189 indigenous musical instruments for divine services (ekwueme, 1974 and samuel, 2009). indeed, these traditional musical instruments were labelled „satanic‟ and christian missionaries seriously preached against many traditional practices such as ancestral worship, polygamy, visitations to and seeking some form of assistance from diviners and so forth. in addition, christianity also used mission schools and churches to introduce melo-drama, stage singing, and congregational singing (vidal, 1986 and akpabot, 1986), choral and group singing accompanied with the organ, which were much different from typical african mode of performance (mainly characterised by responsorial style). the situation became more pronounced with the advent of afro-american and afro-caribbean popular music aided by the returnees (omojola, 1994). daramola (2001) identified some of the notable changes in the present day music industry as including the use of electronic musical instruments to create digitally simulated sound and accompaniment, which he labelled „mr. machine‟. olaleye (2009) noted that to a great extent, this made many who considered themselves as elite to dump their rich cultural music practices in favour of westernised music. the result was the emergence of new nigerian „pop‟ musical traditions including genres such as highlife, juju, blues, afro-rock, afrobeat, reggae and of recent, hip-pop and so forth, which is enjoying tremendous patronage among the younger generation. technological advancement in music and musical instruments also made the interest of the nigerian youth to divert from traditional music as well as from the norms and values of the society in which they feel estranged. these became greatly manifested in young men wearing long hairs and ear rings, while their female counterparts unconventionally choose to engage in indecent mode of dressing and craving for outlandish dress and hair-style in addition to slangs and queer speeches. besides, one cannot neglect the positive influences of westernisation. it brought among other benefits, literacy and formal education in which music is part of the education. this, no doubt, has helped the african musicologists in studying their traditional musical materials and other cultural practices leading to its better understanding from international communities. although the influence of islam, christianity and westernisation in form of modernisation have not totally eroded yoruba cultural practices, it is however evident that they have left indelible marks on them including music. the only form of music that has largely retained its originality is traditional music. many of the traditional musical genres especially those used in rituals and for the worship of various deities are still very much intact and they are still being practised in their unique state in the post-colonial nigeria. traditional music in post-colonial yoruba society in spite of the numerous effects of acculturation resulting in a shift from traditional worship to other religions especially christianity and islam, some individuals have remained adherents (albeit secretly) of traditional worship and take part in various activities during the worship. ayankojo (2009) recorded traditional worships and their worship periods in oyo town. according to this calendar, ifa is celebrated in the month of april, while the sixth day after ifa celebration marks the commencement of igbin-orisa also known as obatala celebration in the month of may. the annual egungun celebration commences on the 190 seventeenth day after the celebration of obalala festival between the months of june and july. afolabi (1998) also had observed earlier that oro festival comes up immediately after the egungun festival. according to a tradition, egungun and oro were close friends during their life time. ogun annual celebration comes up in the month of october and it is followed by oke festival. nowadays, some yoruba traditional festivals such as osun-osogbo in osun state, ojude-oba in ijebu-ode, ogun state, eyo festival in lagos state and iyamopo festival in igbeti, oyo state amongst others have attracted much international attention. all these attest to the fact that the contemporary yoruba still place much premium on traditional festivals as well as musical activities which accompany them. indeed, some of the towns and cities hosting these festivals have become tourist centres. in the same vein, many of the foregoing festivals have received considerable scholarly attention as well as the musical instruments with which each of them are celebrated. while much is known about numerous yoruba traditional drums such as the dundun, bata, bembe, gbedu and so forth, little is known about igbin musical performances in yoruba society. this paper, therefore, discusses igbin orisa music and its significance in post-colonial yoruba society. igbin-orisa worship (obatala): an overview myth has it that obatala is yoruba divinity of creativity. adelowo (1990), washington (2005), tamara (2006) and daramola (2007) among others affirmed that he is believed to have assisted olodumare in the creation of man. in a similar view, olawole (2005) stated that obatala assisted in moulding human body with clay, after which olodumare gave life to the moulded body. historically speaking, olodumare gave ase (authority) to all the divinities and sent them to go and create the earth. obatala led other divinities to descend from heaven with the aid of a strong iron chain known as ateworo at ile-ife the spiritual headquarters of the yoruba. obatala is, thus regarded among the yoruba as orisa-ala „the great deity‟. daramola (2007) recorded that each divinity has specific colour(s) by which it is identified or associated. for example, funfun (white) scientifically reflects all colours when projected as light. it thus symbolises cleanliness, purity, transparency, forthrightness and peace and this is what obatala is believed to stand for. he is regarded as „orisa funfun’. neimak (1993) also submitted that most yoruba deities are associated with one form of totem or the other. some of the animals by which obatala is represented include chameleon, gorilla and elephant. neimak further submitted that elephants possess long life, while gorilla is regarded as the most intelligent animal. the ability of chameleon to change its colour at will as a device to avoid being ensnared by its predators is not in doubt; and these are some of the attributes of obatala. according to a devotee in oyo, obatala is capable of providing solutions to every problem and this is why adherents worship him. he is believed to possess power to heal the sick, cure barrenness in women seeking the fruit of womb, bring about rainfall so the land could bring forth bountiful harvest, assist worshippers in their various endeavours and also drive away all forms of evil. as a god of purity, obatala only accepts true worship which requires a righteous attitude from his worshippers. it is the tradition of every devotee to offer prayers and sacrifices to gods while some communities organise periodic festivals to worship deities. omojola (2006) identified some 191 forms of traditional worships. these include ose, itadogun and odun. ose is observed every five days, while itadogun is observed every seventeen days. odun is the most elaborate and it is an annual celebration. however, in obatala worship observed by these investigators in agboorako compound in oyo, four dimensions of the worship were identified. the first is being ojoojumo (daily worship). it is personal and observed every morning at a designated individual/private shrine in individual homes immediately a priest/devotee wakes up, most often before the worshipper speaks to anybody. the second is ororun (every five days). it is also personal and held individually in the homes of the priests/devotees, usually between 10a.m. and 12noon along with the family members, relatives and friends that are around. the third level is called itadogun (every seventeen days). this takes place at the home of aare (chief priest) and it is more of congregational worship of priests and devotees. the last (fourth) and most elaborate level is the annual worship known as irawe. the actual date is only determined after due consultation with ifá priest to seek divine guidance as to the most favourable date for the commencement and celebration of the festival. approval for this event is often granted by the oluwo, the ifa chief priest and it is customary that the support of other deities in the town is enlisted in order to ensure a successful outing. consultations are also made to find out items required by each of the deities before the commencement of the festival. the celebration of obatala festival often lasts seventeen days. the irawe worship is of two sessions the performance of rituals (privately done) and the actual celebration, which involves public spectacle. the worship is important to the people because it reflects the people‟s way of life and their belief system. the time of worship is seen as the time to invoke god‟s blessings, seek protection against ills such as epidemic diseases, untimely deaths and barrenness. it also serves as time to make inquiry about causes of one problem or the other as well as bring priests and people together, to maintain equilibrium within the society and ensure social control. some of the materials for sacrifice during the worship include: obi-abata (a special kola nut), igbin (snail), ori (shea butter), eko (pap) and efun (chalk). with regard to the component of music, the worship of obatala is considered incomplete without the use of igbin drum ensemble. igbin-orisa music the place of music in religious worship cannot be over-emphasised. omojola (2006) observed that music in traditional worship occupies a pivotal role either as a solemn, sacred ritual rendition, or as a flamboyant celebratory performance which is open and accessible to all and sundry. musical performances in this context tend to be the mediator between the human and spirit worlds in charge of maintaining social control. laoye (1973), adesokan (1998), daramola (2007) and omojola (2010) among other scholars affirmed that obatala‟s special music is igbin. an informant revealed that igbin is a symbolically deified drum used during obatala„s life time and accompanied him wherever he went and consequently, it became his interpreter. to date, igbin drum ensemble remains the principal music played during the worship of obatala especially during the ritual ceremonies. at one of the worship sessions witnessed by the investigators, an excerpt of deity invocation by the obatala chief chanter (elegun) confirms the importance of igbin music in obatala worship. example 1: 192 eeposa! eeepoosaa!! eeeeepooosaaaaa!!! eni o lugbin lo gbo n torisa nwi oko arugbo ko jomo oku irunmole tutu nini oko arugbo ko jomo onu lode okunrin demudemu bi a alu iya agere eegun alaso funfum mama je n nu mo o lowo o translation eeposa! eeepoosa!! eeeeepooosa!!! (salutation) it is only the player of igbin drum that understands the deity‟s message the old woman‟s husband will prevent the child from dying the cool-headed deity the old woman‟s husband that keeps a child from going amiss in a public place the man of valour, skilful as agere drummer the masquerade in white attire; please, keep me from. igbin is a cylindrical single-headed membrane drum. according to akpabot (1986), the set of drums constituting the ensemble were named after obatala‟s four wives; iya-nla, iya-agan, keke and afere. omojola (2010) opined that igbin music assumed a sacred status when the devotees adapted the drums to accompany sacred rites in honour of their deity, while daramola (2007) described igbin music as portraying spotless white cloths in its simple rhythms with steady and moderate tempo coupled with calculated steady dance steps. findings from this study however suggest a slightly different version of the foregoing tradition or notion. our data confirmed that igbin ensemble consists of three drums namely iyaalu, omele-ako and omele-abo. iyaalu-igbin is both a melodic cum melo-rhythmic instrument, which is capable of making proverbial and philosophical statements during performance. as the name implies, it is the mother in igbin ensemble and thus, the master talking drum. it leads, coordinates the movements by setting the pace for other drums during performances. iyaalu-igbin often accompanies orisa praise singing. below is an excerpt in steady rhythmic patterns: bo bu reke, bobu pee, ifa tan. example 2: meaning: if it spoils, then ifa is finished. the foregoing statement is allegorical; for it connotes much more than its literal meaning. „bo bu reke’ means when something exceeds its elastic limit, while „bo bu pee, ifa tan’ means if it breaks, it is finished. it alludes to the fact that the peace of the community must be 193 well guarded; everyone would be negatively affected should social peace be threatened. therefore, it is expedient for members of the community to strive to maintain harmonious relationship for the sake of all. in addition, the yoruba traditionally believe that when the descendants of a family are well behaved and the family set up is peaceful, it is because there is no bastard in that family. therefore, anyone who upholds societal and communal norms is regarded as a true son, while the other who misbehaves and foments trouble is regarded as a bastard. this is further reflected in one of the proverbial statements played by the iyaaluigbin: example 3: translation you are the true son of your father/2x you are not a bastard like that individual you are the true son of your father iyaalu is played with straight stick usually on the right hand, while the left hand is used to either mute or muffle the sound and also to regulate the tempo. omele-ako is the smallest drum in the ensemble. it is a single-headed conical shaped drum played with two sticks and produces a variety of rhythmic patterns. in the performance, omele-ako acts as the forerunner; its role in the ensemble is more of fixed ostinato with occasional digression and improvisation. omele-ako is thus referred to as „omele isaaju’ (forerunner). it plays the role of standard rhythmic pattern by maintaining the pace set by the iyaalu for other drums in the ensemble. it acts as the nucleus of the ensemble. example 4: omele-abo on the other hand is a melo-rhythmic instrument. it is the female counterpart of omele-ako. as a female sounding drum, its sound production is softer than that of the male. they both look alike except that omele-abo is bigger in shape than omele-ako. it employs similar playing techniques with that of omele-ako. the depth of sound is one of the inherent features that distinguish it from its male counterpart. it is also a time keeper, but maintains different entry point from omele-ako. while the latter begins on the beat with its fixed ostinato, omele-abo starts off the beat sometimes using hocket techniques in terms of 194 rhythmic organisation. sometimes, it imitates the rhythmic patterns of iyaaalu. an example of the rhythmic patterns produced by omele-abo during performance is illustrated below: example 5: meaning you are totally dull, you are very dull the above interpretation might appear insulting, but it merely suggests the personality of obatala as a gentle and tolerant deity. it does not in any way signify that obatala is stupid. the foregoing is better expressed in another yoruba proverb that states: yiyo ekun, t’ojo ko. this means „the gentility of a tiger does not imply cowardice‟. obatala is, thus a non-violent being. omele-ako, and omele-abo are played with two straight sticks. the drums are usually played during the weekly (ose-osa) and irawe (annual worship celebration of obatala). only obatala priests are permitted to play igbin drum during worship sessions, ordinary worshippers are forbidden. the playing of igbin used to be the exclusive right of the chief priest (aaje of aaje family), as he was the person solely endowed with the authority to safeguard it in his shrine. however, the contemporary practice is that almost all the priests now have igbin kept in their individual shrines. as at the time this study was conducted, members of aaje family were yet to nominate a new aaje since the demise of the immediate past one. the implication of this is that the primary statutory responsibility of the family might soon go into oblivion if steps are not taken to elect a new aaje. indeed, the consequence might be grave in the light of a popular yoruba adage: oosa ti a ko ba fi han omo, piparun ni yio parun. this means dereliction on the part of a generation to transmit its lineage tradition (in this case religious worship acts) to its successor would signal the end of such a custom. to this end, this age long tradition is gradually becoming an endangered species. if care is not taken to revive it, then it is bound to atrophy. the ceremonial aspect of the worship is characterised with singing, dancing and dinning accompanied with a combination of bata and dundun ensembles. bata ensemble comprises iyaalu and a set of three secondary drums: omele abo, omele ako, kudi (all tied together) and a small drum known as the adamo. the dundun ensemble has iyáalù dùndún, omele-ako, omele-abo, kànàngó and gúdúgúdú as its members. significance of igbin-orisa music in the present day nigeria the role of traditional music in ensuring socio-religious equilibrium in a society cannot be over-emphasised. this is because music remains a product of the people and an ever-present phenomenon in any given society. by and large, music addresses social, cultural, religious, 195 educational, political and economic needs of a society. the performance of igbin-orisa music particularly when the three aforementioned yoruba drum ensembles igbin, dùndún and bata combine is most spectacular. this has notable implications for the post colonial nigerian society, which is presently crises-ridden. the gradual loss of once cherished patriotic acts of nationalism as evident in present day corrupt practices, religious bigotry, nepotism, tribalistic tendencies could be reversed if nigerian citizens would imbibe the spirit of togetherness and oneness that characterise igbin-orisa music performance. many of the societal values as contained in slogans such as unity in diversity, national rebirth and so forth should be inculcated into the younger generation right from childhood, with the older ones also living by examples. secondly, it is important to note that yoruba traditional membranophonic instruments are generally grouped into families. in other words, it is rare for them to adopt drums singly. the notion of family as a vital unit within the entire societal set up is very paramount to the yorùbá. each family of these ensembles has a principal instrument often referred to as ìyá (mother) played by the leader of the ensemble. this explains why the principal drum is known as ìyáàlù (mother drum) in most yorùbá set of drums such as dùndún, bàtá, kète and bẹmbẹ. with regard to the dùndún ensemble, gúdúgúdú is referred to as the father, while the children in the family are omele ìsáájú, (supportive forerunner) and omele àtẹlé or ikẹhin (supportive follower). in the same vein, the bàtá set has omele akọ (secondary male) and omele abo (secondary female) drums. as the performance of music is important in igbinorisa worship celebration, so also are the roles and contributions of each member of the ensemble. the failure of a drummer to play his part properly as and when due, is bound to negatively affect not only the music performance, but also cause some form of dysfunction in the entire worship process. on the other hand, the conventional western european household unit (nuclear family) comprises the father, mother, and children. this however is not usually the case in african culture. specifically, the traditional yorùbá family system favours the extended family set up wherein membership is not restricted to the aforementioned numbers, but extends to uncles, aunties, nephews, nieces and cousins as well as close relations who are all part and parcel of the family and are generally referred to as brothers and sisters. it is in the light of above that there are other supportive members of a drum ensemble or a mixture of two or more distinct instruments combined together. this practice is not limited to drumming or instrumentation alone, it seems to permeate the entire yorùbá cultural fibre and governed by what is known as „the spirit of togetherness‟ or collective responsibility. this is well embedded and articulated in the following yorùbá sayings: kí á rìn, kí á pọ, yíyẹ ní ny’ẹni, walking together is complimentarily beautiful ká f’ọwọ wẹ ọwọ, l’ọwọ fi nmọ, both hands are cleaner when they are rubbed on each other àjèjè ọwọ kan kò gbẹ igbá d’órí, a single hand cannot lift the calabash to the head àgbájọ ọwọ lá fí nsọ’yà, in togetherness, lies our strength àìrìnpọ ọmọ ejò ní nse’kú pa wọn. snakes are most vulnerable to attacks by humans because they go their separate ways 196 all these can be summarised as “united we stand, divided we fall”. the basis for mutual coexistence among members of any family therefore is governed by the concept of division of labour and leadership-followership operating within the spirit of team work. conclusion the yoruba, by and large, traditionally engage in worship of various deities such as sango, ogun, obatala among others and pay attention to rules and regulations of religious worship. indeed, religious worship remains a major avenue of communing and renewing relationship with the spirit world in order to maintain cosmological equilibrium for the attainment of peace in the community. this practice was more observed in the pre-colonial nigerian society. however, despite the influences of foreign cultures and modernisation, the practise has survived till today. most of the worship rites involve the use of music, with each deity having a specific drum ensemble associated to it. in other to avoid the wrath of these deities, appropriate music especially drum ensemble must be played. the yoruba still place high premium on traditional worship. igbin-orisa worship is the worship of obatala with igbin drum ensemble containing iyaalu, omele-ako and omele-abo, rendition of songs as well as chants. each of the drums in the ensemble has its specific musical line to be played during worship. the worship might not be accepted if any member of the team fails to play his role appropriately in order to ensure a successful outing. the contemporary nigerians have a lot to learn from this practice in her bid to ensure a better nation. there is no gainsaying that the task of nation building involves every citizen. each member is a team player, be it leaders or followers; everyone should endeavour to play his/her role to the best of one‟s ability. moreover, nigerians, in spite of their diverse ethnic groups and the fact that they speak different languages have been known for their warmness and peaceful co-existence. it is high time that modern nigerians confronted myriads of challenges confronting them. this paper suggests that this is possible if the people would embrace the communal spirit and promote extended family system which once flourished in this nation, whereby members learned and accepted to live together as members of a larger (extended) family. references adesokan, z. a. (1998). essentials of african music. ibadan: university press limited. adelowo, e. d. (1990). rituals, symbolism and symbols in yoruba traditional religious thoughts. african journal of theology (ajt), 4 (1/90), 162-173. akpabot, s. e. (1986). foundation of nigerian traditional music. ibadan: spectrum books limited. ayankojo, l. a. (2009). ago-oja: the history of alaafin-asipa conflict. oyo: alapo house, asipa-abolupe, isale-oyo. 197 daramola, y. (2001). „mr. machine‟: influence of modern technology on nigerian popular music. nigerian music review. vol. 2, pp 99. _________ (2007). musical symbolism of colour: an observation of yoruba sensibility of colour in relation to musical behaviour. african musicology on-line, 1, 47-55. johnson, s. (1921). the history of the yoruba. lagos: css press. laoye, (1973). yorùbá traditional music, 4, 2 6. ìbàdàn: gángan. neimark, p. j. (1993). the way of the orisa. new york: harper one press. olaleye, o. a. (2009). musicological analysis of the yoruba egungun music: towards it‟s repositioning for globalisation. journal of the association of nigerian musicologists (janim), 3, 163. olawole, f. f. (2005). art and spirituality: the ijumu north eastern-yoruba egungun. unpublished phd thesis, department of art, university of arizona. omojola, b. (2006). popular music in western nigeria. ibadan: ifra. __________ (2010). rhythms of the gods: music and spirituality in yoruba culture. the journal of pan african studies, 3, 5, p.32. samuel, k. m. (2009). female involvement in dùndún drumming among the yoruba of southwestern nigeria. unpublished doctoral thesis, university of ibadan. tamara, d. s. (2006). symbols and rituals: the socio-religious roles of the igbin drum family. unpublished m. a. project, faculty of the graduate school, university of maryland, college park. vidal, t. (1976). lagos state music and dance. african arts, 9 (2) __________ (1986). the westernization of african music: a study of yoruba liturgical church music, ife: annals of the institute of cultural studies. washington, e. l. (2005). “shabach hallelujah”: the continuity of the ring shouts tradition as a site of music and dance in black american worship. unpublished m. a. project, graduate college of bowling green state university. tonemic substitution 13 awka journal of research in music and the arts vol.15 (2021) 13 teaching of music appreciation in bereton school applying piaget’s theory of cognitive development chinyere amoyedo-peter & ebele veronica ojukwu ph.d. abstract his study is centred on applying piaget's theory of cognitive development in teaching music appreciation in bereton montessori school port harcourt. the aim is to discover the effectiveness of piaget's theory of cognitive development to learning and the development of children's thinking and reasoning which is the key to understanding childhood growth. the method adopted in this study is a survey research design. the population of the study comprises twenty (20) children in two classes of nursery 3 which they call transition class. data were gathered by observation method. the result of the study clearly shows that the learning behaviour of children agrees with piaget's theory of cognitive development. based on the findings, it was recommended that teachers should assess the ranges in the concept formation of children and encourage active participation to assess their concept formation. keywords: teaching, music appreciation, bereton montessori school and piaget’s theory of cognitive development t awka journal of research in music and the arts (arma) vol. 15 2021 amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 14 introduction developments in a child are those changes that occur from birth to adolescence. a lot of changes take place during this period and some of the abilities and characteristics developed during childhood can last a lifetime. some developments in children are similar. they learn to focus, sit, crawl, and walk at comparable ages. one can predict this aspect of development, but other aspects of development vary according to individuals. a child that will be shy, outspoken, intelligent, energetic, dull etc. cannot be predicted at birth. some factors influence a child's development. peer group, community, family members, school, environment influences the child's thinking, socialization, and self-awareness. as children grow, they try to understand their environment, respond to people around them, and choose their friends and so on thereby contributing to their own development. psychologists have devised themes to explain their observations in child development over the years. among these theories is the cognitive theory. cognitive theories focus on the development of thinking and reasoning as the key to understanding childhood growth. the well-known theory of cognitive development was developed by swiss psychologist jean piaget and he theorized that children pass through four distinct stages of cognitive development: 1) the sensorimotor stage 0-2 years 2) preoperational stage 2-7 years 3) concrete operational stage 7 – 11 years 4) formal operational 12adulthood purpose of the study the purpose of this study is to examine the effectiveness of piaget’s theory of cognitive development on children at their stages in bereton montessori school, port harcourt. amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 15 the problem it has been observed that most teachers do not apply the theories of learning in classrooms; some of them do not even know that there are theories for teaching and learning and they do not see the need to attend training for teachers. it is the responsibility of the teacher to motivate or stimulate the child to want to learn. this study will encourage teachers to understand that every level of a child's development has its teaching strategy that will ensure effective learning when applied (onwuekwe: 2021, lecture note on psychology of music). methodology this study adopted a survey research design. nworgu in esimone (2015) defined "survey" as a research design by which a group of people or items is studied by collecting and analyzing data from only a few people or items considered to represent the entire population (p.173). bereton montessori school is made up of early years (nursery), primary, and secondary school. it is among the schools in port harcourt that give priority to every subject including music and they have a well-equipped music room. this research was carried out in bereton school through the help of the music teacher who spoke to the school management and they gave their consent by releasing a full teaching week for the researchers to use. the music teacher also participated in the lesson by observation. two classes were used for this study out of the three transition classes and each class is made up of ten children. two periods in a week was used for each class (transition a and b) which happened to be their music period on the timetable. theoretical framework piaget's theory of cognitive development is adopted in this study. views on the nature of cognitive development have been greatly influenced by the work of piaget. jean piaget a swiss origin (1896 – amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 16 1980) made a systematic observation of children's behaviour, thinking and knowledge acquisition. he aims to discover by analyzing performance the quality and nature of children's concept attainment at a particular time in their lives. onyiuke (2006) noted: from the childhood stage of development, the child learns to develop his moral attributes to live harmoniously with his fellow men. in the family and school, the child learns songs that teach morals like songs that emphasize respect for elders, the dignity of labour, kindness to all, hard work, cleanliness and many others. here learning comes naturally and does not need to be memorized with stress (p. 59) the primary, secondary and tertiary reactions built on the reflex activities of babies, the role of imitation and internalization of actions to become thoughts and the place of language as a mediator in intellectual growth and learning skills are a few of his most important suggestions which are pointers to learning processes. a baby from the point of birth responds to the surroundings by reflex activities which are not acquired. as time goes on the baby begins to react to surrounding in a way of purposeful behaviour where the baby seeks the mother's nipple, grasping objects that come in contact with the palm of his hand and general body movement begins to show signs of co-ordination. the process of incorporating new perceptions either to form a new purposeful behaviour or integrating them into existing ones was termed assimilation by piaget and when the child can modify existing behaviour to meet new environmental demands, it is said to experience accommodation. piaget considered that conceptual growth occurs because the child is attempting to adapt to the environment organizes actions into purposeful behaviour through the process of assimilation and accommodation. amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 17 the four states of piaget theory of cognitive development (jerome bruner 1962:37). woolfolk (1993) explains that: piaget believed that young people pass through four stages as they develop: the sensorimotor, preoperational, concrete operational and formal operational. in the sensorimotor, the infant explores the world through their senses and motor activities and work towards mastering objects performance and performing goal-directed activities (p. 59). the sensorimotor stage is between the time of birth to 2 years where the child is concerned with material, objects and physical reflexes. from birth to 8 months, the child is limited to activities around his body like sucking, grasping whatever meets his body but from 8 months to 2 years the child directs activities towards objects outside his body. the movement here is directed towards achieving a goal. children can imitate and represent an object in their absence like using something to make a car and pushing it or backing an object as a baby. the preoperational stage occurs between 2 – 7 years of age. this is an active stage of exploration where the child manipulates his environment and internalizes behaviour and actions. egocentrism predominates because the child does not like to view things from another person's angle. as they grow, develop, and reach the age of formal schooling, they begin to learn numbers, letters, and objects. they also learn through music and by doing so they are improving their gross and fine motor skills which get them interested in art, craft and all kinds of ride-on toys. the most important mode of learning at this point is playing. make-believe play of all kinds is attractive and fosters the development of language, socialization and creativity. they also like to build out of items around the house (childdevelopmentinfo.com). amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 18 the concrete operational stage which falls between 7 – 12 years is the beginning of logic where the child begins to clarify objects by similarities and differences, concepts of time and numbers and logical mental processes. the formal operation stage occurs from 12 years and above. here, there is the orderliness of thinking and mastery thoughts. abeles hotfer and klotman (1994) refers to piaget's theory as directly relevant to music education, shedding light on the development of musical concepts and providing insight into the development of musicality and also the application of both his clinical and experimental techniques to the study of musical learning and concept formation. applying piaget's theory to teaching of scales most music educators support the teaching of children with play, props, toys, from known to unknown. carl orff quoted: "since the beginning of time, children have not liked to study, they would have rather play and if you have their interest at heart, you will let them learn while they play, they will find that what they have mastered is child's play". he further quoted that "elemental music is never just music. it's bound up with movement, dance and speech and so it is a form of music in which one must participate, in which one is involved not as a listener but as a co performer"[https://libquotes.com/carlorff/quote/lbs3k8] the two classes that were used for this study consist of ten (10) pupils each. some of the teaching aids used were gathered from the school's resource room such as a chart containing a ladder, building blocks, keyboards etc. voice was also part of the teaching aids. procedure step one the teacher started the lesson by displaying the picture of a ladder on the board and asking the children questions like: amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 19  what is that picture on the board?  have you seen a ladder before?  what is it used for?  how do you climb a ladder? the response from the children led to the introduction of the topic (scale) and the definition of scale as "a ladder where musical notes climb". step two the teacher shared the building blocks to the children and they were guided to build a ladder with them. step three the teacher took the children outside the classroom where the staircase is to demonstrate the ascending and descending of a ladder. at this point, the stairs were labeled 18 on one side for ascending and 8-1 on the other side descending. this is to demonstrate the law of exercise by edward thorndike which says that the learner must do to learn. he must exercise, participate, think, demonstrate, explore, write, ask a question, dance, and sing to learn. it encourages active and not passive learning. step four the teacher thereafter detaches the numbers on the stairs and replace them with the tonic solfa: “d r m f s l t d1” (ascending and descending). the children were guided to sing the tonic solfa ascending and descending until mastery takes place. here, thorndike's law of effect was also established which is the feedback or the effect of the exercise performed. amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 20 findings the result from the classes shows that the learning behaviour of the children conforms to the characteristics features of piaget's stages of cognitive development. it indicates that children at this stage of development learn by internalizing behaviour and actions. the lesson was taught in each of the classes for two periods in a week and each period lasted for thirty (30) minutes. at the end of the lesson, learning was achieved because the teacher took time to assess the children one after the other during the second period. in the course of assessing them individually, the teacher found out that transition a performed better and the goal was achieved but three (3) out of ten (10) children in transition b couldn't memorize the tonic solfa, especially, singing at the correct pitch. discussion of findings learning indeed was achieved by the end of the lesson because more than 90% 0f the pupils learnt and memorized the tonic solfa. some of the pupils learnt immediately during the first period and some during the second period which shows that the learning ability of the children is not the same. when the pupils were interviewed, it was found out that the majority of those that learnt during the first period already have knowledge of tonic solfa, some of them also have keyboards in their homes. the second set of pupils that learnt the tonic solfa during the second period did not have any knowledge of the tonic solfa before that time. the three (3) pupils from transition b that could not learn properly even at second period were proven to be going through some health challenges so the teacher pasted the flashcards containing the tonic solfa ascending and descending on one corner of the classroom and amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 21 encouraged the pupils to continue rehearsing with it until mastery takes place. educational implications of piaget's theory there are educational implications of piaget's theory that can serve as a guide to teachers and music educators. they are: 1. teachers should have some awareness of the ranges of possibilities in the concept formation of the children they are teaching. 2. the idea of active participants is in keeping with piaget’s view that concept formulation arises from the internalization of actions. 3. teachers especially at the upper school level should begin from concrete considerations, building up where applicable to more abstract reasoning. 4. verbalization is very important. language aids internalization and consequently the formation of a concept. the verbal interchange between teacher and children or parents and children constitute an important communication channel. 5. teachers can use the pattern of development in each child as a means of assessing attainment both in respect of the child's progress and about the expectations of his/ her mental age group. conclusion a child can only learn when he/she is made to participate in the process of learning. sensation plays an important role in the process of learning where a child is stimulated through one or more of the sense organs. sensation makes a child turn his attention to a particular situation (the topic) and paying attention depends on if the topic meets his interest, needs, wishes etc. this does not guarantee that learning has taken place, it leads to perception and learning begins when perception is achieved. all the children in a class may not learn and understand with the same method of teaching; some of them will require extra or combination of two or more teaching methods to be able to learn. it amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 22 now behooves the teachers to understand and be aware of ranges of possibilities in the concept formation of each child they are teaching and apply the suitable teaching method for the age and stage of that child for effective learning. children making a ladder with building blocks the researcher teaching scale in the classroom amoyedo-peter, c. & ojukwu, e. v.: teaching of music appreciation in ... awka journal of research in music and the arts vol.15 (2021) 23 references abeles, h. f, hoffer, c. r & klotman, r. h. (eds). (1994). foundations of music education. new york: cengage learning. bruner, j. (1962). the process of education. cambridge: hawarden university esimone, c.c. (2015). a viable tool in teaching and learning in early childhood education. awka journal of research in music and the arts (ajrma), 11, 164-178. landis, b. (1972). the electric curriculum in american music education: contribution of dalcroze. ojukwu, e. v & onuora-oguno, n. c. (2015). methodological approaches to musical arts education aimed at active learning. awka journal of research in music and the arts (ajrma), 11, .35 51. okeke, i. n. (2014). applying piaget’s "critical period" to music education in nigeria: a study of selected schools. awka journal of research in music and the arts (ajrma), 10, 45 73. onyiuke, y.s. (2006). music pedagogy as implementation for all-round development of primary school children in nigeria. interlink: a journal of research in music. 3, 56 63. ugochukwu, b. c. (2019). african-sensed music education and creativity in play and game in nigerian traditional setting. journal of nigerian music education, 11, 40-46. woolfolk, a. e. (1993). educational psychology. u.s. a: allen and bacon. internet source the ages and stages of child development: birthteen. [childdevelopmentinfo.com.] retrieved 12/8/2021. milnepublishing.geneseo.edu/music-and-the-child/chapter/chapter-4 carl off quote retrieved from [https://libquotes.com/carlorff/quote/lbs3k8b] date assessed: 08/11/2 132 awka journal of research in music and the arts (ajrma) vol 17 june 2024 integrating cultural elements in teaching music for entrepreneurship acquisition of unity school students’in south-east nigeria. scholastica ifeoma ezugwu department of arts education, university of nigeria, nsukka scholastica.ezegwu@unn.edu.ng abstract this study examined the impact of integrating cultural elements in teaching music for students’ acquisition of entrepreneurship skill in unity schools in south-east nigeria. one research question guided the study. a survey research design was used for the purpose of the study. the sample of the study was all the 30 cultural and creative arts teachers hence; no sampling technique was adopted by the researcher for the teachers while purposive sampling was adopted for selecting 60 students. a 16-item statements/questionnaire were used to collect data from the respondents(teachers) and ‘focus group discussion on cultural music (fgdocm)’’for students. 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 0.84 using cronbach alpha method. the result was analyzed using mean scores and content analysis. the result revealed that integrating cultural elements in teaching of music has a lot of benefits like helping students to develop life coping skill, embrace cultural diversity, improve creative engagement in music and music related field among others. it was recommended among others that cultural and creative arts teachers of unity schools in south-east nigeria should be exposed to sensitization programmes through conferences, workshops, seminars on the need for integrating cultural elements in teaching music. keywords: music, cultural elements, integration, students acquisition, entrepreneurship skills. introduction education has been of great importance to nations aspiring for growth and development. this is attributed to its roles in enhancing national development in the areas of political, economic, religious, and socio-cultural aspects of life of the people. according to ogbonnaya (2017), education is seen as pivot where all the developmental efforts of nations revolves. in line with the above, obanye (2017) observes that, education is the process whereby individuals acquire the requisite knowledge, and skills which enable them to be useful to themselves and the society in general. ugbor & ugbor (2018) explain education as, the hub of individuals and nations development as, it enables them to acquire basic knowledge, skills, right values, belief system, and attitudes which enable them to be functional members of the society. from all these definitions, education plays a key role to individuals’ and national development. the federal republic of nigeria in her national policy on education observes that, education is an instrument per excellence for national development (frn, 2014). the policy further states that, education enables citizens of nigeria to live in unity and harmony as one indissoluble, democratic, and sovereign nation founded on the principles of freedom, equality and justice, among others (frn, 2014). the above implies that, education enables individuals to live in harmony, despite the diversities 133 awka journal of research in music and the arts (ajrma) vol 17 june 2024 in economic, political, religious, and socio-cultural aspects through the acquisition of knowledge, values, skills, right attitudes and values to be useful to themselves and the society at large. a nation cannot be developed if there is no unity amongst its people, thus the need to use certain agents in achieving that, music is one of those agent. music is a magnetic agent that draws people together, creates room for the sense of brotherhood and instills the sense of belonging and collective responsibility. music is a means of communication, which encompasses a non-verbal and verbal means of communication. music is a universal medium of expressing the deepest feelings and aspirations that belong to all humanity, and therefore it is used as a communication event between cultures (ducan, 2018). it is imperative to know that, music exists in every human society and is fundamental to the nature of man/woman, and as well functions in the context of the personal and world view of each culture of the society. music as a subject of study in nigerian schools existed since 1842 through the introduction of missionary schools (adeogun, 2018). adeogun further states that the current state of studying music takes off from the nigerian national policy on education (1981), which states that ‘’ the federal government, realizing the importance of arts and culture in the development of science and technology has, given arts and cultural education its legitimate right in the nation’s educational system at all levels, with their educational goals clearly stipulated”. thus, music is being taught as a component of cultural and creative art subject in secondary schools today, together with arts, crafts, and drama. music as a component of cultural and creative arts, has its curriculum focused on harmony and counterpoint, aural training, history and literature of music and performance, in which students develop their careers and function well in the society. elendu (2017) views music as a component of cultural and creative arts, and a research area in which scholars investigate ways of teaching and learning music. in support of the above, devika (2019) asserts that music as a component of cultural and creative arts, is also seen as the process of preparing dedicated individuals/students for positions of leadership so as to give vitality and priority to a society’s musical life. it encompasses the study of music to be in command of musical thoughts, values, tastes, practices, and wisdom not only of one’s society but also of others’ and to interpret such from one’s own perspective (adeogun, 2018). music helps students to develop important personal skills like critical thinking, problem-solving, strengthens perseverance, engagement, persistence, enhances fine motor skills, emotional well-being of students and learning how to work cooperatively toward shared goals (bell, 2019). with respect to facilitating student academic achievement, bell asserts that music, as part of a school subject, helps to: prepare the brain for achievement, fosters superior working memory, improves recall and retention of verbal information, sharpens student attentiveness, supports better study habits, advances achievement in other subjects like mathematics, and boosts reading and english language arts (ela) skills. music as component of cultural and creative arts subject does not exist in isolation in the music classroom, it is influenced by integrating trends in general education, society, culture, and politics. culture is the patterns of learned and shared behaviour and beliefs of a particular social, ethnic, or age group (oji, 2016). culture is seen as an accumulation of elements produced, or integrated and possibly adapted by a cultural group. cultural elements are therefore those features that explain https://en.wikipedia.org/wiki/teaching 134 awka journal of research in music and the arts (ajrma) vol 17 june 2024 cultures from the standpoint of what is common across all cultures. many components of cultural elements like value, norms, rituals, architecture, food, language, taboos, music, symbols, holidays, clothing, dance, arts and creative, festivals, artifacts, ideology, traditions among others, however, the present researcher will explain culture through a set of main components namely: values and beliefs, norms, symbols, language, and cognitive components. values are very important element of culture and involve judgments of what is good or bad and desirable or undesirable. a culture’s values shape its norms. values are deeply embedded and critical for transmitting and teaching a culture’ beliefs. beliefs therefore are the tenets or convictions that people hold to be true. individuals in a society have specific beliefs, but they also share collective values. therefore, values are the consistent, unwavering beliefs of a society over time. norms are very important element of a culture as it concerns the formal and informal rules and regulations regarding what kinds of behavior are acceptable and appropriate within a culture or in a society. norms are aspects of culture that humans live by, standards set up to tell one right from wrong and expectations for behaving. social norms are the perceived informal, mostly unwritten and codified rules of beliefs, attitudes, and behaviors that define acceptable and appropriate actions within a given group or community, thus guiding human (sonia, 2019). language is the most basic and most important element in a culture because it is used as a medium of communication in the society. it can also serve as an identity of a given society in particular or nation in general. every culture has a particular language which is passed by the persons belonging to that particular culture to the next generation and the following generation also has to learn the language. language makes effective social interaction possible and influences how people conceive of concepts and objects. language thus influences how we understand the world around us. many aspects of culture depend upon how people within that culture communicate with one another. in terms of culture, language depends on what type of language is used in that speech community. a symbol is a mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, or relationship. symbols allow people to go beyond what is known or seen by creating linkages between otherwise very different concepts and experiences (oji, 2016). symbols are significant because of their meanings. probably all societies have nonverbal symbols we call gestures, movements of the hands, arms, or other parts of the body that are meant to convey certain ideas or emotions. however, the same gesture can mean one thing in one society and something quite different in another society like shaking of hands, wearing of cap. cognitive components are the element of culture which deals with the management of difficult times or natural calamities. cognitive components of culture are those through which an individual learn how to cope with an existing situation whether natural or social (sonia, 2019). so cognitive elements are otherwise known as life coping skills. these skills and qualities are learned by children and taught to them by the parents, teachers, for them to adapt to any situations. these cognitive components include patience, hard work, honesty, humility among others. from the above discussion it is important to note that these cultural elements are supposed to be transmitted from one generation to another, and the process is to ensure continuity of traditions within a group of people, thus the need for music teachers to integrate the language, value, norms, symbols, ritual, tradition, ideology, arts and creativity, custom in the teaching of music. if these 135 awka journal of research in music and the arts (ajrma) vol 17 june 2024 cultural elements are integrated in the teaching of music, this will not only help students to use the knowledge to add vibrancy to communities, engaging the brain, strengthening the sense of belonging and connection with others but equip them in using their talents to reflects a society’s history, values, conventions and attitude. the goals of integrating cultural elements in the teaching of music are to widen the scope through which students see and hear music and examine the universal qualities cultures share through music (finma, 2015). kennedy asserted that teaching music from cultural perspectives will x-ray learning experiences, thus the need for integrating cultural elements. these learning experiences in the arts include aesthetic experiences, creative engagement, and development of skills of expressive participation, as well as acquisition of knowledge and skills related to specific arts. in support of the above, babiner (2020) believe that art experiences are unique learning experiences because they combine sensory perception, the affective domain, and the kinesthetic domain with the cognitive domain. this helps to provide opportunities for learning that involve the whole person, and context for making wide-ranging and personal connection s. thus, the present researcher wants to find out the benefits of integrating cultural elements in the teaching of music in schools. statement of problem music as a component of cultural and creative arts subject is the extension of pedagogical and training practices to be in command of musical thoughts, values, tastes, practices, and wisdom not only of one’s society but also of others’ and to interpret such from one’s own perspective. however, it has been observed that music as subject of study has been known to occupy a lowly position in school curriculum and also considered to be unworthy of serious academic study, since imposition of western education in the 19thcentury. inheriting this notion has led to the gradual decadence of music in nigerian schools which is evidenced in the merging of music, fine arts and drama under cultural and creative arts as one subject in school today, instead of teaching music separately as a subject of its own. it has also been observed that there is erosion of cultural perspective in the teaching of music in school. thus music teaching in school today is not certain if it is culturally oriented, as teachers mostly use western musical framework which has a greater emphasis on western theory, belief, notation among others, while indigenous music and arts which are deeply rooted in culture continue to be a rare occurrence. based on the current teaching, the respect, zeal and necessary skills for indigenous african musical systems and tradition diminished and the western musical system increased, which is not in conformity with 21st century teaching. it has been also noted that music has been faced with a long-standing predicament in content, teaching method and skills. this is evidenced in poor academic achievement of junior secondary school students in music in universal basic education examination (2017 – 2019) (source: federal ministry of education (basic and secondary education department, abuja) and also in young nigerian musician who anchored their songs from classical western music, which most of them is considered corruptive both musically and morally. thus, teaching music as a component of cultural and creative arts is essential since music is considered a fundamental component of human culture and , thus the need to teach music from cultural perspective. purpose of the study the main purpose of this study was the need for integration of cultural elements in the teaching of music for entrepreneurship skill acquisition in unity schools in south-east nigeria. specifically, the study seeks to: https://en.wikipedia.org/wiki/culture https://en.wikipedia.org/wiki/human_behavior 136 awka journal of research in music and the arts (ajrma) vol 17 june 2024 1. find out the benefits of integrating cultural elements in teaching music for students’ acquisition of entrepreneurship skill in unity schools in south-east nigeria. research question the following research question guided the study: 1. what are the benefits of integrating cultural elements in teaching music for students’ acquisition of entrepreneurship skill in unity schools in south-east nigeria? methodology the research design employed for the study was descriptive survey which involves obtaining information from respondents based on the responses from a section of respondents which represent the entire population used for the study. according to nworgu (2006) when a survey centers on describing some variables in relation of a given population, the descriptive survey research design is the most appropriate. the area of the study was all the unity schools in southeast of nigeria. the population of the study was all the cultural and creative arts teachers and students. the sample of the study consisted of 30 cultural and creative arts teachers and 120 students drawn through purposive sampling technique. a 16 items questionnaire was used to collect data from the respondents and focused group discussion conducted. the instrument was structured on a 4-points likert type scale on which the respondents reacted to. the items in the questionnaire were weighted as a follows: strongly agree (sa)-4 points, agree (a)3 points, disagree (d) -2 points and strongly disagree (sd) -1point. the criterion mean of acceptance is 2.50. the instrument was face validated by two senior lectures in cultural and creative arts and music department and one in measurement and evaluation, all from the university of nigeria, nsukka. the cronbach alpha, co-efficient method was used to determine the reliability of the instrument. it yielded a co-efficient of 0.90. a total of 16 copies of the instrument were administered and retrieved and focused group discussion conducted. the data was analyzed using mean scores, while content analysis was used for focus group discussion. any item statement with mean rating of 2.50 and above was accepted value while item statement with a mean rating less than 2.50 was rejected. results the results of the data collected from the study are presented in table 1 according to the research question. 1. research question: what are the benefits of integrating cultural elements in teaching music for acquiring entrepreneurship skill in unity schools in south – east, nigeria? table 1: means and standard deviation response of male and female teachers on the benefits of integrating cultural elements in teaching music for acquiring entrepreneurship skill in unity schools in south – east, nigeria. s/n item 𝐗i sd2 𝐗2 sd2 𝐗3 dec. 1. it encourages students to embrace cultural diversity. 3.18 .60 2.95 .62 3.03 .61 a 2. it helps in development of multicultural awareness. 2.82 .60 3.05 .71 2.97 .67 a 3. it helps in developing life coping skills/cognitive elements. 3.36 .67 2.84 .76 3.03 .76 a 137 awka journal of research in music and the arts (ajrma) vol 17 june 2024 4. it does not foster aesthetic experiences. 3.18 .75 3.32 .95 3.27 .87 a 5. it improves creative engagement. 3.09 .83 2.68 1.00 2.83 .95 a 6. it helps in development of tolerance. 3.73 .47 3.47 .70 3.57 .63 sa 7. it gives students opportunities to develop musical concepts from their cultural values and norms. 3.00 .89 3.00 .75 3.00 .79 a 8. it helps students to develop critical thinking skills. 3.00 .63 3.11 .74 3.07 .69 a 9. it also helps students to develop a more sensitive perception of presenting musical elements with symbols and beliefs. 3.27 .79 2.79 .79 2.97 .81 a 10. it exposes students in identifying differences as well as commonalities in cultures and conventions. 2.36 .67 2.89 .74 2.70 .75 a 11. it plays important roles in the construction of one’s’ identities. 2.73 .65 3.32 .82 3.10 .80 a 12. it helps in improving the language skills of the child. 2.91 .94 3.00 .88 2.97 .89 a 13. it does not widen students’ knowledge in reflecting society’s history and attitude. 3.27 .79 2.63 .83 2.87 .86 a 14. it also improves the students’ oral communication. 2.81 .87 3.05 .78 2.97 .81 a 15. it helps to perfect the child’s indigenous language. 2.91 .83 2.89 .99 2.90 .92 a 16. it enables the child to express his creative self with ease. 3.00 .63 3.11 .57 3.07 .56 a cluster a 3.03 .05. 3.01 .06 3.02 .06 a key: x̅1 = mean for male sd1 = standard deviation for male x̅2 = mean for female sd2 = standard deviation for female x̅3 = total mean sd3 = standard deviation for female the result presented in table 1 shows the mean scores and standard deviations on the benefits of integrating cultural elements in teaching music for acquiring entrepreneurship skill in unity schools in south – east, nigeria. table 1 indicates that items 1, 2, 3, 5, 7, 8, 9, 10, 11, 12, 13, 14, 15, and 16 had overall mean scores of 3.03, 2.97, 3.03, 3.27, 2.83, 3.00, 3.07, 2.97, 2.70, 3.10, 2.97, 2.87,2.97, 2.90 and 3.07 with standard deviations of .61, .67, .76, .87, .95, .79, .69, .81, .75, .80, .89, .86, .81, .92, and .58 for male and female teachers. the mean scores fall under the decision of agree based on the real limit of numbers. on the other hand, items 6 has means score of 3.57 with standard deviation of .63 which fall under the decision of strongly agree based on the real limit of numbers. the cluster mean is 3.02 with the standard deviation of .06 which fall under the decision of agree using the real limit of numbers. this indicates that the items are all benefits of integrating cultural elements in teaching music for acquiring entrepreneurship skill in unity schools in south-east, nigeria. 76 138 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the researcher had discussion with the students to find out the benefits of integrating cultural elements in teaching music for acquiring entrepreneurship skill in unity schools in south – east, nigeria. the researcher found out the following: during the discussion, the students mentioned many prominent cultural music from their areas that contain cultural elements like nkwa ụmụagbọghọ music of afikpo, atịlịọgwụ music of ezeagu, ikorodo music of nsukka, apala music, fuji, folk music, waka, bata and gelede music of yoruba tribes. however, one of the students stated that the cultural music in her place imo state, known as abịigbo music of mbaise, contains a lot of these cultural elements. the students stated that abịigbo/agbacha ekuru music of mbaise contain certain language that is used for advice and one that is used for criticizing people of bad character, and highlight some behavior that are acceptable and appropriate within their culture, like need for purity, developing good moral standard, and respect for elders. another student from idemili north emphasized that the moon light music and folktales music in their place does not only equip them with life coping skills but guide and shape their individual personalities and responsibilities. the students further stated that the life coping skills they learn from that music include patience, hard work, determination and critical thinking skill. discussion the findings of this study revealed that there are lots of benefits of integrating cultural elements in teaching music for acquiring entrepreneurship skill in unity schools in south – east, nigeria. this shows that integrating cultural elements in teaching music plays a crucial role in students’ acquisition of entrepreneurship skill as it will help students to embrace cultural diversity, develop multicultural awareness, life coping skills, aesthetic experiences, creative engagement, tolerance, critical thinking skills, among others which are major tools for entrepreneurship acquisition and construction of one’s’ identities. it equally improves the language skills of the child, and give room for a child to express his creative self with ease. the finding is in line with sonia (2019) who observed that the use of cultural elements in teaching helps students to bring history to life and practicalize learning. sonia further asserts that establishing culture in the background of teaching and learning of music will influence greatly the way students see the world, understand it and achieve goals. the findings are also in line with that of lary (2021), who opines that integrating cultural elements in teaching of music will allow students to understand the inner workings of a cultural group and to gain an understanding of how others view themselves musically. however, one will conclude that integrating cultural elements in the teaching of music will encourage the students in the area of developing life coping skills, aesthetic experiences, creative engagement, and expressive participation, as well as acquisition of other knowledge and skills related to music. conclusions teaching of music in schools still occupies lowly position in school curriculum in this 21st century due to erosion of cultural perspective in its teaching. however, realizing that each culture has its own musical qualities and appeals, teaching music with cultural perspective and mindset in our music classrooms will allow to deepen students’ knowledge in values, norms and language, of society. this will make them feel for the ways in which music was deeply social, cultural, ideological, political, and 139 awka journal of research in music and the arts (ajrma) vol 17 june 2024 personal. therefore, the fundamental value of music from any culture needs to be appreciated by students through teaching, thus the need for integrating cultural elements in teaching music for development of tolerance, life coping skills and creative engagement. recommendations based on the forgoing, the researcher recommended as follows: 1. music teachers should be encouraged to integrate cultural elements in teaching music as it will facilitate students’ acquisition of entrepreneurship skill in unity schools in southeast nigeria. seminars, workshop and symposiums should be organized for teachers to ensure they acquire diverse knowledge on cultural music and its elements for the integration of these cultural elements in the teaching of music. 2. effective techniques are needed for integration of cultural elements in the teaching of music. music teachers in unity schools are advised to adopt appropriate techniques by making use of songs, instruments and resources in integrating cultural elements in teaching music as itwill facilitate students’ acquisition of entrepreneurship skill. 3. music teachers in unity schools should develop good qualities towards integrating cultural elements in teaching music for students’ acquisition of entrepreneurship skill in unity schools in south – east, nigeria. the teachers are advised to embrace diversity and be creative to enable all aspect of their teaching to be organized, articulated and effectively coordinated, while meeting up the immediate needs of difference groups in their music classrooms. 4. music teachers should try to overcome the challenges they will encounter while integrating cultural elements in teaching music for students’ acquisition of entrepreneurship skill in unity schools in south – east, nigeria. teachers should therefore try to understand the fundamental knowledge and history of cultural elements, how and where it is related to teaching music. 5. music teachers should help students to achieve their career. music teachers are advised to ensure proper integration of cultural elements in teaching of music to equip students in building their career, developing 21st century skills and curbing of unemployment. references adeleke, m. (2018). socio-cultural factors as determinants of student participation in music programmes in kwara state. music educators journal, 13(1), 34-58. adeogun, a. o. (2018). a historical review of the evolution of music education in nigeria until the end of the twentieth century. journal of the musical arts in africa, 15 118. babiner, k. (2020). music education reform in the twenty-first century. education policy journal,14(2), 151-170. bakan, k. k. (2011). curriculum traditions and music education. new york, ny: oxford university press. baker, u. n. (2017). key concepts in multicultural music education. journal of the international society for music education, 15, 64-72. banks c. a. m. (1989). multicultural education: issues and perspectives (eds.) boston, ma: allyn and bacon. bell, o. (2019). multicultural education and challenges. music educators’ journal, 14(1), 84– 98. devika, n. (2004). interdisciplinary approaches in music curriculum. education policy journal,2 (2) 67-79. ducan, o. (2018). comprehensive music education: a new vision. music education research 140 awka journal of research in music and the arts (ajrma) vol 17 june 2024 international, 3(1), 35-44. elendu, i.o. (2017). the role of integrated curriculum in music teacher education. journal of music teacher education,6(1), 56-64. finma, p.i. (2015). teacher’s guide in music education teaching. new york, ny: longman publishing. lary, o. o. (2021). gender role, and career development of senior secondary schools students in north-east nigeria. journal of arts. 11, (1) 21-25. http://www.ed.ng nworgu, b. g. (2006). educational research, basic issues and methodology. nsukka, enugu: university trust publishers. obanye, d. u. (2017). educational management in perspectives. ondo state: abiodun press. ogboananya, n. o. (2017). social and political context of educational administration. nsukka: chuka educational publishers. oji, l. p. (2016). impact of culture in music education. international journal of music education, 2, 62–79. sonia, g. (2019). multicultural education: a teacher guide to linking context, process and content. retrieved from http://www.newhorizons.org/strategies/multicultural/ hanley.htm. ugbor, c. c. &ugbor, g. n. (2018). national universities commission a s an external body for ensuring education quality assurance in federal universities in nigeria. review of education: institute of education journal, university of nigeria, nsukka. 30 (1), 310 – 323 http://www.ed.ng/ http://www.newhorizons.org/strategies/multicultural/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 266 the socio-cultural roles of ìregun musical instruments among yagba-yoruba people of kogi state, nigeria olusegun stephen titus phd department of music, obafemi awolowo university, ile-ife, nigeria email: ostitus@oauife.edu.ng abstract several studies have considered the place of musical instruments in various cultural settings. however, little scholarly work on iregun musical instruments and their usage in impacting culture among yagba-yoruba [1] people is still largely lacking. this paper examines the role of iregun musical instruments as sources for inculcating socio-cultural ideas among the yoruba people of kogi state. data were sourced through interviews, participant observation, and non-participant observation during various performances of iregun musicians at mopa and isanlu communities in mopa-muro and yagba-east local government areas of kogi state. based on culturalism theory, i argue that iregun musical instruments have the potential to chronicle the uniqueness of the yagba yoruba people and to globalise their cultural heritage, preventing it from going into oblivion and extinction. moreso, musical instruments in conjunction with the singing could help build morality, virtue, language, dressing, and belief systems, among others. keywords: iregun music, socio-cultural, yagba people, musical instruments introduction ìrègún music is a satirical musical genre of the yagba, a sub-ethnic group of the yoruba nation in nigeria, and characteristically objects to unethical acts of taking vainglory for assistance rendered to unfortunate people in society. though the name, which literally means "taking vainglory," is retained as its socio-cultural signifier, its performance contexts have largely altered in contemporary times. the musical genre is primarily vocalbased, but the musical instrument has a lot to teach as it sometimes emulates the voice and at other times gives a speech or message during performances. yàgbàland is majorly located in present-day kogi state, the north-central part of nigeria, and situated along longitudes 7.30o to 9.34o e and 7o to 8o n (iyekòló, 2006). the objective of this paper is to examine the playing techniques and the role of iregun musical instruments in the process of impacting culture among yagba people. this paper attempts to answer the following questions: how are iregun musical instruments classified? what are the playing techniques of the instruments? and what are the cultural lessons imbibed through the messages from iregun musical instruments? data was collected through interviews with mr. maku sunday, the leader of the iregun musical group. other members interviewed are mrs. grace abedo, mr. majekodunmi, the chief drummer of the group, and mr. egere, the chief dancer. other people interviewed were. the research was carried out in mopa and isanlu communities in mopa-muro and awka journal of research in music and the arts (ajrma) vol. 16, september 2023 267 yagba-east local government areas, respectively. these communities were selected because the performers and leaders of iregun socio-cultural groups live in these communities and perform here and in other communities too. culturalism theory this paper is premised on malinowski's (1944: 150) culturalism theory. malinowski argues that culture is essentially an instrumental apparatus by which man is put in a position to better cope with the concrete, specific problems that face him in his environment in the course of satisfying his needs. he notes that it is an integral in which the various elements are interdependent. such activities, attitudes, and objects are organised around important and vital tasks into institutions such as family, the clan, the local community, the tribe, and the organised teams of economic cooperation, political, legal, and educational activity. from a dynamic point of view, that is, as regards the type of activity, culture can be analysed into a number of aspects such as education, social control, economics, systems of knowledge, belief, and morality, as well as modes of creative and artistic expression. iregun musical instrument classification, construction, playing techniques, and functions are culture-based among the yagba people of nigeria, where the instruments are constantly used to modify the social and cultural lives of the citizens. classification and construction of iregun musical instruments according to (maku, an iregun performer, 2011 in an interview) notes that ìrègún musical instruments are classified in relation to the manner in which they are manipulated to produce sound; that is, the technique of sound production, nature, size, gender, and role; nature of peculiar sound; construction techniques; physical characteristics, functions, beliefs, and values in yàgbà culture. ìrègún music makes use of three out of the four groups that sachs and hombostel provided, namely membranophone, idiophone, and aerophone. the membranophone includes iya-ilu iregun, gudugudu, omele ako, and omele abo. the idiophone entails the rattles, while the aerophone entails the iyeh-flute. chordophone instruments are not part of the iregun ensemble. according to (makanjuola the chief drummer of iregun instruments, 2012 personal communication) a membranophone is any musical instrument that produces sound primarily by way of a vibrating, stretched membrane. omíbíyì (1977:25) describes membranophones as instruments on which sound is produced through the vibration of membranes. leather drums are invariably carved out of solid logs of wood and covered with the skin of various animals. other materials include gourds, earthenware, tins, and so on. they occur in a wide variety of shapes, such as conical, cylindrical, bowlor cup-shaped, and even in the shape of an hourglass, as of the ìrègún musical group in yàgbàland. while some can only produce a pitch, others are constructed in such a way that they could produce varied pitches for tuned instruments. some are single-headed, opened at one end and closed at the other end; others are double-headed, closed at both ends with skin; either one or http://en.wikipedia.org/wiki/musical_instrument http://en.wikipedia.org/wiki/sound awka journal of research in music and the arts (ajrma) vol. 16, september 2023 268 both ends are played. the skin of the drum itself may be glued, nailed, or suspended by pegs or tension thongs. ìrègún musical instrument builder (mr. olúségun jimoh 2012 personal communication) who is a senior technologist, explains that the very first step in the making of a drum is the ceremony, which placates the spirit inhabiting the tree that is to be cut down for the wood from which the drum frame will be subsequently carved. olusegun jimoh explained that the tree must be one that has grown in yàgbàland and is accustomed to hearing human voices; only then will its wood speak well as a drum frame. jimoh, ilètógùn, and makanjuola (2012) (respondents) agree that drums can be deaf (ìlù diti). to them, if the wood is not properly ceremonised before cutting or if the tree falls on its own and it is being cut to wood for the frame of ìrègún drums, the drum will not be able to produce the correct sound. jimoh (2010, personal communication) affirms that a tree in the forest that has not been accustomed to hearing human voices will be unsatisfactory because its wood will be dumb as a drum frame. moreover, every drum has its own alter carved on the drum frame. here is the actual spot in which the drummers communed with their patron deity of drumming. makanjuola (2010, personal communication) explains that ìrègún drummers must not neglect their regular communion with their patron. a drummer who neglects his regular communion with his patron deity of drumming will find either that his drum goes to pieces, or he will be constantly out of employment. ìrègún/bembe drums include ìyá-ìlù, omele ako and abo, and gúdúgúdú. idiophones are instruments that make sounds by themselves when they are hit, shaken, or scraped. omíbíyì (1977:1) notes that idiophones are self-sounding instruments that produce sound without the addition of a stretched skin, string, or vibrating column of air. their sounds emanate from the materials available in the environment, where they are made either by being shaken, scraped, stroked, plucked, or stamped. they are made of materials such as gourd, wood, metal, and cane. an aerophone is any musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membranes, and without the vibration of the instrument itself adding considerably to the sound. it is one of the four main classes of instruments in the original hornbostel-sachs scheme of musical instrument classification. hornbostel-sachs divides aerophones according to whether vibrating air is contained in the instrument itself or not. these are instruments on which the sound is produced through the vibration of a column of air (omíbíyì, 1977:22). aerophones are grouped into three categories: one, instruments of the flute family; two, pipes; and third, horns and trumpets. the ìrègún flute musical instrument is made of wood. they are openended and designed to be played horizontally; they vary in length and size. playing techniques of iregun instruments in ìrègún, drums are struck with sticks. it is one of the four main divisions of instruments in the original hornbostel-sachs scheme of musical instrument classification. all membranophones are drums. hornbostel-sachs (1914) divides drums http://en.wikipedia.org/wiki/musical_instrument http://en.wikipedia.org/wiki/sound http://en.wikipedia.org/wiki/hornbostel-sachs http://en.wikipedia.org/wiki/musical_instrument_classification http://en.wikipedia.org/wiki/musical_instrument_classification http://en.wikipedia.org/wiki/vibrating http://en.wikipedia.org/wiki/hornbostel-sachs http://en.wikipedia.org/wiki/musical_instrument_classification http://en.wikipedia.org/wiki/musical_instrument_classification http://en.wikipedia.org/wiki/drum awka journal of research in music and the arts (ajrma) vol. 16, september 2023 269 into three main types: struck drums, where the skin is hit with a stick and the hand. string drums, where a knotted string attached to the skin is pulled, and friction drums, where some sort of rubbing motion causes the skin to vibrate (a common type has a stick passing through a hole in the skin that is pulled back and forth). ìlù in ìrègún music is similar to the sach-hombostel membranophonic classification. ìlù are made of skin on which sound is produced through the vibration of the membrane. iya-ilu irègún is a drum with a double membrane, one on each end. the ìyá-ìlù also known as the talking or mother drum, is most notably used as a speech surrogate because of its wide range of pitches, though its pitches are not as wide as those of the dundun talking drum. first, it acts as the leader of the ìrègún ensemble. the ìyáìlù player is the leader in the performance of irègún music. it is clearly distinguished from other members of the ensemble in terms of size and decorations. an example of ìyá-ìlù is represented in figure 1. the ìyá ìlù irègún drum playing positioning is simple. the normal practice is to carry ìyáalu on the left shoulder by means of the shoulder strap in a suspended manner. the kongo, held in the right hand, is used to strike the surface of the drum on the thinner side. ìyáàlù is made to rest against the hip-bone of the player. see figure 1. below fig. 1. mr. makanjuola iregun chief drummer playing ìyá ìlù ìrègúnpicture by the researcher the ìrègún ensemble, like other yorùbá drums, is classified based on a family unit comprising a father, mother, and children with relatives as members. omele comes from the word omo-ile, which means children in the family. they are usually two (ako and abo). it must be noted here that there is no distinction between omele ako and abo, except that one is made to play the leading role while the other plays the supporting role. omele ako and abo are shaped like ìyáìlù of ìrègún but smaller in size. they are both secondary awka journal of research in music and the arts (ajrma) vol. 16, september 2023 270 drums of the ìrègún ensemble. the ako is about 10 cm wide and 25cm long; the abo is almost the same size. they are capable of playing one tone each; they are slung on the drummer’s shoulders and supported under the armpit. consequently, they are saddled with rhythmic roles. the drummers hold one drumstick each and apply the palm of the other hand at the rim to affect the play of some muting to generate more tones, as they desire. just as the name omele-ako, the male front guard or forerunner, indicates, it is the first to begin to play among the subsidiary drums, and its major role is to maintain the rhythm and tempo set by the ìyáìlù. the example below is a rhythmic pattern for omele ako. music example 1 music example 2 omele ako and abo are carried on the left shoulder like ìyáìlù. the only difference is that it is made to rest on the side of the stomach of the player. they are also played while seating, omele ako and abo are placed on the left leg while the player is seating see examples in plates below figure 2. mr. asa an iregun drummer, playing the omele ako iregunpicture by the researcher awka journal of research in music and the arts (ajrma) vol. 16, september 2023 271 figure 3. mr. abiodun iregun drummer playing omele abo ìregunpicture by the researcher gúdúgúdú is the only single headed membrane drum in the ensemble. it is the smallest among the drums and the only one not played with drum sticks in the ensemble. it is played with two twisted leather throngs made from ram or goat skin. it is shaped like a bowl and the wooden frame is covered with a membrane held in position by five small pieces of wood on which the leather straps of goat skin are fastened. gúdúgúdú is the only member among the secondary drums of the ensemble that is of dual tone. this is made possible by the black substance pasted on the surface of the membrane. this black substance makes tone variation possible when played. the black substance is called ìdá. whenever the drummer hits the point of the black spot a lower tone is produced, but whenever the drummer hits other parts of the membrane a middle tone is produced. the rope made of woven cloth is hung on the neck region of the player, while the drummer’s abdomen supports the drum. the leather throngs that are used in playing the drum are either tied to it or kept separately detached. sometimes the drummer used improvised rubber like material to play when leather throngs are not available. plate 19 exemplifies this. also, music example 9 typifies the rhythm of gúdúgúdú in the ensemble. music example 3 gúdúgúdú regures the wearing of neck strap (òjá) around the neck of the player or around the waist in a manner that the drum rests on the players’ abdomen with the head facing outwards. gúdúgúdú player alternatively uses a pair of bílálà, osan and sometimes a plastic held on both hands to play the instrument. also the player placed the instrument in between its legs while seating. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 272 figure 4. mr. makanjuola ayo an iregun drummer, seating playing position of gúdúgúdú. picture by the researcher idiophones range from simple to complex and occur in two major categories. the first are those that are basically rhythmic, while the second include those that combine both the rhythmic and melodic components. omíbíyì (1977:2) explains that the rhythmic idiophones include the instruments that are shaken, struck, scraped, and stamped to produce the required rhythm, and this again is musically grouped as primary and secondary rattles. rattles are those played as part of ensembles and are either struck or shaken directly. rattles are the only idiophone instrument used in an irègún ensemble. ìrègún sekere, rattles, are primary rattles made of gourds and produce sounds by striking. the gourd rattle, called sèkèrè, and covered with nets, sea shells, pieces of bone, and bamboo, to which is fastened cowry, accompanies the ìrègún music ensemble in yàgbàland. rattles of different shapes and sizes are used in ìrègún music. it may be spherical, either without a handle or with the neck of the gourd or calabash serving as the handle. the sample of sekere used in ìrègún musical groups, music example 10, shows the rhythm that sekere plays in the ensemble. figure 5. mrs funke a. member of iregun musical group playing at a function picture by the researcher awka journal of research in music and the arts (ajrma) vol. 16, september 2023 273 music example 4 sèkèrè is beaten as well as shaken. it is usually done in a brisk, side-by-side, rotary motion. the instrument is gripped by the right hand around the neck, and the left hand is placed inside the strings at the bottom of the instrument. the heel of the left strikes the bottom of the instruments, giving impetus to the shake. the notation merely indicates the point at which the player causes the bead to strike the surface of sèkèrè, either by hand stroke or shaking. the sound of sèkèrè in a musical ensemble is pervasive and sonorous. its structural role in the ensemble is essential. igan-iregun flutes are used as solo instruments, playing fixed tunes, improvised pieces, giving signals, and arousing excitement among ìrègún dancers. in a musical ensemble, igan, flutes, combined with drums, and rattles accompany singers. igan, which accompany irègún musical performance, is end-blown. it has incised decoration and a geometric design made with a hot implement. see figure 6 for the instrument. music example 11 exemplifies one of the rhythms played by igan. music example 5 igan is a melodic and earophone instrument of ìrègún music. playing of igan is by placing the opening against the lips. see plate below figure 6 mr. bayodele a. an iregun flute-igan player at a wedding ceremony picture by the researcher awka journal of research in music and the arts (ajrma) vol. 16, september 2023 274 figure 7. iregun instrumentalists in a procession for a performancepicture by the researcher socio-cultural roles of iregun musical instruments ìrègún music serves different functions in yàgbàland, ranging from social, moral, religious, to political. iregun instruments as a historical record of yagba communities iregun instruments function as resources for historical records. iregun instruments, as used, tell the history of the yagba people. according to makanjuola's 2011 personal communication, “on several occasions in yagbaland, iregun musical instruments are employed to accompany the songs, and more than just the singing, the messages through the iregun instrumentals expound on some historical antecedents of the yagba people." mr. makanjuola further notes that ìrègún musical instrumental pieces reflect the vocal music and have historical facts connected to time, place, events, for example, the iganflautist plays a piece like this: the song texts expresses the historical narrative of a group of people in the community called ilafin-isanlu where some prominent iregun performers came from. descendants are commonly known as laredu in yagba land and the igan instruments re-echo the song that laredu people in yagbaland are men of honour, glory and distinction. this account is based on the history of the laredu in isanlu-ilafin. iregun instruments as sources of entertainment and correction iregun musical instruments play the role of entertaining the audience. this happens during different performances in ceremonies. according to maku (maku, 2010 personal communications), “apart from iregun songs, the instrumental music of iregun entertains as well. that is why sometimes we stop singing and just play instruments to entertain our audience." awka journal of research in music and the arts (ajrma) vol. 16, september 2023 275 in one of the performances that the researcher witnessed, the chief drummer played a tune about the evil of stealing other people’s properties. the text says: ole aboju wokoko ole ole aboju wokoko ole ole aboju wokoko ole ole aboju wokoko ole meaning you are a thief with a covetous eye you are a thief with a covetous eye you are a thief with a covetous eye you are a thief with a covetous eye iregun instrumental tunes provide stimulus to re-thinking about behaviours that are contrary to the norms of the society and such vice that could even be dangerous to both those who indulge in them and the society. more so, iregun instrumental music cautions youths against indecent dressing. like the texts below: omo olu ode omo olu ode obara jemsi ehin gbe m’ma wonu oyam i lile ese hinu e ponnhayin mo’ilile translation the daughter of the chief hunter if you allow me to fall cause of looking at your scanty dressing i will not be happy with you because my wife is at home she is neither pregnant nor breast feeding the piece omo olu ode is a corrective measure against ladies who dress scantily and exposes private part of their bodies to imbibe the culture of chastity and dress well. tell about an incident during a burial ceremony in mopa community performance. iregun instruments as sources of future occurrences ìrègún music tells people about the reality of death. and the need to prepare for it. it tells about the life here after with the ancestors and that we cannot avoid it. the piece below is an example: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 276 the tune titled iye ghoku tells about an iregun. the piece says she does not have anything to bother, worry and care about though original vocal piece musical instruments re-echos the messages for inner penetration and communication purposes. conclusion from the discussions, we have seen that iregun instruments play vital roles in inculcating culture in people in the community. ìrègún is steeped in music-society dialectic, although the genre is on the verge of extinction. it would be most helpful for cultural memory if the genre was preserved through structured documentation. to help keep the iregun genre from extinction, it is best achieved through a collective response of the three tiers of government: the federal, kogi state, and the three local government areas in yàgbà land. also, corporate organisations, nongovernmental organisations, wealthy individuals, and all yàgbà indigenes at home and in the diaspora have a duty to support the projection of ìrègún music to the world. greater effort should be made by the government, various funding bodies and agencies, and indeed, all stakeholders, to encourage ìrègún performers in particular by providing them with finance to purchase musical instruments for the groups. the time is now for genuinely committed individuals to engage in meaningful research, performances, and broadcasting of the genre through several media and internet facilities to prevent many of the atrophying cultural practices from going into total extinction. primary sources chief mákànjúolá o – chief drummer, mopa-muro lga. lives in mopa community. interviewed before a performance on the 12/11/2010 late chief mrs fúnké adútà – iregun singer/ chanter in egbe, yàgbà-west lga. lives in egbe community, interviewed in her home on the 16/12/2009 chief wèmímó ògúnléye – an iregun singer and chanter lives in egbe, was interviewed in her home on the 15/12/2009 mr. maku sundayiregun singer mopa-muro lga. lives in mopa community, was interviewed after a performanceon the 13/12/2009 mrs. olútete – an iregun dancer and singer from ìsánlú, yàgbà-east lga. lives in ìsánlú community, was interviewed in her home on the 14/12/2009 chief mrs. grace abedo ìyá egbé ìrègún and a chief dancer from mopa-muro lga. lives in mopa, was interviewed in her home on the 13/12/2009 chief ilètógùn a traditional chief from odò-èré, was interviewed in his home on the 12/10/ 2009 mr. ségun ekùn. ogun traditional worshiper from odò-èré yàgbà west lga was interview chief iletogun’s house on the 12/10/2009 references akpabot s. e. 1981. musicological approach to efik/ibibio oral poetry. in: uchegbulam n agbalogu, garba ashiwaju, regina amadi-tshiwala (eds.): oral poetry in nigeria. lagos: nigeria magazine, pp. 86 – 95. allen, l. 1993. ‘drumbeats, pennywhistles and all that jazz: the relationaship between awka journal of research in music and the arts (ajrma) vol. 16, september 2023 277 urban south african musical styles and musical meaning.’ music in southern africa: eleventh symposium on ethnomusicology. pp23-25 grahamstown international library of african music :1-5 blacking, j. 1971. ‘deep and surface structure in venda music.’ wachsmann, p.k. ed. essays on music and history in africa. london: north western university press pp 91-94. euba, a. 1970. ‘creative potential and propagation of african traditional music.’ in collection of conference proceedings papers on african music unesco. pp 119-126 hornbostel, e. m. and sach, c.1961. ‘classification of musical instruments.’ a. baines and k. p. wachsman (tr.) galpin society journal 14, pp. 4-29. idamoyibo, o. 2006. ‘igoru music in okpeland: a study of its function and compositional techniques.’ vol. i &ii dmus thesis of the university of pretoria, pretoria south africa iyekòló, e.b. 2000. a history of the yàgbà people. lagos. nelson publishers limited. iyekòló, e.b. 2006. a history of the okun-yorùbá people. lagos. nelson publishers limited. johnson, s. 1921. the history of the yorùbás. george routledge and sons. london. kebede, a. 1982. roots of black music. the vocal, instrumental, and dance heritage of africa and black america. new jersey: prentice-hall, inc. malinowski, b. 1944. a scientific theory of culture and other essays. chapel hill: university of north carolina. nketia, j.h.k. 1963. african music in ghana. evanston: northwestern university press. ___________1970. ethnomusicology in ghana. accra: ghana university press. nzewi m. 1988. ‘state of literary music in nigeria: a review’. nigerian magazine. 56(3&4): 5-24. _____________ 2002. ‘fundamentals of igbo musical culture (some structural and social referents)’. in a survey of the igbo nation. g.e.k. ofomata (eds). onitsha: africana (first) publishers ltd. nzewi, m., anyahuru, i. and ohiaraumunna, t. 2001. ‘beyond song textsthe lingual fundamentals of african drum music’. research in african literatures: landscape of african music. vol. 32, no. 2, olaniyan, y. 2001. ‘yoruba dundun musical 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(2013) structure and function of iregun music in yagbaland, kogi state, nigeria. unpublished phd thesis. university of ìbàdàn. xvi+243 vidal, a. o. 1971. oríkì, praise chants of the yorùbá. unpublished m.a. dissertation. university of california los angeles.xiii+185 185 the music of the dance: a study of music and dance in african culture albert oikelome ph.d. abstract he continent of africa is rich in music and dance. they are both enshrined in the cultural milieu of the african people. the paper therefore examines the concept of music and dance in african society, discussing several definitions of dance as postulated by scholars in the field. using the bibliography method of inquisition the paper explores the dimensions by which music and dance influence specific aspects of the daily lives of the people as the functions of the dance is highlighted and discussed. through an interpretative lens, the paper discusses the interrelationship of music and dance, and how the thin line of distinction is seen in efforts to explain their similarities and differences. ultimately, the paper provides a framework towards a better understanding of music and dance as a phenomenon in africa. keywords: music. dance. african culture. acculturation. introduction a foremost music scholar, meki nzewi once described african music as the „music of the dance‟ (nzewi, 1968). this is because each musical item is a synthesis of many fabrics, one or two of which dictates the dance steps and movements. by general definition, dance is a type of art that generally involves movement of the body, often rhythmic and to music. it is performed in many cultures as a form of emotional expression, social interaction, or exercise, in a spiritual or performance setting, and is sometimes used to express ideas or tell a story . dance has been described as a language which communicates t awka journal of research in music and the arts (ajrma) vol. 13 2019 http://en.wikipedia.org/wiki/art_form http://en.wikipedia.org/wiki/motion_%28physics%29 http://en.wikipedia.org/wiki/rhythm http://en.wikipedia.org/wiki/music http://en.wikipedia.org/wiki/emotional_expression http://en.wikipedia.org/wiki/emotional_expression http://en.wikipedia.org/wiki/social_interaction http://en.wikipedia.org/wiki/exercise http://en.wikipedia.org/wiki/spiritual_practice http://en.wikipedia.org/wiki/performance http://en.wikipedia.org/wiki/narrative the music of the dance.... albert oikelome 186 as a medium to persuade and control, reflecting what is, and suggesting what could be (bakare and mans, 2003). however, dagan (1997) defined dance as „…human behavior composed... of purposeful, intentionally rhythmical and culturally patterned sequence of nonverbal body movements other than ordinary motor activity… the motion having inherent and aesthetic value and symbolic potentials‟ (p. 211) mackrell (2019) defined dance as the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. he stated further that dance is a powerful impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. fraleigh (1987) described dance as a performance art form in which the basic tool is the body and the body‟s purposefully selected movement in an intentionally rhythmical and culturally pattern with an aesthetic value and symbolic potential. midelfort (2004) sees it as one of the essential forms of human‟s expression and communication. a dance performance may be considered as a dramatic phenomenon induced by a psychological state. unlike music and dance in europe that is mainly engrafted in „arts for art sake‟. a change in perceptual alignment is needed to understand the role of creative music in african ritual music because the composite hierarchic aesthetic that 'allows for meaning' in african culture does not recognize the principal divisions that underlie western assumptions of 'aestheticintegration' and/or perceptual involvement or fulfillment (braxton, 2019). african music and dance transcends „music for pleasure‟. far more than entertainment, dance and its music have traditionally served a most important purpose in the socializing and educating process of african people (badejo & banerji, 2002). african dance has been described by badejo & banerji (2002) as the music of the dance.... albert oikelome 187 “indigenous dance forms practiced by the peoples of the countries of the (sub-saharan) african continent in social or religious contexts, for entertainment or as a choreographed art form (bakare and mans, 2003). it is a vital part of the social, ritual and educational life of the people. through music and dance, africans celebrated religious festivals and give thanks to the gods for good harvests. one unique feature of african dance is the meaning it conveys to the people. african dance is cultural behavior, determined by the values, attitudes and beliefs of a people (hannah, 1973). the dances convey different meanings following the cultures in which they are practiced. traditional african dance delivers far more than meets the casual on looker‟s eyes. it represents the actual fundamentals and belief systems that the specific african culture stands for. this article therefore takes look at the cultural and sociological dimensions of african dance. historicity of african dance on the historicity of african music and dance, nketia (196-?) is of the view that our data on the history of african music must not only be drawn from its structural analysis but also from studies of interaction between music and other aspects of culture. documentary sources of african music are unfortunately not always reliable where statements about purely musical consideration are concerned. however, they do give a fair indication of the social context of the music. it is however still imperative we make use of oral evidence when it is available. this is because in some societies; there are oral traditions that associate individuals with particular dances, musical types or one feature of a musical style (nzewi, 1968). the historicity of african music cannot be fully grasped with western form of notation. there are also insinuations that it lacks the kind of historical documents as we see in the western world (bukofzer, 1956). hence we have been made to swallow the bitter pills of past documentation of early explorers and missionaries. while some gave a far unbiased account of what they witnessed about our music, other the music of the dance.... albert oikelome 188 brought the music to disrepute with their biased comments. this, robert farris thompson (1979) tried to capture in his historical analysis of african music and dance. he undertook a historical journey by giving a lucid account of african music from the middle ages. he cited the accounts of historians and explorers whose primary concern was a documentation of the on the spot accounts of the area. his line of argument was that even though written description of music and dancing was very scanty in the middle ages, the accounts of the people that witnessed and documented what they saw back then would give us an understanding of the way african music was being portrayed. while we may agree with him on some conclusions arrived at, we cannot but question some generalization of the forms and practice of african music and dance in some isolated areas. the contact with arab scholars and islam created a useful account of africa and sporadic reference was made by geographers and traders 9(farmer, 1939). the writing of an arab explorer by name ibn batuta threw more light on this. (thompson, 1979) in his words, ibn batuta observed musicians in the court of the sultan of mali. from the account given by the arab explorer, it is believed that there was creative arrangement in the blending of the music and arms display in the king‟s courts. he saw the rulers in majestic walk as punctuated with full strops. suffice to say that the style of elegant walking when the king is in procession is a phenomenon related to the kings in africa. this description can be likened to the procession of the emir of northern nigeria when he is arriving or departing his domain (akpabot, 1986). in her account on the height of a festival in the yoruba town by ede, peggy harper described the procession of his highness the timi of ede, as the traditional ruler, going through the town led by the dudun ensemble of drums to perform the “royal step” which portrays his authority and dignity in dance and song (harper, 1997) . la villault gave an account of the voyage of le sieur to ketu were he saw the king being entertained by a woman in dance (thompson, 1979). a the music of the dance.... albert oikelome 189 similar situation existed in the court of ashanti. in his court, special music was played at various times of the day in the court of the king. many arrays of musical instruments, orchestra, musical types and minstrels were found in the king‟s palace (nketia, 1959). in the royal palace of the oba of benin, the benin dignitaries performed the izuasakpa, a dance to honour their ruler-particularly at the igwe and uhieroha festivals (harper, 1997). within the privacy of the palace, the royal wives dance the graceful ugha dance to the king which expressed the dignity of their position. robert thompson made an account about the king who was a great dancer called munga of mangbetu. the description of the king‟s boisterousness in dancing and gesticulation can be compared to the legendry sango, the king of oyo. history hard it that he was also a great dancer whose love for bata music is still in vogue till today. as stated earlier, a lot of these documentaries were memoirs extracted from the diaries of the explorers and traders. these were on the spot accounts of what they saw the people do in relation to dance and music. even though their line of assignment was primarily outside the area of music, their accounts provided vivid information as to the role of music in several functions that they witnessed in the course of their journey and inquisition. gesticulation and dramatic expression in african dance all african dances are closely knit to percussive music. a repetitive rhythm is initiated by a musical instrument and is then taken up by the dancer in a localized part of the body, such as the rhythmic beating of the feet or rapid constructions of the hips or shoulders from which the movement flows through the dancer‟s body. dance is always expression of emotion which gives a deep sense of pleasure to the dancer and the spectators the africans love to show their response to music through verbal or physical behaviour. the responses elicited reveals that the music and the dance serves as a singular degree as modes of expression of african feeling or as an accompaniment to social or religious activity. (harper, 1997). in african dance, ‟emotions are expressed by gesture and positions while the faces themselves the music of the dance.... albert oikelome 190 are generally stereotyped‟ (thompson 1979). thompson stressed further that for the african, the musical experience is by and large an emotional one. sounds, however beautiful, are meaningless if they do not offer this experience or contributes to the expressive quality of a performance. aesthetics of african dance through a vivid study of african music, robert farris thompson came out with some philosophy he used to describe the music and dance of african people. he described african music as cool and calm having ingredients of beauty, visibility of mind, newness and freshness. furthermore, the quality of visibility talks about the fact that african dances do it clearly and openly for all to see. luminosity is a state of brilliance and clarity. this can also be defined along smoothness. the philosophy of rebirth and reincarnation gives the mystical aspect of dance. dance for rituals significantly upholds the view that a person dies in order to be reborn. this philosophy is strongly upheld by african scholars like wole soyinka who sees the three worlds in man -the world of the living, dead and the unborn. he believes the living can go to the other world (the dead vise versa). this he referred to as reincarnations. he went to highlight a fourth stage which is the world of indeterminable existence. it is regarded as the realm of the dancer of tragic actor. the description of early writers on the music and dance in african history is revealing. even though not all their descriptions can be well used to represent the general practice of music and dance in africa, it nonetheless gives a broader picture of the beauty of african music. this will go a long way in correcting the misconceptions some people may have in time past about african music. basic components of dance dance, like any form of art, has basic components. it requires knowledge, skills and creativity before it can be performed since it is observed and appreciated by people. according to agu (2003), there are five basic components of dance. the music of the dance.... albert oikelome 191 a cultural context, purpose and meaning of the dance this refers to what the dancers do and for what purpose. it also defines the context and content of the dance. is it for entertainment or for ritual purposes? is it meant for all people or are there social restrictions meant for the dance? the context of the dance is also enshrined in the culture of the society within which the dance emanates. the historical backgrounds of the people will go a long way in further interpretation and understanding of the dance. dancers and their relationship to society this is defined by the type of people meant to participate in the dance. it is equally dictated by what the dance is meant for. a puberty dance can only be enacted by people of their age group. the dance itself, with its culturally informed movements actions, order and sequence of movements dance in the african society is audience participatory. however, there are individual dance sequences that can only be enjoyed by the audience. the dance itself can be in choreographed movements with sequences or can be in „freestyle‟. music and musical instruments dance can only function effectively with music and musical instruments. dances are accompanied by songs or musical instruments as this further re enforces the movements made by the dancers adornments and other material properties dancers are normally adorned with paraphernalia, make-up and the appearance of the musicians and dancers. the music of the dance.... albert oikelome 192 there several factors that influence the african dance. however, a few will be mentioned below: dance as a way of life dance to the african is a way of life, a true representation of a people's existence expressed through rhythm and movement. it is deeply imbedded with meanings and symbols that reflect the cultural beliefs and their lifestyle. in africa, dance serves a complex diversity of purposes. each performance usually reflects the communal values and social relationships of the people. unlike all dance traditions of the world, the polycentric nature of african dance sets it apart from all other dances. in the african cultural paradigm, the relationship between rhythm and movement is one that is inseparable; one cannot exist without the other. as the dancer is given breathe through the drummer‟s rhythm so does the drummer feeds of the dancers breathe of expression as movement articulates rhythm; a perfect marriage where two become one in a synchronization of rhythm and movement that creates dance. because traditional music is directly associated with traditional religious and political systems and preserved by culture, it generates social experiences which go deep and serves as link which binds each ethnic society; giving each individual that sense of belonging (okafor, 2005). writing on dance in nigeria, okafor submits: the dance is a ubiquitous medium of communication or expression in african cultures. by its nature, a nigerian dance or music engages all the senses in performer and spectator/listener alike. it is the patterning of the human body in time and space in order to give expression to ideas and emotions (p. 34). dance is the expression of the beliefs, attitudes, norms and values, of a particular culture. it is what is embedded in the culture that can be reflected in the dance of a community (onwuekwe, 2006). before the advent of christianity, people in the riverine areas appeared to believe in the existence of mermaids who were responsible for endowing them the music of the dance.... albert oikelome 193 with many gifts ranging from children to wealth, power etc. they understood the language of rowing the boat or paddling the canoe. all these aspects of culture are reflected in the people‟s dance egwu amala (canoe dance). from the foregoing, it is clear that dance in africa is used as a functional tool of expression and has and is used for a variety of reasons. dance is used in ritualistic purposes, as a secular activity engaged in for recreation or entertainment, embracing such factors as physical exercise, performance of skill, aesthetic enjoyment, courtship, personal communication and cultural continuity. in general dance is used to commemorate important events in african life and society and since every second is an important event in the life of an african, dance becomes a way of life. african dances might be great to watch and take in at a surface level, however they are not just show, and they communicate to on-lookers various stories, cultural activities and belief system through body movements, symbolic gestures and music. there is virtually a dance for every occasion, no matter how little. dance as expression of social organization music and dance contribute to the integration of society by expressing social organization, validating instruction, perpetuating values and promoting group solidarity. the funeral rituals provide the medium for people to negotiate their social space. it is through funeral ceremonies that chiefs and prominent figures demonstrate their social status, men and women establish gendered space in music (woma, 2012). music and dance thus become the medium of expressing and channeling such sentiments. dances teach social patterns and values and help people work, mature, praise or criticize members of the community while celebrating festivals and funerals, competing, reciting history, proverbs and poetry; and to encounter gods. dance serves a vital function in human society to achieve social cohesion or togetherness, causing them to feel a deep sense of communion with each other. as a result, people are liberated from the bonds of individuality… societies whose traditional values are still the music of the dance.... albert oikelome 194 intact tend to value the cohesive or unifying effects of the dance (nicholls, 1984). dance for funeral rites the subject of african ritual music as applied to funeral celebrations and ritual burial is a complex subject that is consistent with the composite nature of african creativity (braxton, 2019). within the african circle, funeral ceremonies are lay for the most significant life cycle where music dance performances are performed. at the funeral rituals for instance, music and dance performs various roles and functions. the performance is the appropriate way through which people honor the transitioning of the dead into the ancestral world. as stated by anita glaze, “the constant musical vigil at senufo funeral is intended to comfort the grieving relatives, to honor and please the dead and above all to communicate and reinforce public discourse” (glaze, 1981). the music connected with funeral is the most profound in the african repertoire, when the ancestors mingle with the living in the meeting ground, the full force of tradition can be observed (thompson, 1979) farris thompson, a famous historian, gave an account by pieter de marees on the way and manner the dead was being honored in the gold coast. he talked about the west african tradition of treating dead men as if he were a sculpture, to be imparted rhythm and power one least splendid moment before internment (thompson, 1979:32). another description he made was that of binger who witnessed a superb procession for the dead man among siene – re. rifles are fired to announce the burial. a group of women brandish fly whisks and dancer as they sing the virtues of the deceased. strong youths balanced the corpse upon their heads, striking one of the supportive poses of west african art and life. the music of the dance.... albert oikelome 195 plate 1: rite of passage song in south africa . courtesy: the guardian newspaper dance in religious worship and rituals music and dance are commonly associated with rituals and religious worship. this is what adekanye (2019) calls „summoning and possession‟. she observed: summoning and possession are the most common and popular forms of african folk dance. most of the indigenous tribes perform this dance for “calling a spirit.” these “spirits” are worshiped by many tribes. some tribes also perform this dance type during the time of war or a drought in the belief that this will bring them good fortune. it is believed that during the ritual and public worship, both the gods and the worshippers participate. africans believe dance connects people to their ancestors and nature. as part of a spiritual ritual, dance may be a symbolic form of communication with natural powers, or a trance-inducing movement enabling the dancer to communicate directly with the spirits. in some masked dances, the dancer assumes the temporary identity of a god or a powerful ancestral spirit. in many traditional rural societies, group dances mark rites of passage the music of the dance.... albert oikelome 196 such as coming of age in which young men or women compete against each other in dance as part of their initiation into adulthood (nketia, 1974). nketia further described the dance in some communities in yoruba land where priests and their initiates may be the most brilliant dancers within their community. it is not uncommon to find the sango priests of the oyo yoruba who express the character of the god of thunder in the dramatic bata rhythms and elegant precision of their dance. possession in rituals is a common phenomenon, which in many cases brought about through the time of music and dance. a spirit may possess an individual and the movement in dance-like form may become agitated, erratic, and jerky, sometimes approaching the convulsive. nketia describes six general stages in such rituals: 1. preliminary drumming and preparation; entry of priest and media. 2. opening of the dance-ring by the senior priest, accompanied by attendants. 3. vigorous phases of dancing by media, but still calm and pleasant. 4. evident possession as media get more esthetic; shouts and chants from worshippers; impersonation of gods. 5. medium‟s possession by the chief god. drummers redouble efforts. 6. worshippers sing loudly and cheers; chant continues till possessed; medium enters the ring, dances, then withdraws; musicians become silent. 7. final return of media dressed in colorful roles amidst shouts of joy (nketia, 1974). the total sharing of knowledge is the purpose of this study of rituals in music and dance. the integrity of dance in african ritual is protected because the society prepares all members of a group to serve as arbiters. thus, the participation of the entire sundry in the ritual setting indicates that the community believes in the total the music of the dance.... albert oikelome 197 cultural immersion process. the result is the joyous participation by all in the creative, restorative process in african ritual activity. dance in nigerian festivals festival can be said to be an event, usually and ordinarily staged by a local community that centers on some unique aspects of that community. according to adegbite (2010) a festival can also be seen as a series of performance involving music, plays, dances, etc., usually organized annually or as agreed upon, where people of a particular community come together to dine and wine; in order to celebrate and share common tradition. ultimately, it is enshrined in the african concept of theatre, in which experiences of the participants could also be shared “through acrobatics, puppetry, myths, rituals, legends, initiation ceremonies, festive dances and celebration, masquerading, circus drama of carnival, ancestral worship, and so on” (adegbite, 2009:46). the africans love to show their response to music through verbal or physical behaviour. a major religious atmosphere for the use of dancing in the african setting is in the commemoration of festivals. festival dance is an integral part of religious ceremonies which regulates the relationship between the members of the society and the supernatural powers which control their lives. the music and dance is performed by priests and priestess and they include leading members of the cult (harper, 1968) examples of such festivals are the asala festival (enugu state), the ameru yanyan festival (ekiti) and the egungun festival. the festivals which has some unique customs – social, political, and religious in characteristics connected with it. it has a distinct row of parade which is rounded off with a dance. rituals are common features of the festivals. in the course of the rituals, music and dance features intermittently with ensemble accompaniments. the following is a description of ameru yayan festival and the dance paraphenelia: “ameru yayan is brought out as usual in a horizontal portion supported on the shoulder of the supporters, head first, and propped up in circle previously described. the chrome and orchestra dance round it three times the music of the dance.... albert oikelome 198 before dancing back and forth in the street. the old men dances as the orchestra dance round about the group propping up ameru yayan ( enekwe, 1991). in the final phase of the festival, the town doers meet in the palaces. there is afterward a procession to the town hall with singing, drumming and dancing all the way. plate 2: carniriv festival from calabar courtesy, hotel guide the egungun festival the egungun masquerades are known as one of the most awe – inspiring groups in yorubaland. they are a group of traditionalists specially trained in their ability to commune with the dead, and meditate between the ancestors and the claims of the living (enekwe, 1991). during egungun festivals, the masquerades impersonate the spirits of the dead, who are believed to reside in them when the dance is on. examples of such masquerades found in nigeria include the following: 1. great epa masquerades of the ekiti 2. sacred igunnuko masquerade of the nupe 3. amana masquerades of the gwari abuja 4. dodun wugu masquerades of northwestern part. 5. agada masquerades of egbado-ketu. the music of the dance.... albert oikelome 199 plate 3: egungun festival from the south-western part of nigeria courtesy: hotel guide inter-relationship of music and dance in africa. there is no denying the fact that music and dance in africa has a lot of relationships. they are in fact, inseparable as there can be no dancing in the african context without some form of music to accompany it. it is connected to africa‟s rich musical traditions. there are many structures shared by both music and dance that makes them interrelated: (theme, phrases, dynamics rhythm, metre, form etc.) dance has been defined as the movement of the body in space. sound of music is what the body language of the dancer experiences. there is the general melodic sound with a wellestablished rhythmic pattern which all the dancers in a group relate to in a general way. the music maker and the dancer need one another; one plays and the other dances. this is crucial because a musician playing a song that is not danced to is assumed to be playing to himself. a dancer on the other hand who dances without any musical accompaniment has nothing to show for it. so the musician and the dancer complement each other. it is not without reason that the array of musical instruments which identify african as one of the most musical people in the world is equally matched by a lot of dance movements. all african dances are closely knit to percussive the music of the dance.... albert oikelome 200 instruments; it gives the rhythm. the other side of the coin is that dance not accompanied with music is an anomaly. that is why a dancer in africa who is dancing without music is referred to as a mad man. conclusion music and dance, as we have so far treated, is an expression of the inner state of the african, which plays a cathartic role at important time of his religious life. dancing as a means of artistic expression in the religion circle has helped the african in sustaining their beliefs and control of the society. dance in african ceremonies offer occasions, which serve to consolidate the individual as a member of a community by identifying his place in the universe in relation to the supernatural, the living and the dead. through the insistent – repetition of persuasive and kinetic rhythm, their experience becomes rooted in his personality. music and dance, which in the african societies unites body, mind and emotion in expressive action based on repetitive rhythm, is essentially a ritualistic activity and an integral element of all religious ceremonies. references agawu, v. (1988). music in the funeral traditions of the akpafu. ethnomusicology, 32 (1), 75-105. doi:10.2307/852226 adegbite, adesina (2010). the impact of african traditional dance: orósùn example‟ journal media and communication studies http://www.academicjournals.org/jmcs vol. 2(6) pp. 133-137, july 2010 retrieved july 23, 2010. akpabot, samuel (1986). foundation of nigerian traditional music: ibadan: spectrum book ltd. agu, d. c. c. (2003). music in nigerian cultures: types and practices. nigerian peoples and culture. eds. g. c.unachukwu, n. ojiakor, and g. okafor. enugu: john jacob‟s classic publishers adekanye, modupeoluwa (2019). 5 african indigenous dances in the guardian (life) 23 july, 2019 braxton , anthony (2019) . afr ican r itua l funera l mus ic . https://tricentricfoundation.org/anthony-braxton-africanhttp://www.academicjournals.org/jmcs https://tricentricfoundation.org/anthony-braxton-african-ritual%20funeral-music-dogon-culture-three-snapshots the music of the dance.... albert oikelome 201 ritual funeral-music-dogon-culture-three-snapshots retrieved 12 july, 2020 badejo, p. and s. banerji. (2002). african dance. microsoft (r) encarta (r) encyclopedia (c) 1993-2001 microsoft corporation usa bakare, ojo and minetta mans (2003). dance philosophies and vocabularies in herbst, anri, meki nzewi and agawu, kofu (ed). musical arts in africa: theory, practice and education. p.216 bukofzer, m.f (1995). observation on the study of non-western music. les collosques de wegimont; (ed) paul colaer, brussels elsevoir 6 p.33-36 dagan, esther (1997). the spirit‟s dance in africa: evolution, transformation and continuity in sub-sahara. montreal: galerie amrad african art. enekwe, o. o. (1991). theories of dance in nigeria. nsukka: afa press glaze, j. anita. (1981.) art and death in a senufo village. bloomington, indiana university press. harper, peggy (1968). dance studies in african notes vol. 4 no 3 p.10 harper, peggy (1997). dance, the living culture of nigeria (ed) saburi o. biobaku; thomas nelson; p.26-27. hanna, j. (1973). african dance: the continuity of change. yearbook of the international folk music council, 5, 165-174. doi:10.2307/767501 nicholls, robert (1984). igede funeral masqueraders in african art. ucla los angela. vol. 17 no 3. p. 70. norris, robert (1790). memoiries du regne de bossa ahadec roi de dahome‟‟ paris, p11823. nketia, kwabena (1974). the music of africa. w.w. norton and company. __________ (1960). history and organization of music in west africa in essays on music and history in africa (ed) kiaus i. wachsmann p.3-26 _________(1959). african gods and music: universities iv, no i p.3-7. nzewi, meki (1968). the rhythm of dance. nigerian magazine, pg 3637 https://tricentricfoundation.org/anthony-braxton-african-ritual%20funeral-music-dogon-culture-three-snapshots the music of the dance.... albert oikelome 202 okafor, r. c (2005). music in nigerian society. enugu: new generation books, onwuekwe agatha ijeoma, (2006). the socio-cultural implications of african music and dance in n. ojiakor & i. ojih (eds) readings in nigerian peoples and culture, 80-9. enugu: ngib publishers. thompson, farris (1979). african art in motion, icon and act in the collection of katerine coryton white. university of california press p31 woma, bernard (2012). the socio-political dimension of dagara funeral ritual, music and dirge. master of arts degree thesis, indiana university. 55 traditional african music in schools: methods, approaches and styles in yoruba apala kehinde oluwaseyi department of creative arts, faculty of arts, university of lagos abstract teaching is a pedagogical activity that requires the transmission of knowledge, ideas and values from the teacher who possesses a mastery of the subject matter to a learner. the practice of african culture is one of the most considerable reasons why it is expedient to inculcate the knowledge of traditional customs in a socio-cultural and artistic manner. moore (1982) states that teaching is intent that someone should learn something. without intention, whatever the person is doing is not teaching. moore puts it more clearly; that a teacher is one who intends to take pains to see that knowledge is acquired by varying his methods if necessary to bring about learning. a teacher assumes responsibility towards his pupils. the word responsibility is very significant to the success of teaching. consequently, this study embarks on the methodological approach to executing the delivery of knowledge of apala music to students by encapsulating the socio-cultural background of the yoruba music and its aesthetic values. this is realised by outlining the stages of delivery so as to encourage the appropriateness of african cultural values. introduction in preserving yoruba apala music culture, the following stipulated guidelines are adhered to considerably: historical and sociological traits of apala music names and biographies of apala music practitioners. characteristic elements of apala music as evident in their works techniques of performing the music pre-performance / pre-concert concert evaluation historical and sociological traits of apala music the chronological view to the evolution of apala music, its development among the yoruba community and its socio-cultural assessment in view of oral tradition is expedient so as to validate the knowledge of music and preservation of culture. authenticity of an art is validated by its cultural traits, therefore there is need to trace the emergence of the art and its practice so as to substantiate the efficacy of the music custom. in line with the above view tracey (1969) said: “all african “music” like the ethnic groups themselves, share a common heritage but each has developed its individually in strict segregation from the race.” the statement above expresses that various concepts in african culture bring about diversities in traditional music and yet the distinctive characteristics in the socio-cultural awka journal of research in music and the arts (ajrma) vol. 9 2013 56 medium are not the only picture that evolve from the study of african music. according to nketia (1966), the musical heritage of contemporary africa is the music associated with traditional african institutions of the pre-colonial era. it is music which has survived the impact of the forces of western forms of acculturation, and is, therefore, quite distinct in idiom and orientation from contemporary popular and art music. hence, there is need for educating and emphasizing the cultural development in apala music that invariably help in conserving the history of african music culture. apala (or akpala as pronounced) is a musical genre, originally derived from the yoruba people of nigeria. it is a percussion-based style that developed in the late 1930s, when it was used to wake worshippers after fasting during the islamic holy month of ramadan. the rhythms of apala grew more complex over time, influenced by cuban music and eventually became quite popular in nigeria. instruments of apala include a gourd rattle (sekere), thumb piano (agidigbo) and a bell (agogô), as well as two or three talking drums. apala, a traditional style from ogun state, in nigeria, became very popular in the 1960s, led by performers like haruna ishola, sefiuayan, kasumuadio, and ayinla omowura. ishola, who was one of nigeria's most consistent hit makers between 1955 until his death in 1983, recorded apala songs, which alternated between slow and emotional, and swift and energetic. his lyrics were a mixture of improvised praise and passages from the quran, as well as traditional proverbs. his work became a formative influence on the development of fuji style. haruna ishola is undoubtedly the most well-known performer of apala in nigerian history. although others may hold a contrary view that ayinla omowura is the most well known and the most successful musician of apala. both of them played an integral role in the popularization of the genre and it is distinct from, older than and much more difficult to master than fuji music. although ayinla omowura died in his forties in 1980, he recorded more than 20 lps and remarkably, all were very successful. although fuji music remains the most important form of traditional music amongst yorubas in nigeria, apala is still very popular amongst muslims of the yoruba tribe. special mention must be given to haruna ishola‟s son, musiliu haruna ishola, who is often credited with revitalizing the apala genre and spear-heading the apala-resurgence of the 2000s. with his 2004 album (entitled soyoyo), musiliu has succeeded in bringing apala music to a wider, younger audience, thus breathing new life to the genre and keeping the tradition (and his father's legacy) alive. he is credited with re-popularizing a genre that was fast becoming the preserve of older yoruba muslims. the success of his soyoyo album meant that a younger (even christian or animist) generation of yorubas have now demonstrated a renewed interest in apala music. his songs can often be heard on popular radio stations across yoruba land. apala is a style of vocal and percussive muslim yoruba music that emerged in the late 1930s. under the influence of popular afro-cuban percussion, apala developed into a more http://en.wikipedia.org/wiki/musical_genre http://en.wikipedia.org/wiki/yoruba_people http://en.wikipedia.org/wiki/yoruba_people http://en.wikipedia.org/wiki/nigeria http://en.wikipedia.org/wiki/percussion_instrument http://en.wikipedia.org/wiki/islam http://en.wikipedia.org/wiki/ramadan http://en.wikipedia.org/wiki/music_of_cuba http://en.wikipedia.org/wiki/sekere http://en.wikipedia.org/wiki/agidigbo http://en.wikipedia.org/wiki/bell_(instrument) http://en.wikipedia.org/wiki/agog%c3%b4 http://en.wikipedia.org/wiki/talking_drum http://en.wikipedia.org/wiki/haruna_ishola http://en.wikipedia.org/w/index.php?title=ayinla_omowura&action=edit&redlink=1 http://en.wikipedia.org/wiki/fuji_music http://en.wikipedia.org/wiki/music_of_cuba 57 polished style and attracted a large audience. the music required two or three talking drums (omele), a rattle (sekere), thumb piano (agidigbo) and a metal gong (agogo). haruna ishola was the most famous apala performer, and he later played an integral role in bringing apala to the larger audiences as part of fuji music. names and biography of apala practitioners a music instructor is expected to list the names of all the artistes or practitioners of the traditional music type and clearly discuss their birth, social status, religion, educational background, economic status, families, general up bringing, livelihood and list of their works. this reveals how their personalities have impacted their concepts and further reiterates the socio-cultural influence on the development of traditional music in africa. an example of a renowned practitioner is haruna ishola who was born 1919 in ijebu-igbo in ogun state, nigeria. he was dark in complexion, had a tooth gap and was of an average height. his parents were prince adeleye bello awoyelu and rebecca obifowoke bello. his father was a traditional healer and his mother, a petty trader. haruna ishola did not receive any formal training in music but learned buy imitating his predecessors. the initiative to form a group developed when he was still working as an apprentice under his cousin. ishola started his apala group in 1947 with a five man band that later increased to ten. in 1948, he waxed his first record in honour of orimolusi adeboye – the late oba of ijebu-igbo. ishola waxed a total of about three hundred records, some of which include; „oro ejire‟, „ina ran‟, „apala disco‟. in recognition of his role as a worthy ambassador of apala music, and recognition of his contributions to music in nigeria, he was awarded a national honour of “member of the order of niger” (mon) by the then president alhaji shehu shagari in 1981. he died on the 9 th of november 1983 at the age of 64 years. characteristic elements of apala music the musical contents of apala should be expressed and analysed on the basis of its aesthetic distinctions with reference to socio-cultural values. however, it must be x-rayed through the universal criteria that are tools for analysing the contents in compositions such as forms, instrumentation, melody, rhythm, texture, and harmony as the basic elements. an example is the haruna ishola‟s ‘ina-ran’; melody: this is made up of succession of notes with varying intervals, which are segmented into phrases. the melody is sung in yoruba language, which therefore validates its sociological and evolutionary traits. lyrics ina ran kawoomotiojiowoboeru (2ce) esodi nu ke, e fi owokansi be be re idi olomi da kun da kun be bi sun mo mi da kun da kanbebi mi. the lyrics are poetic and philosophical and so they cannot be interpreted directly but can be given denotative meanings that express the appropriateness of personal or human existence. the metaphoric content of the lyrics is based on description of romantic gesture on a dance http://en.wikipedia.org/wiki/haruna_ishola 58 floor, as viewed by the composer or vocalist. the intervallic relationships in the successive notes are in conjunct movement that is partly mellismatic when rendering the melody. the melody has close affinity with that of the islamic motives in rendition that is partly modal. forms: the structural content of apala is well enunciated by considering its phrases and sections or various parts. as mostly observed in other african music genres, „call and response‟ is mainly employed in haruna ishola‟s ina ran. ishola sings the call while the back-up singers sing the response. occasionally, he joins the back-up singers to sing as a form of embellishment. at a particular section of the song haruna sings narratively, giving a story (partly recitative) of an occurrence in a philosophical manner and then ends the story with call and response. harmony and texture: the song, although characterized by falsettos, is made up of malevoice texture that is rich in lower register, which somehow reflects the religious ethics as regards gender segregation in the mosque and evidence of patriarchal system in african society. it is mainly homophonic. the back-up singers sing in unison with an intermittent response to the call from haruna ishola. instrumentation here, the theory of organology and the art of combining musical instruments as observed in ishola‟s ina ran is introduced to the student. this is achieved by: identification of the musical instrument as observed in haruna ishola‟s music is expedient. this also includes the nomenclature of the instruments and the parts that make up each of them. it is observed that he uses the same set of musical instruments each time he performs with his group or band. students must be enlightened about the instruments that make up his ensemble as thus: there are four kinds of drums and they vary in sizes. the biggest of the drums is called iyailu, followed by the omele-ako, omele-abo, and the gbedu itself. the teacher should make sure that the students see these drums and they know them in terms of their differences in sizes. other instruments that may be included in the ensemble include the “sekere” and the “agogo”. the teacher should instruct the students on the classification of each instrument in the ensemble in accordance with the four basic classifications of traditional musical instruments: idiophone, membranophone, chordophone and aerophone. idiopones are sekere, agogo and agidigbo. membranophones are omele-ako, iya-ilu, omele-abo and gbedu. the justification for the classification of each instrument must be emphasized as it is based on the playing technique and medium of transmission. each instrument must be discussed under its respective category for clarity sake with accentuation on the membranophone instruments that form the nucleus of the ensemble. in this regard, aerophone and chordophone will not be mentioned, as there are no instruments in the ensemble that can be categorized as such. playing techniques of haruna’s apala instrumental ensemble. 59 playing the instruments in haruna‟s ensemble requires a gradual approach to training student on how to play by taking a close look at: 1. different pitches produced by the instruments. 2. different positions of the player/instrumentalist 3. holding of sticks 4. right-hand and left-hand techniques 5. sight-reading. 6. varying rhythmic patterns at different tempo and time signatures 7. embellishments the above techniques can be realized by taking into consideration the following progressive steps during practical rehearsals: * get the class to clap and master the rhythmic patterns. * divide the class into five groups and assign a pattern to each group. let them clap and memorize the rhythm. * bring them together and let them clap together harmoniously. * ensure that they keep to steady beat or metronome. * repetition of the pattern several times until they master the rhythm and keep to the beat. * get them to select appropriate instruments that can play their parts. let them perform it and rehearse for about five minutes. * let them take turns to conduct the ensemble. * record the music into a tape for the class library. pre-performance / pre-concert putting all the procedure into consideration, the teacher will be ready to engage the students in the reality of performance which ultimately prepares them for future main performance / concert. this is done in a way whereby the students are put under intense condition of real performance or concert by preparing and perfecting all the pieces for the main concert. concert / performance the instructor must organize musical concert which must be staged periodically. thereafter, the students put into practice what they have been taught and have mastered in the presence of the audience. this performance may however be for school activities (within or outside) like the end of school year party, excision time, presentation and a lot more. the guideline given will not only overcome the problem of irregularity in our school curriculum and inadequacy in our approach to teaching african instrumental ensemble but will help in preserving and sustaining african culture. furthermore, the organizational skill adopted in structuring this procedure directly or indirectly helps in disseminating the concepts in african music culture without ambiguity. this manual will also serve as lesson plan for schools. evaluation and conclusion teachers should avoid randomness but embrace systematised approach in their manner of evaluation that is, students‟ assessment should be based on the level of what have been taught 60 and not at random. the evaluation should be on each student and the instrument he or she has been trained with. however he or she must be assessed based on his or her group blending, overall musicianship and sense of embellishments. this can be achieved by giving the students assignments regularly. conclusion education should be seen as a vehicle or tool to disseminate our enriched culture and so the apparently stated guidelines or scheme will serve as effortless steps in delivering or imparting traditional african music. consequently, it will gradually show case african cultural, philosophical and aesthetic values. moreover, the encouragement to aspiring for the knowledge of african traditions is somehow facilitated worldwide through the orderly presentation of the scheme provided for apala music. references ames, d. w. & king, a. v. (1971). glossary of hausa music and its social contexts. evanston: northwestern university press. ames, d. w. & gourlay, k. a. (1978). kimkim: a women‟s musical pot. african arts, 11(2), 5662. arom, s. (1991). african polyphony and polyrhythm. cambridge: cambridge university press. berthoud, g. (1966). nzom, unecithare du plateau (nord du nigeria). musées de genève, 66, 1518. bouquiaux, l. (1962). les instruments du musique des birom. tervuren-africa, viii, 4, 105-111. day, c. r. (1892). music and musical instruments. up the niger. a. f. mockler-ferryman 264-281. iyimoga, c. (1982). kundung: the berom xylophone. nigeria magazine, 142, 49-52. krieger, k. (1968). musik instrumente der hausa. bässler-archiv, band xvi, 373-430. frank, b. (1981). die kulere. bauern in mittelnigeria.wiesbaden: steiner, london: george philip and son. moore, l. e. & moore, d. m. (1982). an exploratory study of subliminal perception and field dependence in a concept learning task taught by television. unpublished doctoral dissertation, virginia polytechnic institute and state university. ----------------(1984). subliminal perception and cognitive style in a concept learning task taught via television. british journal of educational technology 3 (15), 22-31. muller, j. c. (1976). interlude pour charivari et tambour silencieux. l’homme, xvi (4), 77-94. muller, jean-claude (1994). le quotidien des rukuba.neuchâtel: muséed‟ethnographie. nketia, j. h. k. (1966). history and the organisation of music in west africa. institute of african studies, university of ghana. ghana. omibiyi, m. a. (1983). the gourd in nigerian folk music. nigerian field, 48, 30-53. sebeok, t. a. & umiker-sebeok, d. j. (eds.) (1976). speech-surrogates; drum and whistle systems. mouton: the hague. surugue, b. (1972). contribution al’étude de la musiquesacrée zarma songhay. études nigériennes, 30. niamey: cnrsh. tracey, h. (1969). the mbira class of african instruments in rhodesia. (1932). african music society journal, 4, 3, 78-95. weingarten, s. (1990). zurmateriellenkultur der bevölkerung des jos –plateaus. stuttgart: franz steiner. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 216 the place of art music composition in the musical cosmos songs, osewa olumide songsosewa@gmail.com abstract 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. keywords: art music compositions, effectiveness, melody, harmony, rhythm, structure, instrumentation, emotional impact, composers, performers, and listeners. introduction art music compositions form the backbone of the musical world, serving as the creative expressions of composers and the artistic interpretations of performers. from the intricate melodies of classical symphonies to the infectious beats of contemporary pop songs, music compositions encompass a vast array of styles, genres, and forms. yet, amidst this diversity, certain compositions rise above the rest, capturing the hearts and minds of listeners and leaving an indelible mark on musical history. in this research work, we embarked on an academic exploration of the effectiveness of art music compositions in the musical world. we seek to unravel the mysteries of what makes a composition truly impactful, examining the interplay of melody, harmony, rhythm, structure, instrumentation, and emotional resonance. by delving into both historical masterpieces and contemporary works, we aim to shed light on the enduring power of music compositions to inspire, provoke, and transcend cultural boundaries. the elements of art music compositions before delving into the effectiveness of art music compositions, it is essential to understand the fundamental elements that comprise them. these elements serve as the building blocks upon which composers construct their sonic landscapes, shaping the overall impact and aesthetic appeal of their compositions. melody melody is a vital component of music, uniting harmony and rhythm while conveying emotions and defining a piece’s unique character. its evolution has shaped its importance across different musical eras. in western classical music, melody’s significance began with gregorian chant, where monophonic melodies were central to liturgical practices. these chants, with modal structures and stepwise motion, created a spiritual atmosphere during medieval worship (hoppin, 1978). the renaissance period introduced polyphony, with composers like josquin des prez and palestrina advancing contrapuntal techniques, allowing melodies to interact independently and harmoniously, adding emotional and structural depth (reese, 1959). the baroque era, particularly through johann sebastian bach, further developed melody with intricate, intertwining lines. dahlhaus (1989) noted that bach’s continuous melodic progression laid the foundation for harmonic and thematic exploration, showcasing melody’s role in structural development. in the classical era, composers like mozart and beethoven refined melodic development, focusing on motifs—short, memorable fragments that allowed for variation and unity. rosen (1971) emphasized mozart’s melodic clarity and thematic consistency in works like eine kleine nachtmusik and the magic flute, where simple motifs were transformed through phrase structure and harmonic support, making his melodies expressive and memorable. beethoven expanded melodic possibilities by incorporating greater emotional depth and complexity. solomon (1998) highlighted beethoven’s use of motifs, such as the opening of his fifth symphony, where rhythmic and awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 217 harmonic variation ensured thematic unity and emotional expression. this marked the transition from the classical to the romantic era, where melody became more personal and expressive. the contributions of mozart and beethoven were crucial in defining the classical style, integrating thematic material with formal structures while evoking emotional resonance, shaping western classical music. excerpt from symphony no. 5 by ludwig van beethoven beethoven's symphony no. 5 is built upon the iconic four-note motif, demonstrating how a simple melody can be transformed and varied to create a powerful and dynamic composition. melody plays a crucial role not only in western classical music but also across various musical genres and traditions. in jazz, improvisation often centers around melodic ideas. musicians like charlie parker and miles davis have pushed the boundaries of melodic expression through improvisation. berliner (1994) discusses parker's bebop improvisations, which featured rapid, chromatic lines and advanced harmonic substitutions that redefined jazz's melodic vocabulary. similarly, davis’s modal jazz, especially in kind of blue (1959), emphasized the expressive potential of melody within simpler harmonic frameworks, fostering a more introspective style (kahn, 2000). the blues, a precursor to jazz, centers on emotive melodies that express themes of sorrow, resilience, and hope. according to wald (2004), the 12-bar blues form, with its characteristic melodic phrasing and call-and-response patterns, has influenced both early blues singers like robert johnson and later blues genres. the emotional weight of blues melodies is conveyed through vocal-like phrasing and instrumental timbres, creating a profound connection to human experience. titon (1994) observes that the blues’ melodic language captures a communal narrative, resonating across cultural boundaries. in non-western traditions, melody holds equal significance. in indian classical music, for instance, ragas are melodic frameworks that guide both composition and improvisation. nettl (1986) explains that ragas are not just scales but intricate systems with emotional and symbolic meanings. krishnaswamy (2003) further emphasizes that indian classical music’s aesthetic experience emerges from the interplay between melodic improvisation and the raga’s structure, demonstrating the sophisticated fusion of creativity and tradition. in contemporary music, minimalism offers new perspectives on melody. composers like steve reich and philip glass challenge traditional melodic development by using repetitive patterns. potter (2000) highlights how reich’s music for 18 musicians employs phasing techniques to transform simple melodies into complex, evolving textures. glass’s works, such as einstein on the beach, redefine melody through repetitive structures that highlight subtle variations in tone and rhythm (schwarz, 1996). thus, melody is not merely a sequence of notes but a multifaceted, evolving element that shapes musical expression. its ability to evoke emotion and transcend cultural boundaries underscores its importance across diverse traditions and contemporary innovations. harmony harmony, a fundamental element of music theory and composition, creates the vertical framework that enhances and supports melody. by employing chords and chord progressions, harmony brings depth, richness, and complexity to music, shaping its emotional and expressive qualities. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 218 historically, harmony originated from the medieval practice of organum, where additional voices were added above or below a plainchant melody. this early form of polyphony laid the foundation for more advanced harmonic techniques during the renaissance. as crocker (1966) explains, organum marked a significant departure from monophony, introducing the concept of simultaneous intervals and paving the way for the contrapuntal textures of composers like josquin des prez and orlando di lasso. these renaissance masters employed the interplay between consonance and dissonance to create tension and resolution, as noted by reese (1954), with their works often characterized by intricate voice leading and harmonic balance. in the realm of popular music, harmony often relies on simplicity, using diatonic progressions to craft memorable and accessible songs. however, even within this framework, artists like the beatles and radiohead have expanded harmonic boundaries. everett (1999) highlights how the beatles employed non-diatonic chords and modal shifts in their compositions, adding depth and unpredictability to their music. similarly, tamm (2013) examines radiohead's innovative use of harmony, noting their frequent incorporation of chromaticism and ambiguous tonal centers, particularly in albums like kid a and amnesiac, which challenged traditional notions of harmonic function in popular music. harmony, therefore, is not merely a backdrop to melody but a dynamic and evolving element of music that shapes the listener's emotional and intellectual engagement with a composition. its development across diverse genres and historical periods underscores its integral role in music's expressive and structural dimensions. rhythm rhythm, one of the core elements of music, is the temporal framework that gives music its dynamic energy and flow. it organizes sound in time, creating patterns that can evoke everything from a steady pulse to complex, syncopated grooves. rhythm shapes how music is perceived, offering a sense of progression and forward motion, while also providing structural coherence. in western music, rhythm is often rooted in a system of meter, where beats are grouped into regular patterns of strong and weak pulses. these patterns, or time signatures, form the foundation upon which composers and performers build rhythmic complexity. the distinction between simple meters (such as 4/4 or 3/4) and compound meters (such as 6/8 or 9/8) allows for varied expressions of rhythm. as lerdahl and jackendoff (1983) discuss, the cognitive perception of rhythm and meter plays a crucial role in how listeners experience musical structure, emphasizing the interaction between surface rhythms and underlying metrical hierarchies. throughout history, rhythm has played a crucial role in shaping musical styles. the rhythmic practices of the baroque period, for example, were characterized by the use of motor rhythms and consistent, driving patterns, particularly in the works of composers like johann sebastian bach. schulenberg (1999) highlights how bach’s rhythmic innovations, especially in his fugues and instrumental suites, created a sense of perpetual motion that became a defining feature of the baroque style. additionally, rhythmic syncopation and hemiola patterns were employed to add complexity and tension, as noted by boyd (1992), demonstrating the era’s emphasis on rhythmic vitality. beyond western classical traditions, rhythmic practices have been central to other musical forms and cultures. for instance, clayton (2000) explores how indian classical music utilizes tala—intricate rhythmic cycles—as a structural framework for performance, highlighting the universality and diversity of rhythmic expression in music. excerpt from johann sebastian bach brandenburg concerto no. 3 in g awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 219 j.s. bach brandenburg concertos display how rhythm can provide propulsion and continuity, even within intricate counterpoint. outside of classical music, rhythm's importance extends to other musical traditions as well. in african music, rhythm is often the primary element, with polyrhythms simultaneous contrasting rhythms creating intricate layers of sound. according to songs and nwamara (2024), this polyrhythmic complexity is not merely a musical technique but is deeply rooted in the fabric of the society, reflecting their worldview, religious beliefs, and social structures. jones (1959:40) suggests, "rhythm is to the african what harmony is to the european," indicating that african rhythm is intentionally crafted. rhythm, therefore, is not merely a backdrop to melody and harmony but a driving force that shapes the character and emotional impact of music. its ability to convey movement, structure, and energy makes it an indispensable element of musical composition and performance. structure musical structure, also referred to as form, is the organizational aspect of music compositions; it arranges musical ideas into a coherent and intelligible framework. structure provides a blueprint for the arrangement of elements such as melody, harmony, rhythm, and texture, enabling composers to create a sense of direction, contrast, and unity within a piece. one of the most iconic and enduring structures in western classical music is the sonata-allegro form, often used in the first movements of sonatas, symphonies, and concertos. this form consists of three main sections: the exposition, where the primary and secondary themes are introduced; the development, where these themes are explored and transformed; and the recapitulation, where the themes return in the tonic key, providing resolution. caplin (1998) highlights the flexibility of the sonata-allegro form, noting that composers often expanded or altered its conventions to achieve greater emotional or structural complexity. for example, ludwig van beethoven's piano sonata no. 14 in c-sharp minor, famously known as the "moonlight sonata," showcases a reinterpretation of traditional sonata form, with its famous adagio sostenuto movement reflecting an emotional depth that diverges from typical fast-paced first movements (rosen, 1997). theme and variations is another popular form, where a single theme is presented and then varied in subsequent iterations. each variation may alter melody, harmony, rhythm, or orchestration, creating a series of contrasts while maintaining continuity. green (1979) points out that this form allows for remarkable creativity, as seen in works like johannes brahms's variations on a theme by haydn, where intricate transformations of a simple melody illustrate the composer’s inventiveness. additionally, burkhart (2014) underscores how theme and variations foster a balance between repetition and novelty, engaging listeners through both familiarity and innovation. musical structure, therefore, serves as a vital framework that bridges the technical and expressive dimensions of composition, allowing for both coherence and artistic exploration. ex. 1a excerpt from variations on a theme by haydn in bb major from the excerpt above, variations on a theme by haydn, took a simple theme and explored its potential through a series of imaginative and diverse variations. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 220 the rondo form, characterized by the recurring return of a principal theme (often labeled as a) interspersed with contrasting sections (b, c, etc.), creates a sense of familiarity and expectation. the structure can be described as abaca or abacaba, depending on the complexity. rondo form is often employed in the final movements of classical works due to its lively and engaging character. caplin (1998) notes that the rondo form’s repetitive structure provides a balance between unity and variety, making it particularly effective in creating a sense of resolution at the conclusion of larger works. for example, ludwig van beethoven’s piano sonata no. 8 in c minor, op. 13 ("pathétique") features a rondo in its final movement, showcasing beethoven’s ability to blend dramatic intensity with the lightness typically associated with the form. in addition, rosen (1997) highlights the adaptability of the rondo form, explaining how composers like wolfgang amadeus mozart and franz joseph haydn often combined rondo elements with sonata principles, creating hybrid structures such as the sonata-rondo. this synthesis is evident in mozart’s piano concerto no. 21 in c major, k. 467, where the rondo form is enriched by developmental sections, enhancing its complexity and expressive depth. furthermore, dahlhaus (1989) emphasizes the role of rondo form in providing a clear and memorable framework, particularly in instrumental music of the classical and romantic periods. its recurring theme serves as an anchor for listeners, while the contrasting episodes allow for creative exploration and variation. the rondo form thus exemplifies a balance between predictability and innovation, enabling composers to engage audiences through its cyclical nature and diverse expressive possibilities. ex. 1b excerpt from wolfgang amadeus mozart's rondo alla turca wolfgang amadeus mozart's rondo alla turca is a well-known example of this form, where the lively and recurring theme is contrasted with different episodes, adding variety while retaining coherence. binary and ternary forms are simpler structures that divide a piece into two or three sections, respectively. in binary form (ab), the music is organized into two contrasting sections, often with the first section modulating to a different key and the second section returning to the original key. ternary form (aba), on the other hand, features a middle section that contrasts with the outer sections, creating a symmetrical structure. structure also plays a vital role in popular music, where verse-chorus form is prevalent. this form alternates between verses, which provide narrative content, and choruses, which often contain the main melodic and lyrical hook, where the catchy chorus serves as the focal point of the song. overall, musical structure provides the scaffolding that supports a composition's expressive content. whether adhering to traditional forms or embracing innovative designs, structure helps to guide the listener's experience, creating a sense of progression, contrast, and resolution. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 221 instrumentation instrumentation, a cornerstone of music composition, involves the strategic selection and arrangement of instruments or voices to craft specific timbres, textures, and dynamics. this process enables composers to evoke a spectrum of expressive effects, from subtle nuances to grand, sweeping gestures. the evolution of instrumentation has been shaped by advancements in instrument design, performance practices, and compositional styles. in the baroque era, composers like johann sebastian bach and antonio vivaldi employed small chamber ensembles, skillfully contrasting strings, woodwinds, and continuo to create dynamic interplay. bach’s brandenburg concertos highlight his innovative use of instrumentation, with each concerto showcasing distinctive combinations, such as the harpsichord, violin, and flute in the fifth concerto (boyd, 2006). jazz also revolutionized instrumentation through its iconic big band format, where brass, woodwinds, and rhythm sections provided a canvas for rich harmonies, syncopation, and improvisation. arrangers like duke ellington maximized these resources, producing works that redefined ensemble writing (schuller, 1989). similarly, popular music has embraced electronic instruments and studio technologies, offering new possibilities for sound manipulation and creativity (holmes, 2012). thus, instrumentation serves as a vital tool for composers to shape the emotional and sonic dimensions of their works. emotional impact the emotional impact of music has been extensively studied across disciplines such as psychology, music theory, and philosophy. meyer (1956) posits in emotion and meaning in music that emotions in music emerge from the listener's expectations and their fulfillment or disruption. by manipulating tension and release through melody, harmony, and rhythm, music engages cognitive processes, resulting in emotional responses. beyond its technical elements, music's capacity to evoke feelings like joy, sorrow, nostalgia, or awe transcends linguistic and cultural barriers, directly resonating with the human experience. juslin and västfjäll (2008) expand on this understanding through their "brecvema" framework, which identifies mechanisms such as brainstem reflexes, evaluative conditioning, and emotional contagion that explain how music evokes emotions. these mechanisms highlight the multifaceted ways in which listeners connect emotionally to music, influenced by neural, psychological, and social factors. ultimately, music's emotional impact is not uniform; it results from a dynamic interplay between the composer's intentions, the performer’s expressiveness, and the listener’s subjective experiences. this interplay underscores music's ability to create a deeply personal yet universally relatable emotional experience. the role of composers, performers, and listeners the effectiveness of art music compositions lies not only in their intrinsic qualities but also in the dynamic interaction among composers, performers, and listeners. composers act as the creative architects, embedding personal expression, cultural significance, and technical skill into their works. cone (1974), in the composer’s voice, highlights how composers communicate their artistic intentions and subjective experiences, shaping the potential of their music to evoke emotional and intellectual responses while reflecting broader societal values. performers serve as the intermediaries between the composer’s written score and the audience’s auditory experience. they interpret the music through their phrasing, dynamics, and emotional expression, transforming notation into vibrant sound. taruskin (1995), in text and act: essays on music and performance, emphasizes the importance of "performance practice," which contextualizes a piece historically and stylistically. performers not only bring technical mastery but also a personal touch, making each rendition unique and offering audiences varied perspectives on the same composition. listeners, as the final recipients, actively complete the musical experience through their engagement and interpretation. levitin (2006), in this is your brain on music: the science of a human obsession, underscores that listening is an interactive process influenced by personal experiences, emotions, and cultural contexts. these factors shape how music is perceived, valued, and understood, determining its emotional and cultural resonance. together, composers, performers, and listeners create a rich, multifaceted musical experience. the composer provides the framework, the performer animates it, and the listener interprets it, ensuring that music remains a living, evolving art form. each role is indispensable in the collaborative act of music-making, underscoring the intricate interplay between creation, interpretation, and reception. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 222 conclusion the effectiveness of art music compositions in the musical world is a complex and multifaceted phenomenon that encompasses a myriad of elements, influences, and perspectives. from the timeless beauty of historical masterpieces to the cutting-edge innovations of contemporary works, music compositions have the power to inspire, provoke, and transform the hearts and minds of listeners. by exploring the interplay of melody, harmony, rhythm, structure, instrumentation, and emotional resonance, we can gain a deeper understanding of the artistry and power inherent in art music compositions. ultimately, it is through the creative vision of composers, the interpretive skill of performers, and the receptive openness of listeners that art music compositions achieve their full potential as vehicles for artistic expression, cultural reflection, and human connection. references berliner, p. f. 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(1999). the beatles as musicians: revolver through the anthology. oxford university press. green, d. m. (1979). form in tonal music: an introduction to analysis. holt, rinehart, and winston. grout, d. j., & palisca, c. v. (2001). a history of western music (6th ed.). w.w. norton & company. holmes, t. (2012). electronic and experimental music: technology, music, and culture. routledge. hoppin, r. h. (1978). medieval music. w.w. norton. juslin, p. n., & västfjäll, d. (2008). emotional responses to music: the need to consider underlying mechanisms. behavioral and brain sciences, 31(5), 559–575. kahn, a. (2000). kind of blue: the making of the miles davis masterpiece. da capo press. krishnaswamy, a. (2003). application of pitch tracking to south indian classical music. computer music journal, 27(4), 35–47. lerdahl, f., & jackendoff, r. (1983). a generative theory of tonal music. mit press. levitin, d. j. (2006). this is your brain on music: the science of a human obsession. dutton. meyer, l. b. (1956). emotion and meaning in music. university of chicago press. nettl, b. (1986). the western impact on world music: change, adaptation, and survival. schirmer books. potter, k. (2000). four musical minimalists: la monte young, terry riley, steve reich, philip glass. cambridge university press. reese, g. (1954). music in the renaissance. w. w. norton & company. rosen, c. (1997). the classical style: haydn, mozart, beethoven. w. w. norton & company. schulenberg, d. (1999). the keyboard music of j. s. bach. routledge. schuller, g. (1989). the swing era: the development of jazz, 1930-1945. oxford university press. schwarz, k. r. (1996). minimalists. music educators journal, 83(1), 24–31. solomon, m. (1998). beethoven. schirmer trade books. songs, o. o., & nwamara, a. o. (2024). “an analytical study of five different yoruba musical rhythmic patterns.” awka journal of research in music and the arts, 17, 122-131. tamm, e. (2013). radiohead's soundscapes: a study of tonal and atonal practices in contemporary rock music. bloomsbury academic. taruskin, r. (1995). text and act: essays on music and performance. oxford university press. titon, j. t. (1994). early downhome blues: a musical and cultural analysis. university of north carolina press. wald, e. (2004). escaping the delta: robert johnson and the invention of the blues. harpercollins. 141 awka journal of research in music and the arts (ajrma) vol 17 june 2024 dwindling enrolment of students in music as choice of study in adeyemi federal university of education, ondo d.o.a. ogunrinade, phd & j.o falusi, phd department of music, adeyemi federal university of education, ondo. ogunrinadedo@aceondo.edu.ng jacvour@yahoo.co.uk abstract music is a universal concept, a means of livelihood, a fast growing business and a business that both old and young people get involved in both singing and playing profession. this study examined factors responsible for low enrolment of students in music as a choice of study. a descriptive research design was adopted for the study and the research instrument was a structured questionnaire which was administered on music students, music performer and music teachers, who were randomly selected for the study. the result obtained revealed that deficiency of qualified music teachers in schools (primary and secondary) did not encourage the zeal of many students that would have desired to choose music as a course of study in higher institutions. furthermore, there is need for adequate and relevant musical instruments as well as ample time for students’ practical activities. the study recommended that school administrators and government should give incentives and preferences to those that love to study music (for example scholarship awards), government should also ensure adequate provision of relevant learning materials and equipment for music education right from the elementary school and periodical review of curriculum in order to meet up with contemporary developments, issues and global music scholarship. key word: music education, technology, objectives of music teaching in school culture , problems of music teaching and learning, social benefits of music introduction undoubtedly, music captivates the attention, elicits feelings, and influences many cognitive processes. a ubiquitous myth in our culture holds that emotions are more nuanced and mysterious than cognition. though feeling may be "deeper" in some way due to earlier evolution, this does not necessarily mean that understanding music's role in emotional stability is difficult. according to research findings, thinking and memory interact and develop together, and that music can help solve issues related to universal laws of cognition (hylton, 2002). conversely, edward (2004) claimed that music could activate a brain function that is naturally involved in creating maps. music comprises a wide variety of styles, each with underlying cultural allusions and societal understandings that further add to the complexity. in addition to developing various forms of musicianship related to their individual musical identities in a globalised world, learning music in school improves pupils' inventiveness and adaptability to diversity in daily life (kertz-welzel, 2018). schools around the world have increasingly sought to incorporate various cultures and styles into their music curricula , in an effort to combat the dominance of western classical music and maintain and convey their local traditional cultures.. music is an essential part of african lifecycle, accompanying many kinds of events, including childbirth, marriage, hunting and even political activities. many cultures use songs and dance to ward off evil spirits and pay respect to good spirits, the dead, and the ancestors. the majority of submailto:ogunrinadedo@aceondo.edu.ng mailto:jacvour@yahoo.co.uk https://journals.sagepub.com/doi/full/10.1177/02557614221115882#bibr25-02557614221115882 142 awka journal of research in music and the arts (ajrma) vol 17 june 2024 saharan african folk music and traditional music are functional in this nature. there are different kinds of work songs, ceremonial or religious music and courtly music performed at royal courts, and typically none of these are performed outside their intended social context. however, african society has changed in response to the forces of colonization, independence and globalization, the place and styles of music had changed as well, which has brought about adapting to the new situations and changes. though there have been changes in some of the style of our music, including the infusion of musical instruments, musical styles, and genres from outside the african continent, music remains very important in africa today. also, as africans travelled from africa to other parts of the world, both as a result of african slave trade and migrations, the music and dance forms of the africans in diaspora have influenced a number of international musical styles and genres, including many caribbean and latin american music genres like rumba and salsa, as well as providing the foundation for musical tradition behind african american music (ivan, 2002). statement of the problem there is no gainsaying that lack of interest on the part of some students based on poor musical foundations, expensive nature of musical instruments and materials, poor representation of the subject matter in the curriculum and inadequate provision of relevant musical learning materials, nonrecruitment of competent and qualified music teachers are all factors responsible for ineffective teaching of music. this study tends therefore to examine factors responsible for low enrolment of students in music as choice of study. objectives of the study 1. to examine factors militating against students’ interest in music as a course of study; 2. to proffer workable solutions in promoting students’ interest in music as a course of study. 3. to look into factors influencing the choice of career of students in music as a career choice research questions 1. what are the factors militating against students’ interest in music as a course of study? 2. what are the ways of promoting students’ interest in music as a course of study? 3. what are the factors influencing the choice of career of students in music as a course or career choice? music education music is very important not only for its entertaining function, but also as a component of the learnt curriculum. mark (2007) recognises that music occupies an undeniable integral place as a taught subject. this is not only because it helps us to understand our culture but when we make music we, demonstrate our cultural attributes like values, beliefs and our aspirations. therefore, culture identifies who we are. sackman (2013) suggests that, “if musical behavior is integral to human design, it should be equally integral to any educational system that professes to educate the whole person”. therefore, to train the whole person whose appetitive, rational and spirited faculties are balanced, music should be enshrined in the curriculum as one of the four pillars suggested by plato (tang, 2013). if this is true as it sounds, education systems world over that do not completely offer music are not in complete balance, no matter how small the percentage it may be. suffice to say, students in these schools were denied an opportunity to develop holistically. so many scholars and researchers have grappled over providing a clear cut definition which has not been so in along time. the problem is that, 143 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music education embraces so many programs like electives, required, live classroom music, humanities and integrated components. as such, it would be difficult to give an umbrella term because each program would need a unique definition. furthermore, the umbrella term would be too broad and meaningless. among many, the definition considered here is from the perspective of an envisaged good music education program which is, “one that improves a student’s ability to discriminate, understand and respond meaningfully to music expressive of worthy human feelings” (mark, 2013). therefore, music education context would be understood in terms of the environment that supports the learning of music, the quality of the program, use of technology and the facilities that go along with it. these would involve the nature of the music classrooms and their proximity to other buildings as well as the stock of music instruments and their condition (abril & gault, 2008). furthermore, school size would be an important contextual aspect of music education in determining students’ participation in high school music programs (falconer, 2013). generally, the learning environment, school facilities and their state play an important role in motivating learners to participate in any learning activity. lyons (2001) observed that the power of influence is so great that it exceeds family factors, sociostatus, behavior and frequency of availability at school put together. from school facilities, technology is the greatest influence on the choices that students in high school now make to study music (williams & dammers, 2014). in the paragraphs below, a discussion of music technology and quality music program is presented. technology recently, gadgets like tablets, laptop computers, mp3, phones and search engines like youtube have really become handy in music education. students are also increasingly using them in and out of school. of much interest is the kind of music they listen to. most of them listen to pop music and this usually creates a conflict with what is emphasized in school music (capaldo & bennett, 2011). a study by leung and xie (2011) revealed that in china, alternative music schools surpass normal day schools in terms of participation and enrolment. usually these are weekend schools. is there a missing link here creating this abnormal situation? this conflict may be responsible for students not willing to enroll for music because school dictates the music it desires them to learn, not what they enjoy and listen to all the time. therefore, it is needful to negotiate this conflict of interest using technology to bridge the gap between informal and formal music (stowell & dixon, 2013). music technology here will be considered to imply gadgets like electronic keyboards, external sound modules (microphones), multi-track recording software and equipment (desktop), synthesizers, hardware sequencers and a wide range of software applications like finale, cubase, sibelius, fruitloops, that allow the sequencing, notation, editing and recording of audio (mattson, 2012). music technology also embraced other forms of musical instruments like brass, wind, electric guitars and a wide variety of western instruments. it also included interface gadgets which would help other forms be plugged in like computers, tablets, phones and laptops. music technology has the power to improve music enrolment in a high school if used properly (mccurddy, n.d.). as mattson (2012) suggests that, “notation and sequencing software can aid students in the study of composition, aural skills and sight reading. accompaniment software aids students in the study of improvisation, practice and performance techniques”. this portrait of 144 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music technology is quite impressive and desirous as an aid to improving music class enrolment. however there is usually a challenge. this challenge is what crawford (2009) observed when she studied information and communication technology (ict) resource limitations in australian high schools. the survey revealed that despite schools planning for what to procure for various departments, these resources were usually unequally distributed. art and music were usually excluded from the list of beneficiaries. eventually this led to a poor status of music education which gave administrators a strong reason to deny them further support. the main ict gadget used for internet or intranet connections today is a desktop computer. many schools have computer laboratories which, on many occasions, may be used by all disciplines of the school. the most common problem which often discourage learners of music is the computer pupil ratio. in most cases one computer maybe shared by two or more pupils. in cases as these, tasks may take time to complete. maintenance and quality of these gadgets also play a major role in influencing pupils to participate in music. crashing of hard disk is most often the common problem while most schools never have contingency funds aimed at maintenance and repair works (kvajargah & saadattlab, 2014).therefore, ict sustenance and appreciation remains a challenge for schools and students. it is a common phenomenon world over now to call for increased use of ict like “computer, internet, videophone systems, radio, television, multimedia projector in curriculum implementation, curriculum content in the form of pictures, posters, videos, audio/sound” (nwana, 2012). important as this is, the challenges of this new technology in music education which was unheard of a decade ago, should not be underestimated (crawford, 2009). ict is really welcome to boost output modes of instruction in the classroom to enhance learning. however, there is no evidence of studies to ascertain the safety of these gadgets to students especially when it comes to exposing learners to content from the internet. studies should be done to understand the impact say youtube has on students’ choices, self-responsibility to copy write videos, dangerous websites, school control measures and discriminating behavior (british educational communication and technology agency, 2005). objectives of music teaching in school since music is part of human culture, which should be imbibed, projected, and perfectly transmitted, it ought to have a recognized process by which it could be acquired as abiogu, mbaji, and adeogun (2015) observed. therefore the national curriculum in ojuola (2015) stated the objectives of music teaching as essentially to develop: (i) awareness and appreciation of organised sound patterns. (ii) skills in movement, such as motor co-ordination and dexterity, vocal skills and skills in aural imagery (imaging and internalising sounds) acquired through exploring and organising sound. (iii) sensitive, analytical and critical responses to music. (iv) the capacity to express ideas, thoughts and feelings through music. (v) awareness and understanding of traditions, idioms and musical styles from a variety of cultures, times and places. 145 awka journal of research in music and the arts (ajrma) vol 17 june 2024 (vi) the experience of fulfilment which derives from striving for the highest possible artistic and technical standards. the stated objectives are evidenced in the revised and expanded federal ministry of education ssce curriculum, nedrdc (2004) and the national policy on education (2010 in which the objectives of music teaching have largely emphasized the individual skills acquisition, aesthetic development, cultural awareness and self-fulfilment of the students. furthermore, it has clearly shown according to adegbite in ojuola (2015) that the teaching of music in secondary schools is not simply solving a narrow aesthetic task, it is an active force of a higher order stimulating the individual’s spiritual and creative potentials. problems of music teaching and learning the teaching and learning of music had hitherto been attended by lingering problems. these problems given the required recognition and consideration could be surmounted. these problems shall be enumerated and discussed appropriately in this study. many music scholars have been greatly disturbed with the current trend of music and its educational implications. adegbite in ojuola (2015) opined that with such an invaluable role music played in the society such as being a medium of expressing joy, sorrow, and merry making when activities involving life cycle like birth, marriage and funeral ceremonies are performed and especially as a medium for keeping records of history, myths, and legends of the non-literate traditional societies such as ours; music would naturally be expected to take a prominent place in nigerian educational system. unfortunately, music was not considered a subject worthy of pursuit as an academic subject by serious minded people compared with other professional subjects like engineering, medicine, and law among others. centron (1985) suggested that in training programmes be designed for teachers to enhance more rigorous and measurable standards that will meet global needs. also, vocational subjects (under which music falls) should be included at the end of the secondary school experience to prepare students or learners for jobs or careers to reinforce their creativity skills. he opined that new technologies will change the look of the classrooms and make teaching and learning more pragmatic. he said further that private sector can play major role in funding education through schools to expand their programmes. this assertion further justifies the growth of private owned secondary schools. faseun (2001) in a research finding revealed (shockingly though) the general notion of a sample of adults in nsukka who felt it is not prestigious to be designated a music graduate. therefore, they rather preferred their wards to be medical doctors, lawyers, pharmacists, historians, fine-artists and engineers. also, they believed that money invested on music education is a waste of resources. this general notion has in no small way been responsible for the low patronage enjoyed by music and the unpopular enrolment for the subject both in the junior and senior secondary school examinations. faseun (2000) equally enumerated such factors as: (i) shortage of technically and professionally competent teachers of music at all levels of education in nigeria. (ii) poor organisational patterns of music and music teaching in nigeria secondary schools as evidenced in music being taught at only reputable secondary schools. (iii) inadequate or lack of knowledge about the function of music as a school subject. (iv) students who study music in nigerian secondary schools lack the necessary background for the type of music taught in nigerian schools. 146 awka journal of research in music and the arts (ajrma) vol 17 june 2024 (v) the condition under which the teaching of music is done is not conducive. (vi) the teaching methods employed are not suitable for the concepts to be taught. (vii) there are inadequate musical instruments to carry out the teaching. (viii) the music curriculum they operate is not perfectly in order for the learning environment, faseun (2000). also, research findings of ogunniyi and fabayo (1998) in ojuola (2015) showed that low level of students’ academic performance (especially in public schools) can be attributed to inadequacy of teaching resources, poor learning environment and decline in quality of teaching. these factors equally have direct effect on the teaching of music and students’ performances. adegbite in ojuola (2015) rightly opined that poor funding of music by government especially, in the area of providing materials and infrastructure needed to facilitate conducive teaching and learning environment has had adverse effect on the subject. from the foregoing, it is quite shocking and unfortunate to know that teaching and learning of music had suffered great set-back over the years of its inclusion in the school curriculum with little or no effort at all by all its stakeholders in revamping it. however, concerned researchers have continued to work assiduously to channel a new course for the study of music in schools, in order to facilitate virile teaching and learning activities and conducive environment for it. ajao in ojuola (2015) while sampling the attitude of students to music learning discovered that majority of students offering music as a school subject feel inferior to the other students offering other subjects especially the sciences. salaman in ojuola (2015) looked at the problem from the classroom setting where most of the time the teaching method may not encourage the students to learn the basic skills necessary for them to be accomplished in music vocation. this view was shared by scholes in ojuola, 2015) who opined that if nothing is done to improve the techniques of teaching music, in schools, proficiency would become insufficient and its goals unattainable. this can in effect jeopardise the students’ future musical life and career. parkinson in ojuola observed that teaching has been difficult and uninteresting because teachers still hold on to the old and archaic concepts of education such as a “transmission theory of education” as opposed to more modern ones as john dewey’s “natural theory of human growth” which allows the learner to explore and discover facts and develop skills through experience. he also appraised other theories propounded by montessori, summer hill and skinner. this submission by perkinson is evident in the teaching and practice of music, where theory is often emphasized due to non-availability of music instruments that will enable the students to experience and develop the required skill in the subject. furthermore, hewton in ojuola (2015) viewed the situation from the economic recession which engendered education in recession. teachers were inadequately remunerated and the incessant delay in the payment of salaries had brought their morale to very low ebb especially in public schools. this problem the private sector now capitalized on by designing a salary package that looked robust enough to lure teachers from public schools to private schools. also, government manpower has dropped sharply and the need for private sector participation becomes pertinent to engaging manpower, hence, the proliferation of privately-owned schools. apart from the societal/students unfavourable cold attitude towards music learning and musical career in school, other impeding factors have been identified. there should be equality of opportunities for individuals to develop their potentials unhindered. developing such potentials means developing marketable individuals that will contribute to the 147 awka journal of research in music and the arts (ajrma) vol 17 june 2024 stability and growth of the national economies that sustain it. the government has done well by providing room for music education in the new national policy on education. more could still be done by adequately funding music education. also, in order to uplift the standard of teaching and quality of teachers, music as a teaching subject has been introduced to many more colleges of education and research has gone into eliciting effective teaching methods some of which are: kidaly method, orff schulwerk approach, the carabo-cone method, suzuki talent education, individualized instruction in music by garwood whaley, dalcroze eurhythmics, the gordon theory of learning music, the manhattanville music curriculum approach, the contemporary music project among others (faseun, 2000). more recent methods are identified as concept mapping approach, individualized instruction and programmed learning, of which the concept mapping approach (cma) seemed the most favoured and widely used among music teachers. finally, adegbite in ojuola (2015) advised music teachers to strive at inspiring music students to recognize their inner selves, to grasp with understanding a part of their humanness and to appreciate further their similarities and disparities with other people. quality of music programs a quality music program is one that meets the needs of diverse musical needs of a society, very well valued and supported by the school administrator; well allotted time on schedule without conflict with other subjects; well-connected between music class and instrumental instruction; one well supported in resources and deeds by administrators, staff and community; one which is offered from first year of school up to the last grade of secondary school and covering a wide range of activities; and one that incorporates performances like orchestra, jazz band, choral and is well funded in terms of outside performances (pearson, 2015). furthermore, the quality of instruction alone can also determine the quality of music program (falconer, 2013). in 2013, falconer’s study in perceptions of teachers and administrators revealed that the quality of music programs was a factor in addressing low participation. from interviews conducted, it was noted that government budget cuts were a hindrance to most schools to establish a good music program. it was noted especially that this problem was evident at elementary and middle schools. the problem here is that, this has a spilling effect in the sense that, secondary school enrolment depends on the feeder elementary and middle schools. if these feeder schools have a poor music program, there would be firstly, no students to enroll at secondary school and therefore continuity suffers. secondly, secondary schools depend on building from the foundation laid at elementary and middle school. without students from this level this build up is impossible. the above findings were consistent with what ng and hartwig (2011) found out in australia when studying the teachers’ perception about the declining enrolment of students in high schools. the revelation was that parental support and the quality of music program were high predictors of enrolment. these studies were all done in an environment with a perceived good music culture especially the sight reading culture. what would be the findings in a completely different set up whose music reading culture is slightly average or below? this research endeavored to explore this aspect in an african set up. above all, the body of knowledge available seems to suggest that researchers have not undertaken investigations such as establishing whether an active, well organized 148 awka journal of research in music and the arts (ajrma) vol 17 june 2024 and equipped music department would have a positive or negative influence on the choice a student makes to study music or not. musical culture music is probably one of the most available essential parts of culture in most societies of the world. there is apparently no known culture world over that is lacking in music. despite this ubiquitous nature, the way music is used and perceived differs from culture to culture. according to garfias (2004), music has a status and function in each culture. there is a way that people use it, practice it, continue it and think about it which is unique to each culture. when we talk of the general traditional african music culture, a lot of differences emerge in the way it is perceived and how music is passed on and how the training of the musicians is done. for instance, one of the methods of passing musical skills to another generation is by oral tradition. a number of african musical songs and dances were and are still transmitted from one generation or group to another orally (ogunrinade, 2015). there is no notation of some kind except dependence on the power of memory. this is totally different from the western way of doing things. furthermore, training of musicians is by observation and imitation of the skilled player and usually this runs in families or clans. formerly in african setting, it is believed that you cannot be a musician unless you are born in a musical family (aniedi, 2012). music is also a corporate activity meaning it is presumed to be a property of the community. as such music culture in terms of performance and making, involve individuals working together in a complimentary manner. for instance drumming depends on interlocking rhythms of various players to come up with a whole performance. so one player’s rhythmic pattern will have gaps that should be filled skillfully by another player with proper timing and precision. in such manner, each performer becomes very significant to achieve the whole. apparently this corporate way of performance has been related to the way these societies live that communality is quite important than individuality. most african people live in communities where sharing and care for one another are great values of family ties (garfias, 2004). moreover, culture is so powerful that it affects members of society in the way they think, eat, dress, relate, speak, walk and live. it is a brand of their identity. children are no exception to this cultural influence and learning process. it begins through the songs and games they learn from their siblings, parents and society. for example, the mother from birth and throughout infancy sings to the child lullabies and those nice soothing melodies to send it to sleep. these experiences according to soccio (2013) will later determine the choices they make at school for their desired music experiences. in other words, depending on the socialization they went through, they may or may not value the music experiences they find at school. hence, culture embraces norms, values, traditions, rituals, beliefs, customs, artifacts and music itself which a child experiences beginning at conception itself and culminating at death. music curriculum and the child experience it is common sense that every culture has its own cherished music which is highly valued. the conflict with music culture and music education in school lies in the school’s emphasis on different things contrary to the child experience. here in africa it could be seen as ascendancy of western musical contents in the school music curriculum. but the fact remains that in western world this phenomenon is equally available and is jeopardizing the outcome and result of student performance in music class 149 awka journal of research in music and the arts (ajrma) vol 17 june 2024 as well. the implication of this is that musical instruction in the school curriculum is usually not related to the experience of the students. the knowledge and understanding of what music looks like to the child such as style, genre, form and the likes (musical experienced of the child with the parent and peers before getting to the school) are quite different from what is placed before the child in the school (the music curriculum in the school) . consequently, they lack the relatedness that should exist between home music culture and school music. therefore the need for music teachers to acquaint themselves with music making ventures related to student past experience to be better placed to address the gap is imperative (regelsky & gates, 2009). canedo (2013) did an ethnographic study in spain using convenience sampling and methodological triangulation in order to obtain the credibility criteria. the aim was to investigate the differences that exist in skills used in music analysis, and their music preference in class, with those used in their daily life. the study revealed a significant difference hence divulging the gap that exists between the students’ home music culture and school music culture. the main predictors of their preferences and practices in music were social environment, family (parents) and friends. parents were linked to the influence in childhood music, while friends were linked to current preferences of music. the study is not very clear on the population, and how saturation was reached at, but it however gave a detailed triangulation. in another perspective, siebenaler (2006) investigated a suburban high school in california using 288 respondents broken down into 176 enrolled and 112 not enrolled vocal music students. the aim was to identify factors that would predict continued participation in high school choral music using a survey. the findings revealed that the influence that the home and parents in particular played was very important in determining the choices students make to participate in music related activities like choir, band, folk dance and music class. the results were that, those who continued to participate had parents who were involved in music themselves and had homes where music activities were valued. this implies therefore that, their music culture was responsible for this continuing and the opposite is also true. emberly (2009) investigated children in limpopo province in order to understand musical cultures of childhood in south africa. the aim of the study was to prove that music culture embraced by children may not be an exact replica of what the older generation envisages for their younger folk. the study involved exploring the local and global influences of media on the local south african language, traditional songs and games and programs watched on the media and how these, influence children’s formation and sustenance of unique musical cultures peculiar to children. the study was purely qualitative, based on ethnographic approach. from some of the findings, it came out that children in the same age identify with their nation south africa (national identity) and that, music is used as an “education tool to engage and interact with their social and cultural identities” (emberly, 2009). the results posits the fact that there are musical differences throughout limpopo, which champions the idea that children come from diverse music cultures evidenced even within close geographic proximity. this finding is quite important especially when considering music curriculum development. with this diversity, would the curriculum wholly designed to have a biased on western music be compatible with children from such a society and culture? this brings in the observation made by (zuyin & jiaxing, n.d) in their study that, schools music should consider music culture and incorporate the aspects thereof to enhance acceptability and increase participation in music programs. furthermore, emberly (2009) observed that children were curious to learn about music experiences 150 awka journal of research in music and the arts (ajrma) vol 17 june 2024 of american children. they were even ready to learn songs from american children’s repertoire. this finding is important too because it brings out the aspect of being open in their perception of other cultures a cardinal attitude in school music which is largely foreign culture. family support family support, being a vast social structure, in this context should be understood as to mean the educational level of parents, family background, social class and locality or residence. these aspects of family support have been found to have a significant relationship with students’ participation in high school music and consequent academic achievement. duncan and magnuson (2005) studied the socio-economic aspect of family, and concluded that the nature of neighbourhood, social class, family type, methods of siring, type of family really matter in academic involvement and excellence. alex, (2003) asserts that, lower class families tend to be hard on their children removing almost all freedom children deserve. in contrast, middle class loosen up and somewhat emphasize freedom of choice. middle class children due to the way they are brought up are likely to engage in subjects that train up and enhance talents (shanks & destin, 2009). so lower and middle income children are much more likely to participate in music. studies are many in family background, however it appears most of them have concentrated their efforts in areas which have a perceived well developed school music programs. the investigations seem not to address family backgrounds as regards places like africa, where countries vary in terms of having well established music programs. where availability of music instruments emphasized by school music whose inclination is western, is not only scarce but expensive too. some countries have strong and advanced programs while others like zambia do not have. therefore, the need for such a study as this, which was conducted in that context. family motivation is also a very important predictor in decisions children make to participate in school music. this is so because the family is the first socializing agent a child encounters. therefore, impressions made at this stage are quite lasting. from studies conducted concerning family, sichivitsa (2007) discovered that most children who were motivated to do choir either had parents who were singers themselves or encouraged them to do so. siebenaler (2006) also confirmed earlier studies done before his that, family motivation was an influential predictor in continued participation in choir. unlike the other two studies, jeff (2009) looked at it from the music director’s point of view. findings were that, directors rated family motivation in form of family involvement as a very important social predictor in enhancing pupil participation in choir. klonowski (2009) suggests that families that discourage students by not giving support at emotional and personal level as well as in deed, lower the motivation drive of students to participate in music. however, there is a gap in this literature reviewed on family motivation. it does not bring out family influence in a social setting where music is not given serious instruction from a tender age, let alone in the adolescent stage. this is so in most african countries which gave a reason enough to investigate this phenomenon in that setting. gallagher-mackay, kidder, methot, proulx and zafari (2013) filed in a report on their findings about the public funded schools of ontario canada concerning the gap in poverty and inequality in ontario schools. the report states that those students who are enroled in schools with high income status, are likely to participate in music programs like orchestra, choir and band 151 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the current study looked at three schools whose students were from mixed socioeconomic backgrounds. the researcher’s desire was to investigate and confirm whether findings in the report above would corroborate same results in the schools that were targeted. a study by (thienan & khuong, 2015) looked at identifying what engenders motivation in the students of music and what can be done to improve music education in ho chi minh city of vietnam. quantitative research methods were used together with survey questionnaire using five point likert scale. the respondents involved a sample of 350 students sampled from six music academies. among the predictors employed were religion, age, income, inspiration and flexibility. from the results, income ranked among the top three. it came out that income is always a barrier in people trying to realize their life’s dreams especially for students looking to realise their dreams in music. one of the reasons is that, instruments are difficult for students of low income to buy and maintain and so they drop out. however the opposite is also true for students within high income bracket who can afford their own instruments and so are likely to participate more (price, 2010). the sad part is, most students fall in the low income bracket and therefore this adversely affect participation in music at all levels of education. peer influence in music when children leave the socializing environment of the home, they are likely to join school where they will be members of peer groups. consequently, they begin to learn the norms of these groups and assimilate them. groups eventually become a measure of how far they are willing to go with group norms and sever some family values. some of these cherished norms lead to anti-social behavior which may antagonize them with school and home’s unilaterally held values. this is what amy (2011) termed as negative peer pressure. in this way barbour (2008), recognizes that peers can influence a lot about the child encompassing things like what to learn, eat, watch, say, value, wear and know. siebenelar (2006) carried out a study to determine strong predictors in student’s participation in music. he used 288 high school respondents who comprised participants and non-participants in various music activities. he used questionnaires as a means of data gathering. the results pointed out eight predictors and among the strong predictors was peer influence. however, he seems not to address the aspect of whether this influence is linked to safety needs as portrayed in abraham maslow’s hierarchy of needs. peer support in a school setting has a powerful influence in that it creates an environment which is comfortable, highly motivating and enjoyable. as such, peers can be a significant element in fostering enrolment and retention in music programs (klonowski, 2009). a research study was conducted by (cook, 2013) to determine the factors responsible for orchestra students’ low participation in transit point between elementary and middle school. the respondents involved sixth graders who discontinued their participation in orchestra ensemble. a sample of 43 was selected but only 20 were able complete a five point likert scale questionnaire online with the help of their parents/guardians after permission was sought for their involvement. quantitative method was used for this study. some of the areas considered were students’ perception of elementary and middle school, parental support, peer influence and participation in and outside the school. findings on peer influence corroborated earlier studies that, peer influence has a positive or negative impact on participation. generally the study revealed that respondents never received strong peer support to continue with the orchestra. for instance 70% said that their friends never discouraged 152 awka journal of research in music and the arts (ajrma) vol 17 june 2024 them to discontinue participation. however, the fact that some discontinued, is an indication that the action itself could have played a role in discouraging their participation. the findings of the study contribute greatly to what is already held and known. the problem with the study was that, the number of respondents used (20) is quite small to ascribe a generalization. the study also was done at elementary and middle school level. it would have been better to do a longitudinal study to understand these variances from elementary up to high school level. due to the gap created at high school level as observed above, this study was carried out at high school level by this researcher to confirm whether the findings would be the same or not. freer (2014) endeavored to understand the students’ musical identities and their continued or discontinued participation in choral music using written narratives and drawn images as interpretation of their musical perceptions. the respondents used comprised twelve young men sampled from singapore pre-university schools. one of the aims was to relate individual decision to join choral ensemble with peer influence. mixed methods approach was used for this study. the findings of the study posit a position that peer influence has an impact in decisions towards participation in music programs. over average of the participants that is 66%, indicated that they were influenced to join the singing ensembles they were currently in. they also indicated that they have had influence from peers to either join or continue to participate. in this study there was no respondent who indicated negative peer influence leading to quiting or discontinuing choral participation. again the number of respondents leaves much to be desired in terms of making the findings representative. the important thing about the study however, was that it was conducted in an area where this kind of method has not been used widely. hence it makes the findings very significant to the body of knowledge. peer influence is one of the constructs that was investigated in the current study. the researcher investigated this construct in an environment where little studies have been done in terms of its influence on participation in school music progams. social benefits of music perceived social benefits are to be sought in areas of career availability, academic excellence and after school social utility of skills acquired. olusoji (2013) in his research answered the question whether the traditional stigma attached to music and music practitioners had reduced. the findings revealed that most parents have mixed views about music as a career. they contend that it is meant for low achievers in society. some students interviewed indicated that they chose music out of frustration for not getting the grade to enable them be admitted to university. this is in contrast with what leung and xie (2011) noted in their study about the chinese context where, matrix grade in music is a prerequisite for entrance in a university. however, other students saw career benefits in being a pop star than classical performer due to immediate financial benefits and fame they perceive. this could be one of the major reasons why enrolment and consequent participation in school music programs is reducing. research and literature emerging is proving the importance of music to the intellect (brain), society, creativity and healthy wise. the royal conservatory (2014) in collaboration with other institutions has carried out scientific research to understand the benefits of music education. according to their findings participation in music improves speech and reading ability in both middle and high school students. this is so because the 153 awka journal of research in music and the arts (ajrma) vol 17 june 2024 area in the brain that is involved with sound and syllable or word decoding is the same. so development through one means helps the other too. this has a social implication in the sense that one needs to communicate ably in order to be understood a phenomenon which is very cardinal to human survival. places of work too need people who can ably communicate the aspirations and enterprise of the corporation which music education helps to give. another benefit has to do with creativity. studies have revealed that musically trained students have a well-developed and better inter hemispheric communication of the brain than those who have not and so, are very creative. creativity is a cardinal virtue in the business world and who does not want a creative employee these days? this is a social benefit which not only is handy in music but for enhancing employability as well. according to kalivretenos (2015) creativity is one of the top-five skills important for success in the workforce. how much can we change the perception of both students and parents by availing such kind of information? it would definitely have far reaching results. furthermore, the study revealed that training in music improves the aspect of empathy and social awareness. this is so because music involves learning to appreciate the highs and lows of sound especially for the human voice. this is directly related to expression of emotion and mood. training in music enhances this aspect and improves social relations thereof. music training has an effect on prolonged health and resilience too. this has been proven in neuroscience where cases of autism, stuttering and strokes have been cured through music therapy. the study revealed also that frontal lobes responsible for higher cognitive activities of the brain are larger in musically trained students, an indication of the ability to think faster, efficiently and handle critical issues (the royal conservatory, 2014). these findings are also recorded in the study of skoe and kraus (2012) who added that, musically trained students have robust brainstem responses to sound than those who are not. performing in an ensemble provides an opportunity for students to meet and make new friends who have the same interest as theirs. this is important because in the society and at places of work they will meet new people some with different likes from them, so they need to learn skills to create and maintain these relationships (judson, 2015; kokotsaki & hallam, 2011). further studies indicate that students who have been trained in music are more corporative to their teachers and their parents, they are willing to learn and commit to that, they have self-confidence and ably express themselves. numerous literature indicate that students who participate in music generally abstain from substance abuse like drugs, alcohol and tobacco compared to peers who are non-participants (judson, 2015).this and many other benefits mentioned above should be the fulcrum of advocacy to increase participation in music programs. research design 154 awka journal of research in music and the arts (ajrma) vol 17 june 2024 descriptive survey research was adopted for the study. this design is suitable for this study since it involved gathering data that describes events and that organizes, tabulates, depicts, and describes the data collection. the population of the study comprised of 59 respondents (39 students and 20 lecturers respectively) of the department of music adeyemi federal university of education, ondo. sample and sampling technique the instrument that was used for collection of data from the respondents was a well-structured questionnaire, for both lecturers’ and students. the questionnaire comprises of two sections, section a demographic information of respondents, while section b is the research questions items to generate the opinion of respondents on the subject matter. validity of instrument the instrument has been subjected to the scrutiny by music expert and music educators. suggestions, corrections and modifications were made and effected before the administration of the instrument. the questionnaire was personally administered by the researcher to the respondents. the researcher took time to explain the questionnaire to the respondents carefully and ensure immediate retrieval of the instrument. data analysis the data collected were analyzed using mean and standard deviation. this section present the analysis of data collected. it presents answers to the research questions raised in this write-up. analysis of findings and discussion were generated based on answers to the research questions research question 1: what are the factors militating against students’ interest in music as a course of study? table 1a: students’ mean and standard deviation responses on the factors militating against students’ interest in music. sn items n mean std. deviation decision/ remark 1 most schools have no separate room for music class 39 2.51 1.073 accepted 2 enough qualified and adequate professional music teachers are not readily available in both primary and secondary schools. 39 3.13 .951 accepted 3 not many students are enthusiastic about studying music as a course 39 2.46 1.144 rejected 4 certificate is not a condition for good performance in music as a profession 39 2.18 .942 rejected 5 financial constraints in procurement of instruments or equipment for music practical, 39 2.77 1.135 accepted grand mean 2.61 accepted table 1b: lecturers’ mean and standard deviation responses on the factors militating against students’ interest in music. sn items n mean std. deviation 1 most schools have separate room for music class 20 2.05 1.050 155 awka journal of research in music and the arts (ajrma) vol 17 june 2024 2 enough qualified and adequate professional music teachers are not readily available in both primary and secondary schools. 20 2.30 .923 3 not many students are enthusiastic about studying music as a course 20 3.15 .745 4 certificate is not a condition for good performance in music as a profession 20 3.40 .598 5 financial constraints in procurement of instruments or equipment for music practical. 20 3.05 .826 grand mean 2.79 table 1a and 1b above shows the mean responses of respondents on the factors militating against students’ interest in music as a course of study. the mean ranges from 2.05 to 3.40. the table shows that item 1, 2, and 5 in table 1a and 3, 4 and 5 in table 1b are accepted since their respective means are greater than the criterion mean of 2.50 while only item 3 and 4 in table 1a and 1 and 2 in table 1b were rejected because there mean is below 2.5. the grand mean 2.61 and 2.79 revealed the cumulative view of the respondents that the factors captured are militating factors against poor students’ enrolment in music. this implies that the mentioned factors are the factors militating against students’ enrolment in music. research question 2: what are the ways of promoting students interest in music as a course of study? table 2a: students’ mean and standard deviation responses on the ways of promoting students’ interest in music sn items n mean std. deviation 6 adequate and qualified music teachers in both primary and secondary schools will promote better teaching and learning atmosphere for music as a subject. 39 3.44 .821 7 provision of relevant and adequate musical instruments is imperative for the appropriate learning of music as a subject in both primary and secondary schools. 39 3.38 .590 8 there should be enough time for student’ practical activities on the time table. 39 3.23 .931 9 government and private proprietors’ should provide enough facilities and equipment for music teaching 39 3.44 .852 10 there should be good interaction between staff and students 39 3.67 .530 grand mean 3.43 table 2b: lecturers’ mean and standard deviation responses on the ways of promoting students’ interest in music. sn items n mean std. deviation 156 awka journal of research in music and the arts (ajrma) vol 17 june 2024 6 adequate and qualified music teachers in both primary and secondary schools will promote better teaching and learning atmosphere for music as a subject. 20 3.85 .366 7 provision of relevant and adequate musical instruments is imperative for the appropriate learning of music as a subject in both primary and secondary schools. 20 3.75 .444 8 there should be enough time for student’ practical activities on the time table. 20 3.65 .489 9 government and private proprietors’ should provide enough facilities and equipment for music teaching 20 3.60 .754 10 there should be good interaction between staff and students 20 3.65 .489 grand mean 3.70 table 2a and 2b above shows the mean responses of respondents on the factors militating against students’ interest in music as a course of study. the mean ranges from 3.23 to 3.85. the table shows that the entire items in table 2a and table 2b are accepted since their respective means are greater than the criterion mean of 2.50. the grand mean 3.43 and 3.70 revealed the cumulative view of the respondents that the factors captured are promoting factors to students’ enrolment in music. this implies that the mentioned factors are the promoting factors to students increased enrolment in music. research question 3: what are the factors influencing the choice of career of students in music? table 3a: students’ mean and standard deviation responses on the factors influencing choice of career in music. sn items n mean std. deviation 11 the love for music is an essential factors influencing choice of career in music. 39 2.77 1.038 12 availability of relevant and adequate musical instruments is a factors influencing the choice of career of students in music 39 2.82 1.189 13 only few are enthusiastic about studying music as a course 39 3.13 .951 14 music industry is one of the biggest area that generates income revenue for the nation 39 3.05 1.191 15 fame is synonymous with music and musician 39 3.26 .785 grand mean 3.01 table 3b: lecturers’ mean and standard deviation responses on the factors influencing choice of career in music. sn items n mean std. deviation 11 the love for music is an essential factors influencing choice of career in music. 20 3.85 .366 157 awka journal of research in music and the arts (ajrma) vol 17 june 2024 12 availability of relevant and adequate musical instruments is a factors influencing the choice of career of students in music. 20 3.75 .444 13 only few are enthusiastic about studying music as a course 20 3.65 .489 14 music industry is one of the biggest area that generates income revenue for the nation 20 3.60 .754 15 fame is synonymous with music and musician 20 3.65 .489 grand mean 3.70 table 3a and 3b above shows the mean responses of respondents on the factors influencing students’ choice in music as a career. the mean ranges from 3.23 to 3.85. the table shows that the entire items in table 3a and table 3b are accepted since their respective means are greater than the criterion mean of 2.50. the grand mean 2.77 and 3.85 revealed the cumulative view of the respondents that the factors captured are promoting factors to students’ enrolment in music. this implies that the mentioned factors are the promoting factors to students increased enrolment in music. discussion of findings the study found that separate classroom for music is not commonly available for the teaching and learning of music as a subject in both primary and secondary schools, there is dearth of qualified and adequate professional music teachers as well. this has resulted in lack of enthusiastic interest on the part of the students in studying music as a course in the institution of higher learning. financial constraints in procurement of relevant and adequate musical instruments for music practical both for school activities and personal development are factors militating against student’s interest which equally brought about low enrolment. it is not that students are not enthusiastic about studying music as a course of study and that certificate is also a prove for good performance in music as a profession. the finding is in line with the view of faseun (2000) who enumerated factors such as shortage of technically and professionally competent teachers of music at all levels of education in nigeria, poor organisational patterns of music and music teaching in nigeria secondary schools as evidenced in music being taught at only reputable secondary schools. he further explicated that inadequate and lack of knowledge about the function of music as a school subject and that students who study music in nigerian secondary schools lack the necessary background for the type of music taught in nigerian schools and the teaching methods employed are not suitable for the concepts to be taught. in addition, there are inadequate musical instruments to carry out the teaching and the music curriculum they operate is not perfectly in order for the learning environment. this study also found out that qualified music teachers in primary school and secondary schools will go a long way in promoting better teaching and learning atmosphere. provision of relevant and adequate musical instruments is imperative to the apt teaching and learning of the subject and there should be sufficient time for student’ practical activities, government and private proprietors’ should provide enough facilities and equipment for music teaching and there should be good interaction between staff and students, a factors that will promote the students choice and interest in choosing music as a career. this is in accordance with the views of mark (2007) who recognised that music occupies an undeniable integral place as a taught subject. this is because music helps us understand 158 awka journal of research in music and the arts (ajrma) vol 17 june 2024 our culture. when we make music we, demonstrate our cultural attributes like values, beliefs and our aspirations. therefore, culture identifies who we are. sackman (2013) suggests that, “if musical behaviour is integral to human design, it should be equally integral to any educational system that professes to educate the whole person”. therefore, to train the whole person whose appetitive, rational and spirited faculties are balanced; music should be enshrined in the curriculum as one of the four pillars suggested by plato and should be appropriately catered for by making provision for the needful both human and equipment necessary for the teaching and learning of the subject.(tang, 2013). it was similarly discovered that the love for music is an essential factors influencing choice of student career in music and that availability of relevant and adequate musical instruments is a factors that promotes and necessitate the interest and the choice of student’s career in choosing music as a discipline to be studied in the institution of higher learning. there is no doubt about the fact that the respondents recognised that music industry is one of the biggest areas that generate income revenue for the nation and that fame is synonymous with music and musician. the above factors influence the students in choosing music as a discipline. this is in line with the view of lyons (2001) who observed that the power of influence is so great that it exceeds family factors, sociostatus, behavior and frequency of availability at school put together. from school facilities, technology is the greatest influence on the choices that students in high school now make to study music (williams & dammers, 2014). the result obtained revealed that unavailability of qualified music teachers in schools (primary and secondary) did not support the zeal of many students that would have desired to choose music as choice of course of study in higher institutions. furthermore, the prevailing situation in music industry shows that most performers are doing well in music industry did not study music as a course in schools but developed their passion with little assistance from people around them that knows little about music and the church they attend. conclusion music as a discipline is a universal and unique area of study in the field of art, over the years young men and women had leverage on it for livelihood. consequently, government should make music compulsory subject at all educational levels so as to give a solid music background to every child. however, school administrators and government need to give incentives or preferences to those that love to study music (for example scholarship awards) adequate provision of relevant learning materials and equipment for music education right from the elementary schools should be made available. training and retraining programmes should also be organized for music teachers in order to improve their level of professionalism. since the music industry is one of the biggest areas that generate income for the nation; government should open or give room for people to open music academy that the certificate will be well recognized and placed on the same pedestrian with ssce that students can use to further musical studies in higher institutions of learning. the government should also encourage more of the higher institution to have music departments that are well funded. references 159 awka journal of research in music and the arts (ajrma) vol 17 june 2024 abiogu, g. c., mbaji, i. n., & adeogun, a. o. 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(2013, september 24). the relation of culture and musical play: a literature review. applications of research in music education, 32 (1), 52-58. stowell, d., & dixon, s. (2013, august 28). integration of informal music technologies in secondary school music lessons. british journal of music education, 1 – 21 tang, e. (2013). retrieved from www.evansphilosophy.com/.../a-summary-of-education-inplatosrepubli... thienan, t., & khuong, m. (2015). factors affectinlg music earners motivation a study in ho chi minh city, vietnam. international journal of current research and academic review, 3(1), 175-191. retrieved from www.ijcrar.com/.../tran%20thienan%20 and%20mai%20ngoc%20khu... zuyin, f., & jiaxing, x. (n.d). the status quo and prospect of music education based on musical diversity in mainland china. international music council. retrieved from www.imccim. org/programmes/wfm2/fan.pdf williams, d., & dammers, r. (2014). using music technology to reach the other 80% in secondary school music program. kansas music review. retrieved from www. collegescholarships.org › college http://www.ijcrar.com/.../tran%20thienan http://www.imccim/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 19 racheal olatoun soetan: a study of her life, music, and legacy in the nigerian gospel music scene olaoluwa marvelous ayokunmi department of music of the university of ibadan, ibadan, nigeria. ayokunmiolaoluwa2016@gmail.com +2347030597017 & julius oluwayomi oluwadamilare department of music of the university of ilesa, ilesa, osun state. juliusoluwadamilare924@gmail.com +2347035432411 abstract 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. introduction music is a form of art that involves blending vocal or instrumental sounds to create beauty or convey emotions, typically following cultural norms of rhythm, melody, and harmony. it is a structured arrangement of sounds designed by experts to evoke feelings in listeners, causing emotional stimulation or excitement when performed or expressed using various instruments. blacking (1995) sees music as a humanly organised sound. music is a human phenomenon produced by people for people and existing, functioning in a social situation (merriam 1964:487). according to adeleke (2011), music multiplies like cells in human body from childhood to adulthood through inborn capacities and learned responses from home and school environment. in process of enculturation, communication, transformation and socialisation, music is very important. in history, music is described as an important part of historical documentation, especially oral history (blacking, 1970). in social psychology, music is described from therapeutic perspective as an organisation of sound patterns from selfexpression, the essence of which is to purify human soul and ease social stress and disillusion (adeleke, 2008). in language studies, music is often described from literary perspective as an integral part for poetry and oral composition (olatunji, 1984). gospel music can be defined as a type of music of christians that preaches the good news of jesus christ and is made popular by public performances, electronic media and information technology such as radio, television, and the media (adedeji, 2004). gospel music is a classic style of christian music that plays a crucial role in christian media. the development, presentation, importance, and interpretation of gospel music can differ based on cultural and social influences. gospel music serves various purposes such as providing enjoyment, serving religious or ceremonial functions, and being a commercial entertainment product. this music genre is known for its prominent vocal delivery, rich harmonies, and christian-themed lyrics. nigerian gospel music is a christian music genre that was initially created with the intention of sharing the gospel of jesus christ, though its practices and content are not always restricted to that. praise, gratitude, and adoration of god, caution, consolation, prayer, and entertainment of saints are all included. religious, social, and moral values are also included, along with social and political commentary and generally christian doctrines. mailto:ayokunmiolaoluwa2016@gmail.com mailto:juliusoluwadamilare924@gmail.com awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 20 similar to american or european gospel music, nigerian gospel music is a form of gospel music that originated in nigeria and is performed there as a branch of christian religious music. it is distinct from others in terms of language, style, and performance, and because both christians and non-christians enjoy listening to it, it holds a prominent place in nigerian music. church music and nigerian gospel music are not the same in terms of performances, organizational design, or purpose. unlike their european contemporaries, whose lives and works are well documented and appreciated, gospel artists in nigeria are typically not often appreciated during their lifetimes and their works are not adequately documented. by focusing on the upbringing, professional background, educational background, social challenges faced, and creative output of a nigerian gospel artist, this study now provides a solution to the issue. the aim and objective of this work is to explore the personality profile of toun soetan, drawing attention of the society to her music activities and life experiences for better understanding and appreciation of her contributions to the society at large especially in the field of gospel music. it also aims at giving more insight to nigerian gospel music as a subgenre of christian religious music, providing guidelines for coming artistes. the following objectives of the study are to investigate the life history and experience of toun soetan, examine her contributions to nigerian gospel music document some of her songs through the use of music notation software. this study will showcase the music and life of toun soetan among other gospel musicians. it will provide necessary information about the artiste. it will also contribute to the acquisition of knowledge. the research made use of research and enquiry method to get information from the gospel artiste on her life and works. the origin of gospel music during the slave trade, african americans sang spiritual songs and traditional hymns, which gave rise to gospel music. the spirituals were songs of hope performed by slaves prior to their release. after settling in north america, european immigrants brought traditional hymns to the united states. these hymns were composed in a book, and the white americans sang them during their worship, mostly on sundays. the white americans sang these hymns during worship, primarily on sundays, and they were written down in a book. the enslaved people on the plantations could hear these hymns being sung, so they changed them to a call-and-response style. a member would lead the group in a harmonious rendition of a single line from the hymn. this led to the creation of the negro spiritual, which subsequently shaped the course of gospel music. gospel music has also been influenced by the scottish "lining out" singing technique. particularly the early black christians who attended white churches used this style when singing hymns. the members would join the song leader after she had finished singing a section of the hymn in their own voices. following the founding of their churches, black christians subsequently adopted these singing styles. the rich customs of african-american churches are a major influence on gospel music. african-american spirituals, hymns, and sacred songs were among the musical genres that african-american churches in the us began incorporating into their services in the late 1800s. hand clapping and foot stomping were common accompaniments to such music, which was mostly sung in churches. using a choir was central to the gospel music tradition. a group of willing singers from the church congregation made up the choir. because choir members typically wore choir robes as part of their uniform, it was easy to identify them from the rest of the congregation. the gospel choir performed music in a call-and-response style akin to that of traditional hymns and sacred songs. the gospel music industry underwent a transformation in the late 1930s when thomas a. dorsey, dubbed the "father of gospel music," started working for pilgrim baptist church in chicago. former jazz pianist and composer dorsey collaborated with well-known musicians. by fusing conventional gospel music with his studies of jazz and blues, dorsey established a brand-new kind of gospel music known as gospel blues. although it was first dismissed, gospel blues gained recognition as the new style of traditional gospel by the end of the 1930s. gospel music comes in four different flavours (but these are not the only ones). praise and worship, contemporary gospel, traditional style, and quartet style. history of gospel music in nigeria there are few theories about the period in which nigerian gospel music started. ajirire and alabi (1992) suggested that gospel music started with the inception of christianity in nigeria. considering the definition of gospel music and awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 21 other historical facts, the foregoing theory is not plausible. ojo (1998) submitted that nigerian gospel music started in the 1970s. this view could not have been correct because of the historical evidence of the existence of the gospel prior to the 1970s. another view dates the origin of nigerian gospel music to the 1960s. apart from the submission of pioneers, makun (1997) and awelewa (2000) had already supported this view in their works. besides, available records point to the validity of the 1960s as the period of origin; more so, the term gospel music was first used in nigeria by the pioneers in the same period. we could therefore conclude that nigerian gospel music started in the 1960s. there are few theories about the period in which nigerian gospel music started. ajirire and alabi (1992) suggested that gospel music started with the inception of christianity in nigeria. considering the definition of gospel music and other historical facts, the foregoing theory is not plausible. ojo (1998) submitted that nigerian gospel music started in the 1970s. this view could not have been correct because of the historical evidence of the existence of the gospel prior to the 1970s. another view dates the origin of nigerian gospel music to the 1960s. apart from the submission of pioneers, makun (1997) and awelewa (2000) had already supported this view in their works. besides, available records point to the validity of the 1960s as the period of origin; more so, the term gospel music was first used in nigeria by the pioneers in the same period. we could therefore conclude that nigerian gospel music started in the 1960s. the indigenous styles of nigerian gospel music the indigenous styles of nigerian gospel music are those that derive their musical elements mainly from indigenous musical sources. they are as follows: the native style the term native refers to something folksy. the native style of nigerian gospel music is patterned after the indigenous ‘folk’ tradition that employs indigenous language, beat, melodic pattern, folk singing style, or traditional musical instrument. as a result of the predominant use of nigerian languages, the native style of nigerian gospel music has local variants such as hausa, igbo, and yoruba, which make use of their vernacular. the beat of the native style is 6/8, otherwise described as bell rhythm or konkonkolo beat. this beat, like other nigerian rythms, has modes or versions (vidal, 2012). traditional ‘classical’ style the traditional classical style of nigerian gospel music, which originated in the 1990s, is patterned after pure indigenous nigerian classical traditions of court, religion, or social music. these traditions make use of specific instruments, which cannot be separated from music. they also make use of pentatonic scales and modes that cannot be altered. the traditional style of nigerian gospel music among others include hausa and yoruba variants. the two most important forms are the shantu gospel of the hausa, which makes use of the shantu musical instruments, and the ijala gospel of the yoruba, which employs the ijala chanting style accompanied by a bata or dundun drum ensemble. spiritual style the phrase "spiritual style" was created to characterized the nigerian gospel music genre that eschews ornate instrumentation, dancing, and showmanship in favour of a focus on heavenly subjects, holiness, and the denunciation of sin and corruption. the outlook of the performance style is likewise contemplative. of all the nigerian gospel music genres, this one can be regarded as the spiritual song as mentioned in the holy bible. it began in the year 1970. unlike the other two indigenous genres, the spiritual style seems exclusive to the southwest and features the accordion as a solo instrument. as seen in traditional nature blue, the language uses a lot of emotions and storytelling techniques. despite its rhythmic and melodic frameworks, this music is stereotypical and repetitive. foreign styles nigerian gospel music has a foreign style that was inspired by european and american gospel music. in terms of shape, beat, instrumentation, composing approaches, and performing style, they are very similar to their euroamerican parents. even though they are completely alien, they still have certain nigerian characteristics, including the sporadic vocal arrangement. they are listed below: acapella style the term acapalla literally means unaccompanied. the acapalla style of nigerian gospel music, therefore, is the one that is basically not accompanied by a musical instrument but makes use of vocal imitation of musical instruments in order to supply the steady rhythm needed for the melodic flow. the style was adopted by the seventh-day adventist church in nigeria to replace instrumental music in the church (adebayo, 2002). awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 22 instrumental style nigerian gospel music is modelled after american gospel instrumentals and is purely instrumental, meaning it lacks word structure. this makes it the complete opposite of acapella. its usage of well-known christian lyrics and hymn tunes makes it easy to recognize. western musical instruments such as guitars, keyboards, and synthesisers are the most commonly used instruments in gospel music. in certain instances, african instruments are also included. ‘gos-pop’ style gos-pop style is a form of rhythmic gospel accentuated by soul music instrumentation, emphatic drumming, and walking bass guitars (heilbut, 1975). the nigerian version employs elements of wisdom soul, blues waltz, disco, funk, r&b rock ‘n’ and recently hip-hop’, emphasizing their beats and sound ideas and singing cultures. gos-pop is well accepted by nigerian christian youths, especially the educated ones. nigerian gospel music based on popular musical form these are the ones who take inspiration from the several genres of popular music in nigeria for the creation, performance, and vocal intricacies of their rhythms. these consist of juju gospel, gospel-high life, gospel-reggae, fuji, waka, and so on. the phrase "assorted gospel music style" is used here to refer to gospel music that combines multiple styles and has an electric approach. it uses any of the previously mentioned forms as well as other styles like calypso, makossa, senwele, ekiti gospel, afro-beat, and afro-jazz. there are three main established variations of the asymmetrical style. they are hausa, igbo, and yoruba as of right now. compared to other styles, it is also the largest artist. among the well-known artists from the south west practicing this style are evang. akin adebayo of the celestial church of christ, timi osukoya, bola are, toun soetan, c&s ayo ni, etc. methodology the method involves practical research carried out on the background, life and work of evangelist mrs toun soetan. the research work made use of information and documents from the internet, past interviews, works and textbooks that expands on performance. this research is based on field work and library research. it consists of interview, journals, books, netography for its data collections. for the purpose of this study, the researcher is looking into the works of evangelist mrs toun soetan. iye ree, darling jesus, sese ni inu mi dun, my life time, were selected from among her several compositions, on the popularity, general acceptability and usage of those songs. the works are selected from her various compilers. in collection of data, unstructured interview method was engaged by the researcher whereby evangelist mrs racheal olatoun soetan was interviewed. the researcher gather all data collected during the field work for review, analysis and general restructuring, by the band notes related to the works meant to be analyzed for the purpose of research and documentation. the data collected were analyzed through listening. the transcription done by the researcher and other music element made use of. biography of rachael olatoun soetan her education she attended st. theresa convent school, ososami, oke ado, in ibadan for primary school and finished in 1966. she attended all pupils girls grammar school, molete, and later went to igbo elerin grammar school via iwo in osun state for her secondary school examination in 1972. she then proceeded to ado ekiti teachers’ training college in 1977–1979 before gaining admission to the university of ibadan for her degree programme in education in 1983. her passion for music her passion for music has been there from a very tender age but started gaining expression in her secondary school days in the early and mid-70s, when foreign disco music took over our social cycle. she had her share of youthful exorbitance, channeling into disco music when she earned the nickname toun brown due to her imitation of our renowned james brown musical styles. this lifestyle of love for the world continued with her after school and during her career as a civil servant. but her understanding of music changed when she gave her life over to jesus and became born again. her marriage she got married in 1980 while working on her first record. her husband, deacon titus jide soetan, has been her strong backbone, an encourager, a supporter, and a lover of god. the union is blessed with four children who are doing well both spiritually and professionally. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 23 her performance at the inception of the music ministry, evangelist toun soetan ministered in churches, full gospel business men’s fellowship programmes, crusades, revivals, and wedding ceremonies. later, she stopped performing in weddings and other ceremonies because she was made to realize by instruction that she was not called into entertainment or performances but into worship ministry. since then, she has been working in accordance with her call, and various testimonies of the demonstration of god’s power have been in abundance. source of inspiration toun soetan did not serve as an apprehensive musician under anybody before she became a seasoned gospel music minister. since she gave her life to christ, the word of god has been the source of her inspiration, her strength, and her songs. a list of toun soetan’s works toun soetan started singing from the time she joined the oritamefa baptist church choir after giving her life to christ. her calling, gifting, discipline, and focus in the ministry made her succeed. in 1981, toun soetan released her first album, 'new life'. after that album, she has released a series of others that are impactful, among which is 'iye ree'. some of her other works are new life, iye ree, baba wa bamise, darling jesus, jesu olorun mi, mo ti duro le, train up your child, sese ninu mi dun, cast your burdens, etc. analysis of toun soetan song evangelist mrs. toun soetan developed a passion for music at a tender age. she was converted through music and, since then, has become a minister of the gospel through songs. she trained herself with western music, and she loves worship songs. one of the distinctive features of gospel music is the text, i.e., the lyrics (femi adedeji, 2001), and it is expected that the text in christian music would be sacred and devoid of vulgar slang. this is evident in the music of evangelist toun soetan. all the text of her songs is based on the bible. it is important to note that there are other sources from which text for christian music can be obtained. they may be from life experiences and issues such as love, morals, etc. a critical look at the works of the musician discussed in this work shows that her songs are all based on the life of a christian, as most of her words are based on biblical aims and objectives. the themes of her songs can be classified under the following headings: i. song of prayer ii. song of admonition iii. song of evangelism iv. song of love v. song of praise song of prayer prayer is a form of communication where humans connect with the sacred, holy god, gods, the transcendent realm, or supernatural powers. it is a practice present in all religions, whether performed collectively or individually, using diverse forms and methods. while praying through music differs from verbal prayers, both approaches share a common goal of fostering a closer relationship with god. the gospel musician offered her prayer to god through her songs. an example of this is her song titled baba wa ba mise, meaning father, come and help me. song of admonition words or messages that cannot be spoken or passed across verbally are at times put into music and sung to people to correct misbehavior and teach morals. through songs, messages or words of admonition can be passed across to people in various places, such as places of worship, markets, etc. the gospel musician in her song admonished evildoers to stop and turn to god. an example of her song of admonition is “asiko mi lo, e lo sora,” meaning “time is running out; beware.” song of evangelism one of the points of emphasis made by the gospel musician during the interview was the fact that gospel music is meant to evangelize. this fact is also reflected in her song, which has led to the salvation of many listeners. an example of her song of evangelism is “iye ree, meaning this is life.” a song of love another important feature seen in the song of the gospel musician is love. her love for god was expressed in her songs. an example of such a song is darling jesus. song of praise praise is a direct expression of warm approval or admiration for someone, demonstrating respect and gratitude towards god. evangelist toun soetan’s songs also include praise, admiration, gratitude, and commendation towards god, awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 24 who, according to her, has been her strength and source. examples of such songs are oseun o baba, ose o jesu, immortal god, baba e se, all power, all glory, etc. conclusion the life and works of evangelist toun soetan, who is the focus of this research, have shown us that someone’s background and challenges of life cannot limit their achievements in life. the past does not necessarily determine the future. the only thing that can limit one's life and career is one’s personal disposition to life. when you are determined to be accomplished and focused with no distraction, you are bound to excel in all your life endeavours. evangelist toun soetan has proved herself unique by influencing lots of people through music. her works serve as a challenge to other gospel musicians, especially those who study music in tertiary institutions. if someone who did not study music in school could eventually rise to the level of training gospel musicians in music school, then it is a great challenge for a great musical student. references adebayo, b. e. (2002). the acapella music of seventh-day adventist church: ile-ife as a case study [bachelor of arts, obafemi awolowo university, ile ife.]. adebayo, e. o. (2006). the gospel music of toun soetan [national diploma, the polytechnic, ibadan]. adedeji, s. o. (2001). definitive and conceptual issues in nigerian gospel music. nigeria music review, 2, 44-55. ____________ (2004). nigerian gospel music: a study of its styles [phd, university of ibadan]. ____________ (2004). classification of nigerian gospel music styles. nigeria music review, 15, 69-74. adeleke, a. a. (2007). an ethnomusicological appraisal of form and structure of iyere ifa [phd, university of ibadan]. ajirire, t., & alabi, w. (1974). three decade of nigerian music: 1960-1990. limelight showbiz. akinyele, e. o. (2013). life and work of a gospel musician. a case study of lady evangelist racheal olubukola akinade (a.k.a senwele jesu) [national diploma, the polytechnic, ibadan]. awelewa, o. i. (2000). the life and works of prince samuel adetunji adeosun. the foremost nigerian gospel musician [bachelor of arts, obafemi awolowo university, ile ife.]. blacking, j. (1995). music, culture, and experience: selected papers of john blacking. university of chicago press. __________ (1970). music, culture, and experience. yearbook of international folk music council, 2, 5-48. gorlinski, v. (2024, june 5). gospel music. encyclopedia britannica. https://www.britannica.com/topic/gospel-music heilbut, t. (1974). the gospel sound: good news and bad times. simon & schuster. makun, o. a. (1997). music and culture in nigeria. ibadan: spectrum books. ojo, m. o. (1998). the role of music in yoruba culture. university press plc. olatunji, b. (1984). the beat of my drum: an autobiography. temple university press. vidal, a.o.(2012). selected topics on nigerian music. ile ife: imef african music publishers. we reed, ej lawson & t gibbs, “afrocentrism in the 21st century”, the western journal of black studies, 21(3), 1997, pp. 73-79. other internet sources https://gospelcentric.net/article-thesis-for-the-history-of-nigerian-gospel-music-1930-2014-written-by-alex-amosalex_amos/ https://www.musicinafrica.net/magazine/gospel-music-nigeria https://www.earlygospel.com/origins/ https://books.openedition.org/ifra/609 https://www.britannica.com/topic/gospel-music https://www.musicinafrica.net/magazine/gospel-music-nigeria https://books.openedition.org/ifra/609 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 25 apendixes lady evangelist toun soetan one of the albums of evangelist toun soetan selected songs of evangelist toun soetan awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 26 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 27 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 28 32 the nigeria legal system and protection of musical works: an overview onuora-oguno, azubike. centre for human rights, university of pretoria abstract copyright law is aimed at protecting intellectual product of any individual. it is needful that such works must be tangible in its form and not otherwise. in nigeria, several laws exist that are meant to protect works recognised to be capable of enjoying copyrights. the copy right act, cap. 68, laws of the federation of nigeria, 1990 as amended by the copyright amendment decree no. 98 of 1992 and the copyright (amendment) decree 1999, is the primary source for protection of copy righted works in the country. however, for an average nigerian, it is no longer news that the nation has wellarticulated laws, but very weak enforcement of such laws. this, no doubt is causing untold hardship to the citizenry, particularly as it relates to the entertainment industry. this paper examines the copy right act in nigeria as it relates to musical works. it examines musical works that are eligible for copy rights, basis for registration and challenges to the enforcement of the law. it concludes with recommendations on how rights of individuals can be protected. introduction literally copyright seeks to protect the right of an artist in his mental resource.1 however, for a work to enjoy copy right it must have been reduced to a tangible form.2 it ensures that the economic benefit inherent in such works are not illegally tapped into and awka journal of research in music and the arts (arma) vol. 10 2014 33 enjoyed by anyone who has not been part of such mental productivity. in nigeria, copyright in a work means that its author has the exclusive right to control certain rights and benefits in respect of the whole or a substantial part of a work, either in its original form or in any form recognisably derived from the original.3works that are eligible for protection includes, literary works; musical works; artistic works; cinematograph films; sound recordings; and broadcasts.4 in the same vein certain works are not eligible to enjoy copy right protection especially in the following circumstances; sufficient effort has been expended on making the work to give it an original character; the work has been fixed in any definite medium of expression now known or later to be developed, from which it can be perceived, reproduced or otherwise communicated either directly or with the aid of any machine or device.5 protection of copyrights is not only a municipal law concern as it has some international flavours. nigeria by virtue of its international law obligation has signed and ratified several international law treatise that protect the copy right of works both within nigeria and outside of nigeria. among these treaties are: the paris convention for the protection of industrial property (ratified september 1963), the berne convention for the protection of literary and artistic works (ratified september 1963), the rome convention (performers, producers of phonograms and broadcasting organizations) (ratified october 1993), the patent law treaty (ratified april 2005), and the patent cooperation treaty (ratified may 2005). nigeria has also assumed additional responsibilities by virtue of its membership in the world intellectual property organization (may 1993) and the world trade organization (january 1995).6 onuora-oguno, azubike 34 consequently, to be able to enjoy copy right over a work in nigeria, the following criteria must be met, including but not limited to; persons who are either nigerian citizens or domiciled in nigeria; persons whose works are first published in nigeria or where it is a sound recording made in nigeria; persons who are employed to make a work in the course of their employment; persons who are commissioned to make a work.7 the object of intellectual property is to protect a work that has only an abstract existence and therefore cannot be perceived by the senses, unlike a building or a car.8 however, like material goods, intellectual creations may be subject to a proprietary right. the principal object of intellectual property is to ensure consumers a variety of products at the lowest possible price. intellectual property law ensures private property rights enabling individual and business outfits to appropriate to themselves the value of the information they produce and encourage them to produce more. there are two main concepts of intellectual property. these include the moral and economic right of a work. however it is important to note that copyright is the main aspect of an intellectual property that is the right to protect the work of an author in any circumstance from invasion.9 the modern usage of the term intellectual property goes back at least as far as 1888 with the founding in bern of the swiss federal office for intellectual property (the bureau fédéral de la propriétéintellectuelle). when the administrative secretariats established by the paris convention (1883) and the berne convention . the nigeria legal system and protection of musical… http://en.wikipedia.org/wiki/bern http://en.wikipedia.org/wiki/swiss_federal_office_for_intellectual_property http://en.wikipedia.org/wiki/swiss_federal_office_for_intellectual_property http://en.wikipedia.org/wiki/paris_convention_for_the_protection_of_industrial_property http://en.wikipedia.org/wiki/berne_convention_for_the_protection_of_literary_and_artistic_works 35 (1886) merged in 1893, and adopted the term intellectual property in their new combined title.10 musical works in nigeria historically, in nigeria, the institution of praisesinging and historical chant and the role of the praise singer have normative values but the rise of economic flavour to musical works in the country call for greater protection.11the nigeria music industry over the years has grown in leaps and bounds. afro juju, highlife, hip pop, r & b, folk music’s are few examples of various works that grace the nigerian society. human beings everywhere demand the realization of diverse values or capabilities to ensure their individual and collective wellbeing.12 that musical works are a bundle of intellectual activity is not in doubt. the factors that shape the tradition include variations, which spring from the creative impulse of the individual or the group.13 consequently, it is deducible that musical works enjoy copy right protection in nigeria. in addition, it is noteworthy that the quality of a music work does not form a condition precedent to such works enjoying copyright. protecting musical works in nigeriachallenges a musical work is defined as any musical composition irrespective of musical quality and includes work composed for musical accompaniment.14 the copyright act does not necessarily; require onuora-oguno, azubike 36 writing or other graphic presentation, so the above definition would have to be fixed in a definite medium of expression. a song will have two copyrights: one in the music and one in the words of the song, the latter being a literary work. the work must be reduced in writing or otherwise, the copyright, designs and patents act 1988, the uk version of the act gives no guidance as to what a musical work is.15as already stated, a work must be complete before it can enjoy protection. thus, where it is incomplete it may not enjoy copy right. for instance it has been held that a defendant who had completed the writing of the song in his head and put the song into a permanent form when the group made the first ‘demo’ tape of the song in the recording studio owns the copyright even though the songs was not completed yet.16 musical works also enjoy copyright before it could be publicly performed. public performance means that a musician or group who is not the copyright holder is performing a piece of music live, as opposed to the playback of a pre-recorded song. performances are considered "public" if they take place in a public place and the audience is outside of a normal circle of friends and family, including concerts, nightclubs, restaurants etc. public performance also includes broadcast and cable television, radio, and any other transmitted performance of a live song. permission to publicly perform a song must be obtained from the copyright holder or a collective rights organization.17 copyright protection in nigeria is regulated by the nigerian copyright commission (ncc). however, the copyright society of nigeria remains the only government approved copyright management organisation for musical works and sound recordings.18 coson among severally statutory obligations has an obligation to undertake the nigeria legal system and protection of musical… 37 collective management of rights in musical works and sound recordings by issuing licences for public performance of musical works geared towards economic gains. in addition, the commission handles issues of royalties for public use of works and sound recordings by both organisations and individuals.19as already mentioned in the paper, the policy position of nigeria is highly appreciated especially in terms its excellence. however, the implementations remain a grey area and major concern to both the players in the music industry and the country at large. challenges to production of musical works several factors indeed are major challenges affecting the effective implementation of the copyright regime under the nigerian legal system. prime among the factors is non-consultation and lack of awareness by the public. the nigerian copyright act was adopted in 1988 at the height of military rule in nigeria without any debate or discussion. essentially, the copyright act, the primary legislative tool for copyright protection in nigeria today, was adopted without broadbased public discussion on the necessity for copyright protection or the scope of protection that was desirable contrary to paragraph 9 of the adelphi charter on creativity, innovation and intellectual property which states that in making decisions about intellectual property laws, "there should be wide public consultation."20 inadequate cost-benefit analysis is the second factor identified as militating against copyrights law. an effective intellectual property regime must strike an appropriate balance between the monopoly powers of creators and the interest of the consuming public. in developed countries, the adoption of intellectual onuora-oguno, azubike 38 property laws is usually preceded by a detailed analysis of the cost and benefits of protection. indeed, paragraph 2 of the adelphi charter states that "the public interest requires a balance between the public domain and private rights. it also requires a balance between the free competition that is essential for economic vitality and the monopoly rights granted by intellectual property laws. “sadly, laws in nigeria are frequently passed without serious attention to the direct and indirect cost of a proposed legislation. there is need for serious economic assessment of the costs and benefits of copyright protection in nigeria.21 majority of music work producers never benefit economically from their works due to the activities of piracy by the general public who do not appreciate the pace of copy right. importantly, economic benefit between the consuming public and performing musician is still not yet well conceptualised under the nigeria legal system. the third factor is lack of public awareness. there is little public awareness or understanding of the intellectual property laws in the country. existing laws are not readily accessible even to the educated class. the average man on the street is also ignorant of touted benefits of intellectual property protection. the nigerian copyright commission admits that lack of awareness about the laws and administration of copyright constitutes "a major inhibition to the development of a sound copyright system in nigeria." meaningful public education at the grassroots level must form a critical component of intellectual property enforcement in nigeria.22 another factor is corruption and weak custom enforcement. attention must also be paid to the effect of corruption on intellectual property enforcement in nigeria. responsible agencies are rarely, if ever, audited or probed. there is need for accountability on the part of agencies challenged with the task of enforcing the country’s the nigeria legal system and protection of musical… 39 intellectual property laws. for example, nigerian ports are the principal gateways through which pirated imports come into the country and pirated exports leave.23 what has been the record of the nigerian custom services in terms of interdiction? how does bribery and corruption undermine the enforcement capacity of the nigerian custom service or the police?24 an analysis of the performance of these agencies is important though beyond the scope of the paper generally, the slow pace of the judicial mechanism under the nigeria legal system remains a major concern in the quest of the judiciary attaining both independence and efficient statutes.25 consequently, delays occasioned by numerous adjournments of cases on every flimsy excuse kills the quests for justice by musicians whose copy right are infringed upon. premised on the above is the impact of poverty and economic hardship. in most situations the violators are large corporations with strong economic base and subjecting the artiste to economic loss. in most circumstances other major players blacklist sponsorship and production of any out spoken individual bold to challenge the violation of his rights. life span of copy right works in nigeria in countries party to the berne convention, and in many other countries, the duration of copyright provided for by national law is as a general rule the life of the author plus not less than 50 years after his death. the berne convention also establishes periods of protection for works such as anonymous, posthumous and cinematographic works, where it is not possible to base duration on the life of an individual author. there is a trend in a number of countries toward lengthening the duration of copyright. the european union, the united states of . . onuora-oguno, azubike 40 america and several others have extended the term of copyright to 70 years after the death of the author.26 the rules for determining the duration of copyright depends on the nature of the work in question, but as a rule of thumb, copyright lasts for the life of the author plus 70years for literary, dramatic, musical and artistic work, at least 50 years for sound recording, 50years for broadcast. the owner of the copyright in a work may decide to exploit the work by the use of one or more contractual methods. he may however grant a license to allow another person to carry out certain acts in relation to the work, such as making copies. this notwithstanding, he still retains the ownership of the work. he could also transfer the ownership of the work to another by relinquishing the economic right in the work. remedies when a copyright in a work is breached in nigeria, the musician has certain remedies available to restore parity in his economic loss. some of the rights include the autonpillerorder,27 marievain junctionsthis remedy finds expression in the case of mareva compania naviera sa v. international bulk carriers sa,28interim injunctions,29 and accounts of profits.30section 15 (3) of the copyrights act, 1990 provides for claims of damages. other discretionary remedies also exist31 and may avail the copyright owner depending on the circumstance of each case. conclusions it is concluded that under the nigeria legal system, the copyright dispensation finds a firm footing. the challenges are not in the law . the nigeria legal system and protection of musical… 41 rather in implementation. nigeria has ratified several international treatise aimed at protecting copyright of music works in nigeria. it is to be noted that making a new performing edition of an incomplete old work of music out of copyright may itself be worthy of copyright protection even if few or no new notes are added.32to effectively protect creative works generated by the entertainment industry, the government must address the widely held belief that intellectual property protection is a western concept irrelevant in africa. debate about whether and to what extent nigerian artists and musicians deserve copyright protection must be divorced from the broader debate about the merits and demerits of global strengthening of ip rights. the government must also seriously address the numerous factors that undermine effective enforcement of laws in the country including corruption, lack of coordination among the responsible agencies, lack of accountability, and lack of resources. however, for enforcement to make sense and be effective, the underlying law must be appropriate, balanced, understood by the general public, and a product of broad-based debate and participation.33 conclusively, musical works despite its quality but meeting the standards already enumerated by the nigerian copy right act has an inherent copy right protection. in addition, performing rights are the rights to perform music in nigeria. where this performance belongs to a different individual other the performer royalties are payable to such artiste in whom the copyright resides. nigeria's largest copyright owner, the musical copyright society nigeria (mcsn) is determined to partner with producers and distributors at the popular alaba international market to get rid of the notorious 'haven of counterfeiting and pirates' tag it had endured over the years. onuora-oguno, azubike 42 hopefully, by educating and licensing producers and distributors with genuine interest in the protection of copyright.34 recommendations nigeria can be a better a place only and only if the authorities concerned could take responsibility as to effectively enforce the already existing laws. when this is done, the country will be a safe haven for people who have been endowed with high intellect to display their wisdom in moving the country forward. a synergy between music producers and the nigeria bar association should be encouraged. it remains disappointing that intellectual property remains a grey area in the study of law in nigeria at all levels. it would therefore be a welcomed development if specific continuing legal education is put in place for legal practitioners, students and stakeholders in music and entertainment industry. the role of the enforcement agencies must also be reviewed to ensure greater efficiency. cooperation between the nigerian customs and the nigeria police must find a high thrust to ensure the restoration of dignity and integrity for better performance. finally, the nigeria populace must embrace the realities of the importance of protecting the economic interest of copyrighted music works by ensuring they do not encourage piracy and also reporting suspected activities to the relevant authorities. references bainbridge, d.i (2007). intellectual property (sixth edition) pearson education limited. marett, paul (1996).intellectual property law, london: sweet & maxwell. the nigeria legal system and protection of musical… 43 okafor, r.c(2005).music in nigerian society, enugu, new generation publishers ltd. cornish,w and llewelyn, d (2007).intellectual property: patents, copyright, trademarks and allied rights (sixth edition) london: sweet & maxwell osinbajo,y and fogam, k(1991) nigerian media law, lagos: gravitas publishers. cases anton piller kg v. manufacturing processes ltd (1976) 1 ch. 55 donoghue v. allied newspaper (1938) ch. 106 at 109, elanco v. mandops (1980) rpc 213. hadley v. kemp (1999) emlr 589. kotoye v. cbn (1989) 1 nwlr pt 98 pg. 419 marevacompanianaviera sa v. international bulk carriers sa (1980) 1 all er 213 potton ltd v. yorkclose ltd (1990) fsr 11 internet articles and sources olowu b, nigeria protecting and enforcing trademarks and copyrights. available athttp://www.ehow.com/facts_5171393_musicperformance-copyright-laws.html (accessed september 21, 2013). http://www.nigerianlawguru.com/articles/intellectual%20property%20 law/protecting%20and%20enforcing%20trademarks% 20and%20copy%20rights.pdf, (accessed 20 september 2013). justus a. sokefun, an overview of the protection of intellectual property in nigeria: the nigeria journal of private and onuora-oguno, azubike http://www.ehow.com/facts_5171393_music-performance-copyright-laws.html http://www.ehow.com/facts_5171393_music-performance-copyright-laws.html http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf 44 commercial law, vol.2 (2001) olabisionabanjo university, agoiwoye. onuora-oguno, n. c &onuora-ogunoazubike, (2013) uncensor the minstrel, uncage human rights: a case for the emancipation of a music genre in igboland.centrepoint journal of humanities, university of ilorin press. olusola a, intellectual property protection in nigeria: the position of the law on copyright infringement and protection, available at http://www.ngex.com/reports/intellectual_property%20.pdf (accessed 20 september 2013). http://hss.fullerton.edu/linguistics/cln/sp10pdf/ogagamuspoetry.pdf. (accessed 20 september 2013). http://www.nigerianlawguru.com/articles/intellectual%20property%20 law/protecting%20and%20enforcing%20trademarks% 20and%20copy%20rights.pdf. http://www.nigerianlawguru.com/articles/intellectual%20property% 20law/protecting%20and%20enforcing%20trademark s%20and%20copy%20rights.pdf. http://www.tribune.com.ng/index.php/tribune-law/9363-enforcingcopyrights-law-in-nigeria. statutes section 1 copy right act, cap 69 as amended. the copyright, designs and patent act 1988. the nigeria legal system and protection of musical… http://www.ngex.com/reports/intellectual_property%20.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.nigerianlawguru.com/articles/intellectual%20property%20law/protecting%20and%20enforcing%20trademarks%20and%20copy%20rights.pdf http://www.tribune.com.ng/index.php/tribune-law/9363-enforcing-copyrights-law-in-nigeria http://www.tribune.com.ng/index.php/tribune-law/9363-enforcing-copyrights-law-in-nigeria 174 aesthetic philosophies of yoruba folk musical idioms abel adeleke department of music technology, the polytechnic, ibadan. abstract this paper defines the philosophical factors for evaluating the folk musical idioms among the yorùbá of western nigeria. different linguistic groups across the globe have peculiar interpretations for spectacles of musical sound. the paper examines how musical performances are interpreted and sentiments are reduced in music across the yorùbá homeland. the paper uses oral interview and participant observation to investigate what music is and what is considered good in the context of aesthetic functions. it explores the performance ambience, to illustrate its aesthetic philosophies. the paper observes that the aesthetic values include logogenic, pathogenic, culture indication, and so forth. key words: logogenic, pathogenic, aesthetic philosophy, aural and visual perception. introduction studies have shown that the kind of music people listen to or perform impinge on emotional expression, entertainment, communication, symbolic representation and physical response. other considerations include validation of social norms and institution, as well as the stability of cultural values. these assertions define the aesthetic philosophy in yorùbá music typologies. aesthetics is a science that qualifies beauty, based on social values and ideals. it includes some sets of principles and social discourse that have credence to lend towards a good taste for art work, literature and nature. it encompasses deep emotional and intellectual enjoyment and artistic expression of life’s beauty. intellectuals talk about the thought process involving the aesthetic attitude of the mind towards creative arts. the paleolithic artistes make efforts to confine art in its magical conception through visual perception. philosophers approach conception of arts through their word borne thoughts. musicians and composers impress beauty in the minds of the audience in audio-symbolic waves. music conjures its essence in the social discourse of the people. poetry and music arouse the sense of beauty, harmony and proportion. moreover, music serves as a connecting link between artistic phenomenon and philosophy. an admirer of beauty considers his objects of judgment to be universally satisfactory, when it transgresses group limitations and imagination, especially in the evaluation of beauty. lugira (1973) describes the general concept of aesthetics as art’s representation of beauty. in other words, the association of beauty and arts is a subject of aesthetics. it is an attempt to explain what music means, the nature and ground of excellence and greatness in music, the functions of music in the system of reality (grove, 1974). in african music and dance, art materials are used symbolically. they have extra musical meaning. materials such as horse tails, mirror, horns, sticks, beads, guns, broken pots, baskets, cutlass and swords are props, symbolizing belief and cultural identity. however, apart from being symbolically connoted, they awka journal of research in music and the arts (ajrma) vol. 9 2013 175 have aesthetical values. the beauty of african music is the interrelationship between speech and formation of melody, song texts and historical documentation, interrelationship of music and dance, as well as conventions of musical practices (nketia, 1974). in this paper, aesthetics is perceived as an attempt to describe an aural perception of yorùbá musical idioms, based on some factors that are enshrined in emotion–borne expressions of the people. however, aesthetics is subjective in performing arts: interpretations are derived from philosophical factors of musical sound. the philosophies are examined against the background of categories of community musicians. the combination of oral musical performance and accompanying instruments attracts dance as immediate positive reaction. singing, drumming and dancing are unified in theatrical spectacles. it involves organized collaboration between the groups of artistes and participation audience in random music procedure. the duo of singing and instrumentation enshrines yorùbá visual arts, history, indigenous technology, social stratification, polity, social responsibilities, among many others. grove (1974: 110) identifies three relative reasons for lack of literature for unified factors for music performance evaluation: first, he observes that the technical complexities of the production and notation of music often times intimidate the lay writers. second, writers find it easier to describe the relationship between works of art and the realities they represent in other arts than in music. third, human studies seem to favour intellectualism than emotional art of music, which appears to be a mere ornament of human culture; whose more vital structures could be more articulated by literary and pictorial means. sociocultural approaches to communication theory address the ways our understandings, meanings norms, roles and rules are worked out interactively in communication. such theories explore various interactions, in the world in which people live. posting such reality is however not an objective set of arrangements outside us, but constructed through a process of interaction in groups, communities and cultures. pragmatist theory upholds the fact that people’s aesthetic judgment is based partly on certain traditional norms, the physical senses and the people’s emotional habits. individual tastes often reside in the unconscious, for fear of unwholesome criticism or sarcasm. in this paper, our overt judgment is based mostly on the sense impressions and the traditional values of art as gathered in the collective or individual schema. categories and functions of yorùbá music three categories of oral genres are described in this paper. these include ìpè or ìkì (chants), ewì/àyájó (secular or mystical poem), orin (songs). each of the categories has casual artistes, obligatory artistes and professional artistes that perform the music, with or without instrumental accompaniments. the genres also have secular as well as sacred typologies. secular ones are performed in the open air, without any religious ceremonies or rituals; whereas, sacred ones are performed at designated coppice, often guarded with norms and religious practices. the overall performance is assessed based on the dexterity of the artistes in terms of the techniques of vocalization, depths of textual content, levels of audience motivation, appropriateness of the performance occasions and adherence to cultural norms and practices (adeleke, 2011: 87). however, in whichever context, the functions are to entertain, reconcile, motivate, substantiate, recall history, as the occasion may suggest. in other related functional contexts, the genres are performed as accompaniments to rituals, festivals, ceremonies, communal labour, occupational carnivals and the rites of passage. in what follows, each of the categories is described in more details. 176 category 1: ìpè/ìkì/èsà (chants) different chants are used in yorùbá enclaves to preserve historical events and recite the praise poetry of people, sacred objects, ancestors, gods, thrones and so forth.there are set praise and mystical poems for certain names, towns, thrones, animals, trees vocations and groves. chanters are very conversant with such poems and they appropriately integrate them into chant repertories. the performance is often organized between a lead chanter, back-up singers, and ensemble of drums and percussions. another partner in the procedure is the members of the audience. they participate as dancers or work in partnership with the refrain singers. table 1 below captures various chant typologies across yorùbá enclaves. this is followed by musical example 1, a typical yorùbá chant. table 1: chant typologies across yorùbá homeland s/n names divinations performance occasions community 1. ìjálá ògún ògún festival whole of yorùbá enclave 2. iwì or ệsa egúngún egúngún festival whole of yorùbá enclave 3. ìrèmộjé ògún burial of a hunter whole of yorùbá enclave 4. ẹkún’yàwó ceremony marriage ceremony whole of yorùbá enclave 5. ệfḝ gḝlḝdẹ bộlộjộ festival ệgbádò 6. rárà èṣù ceremonies whole of yorùbá enclave 7. sàngó pípè sàngó sàngó festival whole of yorùbá enclave 8. èṣù pípè èṣù olóde whole of yorùbá enclave 9. ògèdè rituals any occasion whole of yorùbá enclave 10. ègè orò orò festival ệgbáland 11. alámộ alámộ ceremonies èkìtì/àkókó 12. àdàmộ ceremonies ceremonies ifḝ-ìjḝṣá 13. agbè ọba ceremonies royal ceremonies àwórì 14. ègè orò orò festival ệgbáland 15. olúigbó ceremonies social ceremonies ìjerò èkìtì 16. àdan àsìkò ceremonies ceremonies òndò 17. ìké ceremonies ceremonies ệgbádò 177 18. ìsàré ceremonies ceremonies ile-ife source: adélékè, 2011; page 89 musical example 1: a typical yorùbá chant and refrains refrain 1 refrain 2 source: adélékè 2011; pages 90-91 category 2: orin (songs) songs are classified as orin òwe (proverbial songs) to teach moral lessons or tranquil a hamfisted discourse; orin ìkíni (greetings), orin ìmorírì (appreciation songs), orin àló (folktale songs); orin ìdárò (dirge); orin ònkà fún omodé (cradle songs); orin ayeye (song for celebrations); orin ìsèlú (songs for political motivation); orin isé (occupational tunes) for selfmotivation to ease the stress of labour; and so forth. investigation reveals that there are songs associated with different groups of people in the society, like men’s group, women’s society and children’s groups. songs are separated according to sex and age and they are exclusively restricted by custom to be performed by the required groups (adélékè, 2011: 91-92). as the case is with the chants, there are casual or occasional performers of the genres. some others perform the music for their guild ceremonies and there are professional groups who perform the genre for commercial purposes. the function is similar in all the cases. 178 the celebrations of traditional marriages, childbirth, house warming and funeral remain the most plausible occasions where yorùbá songs can be experienced. singers attend such feasts in small groups with drums and other relevant instrumental ensembles. itinerant musicians, sometimes, perform mainly for recreational purposes at the blacksmith workshop, during moonlight relaxation, wrestling contest, games and singers’ personal relaxations. songs are rendered while members of a community decide to create paths, work on the community rivers, expand the market place, and other related events. at such instances, the singers are engaged to sustain the people’s strength at work and strengthen the spirit of communism. yorùbá song texts are generally philosophical and humorous, except in few cases like funeral occasions and rituals. they serve as historical commentaries or culture indicators. some are used as birds of passage. others are set to different kinds of vocal melodies to satisfy the interest of the singers and those who listen to them. such songs texts are used to regulate social order and as storehouse of information. texts of yorùbá songs have intrinsic beauty: they teach language, history, morality, religion and so forth. they provide veritable platforms for scholars of african languages to appropriate figures of speech. table 2 below presents some of the song types among the yorùbá. this is followed by musical examples 2 & 3, typical yorùbá songs that can illustrate the discourse so far. table 2: examples of song typologies s/n song type description 1. orin àjộdún yorùbá festival songs for a community of people who live in the same geographical catchments 2. orin ààlộ folktale songs for children and adults usually performed during moonlight recreational activities to teach young people morality 3. orin ìbeìi songs that are sung for the twins, either by the mother who may be seeking for monetary rewards for proper upbringing of the children. it is usually accompanied with sḝḝlí 4. orin òkú songs for the dead in form of dirge are quite common among the yorùbá. the relatives and the generality of people in that neighborhood perform such music in honour of the deceased. 5. orin eré ọmọdé children games songs are also common among peer groups. some are to aid memory, while others are satiric. 6. orin ệfḝ satirical songs 7. orin iṣḝ these are work songs to reduce stress and fatigue while working. different work groups have their peculiar ones. there are some that have less group restrictions as well. 8. orin ònkà these are examples of songs that are used to count something, most 179 especially eré ayò 9. orin òṣèlú songs that ate used to mobilize political associations and to promote slogans and manifestos among rival political organizations. 10. orin ìrẹjú songs that are meant to send people to sleep or to relax their muscles from tensions. they are common among the ruling class. 11. orin ìgbafḝ these are examples of songs for recreational purpose. praise singing of different types will fit into this category. 12. orin ìfḝ love songs are very common during traditional marriage ceremonies in yorùbá communities, most especially by the bridal maids, in order to prepare the bride for her experience with her husband. 13. orin ìpolówó ọjá these are songs meant to call the attention of the passer-by to the article sold by an individual. it can come in different forms and textures. source: adélékè, 2008; pages 212-213 musical examples 2&3: some typical yorùbá songs source: adélékè, 2008; page 245 source: adélékè, 2008: page 244 category 3: ewì/àròfò (intoned poetry) in olátúnjí (1984) we learn about some features shared by yorùbá poetic types. these include: 180 word-play, i.e. the juxtaposition of lexical items which are somehow similar in shape, to produce an effect of verbal dexterity. the commonest form is a pair of lexical items which differ only by their tones. he observes that tonal word-play does occur on lexical items which exist in the language, though such words must be phonologically plausible in the yoruba language. the second area is non-casual language, i.e. lexical and grammatical texts which do not usually occur in casual social discourse (p. 37). olátúnjí (1984) went further to explain that those words have restricted tonal modifications and unusual lexical formations, which do not occur in ordinary conversational pros; either because they are archaic or because they are restricted to poetry or geographic areas in their occurrence. the third area is figurative languages, such as allusion, personification, metaphor, simile, hyperbole, irony and euphemism. allusions are made to myths, legends, historical events and the practices of the yoruba. in personification, non-human things are endowed with human feelings and attributes. there are exaggerated descriptions, i.e. attribution to people or things of values and qualities far beyond the state of things. the performance of these genres requires a lead recitalist, back-up instrumentalists, refrain singers and audience. the occasions for the performance are similar to other genres described above. table 3 presents different types of yorùbá poems recited at different occasions with or without musical instrument to accompany them. table 3: examples of yorùbá poetic genres s/no poem types concise description 1 oríkì a typical yorùbá has praise name (e.g. ojó, àìná) that can be recited in the context of oral composition 2 ese’fá this is called ifá scripture or ifá corpus. it contains ojú odù and omo odù and all other textual foundations related to the worship of ifá 3 ofò these are mystical texts often used to conjure magical powers for good or bad influence in the society. 4 òwe yorùbá proverbs are regarded as ‘horses’ that convey philosophical meaning. if there is a mix-up in the meaning of a yorùbá concept, proverb is used to search it out. 5 àló àpamò these are folk tales and riddles that require the listeners to proffer answers as required by the presenter. 6 àló àpagbè another folk tale types that are narrative in structure. in most cases, it contains some call and response songtypes that can be performed by both the narrator and the listeners. 181 7 àyájó some kind of ritual blessing often presented in the context of incantation. 8 ògèdè yorùbá word for incantation 9 ewì these are yorùbá poems that can be recited a cappella or with some form of musical instrument accompaniment. it has several categories. 10 ìwúre mystical blessings in form of prayer for an individual or a community of people from a traditional priest to the people. it can be recited a cappella or accompanied with metal jingles or rattles. source: adélékè, 2008; page 214 creative techniques people’s traditions evolved from older generation to the younger ones. the intellectual appreciation of arts along with the intuitive empathy is based on the instinctual drive of extroversion, which depends always on history and tradition.there is a belief that songs are taught by people’s ancestors, through dreams and ìsòyè (charms that can aid memory). the textual and melodic contents of such songs are owned by the community. the way an artiste of yorùbá oral genres is inspired to spontaneously create new music or represent an existing folk music in performance occasions reflect on his training procedure, the competence of his own master, appropriate socio-cultural occasion, the audience and the extra musical functions the musicians intend to achieve during and after the performance. the creative inspirations that enable them to sustain their performances for as long as people want to listen are attributed to material incentives, wine and religion (adélékè, 1997; 18). the artistes perform to the optimal whenever there are material incentives. they show excitement and get inspired to create new tunes and texts. they use self-introduction, to register their personality; instrumental interlude, to allow artistes to refresh their memory; extemporization, to create episodic movements; and descriptive stories, to build repertoires. other creative techniques include personification, to attribute human feelings to non-human objects; allusions to myths and legends; homage to thrones, dead heroes, masters, elders; ìwúre, to bless the community; incantation to ward-off evil spirits; dialogue among the lead vocalists and the accompanying vocalists in a call-and-response style; and slang that is in vogue to create fun. training of artistes this begins from infancy and continues to adulthood through participant observation in games, social and religious ceremonies, social functions, festivals and so forth. children imbibe and internalize the musical sounds of the culture in which they grow, through active involvement. unless the learning began early enough, the trainee might not be proficient in performance. the teaching and learning process has subtle feature of formality, irrespective of the fact that training procedure is family based and more of father-son relationship, and not of classroom formalities (adeleke, 2011; 83-103). the training procedure can stimulate the development of imagination, emotions as well as deep passion for the art. this is essentially a learned behaviour that is deeply 182 rooted in oral tradition. singing and drumming are group activities and the audience is never passive. categories of music makers in yorùbá traditional music, musicians are identified with the types of music they play. words like asunrárà (rárà chanter), akéwì (poet), and alubàtá (bata drummer) etc. describe the specific types of music an individual is involved with. specialization is therefore held to its highest esteem in yoruba traditional music. it is not a common practice for a dùndún drummer to be a bàtá drummer at the same time. they are broadly categorized into professional and nonprofessional, occasional, obligatory performers and minstrels. 1) professionalism is restricted to some set of people who are born into a family which has a long history of specialist musicians.they have elaborate training procedures as prescribed by the culture. they are regarded as community musicians and function in that regard at ceremonial occasions. examples of this include akígbe oba (court bards), alusèkèrè, àyàn aludùndún, bàtá or kósó etc. 2) non-professional performers are music makers that are not necessarily born into àyàn family. their involvement with music is spontaneous and in frequent. they play music to fulfill one obligation or the other. they are not systematically trained as the professional ones. the society does not regard them as musicians. nketia (1978) refers to them as intermittent performers. 3) there are occasional performers. prominent in this class are the egbé-mode (association of hunters) with their ìjálá/ìrèmòjé music. they are hunters by profession yet they have occasions such as ìsípà-ode, odún-ògún etc., to make music. anytime there is an occasion for them to come together as a group, they need not invite any musician. they entertain themselves with ìjálá or ìrèmòjé as the occasion may suggest. 4) there are also obligatory performances, which are not perceived as musical events. it is rather a divinatory process between a diviner and alaniyan (client). for instance, babaláwo (ifá priest) chants ìyèrè ifá; adósù-sàngó (sàngó priest) chants to praise or invoke the spirit of sàngó etc. in the society, people do not regard them as musicians despite the music they make during oracular consultations. however, nobody can deny the fact that they make music. their music making can be considered as obligatory to both the people and the divinities they stand to represent. 5) there are also the minstrels. they perform on the streets and other informal social gatherings, to praise people and solicit for monetary incentives. people regard them as alágbe (scroungers), those who need help for survival. majority in this category have one disability or the other that hinder them from embarking on other vocations than street begging; as such, they take to begging in order to keep alive. it should however be noted that neither begging nor singing is considered their profession, but they are involved with both. aesthetic philosophy and evaluation the instrumentality of shrewdness in performing arts can be divided into four considerations. these include social traditions and goal consciousness, subjective attitude and perception, forms of the elements and efficiency of communicating the implied message. social values are formed through historical process, as a part of mental process of reasoning and judgment. a clearly defined forum where people gather to assess musical performances is quite uncommon in yoruba 183 society. however, an average yoruba man is equipped with the perceptual depiction of a prototype performance of their traditional musical genres. people can distinguish between rárà and ewì vocal genres, as well as dùndún and bata instrumental genres. the following expressions are in constant consideration as factors to express complimentary values placed on such recitals. logogenic factor it is instructive to observe that musical performance must communicate in one way or the other to the audience. the non-verbal communication is very vital to the performance assessmentof the audiophiles. musical sound is not perceived as sheer osteopathy of sound patterns. musical sound has no meaning unless it says something. a good performer is assessed by what he says and how he says it in the context of his presentation. logogenic factor is illustrated with the following expressions, which are invariably used to describe the quality of performance in yoruba traditional music: 1. òkú ewúré nsòrò bi ènìyàn (the skin of a dead goat is talking like human beings). this is a common expression in dùndún music. 2. bàtá ngbin kìn (bata is grunting). this, in a sense, reflects the dexterity and the proficiency of the master drummer on bàtá music. 3. bàtá nró kanlá-kanlá (bàtá is sounding strong). this may be reflecting on the rhythm of the internal patterns of the omele bàtá 4. bèmbé nkù bi òjò (bèmbé is thundering like cloud burst). this describes the blending of all the component parts of the ensemble as a yorùbá war drum. 5. agogo nrókangó-kangó. this is the sound produced on agogo (gong or bell). it describes the sound produced either in ritual context or by the town crier to get the attention of the common people for the message to be disseminated. 6. ko orin bi àwòko (singing like àwòko, a type of bird). the word is used to describe singers that are very prolific and versatile in gliding tones and tonal counterpoints. 7. ó npe èdè bíi ológbùró (singing like ológbùró, another type of bird). the expression is used to describe singers that are metaphysical and axiomatic in their song texts. pathogenic factor (emotion-borne) apart from the communicative factors discussed above, philosophical assessment is also placed on how expressive the music is (i.e. emotion-touch). this is common with ritual music and dirges. the sound produced in ritual music is intended to touch the emotion of the people. such words as the following are used in ritual music of the yorùbá people. the style of singing or chanting in traditional vocal music could be emotive, expressive, innovative etc. the vocal quality is expected to be very powerful. 1. ohùn arò (sentimental vocal quality). this type of vocal quality is preferred in such songs as ìrèmòjé, rárà, sango pípè, ȩkún-yàwó etc. 2. orònbúramú-ramù (the bull roarer is roaring momentously). the expression is used to describe the sound produced by orò cult. the deeper the sound the more emotional the listeners feel threatened. perhaps that accounts for the reason why the sound is used to impose a curfew. 3. ohùn iyò (sweetening vocal quality like salt). the expression is used to describe the vocal quality of a very good singer/chanter. 184 4. ohùn gooro or agogo (gong voice). the expression is used to describe a singer/chanter with a very powerful and penetrating vocal quality and it is desirable at festival occasions. 5. ohùnikònkò or ohùn agbè (frog or gourd voice). the expression describes a croaked vocal quality. the voice quality is often preferred at ritual occasions for ìwúre (ritual blessing) and èsà egúngún (chant for the masquerade). media factor on very few occasions the materials used to prepare the musical instruments are also assessed. the wood, the skin and the straps with all the jingles, ornaments and inscriptions made on musical instruments also attract some aesthetic evaluation, linking their qualities in craftsmanship with the sounds of music produced on them by the performers. the instruments used and the appropriateness of musical rendition are identified with the spirit and mood of the traditional festivities or cultural activities. the following expressions and proverbs are in consonant use with the above observation. 1. láìkúekìrì, enikéni ko le fi awo re se gbèdu (unless ekìrì dies, no one can use its skin to make gbèdu, a type of drum). this is pointing to the fact that some specific skins are preferred to the others, especially at some socio-religious occasions. 2. onírúúrú igi lo n be nígbó kátó fi igi òmò gbé gbèdu (there are all kinds of trees in the forest before omo tree is used to make gbèdu). some specific drum shells are preferred to the others in the preparation of musical instruments. in most cases the wood carvers prefer trees by the roadside as drum shell. the belief here is that the tree is conversant with human voices. the tanners prefer goat skin for the talking drums because of its closeness to human speech mechanism. rhythmic sensitivity rhythm generally refers to the actual choice and distribution of notes within a measure. it is largely controlled by metre. metre is the organization of musical time into recurring accents. each complete pattern constitutes a measure, and measures are divided by bar lines in music. a particular pattern is indicated by a metre signature. in yorùbá music, rhythm can be percussive, sequential or melodic. it is expected that rhythmic movement must suggest appropriate reactions to the listeners – to dance, cry, fight, run away, etc. a rhythmic sequence is the repetition of a motive or pattern on successively higher or lower pitch levels. rhythmic sequence is more prominent in the recitation of yorùbá poems. in yorùbá chants, rhythms are free and asymmetrical, i.e. phrase lengths are not necessarily equal. melodic rhythms in yorùbá folk songs contain percussive motion (strong pulsations and accentuations) and sequential patterns that may appear repetitive, but effectively instigate body movement in form of dance and other related actions. yorùbá songs and accompaniments create lots of polyrhythmic textures – two or more independent time lines in a piece of music to produce additional element of contrast or variety. in some of the sampled music, there was agogo timeline, sèkèrè timeline and other timelines using hocket techniques, i.e. complimentary patterns of ìsaájú and àtèlé in dùndún music. a good singer must be able to synchronize the rhythmic features of songs with the accompanying 185 instrumentation. the excerpts below illustrate the above better and it shows the attitude of the people to rhythmic sensitivity. bo ba se pemi niwo ni, if i were to be you nba fapa jo, fapa jo i would use my arms to dance bo ba se pemi niwo ni, if i were to be you nba fese jo, fese jo i would use my legs to dance bo ba se pemi niwo ni, if i were to be you, nba fi gbogbo ara jo i would use the whole of my body to dance apart from the excerpt above, sometimes people refer to dancers as eni ti o ni etí ìlù (someone who understands the drum language). in some other contexts, if an artiste is very good in dancing, yorùbá people refer to him or her as kòkòrò (insect). sometimes they contextualize his art with an expression like wò ó bí ó ti n ran bí òkòtó (look at how he/she is spinning like òkòtó). good memory yorùbá musicians are generally regarded as oral historians. they recite and sing historical legends, chronologies and genealogies. in the song cited above, the singer recalled the period when there was industrial insurgency and its associated blessing – láyé olúgbón, a ké ìborùn méje – there are so many such facts of history that musicians recite to invigorate the minds of the people. in addition to the aforementioned, the musicians use music to commemorate important occasions. creativity the creative acumen of the artistes must be very high, as they sporadically create songs in performance context. they also improvise freely over known songs and texts. the greatest test of their resourcefulness is the random creation of music in performance context. however, the artistes believe in ìsòyè (charms that can aide memory). they believe in using singing birds such as àwòko, ológbùró, eye ìbákà and odíderé as totem for their performing groups. the philosophy behind this is connected to some metaphysical practices in african belief system that no singing bird is superior to the other. religious chanters believe in ifá rírán (repeated citation of ese ifá to their teachers) as part of their creative impetus. such instances gave birth to the saying koro-korolàáránfá adití. they draw inspiration from incantations, local wine and religious sentimentalities. conclusion the cultural activities of the yorùbá people are permeated with one musical activity or the other. as discussed in this paper, it is important to stress that the aesthetic philosophy of yorùbá traditional musical performances depend on a number of factors: the music must say something; it must touch the emotion of the people; appropriate music must be played at the appropriate occasions; musicians should be rhythmically sensitive, possess good memory, creative and must have enviable vocal quality. these factors are expressed in various philosophical traditions, especially in day-to-day music and social intercourse. music is assessed by what it communicates and how the message is psycho-interconnected with the attendant emotional effects. 186 the value judgment placed on the musical performance is attributed to yorùbá aesthetical philosophies, as described in the foregoing. in addition, people talk about the physical outlook of the medium, that is, the voice or instrument used in producing the sound of music by identifying its appropriateness and effects with the spirit of the occasion. all these are enshrined in the dayto-day social discourse on yoruba traditional music. in conclusion, we can say that musical performance among the yorùbá of western nigeria is not an absolute phenomenon. it possesses connotative meanings, which are enshrined in the depths of yorùbá social philosophy and religious intercourse. references adeleke, a. a. (1997). comparative study of the creative techniques of rárà and ìrèmòjé musicians. unpublished m. a. thesis, obáfémi awólówò university, ile-ife, nigeria. adélékè, a. a. (1998). factors for aesthetic evaluation in yoruba traditional music, nigeria. polycom, journal of the faculty of business and communication studies, 5 (2), 84-94. adélékè, a. a. (2008). an ethnomusicological appraisal of the form and structure of ìyèrè ifá. unpublished phd thesis, ias, university of ìbàdàn, nigeria. adélékè, a. a. (2011). creativity and techniques in the structure and performance of yorùbá poetic songs. journal of the yorùbá studies association of nigeria, 6 (5), university of ibadan. grove, g. (1980). a dictionary of music and musicians. new york: lugira, a. (1973). black aesthetics: a paper from a colloquium, held at the university of nairobi, kenya. nketia, j. h. k. (1974). the music of africa. london: victor golanex. olátúnjí, o. o. (1984). features of yorùbá oral poetry. ìbàdàn: university press. omíbíyí, m. a. (1975). the training of yoruba traditional musicians in yoruba oral tradition. in wándé abímbólá, university of ife, department of african studies awka journal of research in music and the arts (ajrma) vol. 16, september 2023 ekwemma instrumental ensemble in eha-alumona culture of enugu state: an expository study rev. fr. emmanuel nnazimako asogwa email: zimisuma@yahoo.com rev. fr. prof. emmanuel c. umezinwa email: emma882000@yahoo.com abstract african xylophones have been studied and constructed using the 12-tone western scale. there seems to be a dearth of information on specific types of xylophone in igbo land. eha-alumona is a town in nsukka in the north east part of igbo land and her traditional religion is strictly predicated around a special type of xylophone called ‘ekwe mma’ (literally translated as ‘the wooden gong of the deities’). in the light of the present wave of cultural renaissance in nsukka cultural metropolis and the danger of extraneous influences and ‘contamination’, this research attempts an appreciation of this instrument and its accompanying music through an expository study. it attempts to evaluate the implications of this sacred instrument and its sacred meaning for the devotees. using observation, interviews and descriptive designs, this research elects to expose this music ensemble and by so doing, hopes to furnish more knowledge on the repertoire of knowledge already provided by researches on african xylophones and their symbolisms, and indigenous music of igbo extraction. it also hopes to highlight how this particular instrument and its link with the religious and social life of a people can inform a contemporary world on the communicative uses of music. introduction in the recent past, there seems to be an ‘explosion’ in cultural awareness and renaissance of traditional religious music and practices especially among the youths in the whole of nsukka senatorial zone. this current trend has its own backsides not only in the wearing down of the boundaries helming some of these sacred music but also in the ‘crosspollination’ of these original sacred music with more contemporary music in such a way that the original music seems to gradually fade out given the fact that some of the original custodians of these music are gradually dying out. one of these is the ekwemma ensemble in eha-alumona town of nsukka local government area of enugu state. there is a need to recapture the original genius in a fast growing society with attendant modernism and often unsavoury bastardization of original heritages in the name of cultural renaissance. this study comes readily to feel this gap through an expository study and to further dig into the possibility of experimenting with traditional motifs as derivable from this instrument ‘ekwe mma’ in today’s composition and especially in traditional accompaniment styles. brief look at xylophones and african xylophones from historical perspective the xylophone (from the greek meaning 'wooden sound', ‘xylem’ for ‘wood’ and ‘phone’ for ‘sound’) is a musical instrument in the percussion family which probably originated in indonesia (cf. new world encylcopaedia; june 2019). it consists of wooden bars of various lengths that are struck by plastic, wooden, or rubber mallets. each bar is tuned https://www.newworldencyclopedia.org/entry/greek_language https://www.newworldencyclopedia.org/entry/musical_instrument https://www.newworldencyclopedia.org/entry/percussion_instrument https://www.newworldencyclopedia.org/entry/indonesia awka journal of research in music and the arts (ajrma) vol. 16, september 2023 to a specific pitch of the musical scale. xylophone can refer to western style concert xylophones or to one of the many wooden mallet percussion instruments found around the world. xylophones are tuned to different scale systems depending on their origin, including pentatonic, heptatonic, diatonic, or chromatic. the arrangement of the bars is generally from low (longer bars) to high (shorter bars). for wiggins & joseph (1992), the earliest known model was from the ninth century in southeast asia. however, there was a model of a hanging wood instrument dated to ca. 2000 b.c.e. in china. it is likely that the xylophone reached europe during the crusades and the earliest historical reference in europe is in sixteenth century germany in organist arnold schlick's spiegel der orgelmacher und organisten. according to the new world encyclopaedia, june 2019; the xylophone, which had been known in europe since the middle ages, was by the nineteenth century associated largely with the folk music of eastern europe, notably poland and eastern germany. by 1830, the xylophone had been popularized to some extent by a russian virtuoso named michael josef gusikov, who through extensive tours had made the instrument known. his instrument was the five-row “continental style” xylophone made of 28 crude wooden bars, arranged in semi-tones in the form of a trapezoid, and resting on straw supports. it was sometimes called the “strohfiedel” or “straw fiddle.” there were no resonators and it was played with spoon shaped sticks. according to musicologist, curt sachs, gusikov performed in garden concerts, variety shows, and as a novelty at symphony concerts. certainly in the 1830s a xylophone solo was a novelty. noted musicians, including felix mendelssohn, frederic chopin, and franz liszt spoke very highly of gusikov’s performances. perhaps due to his great influence, xylophonists continued to be featured in theater shows and concert halls until well into the twentieth century. the xylophone is a precursor to the vibraphone, which was developed in the 1920s. the modern western-style xylophone has bars made of rosewood or more commonly, kelon, an extremely durable fiberglass that allows a louder sound at the expense of tone quality. western-style xylophones are characterized by a bright, sharp tone and high register. modern xylophones include resonating tubes below the bars. however, though formal literature attributes the historical origin of xylophones to southeastern asia, with models later developed in western and eastern asia, we aver that, as we shall see with regard to ‘ekwe mma’ nsukka, some forms of xylophones were already part of some african instrumental ensemble even before any contact with western literature. there was the ‘mbila’ of ‘chopi’ people in modern day southern mozambique, the ‘makonde dimbila’ of east africa, the ‘balofon’ (gabone folk xylophone), the ‘gyil’ of ghana (used in dagara funerals), burkina faso, mali, ivory coast and a host of other types of xylophones spread across africa. (cf. jones, 1971). in nigeria, for instance, different forms of african xylophones exist and are given different names. https://www.newworldencyclopedia.org/entry/poland https://www.newworldencyclopedia.org/entry/germany https://www.newworldencyclopedia.org/entry/felix_mendelssohn https://www.newworldencyclopedia.org/entry/franz_liszt awka journal of research in music and the arts (ajrma) vol. 16, september 2023 these include ngedegwu in igbo part of nigeria, the ‘ikot-eto’ seen among the ibibios, the ‘agiloh’ in ogoja, the ‘kundum’ in birom, and the ‘molomaikafo’ in hausa. in line with the above thoughts, echezona (1963) claims that ‘’the igbos are generally regarded as the originators of the marimba… but having originated it, they lost touch with its further developments elsewhere’’ (p.81). for lo-bamijoko (1987), echezona’s claims are based on a series of historical evidences which confirm the black presence, and thereby a black influence in asia beyond what there ever was of asian civilization in africa. if this is so, then a. m. jones’ “brilliant” attempt to place the origin of the xylophone in southeast asia must be in very bad faith, and represents further demonstration on the part of the westerner to deprive africa of anything that is of value. (p. 24) xylophones are special in african instrumental ensemble with special reference to the igbo people of nigeria. among the igbos of nigeria, they are designated with different names like ‘ngedegwu’, ‘ngelenge’, ‘ikwe-mbo’ and ‘ekwe mma’ or ‘ngede njiko’. they belong to what many african scholars have categorized as idiophones, that is, that category of african musical instruments that produce sound by means of striking (cf. sachs-hornbostel system of classification of african instruments). they constitute a special part of wooden drums. in igbo cosmology, they constitute a special african instrument not just because of their entertainment value, and their ability to combine a rhythmic function with a melodic function (cf. lo-bamijoko, 1987) but more importantly because of their symbolic importance and their ability to send messages and interact with the people’s cultural consciousness. in all, we reiterate that african xylophones are almost as old as the different persuasions of african culture. most of these african xylophones are formed by a collection of special kinds of wood which are tuned to desired pitches by chiseling the wood, and then arranging systematically and packaging in a box (box xylophone) or bucket (bucket xylophone) or designed with the aid of wooden and leather frames. these xylophones perform different roles according to cultural perspectives. an appreciation of ekwemma instrumental ensemble given the fact that this is also a musical study, let us examine some known theoretical features that would undergird this musical exposition of ekwemma music. melodic patterns: first is the recognized theory in african music that the nature of inflections of speech is the ultimate origin of the concept of melody. the igbo cultural community or igbo society constitutes what linguists call a speech community. onwuegbuna (2019) identifies four types of melodies prevalent in african music, namely: tuneful melody (patterned after known tunes), motivic melody (arranged in short melodic phrases), sinous melody (snake-like in nature, often accommodating microtones and lyrical melody (that is, the type of melody driven by language). among these, lyrical melody holds a pride of place as far as indigenous african music is concerned for these melodies were in onwuegbuna’s words ‘logogenic’ in nature, contrived and patterned after human speech. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 hence, ‘even when an ostinato melody (vocal or instrumental) is used, the tonal inflections of the language speech are mostly considered.’ (p.25). in ‘ekwemma’ music, melodic contours are aligned along speech patterns and it is often possible to decipher what the lead xylophonist is saying with xylophone. another prominent feature of ‘ekwemma’ music which highlights this lyrical nature of african music is what is referred to as ‘iwo egara’ which involves the employment of dramatic vocal effects, involving a snake-like melodic movement driven by language and accompanied with rich vocal ornamentation to achieve effect. this rendition is often woven around familiar modes especially the aeolian mode. this is often performed by a vocal soloist while the rest intersperse his renditions with brief lyrical affirmations like ‘mhhn’ or ‘ehhn’. this is often used to evoke an emotional feeling about a particular situation, to trace the ancestry of a prominent person or to express eulogies to a prominent person. here, words are used to paint images with the aid of idioms, dicta, aphorisms and proverbs. the more common types of scales encountered in african culture areas and very prominent in the ekwemma music are the pentatonic scale (of five pitches), hexatonic (six pitches), heptatonic (seven pitches), tetratonic (four pitches). other african melodic techniques include repetition and variation, fragmentary melodies, cyclic motives, short duration, unilineal relay melodic structure where a complete melodic theme is shared by more than two voices, the unilineal interlocking melodic structure in which two or more parts weave in and out of a melodic track to yield the primary theme, shifting tonality etc. these are all evident in the ekwemma music. however, african melodies are not merely vocal. we have also instrumental melodies and vocal-instrumental melodies. ekwemma is primarily an instrumental ensemble. nevertheless, the articulation of these instrumental melodies is often designed as voice surrogates. harmonic patterns and techniques: african music, in terms of harmony, can generally be said to be heterophonic, polyphonic and also contrapuntal. this is very evident in the ekwemma music. the simultaneous combination of linear melodies, that are languagedriven, results in intervals that are parallel. thus in african harmony, we can have parallel thirds, fourths, fifths or thirds running consecutively for some times. scholars opine that some of these intervallic distances in terms of harmony are premised on symbolic meanings attached to the numbers of the intervals since some numbers are highly symbolic in african cosmology and numerology. these numbers include 2nd, 3rd, 4th and 5th and their inversions. in other words, african harmonies are founded on cultural expression. thus, an articulation of harmony may take these intervallic distances into consideration and these intervals are acceptable to the extent that they symbolize our cultural expression of life (cf. onwuegbunam, personal communication, september 18, 2019). this serves to re-enforce the functional dimension of african music and the deliberate arraignment of music to capture the realities of life. it also highlights the use of symbolism in african music. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 in line with this, samuel akpabot (1998) writes; legends, myths and symbols are integral parts of the belief system of african societies. stringed instruments like harps, lutes, drums, thumb pianos and xylophones have their peculiar tuning procedures and orchestral instrumentation determined many times by legends, myths and symbols associated with individual instruments. ritual music is full of examples of the roles that legends and myths play in song and dance. (p. 12) in line with this functionality of african music, and citing a number of authors, onyeji, in 2016, avers that ‘writers on indigenous music of nigeria and indeed africa have variously and in concert noted its place as a functional art—integral with life and rhythms of life’ (p. 9). this means that african music, in this sense, is not an autonomous mental creation but is inextricably linked with the dynamism of practical existence and must reflect it. for r. c. okafor (2005), in the african culture, music is an entity rather than a mere mental creation or conception. it reflects and interprets the man in a specific environment and is often the key, which opens the gate to spiritual, mental, emotional, psychological, social and mystical realms. (p. 88) indeed, african music harmony is laced with the ideological and cultural foundation of mutuality and collaboration representative of african philosophy of life. a variety of african harmonic techniques include parallelism, imitation, overlapping, unison, polarity, ostinato, pedal point, hocket technique, additional parts etc. there is also the use of vocables which as adeogun (personal communication, september 11, 2019) discusses in his lectures, has also a vital link with practical existence and is most often enriched with meaningfulness. for adeogun, vocables reflect any of these four: a. complement b. acceptability especially if the words employed have other meanings c. communal support d. re-enforcement. finally, according to dan c. agu, african music can come in any of these five main musical structural or presentational forms: a. solos b. call and response c. call and refrain d. solo and chorused refrain and e. mixed structural forms (agu, 1999:15). the ekwemma musical ensemble mirrors all of these harmonic techniques and patterns as we shall see subsequently. rhythmic patterns: african music is highly polyrhythmic involving a complex combination of different rhythms being played at the same time. thus, we have cross rhythm, polyrhythm, heterophony and polyphony as different nuances of african rhythm. here, the instruments mimic the voice, probably because vocal music began before instrumental accompaniments. instrumental cadences are rhythmically conceived. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 according to blacking (1995), there are three major rhythmic modes found in every metric organization in african music: the trochaic (long-short), spondaic (long-long) and iambic (short-short). to analyze the rhythmic properties of a given african composition, we must consider the significant rhythmic features such as the meter, duplet, or triplet occurrences, prevailing note values and syncopations. in all, as onwuegbuna (2015) rightly puts it, “african music is characterized by polyphonic (and often contrapuntal) texture, complex rhythms, syncopations, and percussive treatment of both voice and other non-percussion instruments, amongst others” (p. 24). it is created to serve an end, which is life, and it is completely inseparable with life. the ekwemma musical ensemble provides a great measure of evidence for these stands especially in the systematic combination of the xylophone slabs that make up the ensemble. in all, in creating or structuring african indigenous music, onyeji (2016) identifies at least five philosophical principles that generally undergird the making and practice of music in africa, namely: a. as a humanistic commitment in africa (meant to integrate all into a common humanity) b. as education, enlightenment and moral force in africa (designed for social, moral and cultural education and training) c. as agent of social and political order d. as human/communal source of therapy and spirituality and finally e. as entertainment. (cf. pp. 20-26). these philosophic mindset coupled with the desire to draw the melodies, harmony form and texture, rhythmic movements and thematic developments from already existing musical culturally ideological paradigms, generally motivate african indigenous compositions. leading composers in this light include joshua uzoigwe, ephraim amu, chris onyeji, akin euba, meki nzewi, samuel akpabot, okechukwu ndubuisi, dan agu etc. empirical reviews: a number of scholarly researches have been made by many ethno-musicologists into the indigenous music of so many parts of african cultures especially here in nigeria. these surpass the expected confines of this article. permit us therefore to just cite some few examples. in 1989, wayne slawson had done a study in ewe drum music in which he studied the features, musical operations and compositions based on this indigenous music. again, onyeji, christian in 2002 also did a study of abigbo choral dance music and investigated its application in the composition of abigbo for modern symphony orchestra. joshua uzoigwe has also done a study of ‘egwu amala’ and ‘atilogwu’ music. agbo, benedict in 2016 has also done a research study in the ikorodo of nsukka evolving accompaniment styles and other cultural expressions in this music that can provide paradigms for african art composition with nsukka texture. in all, there have been numerous attempts by scholars to research into the indigenous music of different locations in africa and nigeria in particular with a view to evolving paradigms for art composition that preserve the original genius of african music and making compositions based on the paradigms so evolved. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 musical exposition of ekwemma instrumental ensemble in eha-alumona culture as already said earlier, ‘ekwemma’ is a special type of xylophone strictly prominent in the traditional religious circles of many parts of nsukka cultural zones, of which eha-alumona is one. it comprises of groups of special wooden slaps that are placed on bare laps in order to produce very bright and sonorous sounds. these xylophones are specially kept in the sacred shrines and are dedicated to different deities according to the different cultural zones. they are only performed within the particular season delineated for it, which could be a period of six months in about three—five years. ritual and socio-cultural significance in eha-alumona town of nsukka l. g. a., this xylophone called ‘ekwe mma’ is only performed during ‘omabe seasons’ which take place between january to september biannually. within these seven months, the masquerade activities including this ritual music, only take place on all the ‘eke’ and ‘nkwo’ market days except just about three weeks before the end of the season, during the ‘ula mma’ (literally, ‘departing of the deities’) when the masquerades and this ritual music can take place daily. these periods are said to be when ‘mma no n’al’ (that is when the ritual masquerades are on ground), and therefore, the ‘ekwe mma’ can be heard (but not beheld by non-initiates) within this season. at the expiration of the season delineated for it, the ‘ekwe mma’ are neatly stacked in a sacred bag and put aside until the next season of the masquerade. originally, on ‘onuokachi’ festival (the very last day of the bi-annual omabe festival), no one was expected to come out except ritual male initiates. on that day, the deities were expected to come out in public parade throughout the length and breadth of eha-alumona. only trained ritual initiates who have the musical art were expected to go into the shrines on that day and beat the ‘ekwemma’ music to signal that the deities are on public display and to sound a public warning. the music usually came in two forms: solo performances of the ekwemma and then with accompaniments. the ‘ekwemma’ instrument had the pride of place in the entire instrumental ensemble because of its highly prided ritual significance and its melo-rhythmic capacities. it is believed to have the capacity to summon the deities and the ancestors. it was also used to express their eulogies and extol their adventures. this is in addition to its function of sending signals and warnings to the rest of the community. it was helmed in a lot of secrecy and though even noninitiates could relish its beautiful melodies and bright tonal qualities from the enclosures of their homes, they could not see it. only highly placed initiatives who have attained some pedestal in the traditional religion and who have killed in wars, could step on it. to do the contrary would be to risk immediate death. the exclusive use of these instruments for the deities celebrated in a particular culture is the reason it is called ‘ekwe mma’ (meaning, the wooden gong for the deity). this exclusivity in terms of use, together with the sacrosanctity associated with their use, awka journal of research in music and the arts (ajrma) vol. 16, september 2023 punctuate also other cultures within nsukka senatorial zone of today’s enugu state where they are celebrated. asides the masquerade ritual ceremonies, this sacred music can also be featured in the burial of prominent traditional rulers who are initiates in the masquerade cult. such burials would involve the appearance of these cultic masquerades, like the burial of ‘attamah mma’ (chief priest of a particular deity), ‘attamah omabe’ (chief priest of the ritual masquerade), ‘onyishi’ (the eldest in a clan or village) and ‘eze’ (the traditional ruler of the community). this ritual music is accompanied by dancing meant for the initiates, and as said earlier, only those who have killed in war among them may step on the instrument as a way of ending a particular section of music or risk loosing one’s life. women are not even allowed the priviledge of beholding the instrumental ensemble let alone the masquerades that they parade. regulations about who may enjoy the privilege of the performance of ‘ekwe mma’ may also differ in other sub-cultures within nsukka zone. technology: the making of the xylophone slabs involves a complex ritual process. the slabs are made from special wood (or ‘xylem’) called ‘ugbamoja oke mmeyi’ (the trees are preserved in special sacred forests with a lot of exclusivity and secrecy) or ‘okpeyi’. this involves a process of wood conversion in which the standing timbre is felled and the rough wood sawn and shaped into slabs and allowed to dry by ‘open air’ method of wood seasoning. in some cases, a natural form of ‘kiln’ method of wood seasoning is employed, in which the wood slabs are roasted around an open fire by the locally trained technologist. the converted timbre is now tuned to desired pitches according to established principles and or according to specific melodies in mind on the part of the local musician and technologist. this pitch differentiation is achieved by shaping the slabs into different sizes. the slabs are then smoothened with the aid of scraper and sandpaper. to get the precise pitches, the technologist would use the technique of either chiseling the edges or burrowing into the flat part or board of the slabs. the former achieves a sharpening effect while the latter achieves a flattening effect. when these processes are carried out, the xylophone slabs are now packed in a bag and dropped into a flowing river dedicated to a deity and allowed to stay there for one year. this process is called ‘otue’. apart from the ritual purposes of dedicating this instrument to the water deity and allowing it to commune with water spirits, this process also serves to solidify the wood and smoothen it more. after one year, the slabs are brought out from the river and a sacrifice is made with a big ram (in the ancient times, this sacrifice was with a human being) and the instrument is emblematized with a spirit of potency, since the ram is often associated with agility in nsukka culture. the blood of the ram (ebule) is used to carefully smear and thoroughly rub the panes of the xylophone slabs. this process is called ‘mmenyi ji’. then a ritual feast is carried out to celebrate the birth of a new ‘ekwe mma’ in which case, the initiates eat yam with a soup prepared with the ram meat. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 musical features and their cultural significance and symbolisms first, the sitting arrangement and technique of playing the ‘ekwemma’ is unique. the slabs that make up the ‘ekwemma’ ensemble are shared among the players who while sitting on bare ground spread the slabs across their legs with the space in between their legs acting as the resonator. the three (or four) players of ‘ekwe mma’ or ‘ngedegwu njiko’ must sit on the ground, with each player sitting in between the legs of another directly before the loins and wearing nothing else (or at most, in the light of recent developments, a small covering for their loins). a special kind of sacred leaf called ‘owa’ or ‘igowa’ is put in all of their mouths. this leaf is called ‘icharaku’ in some other parts of nsukka land and has a higher religious and ritual significance than ‘omu’ (tender part of palm frond). it is also associated with a lot of powers. the players widen their legs to a moderate position, but wide enough to accommodate the player sitting in front, and the xylophone slabs are placed across the naked laps of the players. the placement on naked body is a sign that the instrumentalists are fully in communion with their instruments, that is they are now one with their slabs. it also helps to project the sound. the space in-between the legs and the naked floor act as resonating chambers to the sound produced by the xylophone slabs. the sitting arrangement of players of ‘ekwemma’ ensemble and the fact that they are three or four signifies a number of things. first and foremost, it is an instrument of communion symbolizing the communion between the living and the dead, the adherents of the religion and their dead ancestors. it also extols the communion that should exist among the initiates of the religion. no wonder then, it is also called ‘ngede njiko’ (the xylophone of unity). as against, the western counterpart where one person can play a xylophone, this special instrument is played by a group of players, mainly three, and in some rare cases four. three is a sign of communion and unity, while four represents the four market days. the sitting arrangement of the players is so arranged to depict some form of ancestry, genealogy and collaboration. in an arrangement of three, the first person is the lead instrumentalist and has four slabs that are referred to as ‘eno’ (literally, ‘four’). he plays the role of the ‘master instrument’ (mi), behind him is another player with two slabs called the ‘ebo ihu’ (literally, two in front), who plays the role of a response to the master instrument and occasionally serves as the ‘action motivation’ (am). in an arrangement of four, there would be ‘ebo etiti’ or ‘ebo azu’ player (literally, ’middle two’ or ‘last two’ respectively, who is collaborating with ‘ebo ihu’. at the back, is the last person also with two heavier slabs, called ‘mgbe’ or simply ‘ebo’ (two). he provides both the time line and the bass texture to the entire ensemble. other percussions instruments would be aligned horizontally behind these trio (or quartet in an arrangement of four) to provide other musical roles. it is important to note that a special musical relationship exists between these groups of xylophone slabs. for example, in an arrangement of three, a particular pitch-slab must criss-cross the three instrumentalists to underscore the unity which these instruments awka journal of research in music and the arts (ajrma) vol. 16, september 2023 represent. this pitch would serve as the base of ‘eno’, the lead of ‘ebo ihu’ and the base of ‘mgbe’ at a lower octave. for instance, if we have ‘eno’ comprising a tetra-tonic scale of c#, e, f# and g#, then ‘ebo ihu’ would be a bi-tonic scale of a# and c#, then ‘mgbe’ would be a bi-tonic scale of c# and e at a lower octave. in these three, therefore, c# is constant to maintain that unity. the ‘mgbe’ on a lower octave being a bi-tonic scale is a shorter form of and embedded in the ‘eno’, wheareas the ‘ebo ihu’ is a derivative from either of the two with an additional third below the constant (c#). this musical arrangement of the slabs, apart from symbolizing unity, is also premised on a cultural belief of nsukka about genealogy and re-incarnation. it is believed that a man inheres and re-incarnates, not necessarily in his son, but in his grandson. this is why there is a replication of the ‘eno’ in the ‘mgbe’ though in a shorter level, while the ‘eno’ derives from the ‘ebo ihu’ as a much as a son, derives from his father. this aligns with akpabot’s view about the family model of music making in african societies. for him, family concept in african societies is very strong and this is reflected in the way they conceptualize their music. we have examples of musical instruments named after a family or carved in human likeness. family concept in instrumentation, for example, is linked to the african’s view of the relative importance of males and females in society. (1998, p. 12) in an arrangement of four xylophonists (which is often very rare in eha-alumona culture), this triadic arrangement must be present, while the additional ‘ebo etiti’ could be a further extension of the ‘eno’ (or ‘mgbe’) with either a note or two in so far attempt is made to maintain the modal feature. it could be, for instance ‘f#’ and ‘a’, and this bitone would thus be a modal fourth above the ‘eno’ as much as the ‘ebo ihu’ is a modal third below the ‘eno’. it is important to note that this modal feature specially characterized by intervals of 3rd is characteristic of ekwemma music. other instruments in the instrumental ensemble and their roles these include the ‘okpokolo’ (wood block) which gives the phrasing reference (pr), the ‘udu’ (musical pot) which in most cases includes the big pot referred to as ‘oke’ (male) and the smaller pot referred to as ‘onyenye’ (female). this is in line with ibekwe’s postulation of african traditional system of classification based on sex. this is what she calls the ‘male and female classification concept’. (lecture notes on mus. 820 ‘organology’ june-july 2021). in some other parts of eha-alumona like ‘oke al’ village, only the big musical pot suffices. these musical pots act as the pulse maker. there is also the maracas called ‘ichaka’ which combines with the okpokolo to give the phrasing reference. the drums, ‘igba’, serve to enhance the action motivation in collaboration with xylophone slabs especially the eno which are the principal action motivator. the flute, ‘oja’, occasionally plays leading melodic roles, and at other times, serves as accompaniment. however, the flute is not an indispensable part of the instrumental ensemble as some villages in eha-alumona do not have the flute as part of their own ensemble. there is also the ‘egara’ voice. this is a awka journal of research in music and the arts (ajrma) vol. 16, september 2023 form of nsukka local chanting that moves strictly in modes and involves a lot of sliding effects and recitatives often used to express the eulogies of past ancestors and heroic individuals in the community. the egara voice often intersperses the performance with solo renditions and in some other cases give vocal expression to what is often played. it can also act as the ‘call’ voice for the male chorus. there are also other voices that act as chorus for some of the known traditional anthems. these voices provide occasional refrains to pieces played by the instrumental ensemble. arrangement of some ekwemma ensemble pieces and their musical analysis mgbo rigirigirigi mgbo: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 general structure: conscious attempt is made here to capture the creative and performance idioms of ‘ekwe mma’ music of eha-alumona. the vocal part of this arrangement and the harmony are awka journal of research in music and the arts (ajrma) vol. 16, september 2023 derived from the creative study and application of musical elements from the instrumental resources in a way that captures the spirit of this indigenous music. other musical features tonality and mode: we have an arrangement of four xylophonists in this arrangement. the special musical features of this xylophone arrangement have already been explained above. surmise it to say that, as it concerns the xylophone arrangement we have here, we have ‘eno’ comprising a tetra-tonic scale of c#, e, f# and g#. then we have ‘ebo ihu’ which is a bi-tonic scale of c# and a# and a modal 3rd below the ‘eno’. we have an ‘ebo etiti’ which is a further extension of the ‘eno’ comprising a bi-tonic scale of ‘f#’ and ‘a’, and therefore a modal fourth above the ‘eno’. finally, we have the ‘mgbe’ comprising a bi-tonic scale of e and c# at a lower octave. in the three, therefore (that is, eno, ebo ihu and mgbe), c# is constant to maintain unity. the ‘mgbe’ on a lower octave, being a bi-tonic scale, is a shorter form of and embedded in the ‘eno’, whereas the ‘ebo ihu’ is a derivative from either of the two with an additional third below the constant (c#). the ebo etiti is a modal fourth above the eno. other features: mode: aeolian mode. tonality: poly-tonality but pre-dominantly c# minor. scale: bi-tonic scales and tetra-tonic scales were used in the instruments. hexatonic scales were used for the voices. time signature: 4 4 (cut time). meter: compound duple time, . tempo: moderato instruments: xylophone, udu, okpokolo, ichaka, igba & ikolo/ekwe other harmonic techniques: include:the use of parallelism, call and response, overlapping, repetition techniques with variations, use of hocket technique and unilineal interlocking structure awka journal of research in music and the arts (ajrma) vol. 16, september 2023 akat’evur’ogwe (instruments and voice) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 general structure: this section includes both instrumental and vocal aspects. the vocal aspect both in melody and harmony is composed in aeolian mode using a pentatonic scale involving c#, e, f#, g#, and b. other music features: mode: aeolian mode. tonality: c# minor. time signature: 8 8 . meter: compound quadruple tempo: allegretto. dynamics: forzando, animato, agitato, bravura texture: polyphonic, homophonic and highly polyrhythmic accompaniment instruments: piano, xylophone, udu, okpokolo, ichaka, igba & ikolo/ekwe other harmonic techniques: call and refrain, repetition technique, use of polarity…. ekwe mma dance (only instruments and can only be danced by initiates. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 general structure: this piece involves two sections. the first section is boisterous and mainly instrumental involving occasional vocal interpolations and ululations. it is also made to be danced to and is strictly tetratonic involving only c#, e, f# and g both in the vocal and awka journal of research in music and the arts (ajrma) vol. 16, september 2023 instrumental dimensions. the second section is solemn and strictly instrumental involving also a pentatonic scale with these notes: c#, e, f#, g# and a# 4.3.2 other musical features mode: aeolian mode. tonality: c# minor. scale: pentatonic and tetra-tonic scales.time signature: 16 16, and 4 8 .meter: compound quadruple .tempo: allegro, moderato. vocal range: e2 –g4. dynamics: agitato, bravura, solenne. texture: polyphonic and highly polyrhythmic accompaniment instruments: xylophone, udu, okpokolo, ichaka, igba & ikolo/ekwe other harmonic techniques:repetition techniques, use of polarity conclusion as onyeji (2016) opines, ‘proper understanding of structural and formal theoretical merits of indigenous african music, vocal or instrumental, is considered a key to composing original music, which will be african in general content and specific to the creative tradition.’ (p. 33). the attempt made in this research is only a small venture in the direction of at least exposing an indigenous music. in this light therefore, it is recommended that further attempts be invested in studying further this special type of music called ‘ekwemma.’ it is hoped that this would enable the researchers evolve the different paradigms that motivate african indigenous music. there is need for a measurable framework not just for the creation of indigenous art music but also for the assessment and evaluation of such in terms of authenticity to ‘africanness.’ these researchers also share the concern of most ethno-musicologists about the insufficiency of western style of notation to capture the african spirit, the energy field and body feel of african music especially given the imprecise sound and vision of african musical arts. in this light therefore, we aver that what we have posited above on rigid scientifically precise graph paper or squares as notation score should only be understood as mere abstractions of the original african genius which is continuously a vital force, contingent and spontaneous. as regards the ‘ekwe mma’ music of nsukka, further studies are recommended into the different nuances of this cultic music. it is expected that a conceptual framework that can explain both the construction and establishment of sonic differences among the different slabs that make up the xylophone, be evolved. again, attempts should be made to burrow into other cultures in nsukka zone that celebrate their cultural deities in order to discover common grounds and differences. finally, an exhaustive treatment of african xylophones especially as it concerns acceptable and representative rhythmic patterns is also highly recommended. in conclusion, though, this academic endeavour does not claim an exhaustive treatment of pertinent issues in the peculiarities of this instrumental ensemble and its indigenous music nor even does it offer a sufficient information on this instrument and the manner awka journal of research in music and the arts (ajrma) vol. 16, september 2023 of instrumentation, yet it has contributed to the repository of knowledge on african xylophone, with special reference to the ‘ekwe mma’ or ‘ngede njiko’ of eha-alumona. this for us is a movement in the right direction. as onyeji (2016) observes, ‘it is pertinent to note that within the prevailing music scene in nigeria, there is undue dominance of choral music. there is a dearth of instrumental music of symphonic scope.’ (p. 41). it has also served to justify akpabot’s position that “legends, myths and symbols in african music are expressed through musical instruments, music sound and number symbolism, all working under the umbrella of ritual beliefs.” (1998, p. 87). it finally reenforces okafor’s view that “igbo traditional music is still vibrant and a dynamic art form since its sustenance is deeply rooted in igbo life, religion and cultural affinity” (2017, p. 328). references adedeji, f. (2017). nigerian indigenous musical terminologies: a multilingual lexicon. ile ife: association of nigerian musicologists. agu, d.c. (1999). form and analysis of african music. enugu: new generation books. agu, d. c. (2000). music in the nigerian cultures: types and practices. in g. c. unachukwu & okaofr (eds). challenges of national growth and development in nigeria. 79102. akpabot, s. (1998). form, function and style in african music. ibadan: macmillan nigeria publishers ltd. apel, w. (1969). harvard dictionary of music, 2nd ed. retrieved from books.google.com.ng/ on 17th sept. 2019. blacking, j. (1995). some notes on a theory of african rhythm advanced by erich von hornbostel. african music, 1 (2), 12-20. echezona, w. w. c. 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(1987). classification of igbo musical instruments, nigeria. african music, 6 (4). 19-41. international library of african music, retrieved 15th sept. 2021 from https//www.jstor.org/stable/30249789. jones, a.m. (1971). africa and indonesia: the evidence of the xylophone and other musical and cultural factors. leiden: e.j. brill. new world encyclopaedia contributors (june, 2019). xylophone. new world encyclopedia, retrieved on 15th september, 2021 from //www.newworldencyclopedia.org/p/index. php? title=xylophone&odid=1021004. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 nnamani, s.n. (2014). the role of folk music in traditional african society: the igbo experience. journal of modern education review, 4 (4), 304-310. okafor, r. c. (2017). a study of igbo folk songs. enugu: academic publishing company. onwuegbuna, e. i. (sept. 28, 2019). types of melodies. unpublished lecture notes on mus. 442. african music: historiography, theoretical issues and contemporary developments. music department of university of nigeria, nsukka. onyeji, c. u. (2016). composing art music based on african indigenous musical paradigms. an inaugral lecture of the university of nigeria nsukka,(102nd), publ. by university of nigeria senate ceremonials committee. uzoigwe, j. (1994). compositional techniques in traditional african music and their application to contemporary art music. nsukka journal of the humanities. (7) 157-171 wiggins, trevor and joseph kbom (1992). xylophone music from ghana. crown point: white cliffs media co. 65 the role of music in family and child development dr. esimone, chinyere celestina department of music, nnamdi azikiwe university, nigeria email: admireesomchi@yahoo.com abstract anthropological studies have shown that cultural histories are replete with abundant evidence on the indispensable role of music in the life of man. from the effective use of lullaby in the raising of children to the adaptation of music for educational purposes, music exists in many forms in the home. music indeed begins in the home. studies relating to music and family well being have shown that the bonds created in music-making and music-loving families, tend to be stronger than those found in non-music-making and non-music loving families. this study is an assessment of the specific role of music in the well being of families and child development and the strategies through which these roles could be enhanced. introduction music is defined by blacking (1973) as a ‘humanly organised sound’ (p.57). elliot (1995) defined it as a ‘diverse human practice of constructing aural temporal patterns for primary values of enjoyment, self growth and self knowledge’ (p.128). walker (1998) believed it is ‘a living analogue of human knowing, feeling, sensibility, emotions, intellectual modus operandi and all other life-giving forces which affect human behaviour and knowing’ (p.57). and agu (2006) described it as ‘an aesthetic art of combining or putting together sounds that are pleasant to the ear. it is a universal language of the soul; meaning it is a language understood by all and sundry; babies, children, adults irrespective of tribe, colour or race. it is a language awka journal of research in music and the arts (arma) vol. 10 2014 mailto:admireesomchi@yahoo.com 66 that appeals to all and it is as important as life. it is a gift from god through which we strive to express our joy for the things that are real to us, and our longings for the things that might be. hence esimone (2005) asserts: many things tend to influence life and reveal clear changes in character, and music is so effective and very prominent at such. it goes beyond organised sounds that please the ear to penetrating the innermost being of man, to cause a conspicuous change in the attitudes of man (p.1) music actually starts or begins from the home. a home is made up of a family. a family according to the oxford advanced learner’s dictionary (2000) is ‘a group consisting of one or two parents, their children and close relations’ (p.420). in order words, a family is a social group in the society that consists of one or two parents usually a man and a wife with their children and often times, with close relatives or distant friends, living together under the same roof and doing every thing together. these, make up a family which in actually fact is a home. a home is an environment offering happiness and security to its inhabitants. it is a place where something is discovered, founded, developed or promoted whether good or bad. it is the source of human character and development. ekpo (2008) defined it thus: the home is the child’s world. it either mars the child’s life or leads to success. it provides him with the necessary equipment to fit him for his proper place in the society and if guided properly, for its future career, the child is sure to be successful, but if the home fails in its duty, then the future of the child is damaged (p.28). a good environment of joy and happiness is what creates a pleasant atmosphere in the home, and it is what makes a family different from a house. a musical family is a family where joy and happiness booms the role of music in family and child development 67 and where the atmosphere brings and bonds the members together. music is as important as life and a family that makes and enjoys music are found to be a happy family, which in turn leads to the all round development of the child in the family. to this ekpo (2008) asserts: there is no doubt that children are inclined to be more interested in music and possess more positive attitudes towards an appreciation for music when they are brought up in homes in which there is regular singing, in which various types and qualities of music are heard, performed, discussed and enjoyed, and most importantly, in which they are guided and encouraged to respond or participate (p.28). ekpo (2008) further said, ‘the musical understanding, skills, attitudes and appreciation’s possessed by parents or concerned adults have pronounced influence upon the musical interest and growth of the child’ (p.28). music is a necessity to life; hence it empowers and instils all the necessary qualities an individual needs to explore the world around him. when one is unhappy, frustrated, discouraged and downcast, music has always been the easy and best tonic suitable to bring comfort and joy back to the saddened heart hence it is therapeutic. when a child is crying out for food and the food is yet to be ready, a musical mother or parent or even sibling could only start singing and dancing for the child, obviously, the crying will give way for joy and dancing along by the child. music goes beyond the ability of a toy in the life of a child. of course, when a child or children are happy, the family is happy, hence music no doubt leads to all round development of the family and the children. music is an integral part of all activities. it is a basic life skill as it is with walking or talking. it has so much to do with man’s emotions, moods, feelings, attitudes and opinions of life hence it is a powerful incentive to the intellectual, emotional, social and spiritual development of family and children. looking at the intellectual aspect of children development, it is important to state categorically here dr. esimone, chinyere celestina 68 that music helps to solve problems that ordinary words and promises could not solve. intellectually, music is a way of learning, and a means through which children’s memory could be developed. music is an all important tool that is very relevant in the intellectual development of children. this is so because children love music and are inclined to musical nuances. music expands memory and assists in developing crucial language skills. it exerts a multiplier effect on reasoning skills, especially on spatial reasoning-an effect that has been demonstrated experimentally. music also reinforces such logical and perceptual ideas as beginning and ending, cause and effect, sequence and balance, harmony and dissonance, as well as arithmetic concepts such as number, enumeration and timing (start the music: a report from the early childhood music summit. www.menc.org/resources/view/start-the-music-a-reportform-the-early-childhood). more so, the effect of music on the brain and thinking are demonstrable and research has shown that during an electro – encephalogram (eeg), music can change brain waves and make the brain more receptive to hearing. music connects the functions of the right and left hemispheres of the brain so that they work together, and makes learning quick and easy. brain function is increased when listening to music and studies have shown that music promotes more complex thinking. it can make connections between emotions, thinking and learning (davies 2000). music also helps in mathematical skill development in children. maxim (1989) observed ‘singing games such as counting rope jumps could help a small child to understand how to count’ (p.289). moreover, the acquisition of reading and writing is made easy and simple with music. music stimulates the mind; and it is the best way to gain the role of music in family and child development http://www.menc.org/resources/view/start-the-music-a-report-form-the-early-childhood http://www.menc.org/resources/view/start-the-music-a-report-form-the-early-childhood 69 knowledge and confidence in oral language and writing hence it’s a natural way for children to experience rich language in a pleasurable way. emotionally, music is the most effective way children bond with their family members, specifically those that make music for them. ekpo (2008) holds: the child takes his model of everything from the home. anything he sees the mother, the nurse, the sisters, the brothers, the father and other close members of the family do, the same thing he copies (p.28). a music making family either by singing and dancing or consistently listening to music on cds or videos, will always be friendly to family members and sundry, because music makes one happy. also children who sing with other children at school or in any recreational environment are found to have a wonderful feeling of belonging to a group and at the same time have their emotions enhanced. children from singing homes are happy children. no wonder plato as quoted by abeles, hoffer and klotman (1984) said: music is one of the inspirational form of art, its power is contained in its ability to by-pass reason and penetrate into the soul and the subconscious, manipulating one’s feelings. it is a potent instrument than any other because rhythm and harmony find their way into the inward places of the soul of which they mightily fasten; impacting grace and making the soul of him that is rightly educated graceful (p.4) nye and nye (1992) on the other hand noted; ‘man has utilised music all through history to comment upon his experiences’ (p.542), and families and children do this naturally and easily in the normal process of development. to grow emotionally and socially, children need to feel worthy and confident. freedom to experiment and to respond in creative ways to music can produce these feelings. when children are dr. esimone, chinyere celestina 70 brought up in homes that appreciate and make music, they learn to do things with little or no fear of threat. hence, the easiest way to gain expression and self confidence is through music. to this, onyiuke (2006) pointed out: through music, children can be led progressively to find more meaning in life about them, when they are guided in the effective use of their senses of hearing, seeing and feeling as tools for exploring their surrounding environment (p.59). music is one of the ways for children to remember stories and learn about the world around them. and using music as a stimulus can affect one’s emotions and make information easier to remember and this is more in children. music creates an environment conducive for learning for children especially. it can reduce stress, calm the children down, increase their interest in what they are learning and set the stage for listening and learning together with other children. socially, music strengthens family bonds with children. this is seen in their ability to form attachments to their family members and people other than their parents. they learn to share and cooperate with those around them. play well with others and show more self-control hence singing and playing together deals with the ‘ego’ in them. as part of their social interaction, playing and singing together as children helps them deal with the ups and downs faced with playing and interacting with fellow children. music can be used in the classroom to teach and support the development of social skills between children. when they play and sing together, it helps them to relate to have a sense of belonging within that group (page 1995). singing and playing together with other children irrespective of their background or short comings both at home, social environment and schools where they find themselves, helps them grow with the attitude of love that rob off on themselves rather than the role of music in family and child development 71 discrimination, disrespect and taking people for granted. this social character has its root in the family. morally and spiritually, music making in the family helps in the moral and spiritual development of the members of the family. we realise that the child in the family is not isolated from school and society because, what the child learns from the home helps him to contribute meaningfully to the up-keep of society. hence music helps a lot in emphasising good moral behaviour. onyiuke (2006) noted: from the childhood stage of development, the child learns to develop his moral attributes in order to live harmoniously with his fellow men. in the family and school, the child learns songs that teach morals like songs that emphasize on respect for elders, dignity or labour, kindness to all, hard work, cleanliness and many others. here learning comes naturally and does not need to be memorised with stress (p.59). moral education is of great importance in the life of every individual, and if the society will be good, safe and prosperous, then the moral development of her citizens must be insured. hence onyiuke (2006) asserts ‘songs and the accompanying moral lessons are hardly forgotten by the children’ (p.59). and this can really be started and maintained from the home that appreciates singing and making music daily. music gets children in tuned with god early in their life. it introduces them to their maker and makes them have the fear of god in their hearts as they grow up; because daily songs about god, his commands and ways are sung in the family daily, either in the family devotions in the morning or in the evening devotions before bedtime. from childhood days, children from singing families hear songs on how to pray, and praying before eating, sleeping and so on, and when in school, such songs are emphasised the more; it goes a long way to dr. esimone, chinyere celestina 72 instil knowledge about god in them. most times, teaching of religion in some schools poses controversy and sectarianism, but music transcends these barriers and goes to the very heart. ‘great music is that which penetrates the ear with facility and leaves the memory with difficulty. magical music never leaves the memory. a song will outlive all sermons in the memory of the hearers and makers’ (leader and hynie 1958). from all the above areas of development through music, it is very clear that music plays much role in the family and child development. hence when the children are developing in their intellectual, emotional, social and spiritual life, especially through music, the entire family is also developing and are very happy and are encouraged more in their music making, which in turn leads to the general development of the entire family. references. abeles, f. h., hoffer, c. & klotman, r. (1984). foundations of music education. new york: schimer . agu, d. c. c. (2006). the nigerian policy on education: its impact on music education programme and delivery in nigeria. awka journal of research in music and the arts (ajrma). 3: 1-8. blacking, j. (1973). how musical is man? london: faber & faber. davies, n. l. (2000). learning… the best goes on. journal of research in children education, 1, 149-151 esimone, c. c. (2009). music education and social identity: a study of selected secondary schools in enugu state. a master’s thesis presented at the university of nigeria, nsukka. ekpo, i. s. (2008). parental factor in early musical exposure as a prerequisite for ideal musical development of the child: the role of music in family and child development 73 nigeria’s experience. awka journal of research in music and the arts (ajrma), 5, 26-34 elliot, d. j. (1995). music matters: a new philosophy of music education. new york: oxford university press. leader, j. a. & haynie, w. s. (1958). music education in the high school. englewood, nj: pretence hall. maxim, g. m. (1989). the very young: guiding children from infancy through the early years. london: merrill. nye, r. e., nye, v. t., martin, g. m. & ryssleberghe, m. l. (1992). music in the elementary school. englewood cliffs, nj: pretence-hall. oxford learners advanced dictionary of current english (2006). 7th edition. s. hornby (ed). new york: oxford university press onyiuke, y. s. (2006). music pedagogy as implement for all round development of primary school children in nigeria. interlink: a journal of research in music. 3,56-63. page, n. (1995). music as a way of knowing. new york: stenhouse. walker, r. (1998). in music education, a hundred flowers blossom and a hundred schools of thought contend. is this a problem? international journal of music education (ijme). 1, 32 – 34 dr. esimone, chinyere celestina awka journal of research in music and the arts (ajrma) vol. 16, september 2023 105 the impact of music on cultural preservation in the digital era of nigeria adetunji taiwo adesoji a ph.d. student department of creative arts (music unit) faculty of arts university of lagos, akoka, lagos, nigeria +2348121911128 yemi_taiwo2003@yahoo.co.uk abstract music has been a highly influential tool in history; it has promoted cultures, lifestyles, and other aspects of life in different ways across different centuries. however, society operates in a globalisation era, which is now driven by modern digital technologies. as such, the study examines the contribution of music to the preservation of traditional practices and heritage in the digital era in nigeria, aiming to accomplish specific objectives that include examining the role of music in preserving and promoting the diverse traditional values, culture, and beliefs in nigeria, exploring how the digital era has impacted traditional practises in nigeria regarding cultural preservation, and identifying challenges faced by traditional cultural practises in the digital era. the study conducted a semi-systematic review of academic literature about music, culture, and digitization. the findings reveal that music has had a significant impact on promoting nigerian culture by mirroring, transmitting, and shaping nigeria’s cultural identity, educating people about cultural practices in nigeria, and promoting cultural values, among others. additionally, digital media has had a positive impact on nigeria's traditional practices by giving them exposure, enhancing cultural communication, and creating longevity through digital storage. however, the digital era has posed a significant threat to nigeria’s cultural traditional practices, causing a decline in traditional practices, westernizing the indigenous culture, diminishing traditional values, and causing a preference for foreign content over local content. 1.0 introduction the concept of culture has existed since the early days of civilisation, playing a vital role in maintaining a society's identity, legacy, and traditions. cultural preservation serves as a means of safeguarding the ever-evolving ethics, convictions, expertise, and customs that remain unchanged to the present day (atlan, 2018). however, increasingly unanticipated disasters caused by nature, external variables, socioeconomic circumstances, and acts of humanity have all placed a lot of these cultures at risk (goodarzparvari & camejo, 2018). as a result, the preservation of either tradition or natural values becomes essential, as it allows for interactions between the world, individuals, and activities in the community (prompayuk & chairattanuaon, 2016). moreover, due to its role in promoting past lifestyles that are advantageous to modern civilisations, cultural conservation is extremely important, and in some ways, the past serves as the foundation for the present and the way forward (onyima, 2016). awka journal of research in music and the arts (ajrma) vol. 16, september 2023 106 nigeria, a country with a diversified population of ethnic nations, possesses a wealth of cultural traditions, which include things like languages, marriage customs, clothing, greetings, observable historical statues, natural landmarks, and scenic beauty (nancy, 2013). unfortunately, the indigenous languages of nigeria are at risk of extinction, with many classified as endangered (onyima, 2016). in light of this, the preservation of nigeria's cultural heritage takes on paramount importance, as it makes the advancement of the nation possible in terms of togetherness, harmony, and nationalism, as well as creating peaceful relationships among nigerians (onyima, 2016). ekwelem et al. (2011) stated that digitization offers increased accessibility to various collections, thereby lessening the deterioration and damage of delicate artefacts and resources. however, it is crucial to acknowledge the challenges associated with digital preservation, particularly in the period of fake content and misinformation, which may jeopardise the authenticity of digitised history (nwabueze, 2017), and today in nigeria, digital preservation has grown to be a major issue for educational institutions, posing enormous difficulties for archives and libraries in maintaining electronic records and information resources (masenya & ngulube, 2019). moreover, digital advancements have had a profound impact on traditional cultural practices in nigeria, challenging traditional forms of entertainment, including newspapers, radio stations, and television programs, and altering the dynamics of media consumption in the country (igyuve & obagwu, 2020). kabir and jeromes (2022) strengthened this by stating that one of the most intriguing trends defining the digital era and impacting the traditional, social, and economic lives of today's society is the rapid growth of the online world. furthermore, within the nigerian context, music plays a significant role in daily life, serving several purposes (nnamani, 2019). traditional nigerian music is often performed during weddings, birthday parties, or funerals, and according to jayeola (2015), people use music extensively to connect with others, move, convey their feelings and perspectives, engage crowds, and inspire unity. although entertainment is music's main purpose, it also functions socially, culturally, and spiritually (yussuf & olubomehin, 2018). they went further to explain that it is impossible to overstate how important the popular music of the yorubas is to maintaining and advancing their traditional values, as these values have become well-known through the numerous types of their music and have also been maintained through music amid a hostile cultural monarchy. according to yussuf and olubomehin (2018), despite the introduction of international songs, traditional music remains resilient in nigerian culture. also, musicians honour earlier cultural traditions by performing songs as a type of musical performance and building on musical tradition, the composition of music for contemporary cultural problems promotes music and a sustainable economy (petocz et al., 2014). this implies that since music is present in so many civilizations, it is crucial to the preservation of cultural history. according to ugbam et al. (2014), the impact of modernization, particularly through the rise of digital platforms, has had a mixed impact on nigerian culture. the authors affirm that this influence can be likened to a sword with two edges, as it is challenging to attribute the negative consequences solely to the choices made by nigerians. they awka journal of research in music and the arts (ajrma) vol. 16, september 2023 107 argued that the adverse effects may have been a result of copying unfavourable aspects of other traditions. aboyade and adeyemo's (2019) research further supports the idea that the dissemination of specialised information has been negatively affected by western civilization and significantly influenced by the digital era. the authors provided an example of how traditional clothing, which once provided a means of livelihood for those who made it, is now being substituted by european clothing such as blazers, shirts, ties, and lace. consequently, communities involved in manufacturing traditional textiles and apparel are experiencing reduced economic gains. to resolve these challenges and promote nigerian traditions, adesina (2012) proposed leveraging the trend of globalisation. adesina suggested utilising the power of the internet to create a digital space where adages and basic information about various nigerian cultures are available for young people to explore. such a strategy not only promotes cultural identity and pride but also aids in preserving and promoting traditional heritage amid modernization. maintaining a society's identity and values requires the preservation of its cultural heritage above all else. the significance of music in preserving knowledge, customs, and values over generations is still largely unexplored, even though numerous aspects of cultural presentation have been thoroughly investigated. this study seeks to bridge this gap by investigating the impact of music on cultural preservation in the digital era of nigeria. 1.1 research question the primary research question guiding this study is: how does music contribute to cultural preservation in nigeria's digital era? 1.2 research objectives to address the research question effectively, this study aims to achieve the following objectives: 1. to examine the role of music in preserving and promoting cultural values, traditions, and beliefs in nigeria. 2. to explore how the digital era has impacted traditional practices in nigeria, particularly concerning music's role in cultural preservation. 3. to identify challenges faced by traditional cultural practices in the digital era. 2.0 literature review 2.1 music and cultural preservation music has long been recognised as a powerful tool for the preservation of culture. conventional african melodies and narratives, as discussed by uzochukwu and ekwugha (2015), impart knowledge and recount the brave actions of african leaders while also containing a deep understanding of cultural heritage through specific tales, and this serves as a powerful motivator for growth. the authors explained further that traditional media, including music, have been utilised to spread information, convey cultural values, and perpetuate cultural practices. ahmedovich (2022) further emphasises that music has played a significant role in shaping shared national cultures over thousands of years. also, in contemporary europe, popular music plays diverse roles in shaping cultural memory, making it particularly significant for policies regarding awka journal of research in music and the arts (ajrma) vol. 16, september 2023 108 culture (cohen, 2012), and due to its widespread acceptance, music becomes an effective means of promoting cultural traditions and heritage, making it a valuable tool for preserving the past. in nigeria, traditional music holds exceptional importance for national growth and cultural identity (jayeola, 2015). the author further noted that the loss of native musical traditions could have devastating consequences, affecting the nation's well-being and sense of cultural identity. additionally, traditional music contributes to economic and social prosperity through cultural displays, tourism, and inter-ethnic interactions, and neglecting traditional music poses a significant risk to nigeria's economy and cultural integrity (jayeola, 2015). in addition, learning music from different cultures enhances comprehension and appreciation of those cultures (ilari et al., 2013). for instance, fadipe and salawu (2022) emphasise the importance of unique musical styles in yoruba culture, which have a profound impact on cultural memory and preservation and act as barriers against the influence of western technology and media, particularly for the younger generation. similarly, yekini-ajenifuja and okunade (2013) emphasised that music, especially vocal music, is the most straightforward method of preserving records in traditional civilization, and it is essential to encourage educational institutions, artists, and other art practitioners to use indigenous languages in their works as it is a way to maintain the healthy norms and values in contemporary nigerian culture, and this initiative would have helped developed countries improve technologically. it is crucial to note that while music can help develop an appreciation for and preserve different cultures, it should also be used with caution and with an appreciation for the unique characteristics of each culture. 2.2 empirical review several empirical studies have explored the role of music in preserving cultural identity and heritage as highlighted below: huynh (2023) conducted a qualitative study, focusing on how the kora, a musical instrument, has been useful in maintaining identity and heritage. the study utilised online interviews with the help of programs like zoom and skype. the interview covered a wide range of topics, including kora's history, its importance to culture, and its role in celebrations and other festivities. results from the study disclosed how important kora is in preserving and advancing traditional practices and the cultural heritage of people. additionally, results show that beyond being a musical instrument, the kora serves as a means of transmitting cultural information. the study's conclusion emphasised the importance of traditional music in sustaining and enriching traditions and cultures. yusuf and olubomehin (2012) examined the impact of traditional popular music on the yoruba people's spread and protection of cultural values. the study highlighted how traditional music fosters a sense of community and contributes to positive interpersonal relationships. furthermore, it pointed out the educational and inspirational qualities that are present in traditional songs. the research concluded that traditional popular music awka journal of research in music and the arts (ajrma) vol. 16, september 2023 109 serves as a storehouse and a resource for conserving yoruba heritage, contributing significantly to cultural preservation. adedeji (2010) focused on yoruba culture and its influence on the development of modern popular music in nigeria. this research gathered information from sources that were both primary and secondary, with primary data collected from fieldwork on nigerian popular music in lagos between 2008 and 2009 and printed materials like books and journals as well as electronic ones like newspapers and magazines serving as secondary sources. the study utilised a qualitative approach, including interviews with musicians. the findings indicated the success of preserving cultural heritage through music and revealed how yoruba culture has served as a global ambassador for nigerian music. the study concluded that in a nation like nigeria, where ethnic conflicts have persisted for a long time, popular music serves as a platform for cultural unification, fostering a sense of shared identity and belonging. these findings emphasise the importance of music as a powerful tool for preserving nigeria's cultural heritage, and whether through traditional instruments like kora or traditional public songs, music plays a vital role in transmitting cultural values and promoting cultural unification. 2. 3 gap in literature the study emphasised the relationship between music and cultural preservation. however, following the review of existing literature, there is a lack of comprehensive studies that specifically examine the influence of music on cultural preservation in the digital era in nigeria. therefore, further research that investigates the impact of music on cultural preservation in nigeria's digital era needs to be conducted. in addition, some relevant data was not publicly accessible, which limited the researcher's ability to use certain valuable data sources. lastly, earlier studies concentrated on short-term effects rather than investigating the long-term impact of music on cultural preservation in nigeria's digital era. 2.4 theoretical explanation the theoretical framework chosen for this study is identity theory, which provides a comprehensive perspective to understand the relationship between music and cultural preservation. identity theory focuses on how different identities are developed and regulated through communication (stets & serpe, 2013). in today's digital age, people not only establish their cultural identities through digital platforms but also develop them through interactions with others, contributing to the growth of modernization and intercultural dialogue (chen & lin, 2016). this digital era has brought about continuous changes and combinations in cultural identities, showcasing the versatility and resilience of cultures. moreover, popular songs have been found to evoke memories that aid in creating a sense of location and time and contribute to the formation of cultural identity (hoven, 2015). nwaolikpe (2013) highlights that the dominance of the digital age in nigeria poses a threat to the country's cultural identity, and this aligns with the findings of kente et awka journal of research in music and the arts (ajrma) vol. 16, september 2023 110 al.'s (2023) study on new media and indigenous cultural identities in nigeria. the qualitative study conducted in six of nigeria's geographic regions found that culture is a defining characteristic that distinguishes a group, encompassing elements such as drum beats, dancing, food, clothing, and religion. the study revealed that the digital era has indeed impacted nigeria's culture and ethnic identities, reflecting the ongoing changes and challenges brought about by digitization. this emphasises the importance of music in preserving cultural heritage, especially in the face of digital advancement that may influence traditional practices. 3.0 methodology 3.1 search strategy this study is based on a systematic review of the literature on the impact of music on cultural preservation in the digital era of nigeria. this study involves the use and analysis of journal articles published on the subject. the search for relevant articles has been conducted on google scholar using a combination of specific search terms to capture a broad range of literature related to the research topic. the articles are searched using the following search terms: the importance of cultural preservation; the impact of the digital era on traditional practises in nigeria; the significance of music in nigerian culture; the role of music in preserving cultural heritage; challenges to traditional cultural practices in the digital era due to the rise of digital platforms; the relationship between music and cultural preservation. also, to ensure comprehensive search results, the search terms are combined using "or" within each group of related terms; for instance, the importance of cultural preservation, the impact of the digital era on traditional practises in nigeria, or the significance of music in nigerian culture. additionally, to narrow down the search results and ensure relevance, different groups of search terms are combined using "and." for example, the importance of cultural preservation, the impact of the digital era on traditional practises in nigeria, and the significance of music in nigerian culture to manage search results efficiently, a systematic approach will be employed. 3.2 inclusion criteria the search results are filtered based on the inclusion criteria. only articles published within the last 13 years (2010–2023) in reputable and freely available publications are considered. additionally, the articles included are written in english and directly related to the impact of music on cultural preservation in nigeria's digital era. articles that meet these criteria are selected for further analysis and review. 3.3 data extraction the selected articles are meticulously examined to extract relevant data. key information, such as the author's name, publication year, research focus, methodology, and main findings, is extracted for each article. 3.4 data analysis a thematic analysis approach is employed to analyse the extracted data from the selected articles, and these findings are organised based on recurring themes to address the research objectives coherently. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 111 3.5 ethical considerations as a literature review study, ethical considerations primarily revolve around proper citation and acknowledgement of the original authors and their work. all sources used in the review are properly cited, giving credit to the original researchers and publication. 3.6 organisation of findings the findings from the selected articles are organised into different themes based on the recurring patterns identified during the data analysis process. this systematic organisation will facilitate a clear presentation of the literature review's conclusions and address the research objectives effectively. 3.7 management of retrieved articles the retrieved articles are organised and stored systematically to ensure ease of access and retrieval during the review process. a reference management tool is used to maintain a well-organised reference list of selected articles, making it easier to cite and refer back to the sources. 4.0 results 4.1 the role of music in preserving and promoting cultural values, traditions, and beliefs in nigeria in a semi-systematic review of relevant studies, some authors have identified some significant influences that music has on the preservation and promotion of nigeria’s cultural values, traditions, and beliefs. table 1 data extraction on the role of music in preserving and promoting cultural values, traditions, and beliefs in nigeria authors and date role of music in preserving and promoting cultural values, traditions, and beliefs agu (2019) identity mirror music has a notable influence in reflecting ethnic and cultural distinctiveness, as it is being used to celebrate the characteristics, history, and heritage of sects of people and groups in nigeria. by mirroring cultural identities, music has been used to bring nigeria’s indigenous values, customs, traditions, and lifestyles to the spotlight. transmission of cultural identities as a result of its ability to orally spread across geographic locations, music is influential in its being able to communicate and teach nigeria’s cultural identity to other cultures or parts of the world. hence, music carries cultural values to other cultures, thereby promoting the nigerian culture among other cultures. shaping identities different ethnic groups in nigeria have used music to express their identities, relate themselves to their origins, and express their values. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 112 nnamani (2019) education nigerian traditional music plays a significant role in preserving the cultural identity, values, and customs of the people by educating young people about the culture. unity music helps to unite people with the same culture who share similar values, beliefs, and traditions. akpakpan and akpakpan (2018) integration of people's lifestyles music plays a role in promoting nigerian cultural heritage by integrating the lifestyle of the people into songs and sounds. it is also an avenue for social activities. morality music promotes culturally oriented moral behaviours and attitudes among people. ojebuyi and fafowora (2021) hybridisation music can integrate different cultural values and identities to form a new cultural identity. nigerian hip-hop music hybridises nigerian indigenous culture and modern culture to create new cultural identities, promoting nigerian cultures within modern cultures. samuel and adekola, (2018) correction music can serve as a tool to correct societal decadence, which does not reflect the lifestyle, culture, and identity of nigerian society. music can be used to reprimand society for immoral behaviours and attitudes, thereby promoting the cultural identity and values of ethnic groups. 4.2 how the digital era has impacted traditional practices in nigeria digital technologies in the contemporary globalisation era have had an impact in terms of enhancing nigeria’s cultural and traditional practices. the impacts of the digital era on traditional practices, as asserted by some authors, have been identified. table 2 data extraction on how the digital era has impacted traditional practices in nigeria authors and date how the digital era has impacted traditional practices morgan (2020) cultural longevity digital technologies have been used as a tool in the contemporary era to promote the transmission of ethnic and indigenous cultures and traditions. it helps store memories of cultural practices for future generations. cultural communication awka journal of research in music and the arts (ajrma) vol. 16, september 2023 113 digital technologies have enhanced cultural education and communication in the contemporary era through digital media and applications. for example, animation and videos have been used to communicate traditional practices in modern times. oryila and aghadiuno (2021) exposure and opportunities digital technologies have helped create exposure to indigenous practices and culture, creating opportunities for native people through digital exposure. 4.3 challenges faced by traditional cultural practice in the digital era despite the impacts the digital era has had on traditional and cultural practices in nigeria, it has also posed a significant threat to cultural development in the country. the challenges that scholars have explored are identified and summarised below: table 3 data extraction on the challenges faced by traditional cultural practice in the digital era authors and date challenges faced by traditional cultural practice in the digital era odiboh et al. (2018) a decline in traditional practices the digital era has led to the increasing adoption of foreign cultures by the younger generation as a result of their exposure to foreign cultures through digital media channels. hence, there is an increasing decline in the ability to speak the local or native language and a decline in traditional practices. kayode-adedeji et al. (2018) westernisation of indigenous culture digital media, in the globalisation era, has brought some element of westernisation to the nigerian indigenous cultures, making nigerian cultures lose their richness. degradation of family values social media, specifically, has been said to decline family values and traditional practices, which are peculiar to indigenous-oriented families. asemah et al. (2014) loss of regard for nigeria’s traditional values due to their exposure to western traditions through digital media, nigerians are increasingly relegating their ethnic and indigenous traditional practices. ortserga (2013) preference for foreign content the nigerian cultural climate has witnessed a shift in many nigerians' preference for foreign or western content to traditional or domestic content in the digital era. there has been a decline in media content that reflects nigerian cultural heritage. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 114 5.0 discussion in the digital era, traditional practices and cultural identities in nigeria have encountered both challenges and opportunities. the findings highlight the significance of music in reflecting and transmitting cultural identities, shaping social cohesion, promoting education, and preserving morality. additionally, the study examines the impact of digital technologies on cultural longevity, communication, exposure, and the challenges faced by traditional cultural practices in the digital era. music plays a crucial role in reflecting the ethnic and cultural distinctiveness of various groups in nigeria. it serves as a mirror that celebrates the characteristics, history, and heritage of these communities, bringing their indigenous values, customs, traditions, and lifestyles to the forefront. by doing so, music helps to reinforce and maintain the cultural identities of different ethnic groups, fostering a sense of pride and connection among their members. furthermore, music's ability to transmit orally across geographical locations makes it a powerful tool for communicating and teaching nigeria's cultural identity to other cultures around the world. as music carries cultural values to foreign audiences, it becomes a means of promoting nigerian culture internationally, fostering cross-cultural appreciation and understanding (agu, 2019). music also plays a vital role in shaping individual and collective identities. various ethnic groups in nigeria use music as a medium to express their unique identities, establish connections with their origins, and communicate their values to younger generations. moreover, nigerian traditional music serves as an educational tool, passing down cultural knowledge and customs to the youth and ensuring the preservation of cultural practices (nnamani, 2019). music has the power to unite people who share similar cultural values, beliefs, and traditions. it acts as a binding force, promoting social cohesion among communities within nigeria (nnamani, 2019). additionally, music integrates the lifestyle of the people into its melodies and lyrics, becoming an essential aspect of social activities, celebrations, and rituals. through music, cultural heritage becomes a living and dynamic force that continues to evolve while maintaining its authenticity (akpakpan & akpakpan, 2018). music plays a critical role in promoting culturally oriented moral behaviours and attitudes. it can serve as a corrective tool, reprimanding society for immoral behaviours and attitudes that contradict the cultural identity and values of nigerian ethnic groups. in this way, music becomes a powerful means of preserving traditional ethical standards and social norms (akpakpan & akpakpan, 2018; samuel & adekola, 2018). the digital era has further expanded the impact of music on cultural preservation in nigeria. one significant phenomenon is the hybridization of musical styles, particularly evident in nigerian hip-hop music. through the fusion of indigenous nigerian culture and modern influences, this genre creates new cultural identities that promote nigerian traditions within contemporary contexts. this innovative blending helps preserve cultural awka journal of research in music and the arts (ajrma) vol. 16, september 2023 115 values while keeping them relevant to younger generations who are exposed to diverse global influences through digital media (ojebuyi & fafowora, 2021). digital technologies have presented both opportunities and challenges for traditional practices in nigeria. in terms of opportunities, digital technologies have been instrumental in promoting the transmission of ethnic and indigenous cultures and traditions. they serve as repositories of cultural memories, ensuring that traditional practices are preserved for future generations. additionally, digital media and applications, such as animation and videos, have facilitated cultural education and communication, enabling the dissemination of traditional practices in modern ways (morgan, 2020). furthermore, nigerian indigenous practices and culture have been able to gain global exposure, creating opportunities for native people to share their heritage with the world through digital platforms. this exposure has led to a greater appreciation and understanding of nigerian culture on a global scale (oryila & aghadiuno, 2021). despite the opportunities presented by digital technologies, they also pose challenges to traditional practices in nigeria. the digital era has seen growing adoption of foreign cultures among the younger generation due to their exposure to foreign content through digital media. this has resulted in a decline in the ability to speak local or native languages and a decrease in adherence to traditional practices (odiboh et al., 2018). in addition, kayode-adedeji et al. (2018) asserted that globalisation and digital media have brought elements of westernisation to nigerian indigenous cultures, leading to a loss of their inherent richness and uniqueness. social media, in particular, has been blamed for contributing to the decline of family values and traditional practices that are characteristic of indigenous-oriented families (kayode-adedeji et al., 2018). in addition, exposure to western traditions through digital media has led to a diminishing appreciation of nigeria's ethnic and indigenous cultural practices, as some people may prioritise foreign cultures over their own (asemah et al., 2014). moreover, there has been a shift in preferences for foreign or western content over traditional or domestic content in the digital era. this change in media consumption patterns has resulted in a decline in the visibility and promotion of nigerian cultural heritage through digital platforms (ortserga, 2013). 6.0 conclusion and recommendation in conclusion, music plays a significant role in preserving and promoting cultural values, traditions, and beliefs in nigeria. it serves as a mirror of cultural identities, facilitates the transmission of cultural knowledge, and promotes unity and integration among communities. however, the digital era has introduced both opportunities and challenges for traditional practices in nigeria. while digital technologies have enhanced cultural longevity, communication, and exposure, they have also contributed to the decline of traditional practices and the westernisation of indigenous culture. to address these challenges, stakeholders must actively promote and utilise digital platforms to preserve and promote nigerian cultural heritage, ensuring its relevance and vitality in the digital era. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 116 based on the findings, nigeria must strike a balance between leveraging digital technologies to preserve and promote its cultural heritage and addressing the challenges posed by the digital era. to do so, stakeholders should prioritise the use of digital platforms to showcase and educate the world about nigeria's rich cultural values, traditions, and beliefs. simultaneously, efforts should be made to reinforce the importance of traditional practices among the younger generation through education, community engagement, and media campaigns. by strategically embracing digital media and promoting cultural pride, nigeria can safeguard its heritage while adapting to the dynamic digital landscape. references aboyade, w. a, & adeyemo, o. o. 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(2018). traditional music and the expression of yoruba socio-cultural values: a historical analysis. journal of music research in africa, 15(2), 61–74. https://doi.org/10.1080/18125980.2018.1554980 140 music in káláḇàrì traditional funeral rites osakpamwan isaac ibude department of music, university of port harcourt, abstract ḏụẹịn-ḏíḇí-a númè (funeral rites music) in káláḇàrì culture is a final honour for the dead and status symbol for the living. it is performed for titled men, elders, members of èkìnè society and other socio-cultural clubs. although ḏụẹịn-ḏíḇí-a númè occupies an important position in káláḇàrì culture, yet no musicological studies exist in terms of structure, significance and documentation as its traditional forms are on the decline. ethnographic research design was adopted and data were collected from three local government areas: asari-toru, akukutori and degema that make up the káláḇàrì of rivers state. participant observation, indepth interview and key informant techniques were used in data collection. performance of ḏụẹịn-ḏíḇí-a númè which is categorised into four is event specific, contextual and rooted in káláḇàrì belief systems. this paper concludes that musical performance at funerals engenders socialization and spiritual bonding in káláḇàrì celebration of life after life. key words: káláḇàrì music, funeral rites, káláḇàrì culture, performance practice. introduction music in traditional african societies is organized around social, religious and political events during which individuals, as well as members of a group within the community, come together for activities like recreation, performance of rites, festivals and collective activities like clearing paths, putting out fires and so on (nketia, 1974: 21). burial ceremony in africa is perceived as a rite performed by the living for the dead. life does not end with death but continues in another realm. death does not end the life or personality of an individual but is merely a change of „state‟. the concepts of „life‟ and „death‟ are not mutually exclusive because the goal of life is to become an ancestor after death (anderson, 2007:1). this explains why persons who die are given befitting and appropriate burial accompanied by religious rituals and ceremonies involving music and dance. the african concept of burial has however been altered through wide spread secularization, urbanization, christianization and islamization. in recent times, the activities of the militants in the niger delta area have further altered the concept of death and burial in the culture, especially the music used for its celebrations. against the foregoing background, this study documented the context of performance, categories and structures of funeral music (ḏúéín-ḏíḇí-a númé) especially its traditional forms among the káláḇàrì of the niger delta. the káláḇàrì of the niger delta are a group of people whose musical culture has not received much attention in terms of research. they live in the eastern niger delta of rivers state. according to horton (1969), there are twenty villages that are broadly káláḇàrì in language awka journal of research in music and the arts (ajrma) vol. 9 2013 141 and culture; three other villages are partially or minimally acculturated into káláḇàrì and three large towns derived from the nineteenth century káláḇàrì metropolis. in addition, there are dozens of fishing camps and two plantation settlements that are seen as work-places rather than home bases. linguistically according to jenewari (1991), they are classified under the great block of ijo-speaking sub-group exemplified by their dialect and culture. alagoa (1972) states that each village is made up of a number of descent-groups, whose founding ancestors are generally seen as unrelated to each other and are thought to have come from different directions to converge at the present site. around the early eighteenth century in the káláḇàrì metropolis, there were more than seven groups, all claiming separate origin and some level of autonomy (alagoa, 1972:135). therefore, the basis of identity of the káláḇàrì before the pre-atlantic trade is a culture common to all its members which is distinct in every way from that of their neighbours. the basic concern of this study is to investigate music associated with funeral rites in káláḇàrì kingdom spread over ásárí-tọru, ákúkú-tọru and dègèmà local government areas in rivers state. these communities share the same language, traditional belief and culture. ḏụẹịn-ḏíḇi-a númè (music in funeral rites) associated with all the stages of funeral rites in both traditional and non-traditional settings for men and women, chiefs and heads of compounds were discussed. however, the research location does not cover the entire káláḇàrì towns, villages and fishing settlements because of its expanse. the study was restricted mainly to búgúmà, abónnémà, bákánà and five other settlements comprising àbàlàmà, ìdọ, mínàmá, sòkú and ìlèlímà spread over the three local government areas. búgúmà was chosen for the following reasons: being the home land of the ámányánáḇọ of káláḇàrì kingdom, it harbours three of the major shrines in káláḇàrì; the shrine of ówámékàsó the tutelary deity of the káláḇàrì, the ancestral shrines dedicated to the spirit of the dynastic founder amakiri, and the shrine of èkìnèḇa, patroness of the èkìnè sẹkịapụ cult. in addition, it is one of the three daughter settlements (búgúmà, abónnémà, and bákánà) of the former trading state of káláḇàrì. àbàlàmà, mínàmá and sòkú are villages chosen for the study of ìkpàtàkà dògí a traditional funeral rite rarely practised in káláḇàrì; idọ being one of the settlements like others that was not initially káláḇàrì but fully assimilated and imbibed káláḇàrì culture. there exist a considerable body of published materials on aspects of káláḇàrì culture and society such as language, history, economy, socio-political organization, religious belief and rituals (alagoa 1967, 1968; da-wariboko 1991, 2002; erekosima 1973; horton 1960, 1962, 1963, 1969, 1991a, 1991b; jenewari 1991; jones 1963; alagoa, 1967, 1968; erekosima, 1973; ndimele and williamson, 2002; tasie 1978; wariboko, 1997, 2007). such materials, however, has so far been notably devoid of any extended work on the performance aspect of káláḇàrì funeral rites and their associated music. it was to address this deficiency that this study paid attention to funeral rites from the perspective of performance and performance practices as well as documentation of the various categories of ḏụịẹn-ḏíḇí-a númé which is gradually fading out. the study therefore addressed the dearth of information on the types, categories of funeral rites and associated music, practitioners and their recruitment, the importance as well as form and structure of music in káláḇàrì funeral rites. 142 types of death the psychological and emotional trauma the bereaved experience as a result of the death of a loved one, the general reaction of the community shaped by their worldview of death and age of the deceased at the time of death, informs the categorization of death into sí fì 1 („bad‟ death): death of children and those resulting from specific sicknesses, witchcraft, and sorcery as well as death resulting from over indulgence in food and drinks are termed bad death. some of these deaths are mourned, but it is not fitting for them to lie in state or have their lives celebrated and íḇí fì („good‟ death): death of a man or a woman at the age of sixty and above. death at a good old age is in most cases happily celebrated, as it is believed that the deceased had achieved success in life and had been called away by the ancestors at a ripe age. the funeral ceremonies are extensive, requiring pre-burial wake-keeping and post-burial dances accorded the deceased. funeral rites for an elder whose death is classified as a good death is carried out within twelve days beginning from wednesday of the first week through sunday of the third week for thanksgiving in church by immediate family members who attend the church. musical and dance performances take place before, during and after interment of the deceased. four places of burial in both aquatic (àrịàpú-sìbí-kòò and nọjị,) and terrestrial (ḏụẹịn-ḏíḇí-pírí, and àbbí àmà) environment were identified for those who die the bad or good death. categorization of funeral rites music ḏụịẹn-ḏíḇí-a númè (funeral rite music) is categorized into ákwá (instrumental music), ògbò ḇẹ númè (choral music) with instrumental accompaniment, ḏụịẹn-dúu-a númè (a cappella dirges and chants) and sẹkị númè (dance music) which were further grouped into ritual, semiritual and non-ritual music. these categories cover the full range of rites which include music performed at the commencement of the funeral rite and continue for two to five days before the arrival of the corpse; music performed during a series of lying in state of the corpse, and other musical types associated with dance and theatrical performance accorded the dead for another seven days after the interment. ákwá (instrumental music) instrumental music refers to musical type communicated through verbal language non-vocally on instruments. traditional instruments like the íkíríkó, ókóró, àkùmà, àkánkpò, àkùsà, álílí, boboye and ọbọ are used as speech surrogate instruments to communicate during performances. they approximate various levels of primary and secondary speech tones within káláḇàrì tonal language. during funeral rites two instrumental ensembles identified are kúkú fárí used to accompany non-vocal choreographed dance steps and ókóró fárí used at the installation and funeral of chiefs, king and their late mother. ókóró fárí music at funeral is performed by four different musicians in an ensemble of ókóró (wooden slit drums) of various sizes and one boboye (membrane drum). there is interplay of call-and-response between the ópútóní fáríḇọ (lead drummer) and the other three assistants leading to a complex rhythm. the largest ókóró in the ensemble is a melorhythmic 2 as well as a percussive 3 instrument. it is used to communicate and discuss 143 with the spirits, ancestors, and the immediate audience who understand the drum language different from everyday káláḇàrì language spoken by the people. the ókóró mother drum apart from communicating coded messages serves as culture symbol. in this way it is deployed as a sacred instrument used to usher the deceased into ancestorhood. only males are allowed to play and dance to the music of ókóró fárí ensemble while females observe the performance from a distance over a period of six days after interment on the previous saturday. plate 1. ókóró fárí ensemble performing at a funeral in búgúmà ògbò ḇẹ númè (choral music) these are songs performed by male and female singers either in single (males or females) or mixed (males and females) ensembles. songs, especially the texts, which communicate divers themes, occupy a major part in both traditional and christian funeral rites among the káláḇàrì. they are accompanied by dance performance and instruments such as drums, clappers and bells. however, the focus of such performance is the song rendered during funeral as the dance movements are unregulated. wámìnà álábò ò sò mùté (our chief has gone to heaven) is a typical example of ìgìrà sará númè performed during the opening rites at the funeral of a chief or one who dies at an old age. these songs require a limited number of instruments like a drum (bóboye) and a bell or a pair of wooden clappers (kpọkpọ) which provide the supper structure as the songs are 144 performed. ámábọrọ númè requires the same range of instrumental accompaniment at the end of funeral rite performance for an elder. the performance techniques of both types of songs differ in style. while ìgìrà sàrá númè is performed by youths in boisterous manner as if hell is let loose signifying the death and commencement of funeral rite of a chief, the ámábọrọ númè is performed by everyone in the war canoe house in a procession by both young and old dressed in traditional attire signifying a successful completion of the funeral rite for a chief or an elder in the compound. an example is òrì nà mú (accompany him). ḏụẹịn-ḏúú-a númè (a cappella dirges and chants) chants in the káláḇàrì culture are mostly performed during funerals by women who are wives, daughters and close relatives of the deceased. they are expected to eulogize the dead with their compositions performed in non-stanzaic declamatory style. such performances are done during ḏụẹịn-ḇọrọma when the body is lying-in-state and after interment. this performance of chants and dirges by widows lead to ḏínkrámá. yéhì ì mìnáḇọ meaning „o! my brother‟ is an example of a chant rendered extemporaneously by the elder sister of late chief s.o. princewill while he was lying-instate. performance of chants is in form of verbal expressions (like recitatives) intoned in a manner that combines musical effect with pitch variation at three levels: low, medium and high. introductory parts are rendered in high tones, while low and medium pitches are used within the body of the chants. yéhì ì mìnáḇọ yéhì ì mìnáḇọ íwòrìsóté mo? tòmì kírí ó mínì éríarí-o? s.o.tárí-álábò ì mìnáḇọ íwòrìsóté? tòmì kírí ó mínì éríarí-o? s.o. àrì í sínárí-o, ítàngà mú mò? ì mìnáḇọ àrì í sínárí-o! tòmì kírí ó mínì éríarí 145 s.o. ì ḏìḇì tè sòàrí à kpàràkí te owúare-o! translation o my brother have you left me behind? the world (people) are you watching? s.o. you‟re a chief, my brother, have you left me behind? the world (people) are you watching? s.o. i‟m calling you, where are you going? my brother, i am calling you the world (people) are you watching? s.o. you were to bury me, now you are going i am kneeling down and crying ì da árụ meaning „my father‟s canoe‟ is a dirge performed at the lying-in-state of the late father of the performer as an obligation on her part and an honour for the deceased. ì dà árụ anịe yọngọ sịn my father‟s canoe is strong and prestigious dọkụ àrì apụ emi-ye filled with paddlers nḏọkụ kụma árụ ḇu soa-a they paddle with skill in the mangrove creeks the dirge eulogizes the strength and wealth of the late father which qualified him to be installed as a chief. a traditional war canoe had thirty paddlers (usually warriors) who were under the leadership and full responsibility of the owner. the ability to maintain and sustain a war canoe was a criterion for installation as a chief. sẹkí númè (dance music) dance music is performed to accompany dance. the performace is called sìrì tí (performance at the arena) which attracts spectators at the arena and sometimes involves choreographed dance movements. such performances can be accompanied or unaccompanied by musical instruments. songs and dance movements performed without the full compliments of musical instruments make use of bárá farí ye (hand clappers) to generate appropriate rhythm for the dance. in kúkú-fárí performance at ḏín krámá ti or ìria páká, attention is given to the dance movements performed by both male and female in response to rhythm of songs and the drums. selected dancers led by ìrìabọiyingiḇọ or govina (choreographer) and the kúkú fáríḇọ (lead drummer) communicate the rhythms of the various dance movements and the ìrià pú (female dancers) and ówú (male dances) respond appropriately to the leading of the ìrìabọ-iyingiḇọ. everyone, including guests and musicians, are involved in sìrì tí (singing and dancing) at the sìrì kú (performance arena) in the compound square, to the admiration of the entire community. a typical example of dance music is igirigi kẹ o tubọ ḇẹḇára meaning „dew told his child‟ used to accompanying ìria (choreographed) dance steps during ìria páká. 146 igirigi kẹ o tubọ ḇẹḇára dew told his child, áwọ iyi me ḇẹrẹ síbí-a to have children is not the issue, ḏìkì kpaima kịngẹ but taking good care of them musicians and performance practice music in funeral rites (ḏụẹịn-ḏíḇi-a númè) and performance among the káláḇàrì does not only depend on the musical demands brought about by activities and events during funerals, but also to a large extent on its organization of participants in terms of performance of rites and ceremonies involving music and dance. nketia (1974: 35) identifies two major types of performing groups in indigenous african society: spontaneous or organized groups which are autonomous and those made up of professional musicians usually attached to traditional institutions. spontaneous music is usually produced by a group of people who come together to perform a type of music prescribed for a specific occasion. musicians belonging to spontaneous music group in the performance of ḏụẹịn-ḏíḇi-a númè are formed by young people of the same age group who are not in any formerly organised association. they voluntarily come together from different póló in the community to perform ìgìrà sàrá music in response to the performance need of the music at the opening rite during the funeral of an elder who was a chief. a second type of spontaneous music group is made up of males and females of different ages from the deceased‟s póló performing ámábọrọ songs at the closing funeral rite of a chief. these spontaneous musical groups are nonprofessional singers, motivated by community sentiments and by their reciprocal obligation in the event-music occasioned by the passing away of a chief. organized music clubs and cults perform during funeral rites on invitation by non-members and also at the funeral rite of members. the groups comprising members of clubs and èkìnè cult are led by recognized professional musician within káláḇàrì culture. some professional ḏụẹịn-ḏíḇi-a númè musicians among many others are mr. isobo david west, mrs. gladys harry and mr. sasime barango tariah. the performance and performance practice of ḏụẹịnḏíḇi-a númè is closely associated with age, sex and status of the deceased as informed by the tradition and belief system of the people. the venue and time of performance of the four categories of funeral rite music earlier discussed is determined by social, political, and religious attainment by the deceased when alive. the venue of performance for any type of music is context based and therefore cannot be performed anywhere else. in most cases designated rooms (ẹdẹ), compound square and specially decorated canoes for titled men are prepared for performance during funeral rites. according to ekine (2010) pre and post performance are observed by elders in the family, mourners and musicians before, during and after the actual performance of funeral rite music. 147 recruitment and training of musicians music education in indigenous african societies is both oral and practical in orientation (nzewi, 2007). among the káláḇàrì, there are no musicians‟ family as found in some other indigenous african societies; however training is achieved through giving of instruction at intervals, participatory observation, imitation and rote learning from their teacher (omibiyi, 1975). trainee becomes proficient in performance on the instruments according to s.b. tariah, i. davidwest and g. harry (key informants) through observation of professionals during rehearsals and performances. it takes many years of training to master the intonation and proficiency on the instruments especially the drums used for non-verbal communication during funerals. observation during field work reveal that trainees are enlisted in two ways: first, parents come with their children to the performer-composer who is either a master drummer or choreographer-vocalist to be trained. second, professionals enlist their trainees when they discovered hidden talents in them through observing them playing empty cans improvised into drums while the other children were dancing in the cool of the evening. having discovered these talents, they sort permission from their parents to release them for training in the art of drumming. musical instruments musical instruments used by the káláḇàrì at funerals reveal to some extent the vegetation, mineral resources exploited for the production, cross-cultural interaction and exchange with other ethnic groups around them. according to sachs and hornbostel (1961: 42) who categorized world musical instruments into four; membranophone, idiophone, aerophone, and chordophone, only three of these four categories are used in ḏụẹịn-ḏíḇi-a númè by káláḇàrì. these are membranophones, idiophones and idiophonic-aerophone. these traditional instruments occupy a very important place in traditional káláḇàrì worship of the ancestors and other deities. the most common are the wooden and membrane talking drums which comprise the íkíríkó, ókóró, àkùmà, àkánkpò, àkùsà, álílí, boboye and ọbọ. among the membranophone is the àkùmà (plate 2), álílí (plate 3), bóboye (plate 4) are used alone or in ensemble with other instruments. 148 plate 2: àkùmà plate 3: álílí plate 4: bóboye the idiophones are the most common in various sizes beginning with the biggest íkíríkó (plate 5), nkòrò (plate 6), ókóró (plate 7), and the smallest kpọkpọ (plate 8). the ókóró is strictly used for the installation and the funeral rite of a chief or the king. 149 plate 5: íkíríkó plate 6: nkòrò plate 7: ókóró plate 8: kpọkpọ the third category of instruments used during funeral rites is the idiophonic-aerophone which produces sound by means of the vibration of air through striking the mouth of the pot with a fan like material made with foam. kúkú (plate 9) is made from clay and in recent times they plate 9: kúkú 150 are made with sand and cement as well as metals. four to seven water pots of different sizes produce graded pitch levels, which make the ensemble a composite keyboard musical instrument. in káláḇàrì culture, the categories and types of music performed serve both religious and social-political functions. music is made to appreciate, appease, placate and invoke divinity. worship periods in shrines and churches are characterised by music and dance. the age, sex, status and contextual considerations dictate the categories and types of music as well as appropriate musical instruments required for celebrating the transition of a káláḇàrì. understanding song text káláḇàrí song texts are the most reliable instruments for interpreting its culture by outsiders and some insiders as expressed through its music, dance and theatrical performances. human behaviour according to merriam (1964) as it relates to music can be better understood through song text. the theme of songs according to nketia (1975) within a community or social group usually centres on events or issues of common interest and concern. furthermore, akpabot (1998) explained that in africa, the text of a song is more important than the tune; and that the complexity of song text is a reflection of the society and can be used to evaluate or categorize a community‟s experience as either egalitarian or stratified. according to akpabot (1998:75) “a singer takes great liberty with the text of a song [during performance and] uses metaphors, proverbs, archaic expressions and cryptic utterances.” such songs nzewi (2007:148) posited “could be logogenic or philosophical, pragmatic and social rationalizations of the sense and meaning of music.” káláḇàrí according to jenewari (1991:20) is a tonal language. therefore, káláḇàrí uses small range determined by the tonal inflections of the language. the use of small range of tones determined by the tonal inflections of the language is in line with káláḇàrí aesthetic principle which requires the communication of meaning and ideas of the text in both vocal and instrumental music. the range of vocal tunes in the culture does not exceed an octave guided by the philosophy of all inclusiveness as exemplified in songs performed during ìgìrà sàrá and especially ámábọrọ which involves all age groups of the war canoe house. among traditionalist, funeral song text are shaped and drawn from káláḇàrì myths, philosophy of life, belief system, and worship of free spirits (tẹmẹ) such as the village heroes (órú), the water people (ówú) and the ancestors (ḏụẹịn). these tẹmẹs are complementary to one another and together provide an explanation for everything that goes on in káláḇàrì. ritual song texts during funeral rites are used in ancestral and non-ancestral worship. the delivery of funeral song texts are communicated in two ways; via instrumental medium as verbal non-vocal performance as exemplified in ókóró fárí and vocal delivery accompanied or unaccompanied with musical instruments. among the káláḇàrì christians, song texts used at funerals are drawn from bible stories and their christian experience as followers of jesus christ. the themes of texts are divers. they are mostly evangelistic, calling people to repent by using biblical characters like father abraham, paul and silas, and most especially jesus christ through whom according to informants; the dead can be brought back to life on the day of resurrection. other themes 151 expressed in the texts are, attributes of god, praise and worship, victory over sin and death, and the coming of christ to take those who believe in him to heaven. findings show that the textual content of ḏụẹịn-ḏíḇi-a númè was based on five themes: praise for supernatural and human personalities, lamentations, prayers and scriptural teachings. the application of nine different communication techniques in its lyrics revealed rich literally corpus that characterise funeral music. musical form structurally solo musical form occupies a major part in káláḇàrí funeral rite. ḏụẹịn-duu-a númé is an original song composed and performed unaccompanied by several people; the wives, children and close relative during the lying in state of the deceased. a typical example of a solo form is shown below. responsorial form is the most common structural form used in káláḇàrì funeral music. this form allows for interaction between the chorus and the lead singer or soloist in a call and response style. this form is performed in several ways. the most common type is when a phrase is sung by the lead singer the chorus responding with exactly the same phrase. a second type is when the lead singer takes up the song; the chorus joins by responding to the call. the text in each of the calls is different and the chorus responds appropriately as shown in the example below: in addition, it is characterised by an unequal phrase for the solo-call which has a shorter phrase than the chorus. on the other hand, short call and a short response is another type of responsorial form shown in the example below: 152 in the song wamna ‘labo, there is an equal balance in both phrases despite the difference in the text. though, the cantor and the chorus do not sing the same text, the time for performance of each role is equal. other types in the responsorial form are call and chorus refrain pattern, call and refrain as well as mixed structural patterns. repetition is one of the basic structural features in káláḇàrí funeral music. according to nzewi (2012:10), it is an „intentional, proactive, strictly repeated short thematic idiom‟ used in solo or ensemble performance. repetition of a whole song is performed exactly the way it was sung by the soloist. it helps to lengthen the performance, emphasize the text without variation in content and speed and helps possess the mind. the song krímkrím íkíkà is a two phrased structure ab. it is performed once by the lead singer and is repeated several times by the chorus. another technique of performance is the repetition of a line or a phrase. this type of repetition is prominent in certain call and chorused refrain. this is exemplified in the song òpúdà àrù performed as part of the funeral song during a canoe regatta. the chorused refrain is different in the use of short phrases of one or two words continuously repeated to a level during performance that the soloist only need to hum his line and the chorus keeps repeating the refrain. this type of performance psychologically helps to focus the men (thirty of them) as they display on the sea while paddling the canoe. internal variation of a recycled short theme is another micro formal device used in káláḇàrì funeral songs. it is different from repetition in that it commands consistent and holistic alteration of the rhythm, tonal and pitches thereby creating a cumulative effect that excites the performer and listeners. an example of a song which made use of internal variation form is ìbàláfà-a. the theme from which internal variation is achieved is made up of three short phrases with a descending melodic line in the key of f. the rhythm made use of dotted eight and quarter notes, sixteenth note and a semi breve at the end of the phrase. a b c 153 the first two phrases are sung by the soloist and the chorus responds by joining in the third phrase (see appendix 6 for the entire song). internal variation is achieved through the recycled short theme phrase c. deliberate alteration was carried out first on the text, by the addition of four other words má o bouri ófóriyé meaning „nothing will make me afraid‟ performed as máobo’ri-ófóriyé. secondly, the use of a different rhythmic motif (syncopated use of double and triple dotted sixteenth and thirty-second notes) by the vocal ensemble and thirdly, the performance of the phrase éḇáláfa máobo’ri-ófóriyé at two different pitches: interval of a 4 th and 5 th above the tonic note f. the ensemble sings in harmony at an interval of a 3 rd and 6 th apart between the three voices while the soloist sings and improvises on the melody resulting in a mosaic of sound which is holistic. findings show that composers of funeral music employ various compositional devices such as, repetition, internal variation, overlapping, contrast and improvisation in the development of their music. funeral, church policies and militancy christian groups and denominations over time in the niger delta have put in place various policies to regulate the funeral rites accorded their members. according to batubo (2010), three major issues have shaped the policies adopted by christian groups in the area which are doctrinal, economic and especially with the security of lives and properties in the community. these have become necessary in order to avoid syncretism, delay in burying their dead, going into poverty after funerals by the deceased family, and to give their deceased members the last respects despite insecurity brought about by the activities of the militants in the niger delta. these policies have brought about changes in funeral music creativity; presentation forms and performance practices among káláḇàrì. 154 among anglicans of the niger delta diocese funerals of their late members must be carried out within twenty eight days from when the information of death reaches the church elders. non-compliance means that the church will not take part in the funeral. furthermore, the church buries only those who are baptised, confirmed and have been involved in the life of the church and denomination before their death. during the funeral, the “day vigil” is organised on saturday for about two hours, selected hymns and choruses are performed in praise of god while the corpse is lying in state. the series of lying in state as required by the tradition where children and wives of the deceased sing specially composed songs in praise of the dead and founding ancestors of the compound is highly discouraged and termed ancestral worship (soberekon, 2010). other christian groups like the baptists and pentecostals require one to three months within which the funeral must be carried out. their members are prohibited from performing traditional funeral rites for their dead before, during and after the interment of the corpse. this has resulted in some form of antagonism between the traditionalists and christians as most of the women and younger generation are refusing to perform the traditional funeral rites which are against their christian belief. this has affected creativity and the amount of traditional music generated at funerals. for the departed, death is a transition and a rite of passage lavishly celebrated through farewell and befitting funeral rites by the káláḇàrì. it is taken as a project involving the immediate family, war canoe house and community depending on the status of the deceased. sometimes the funeral of an elder is delayed for years because the children are raising money to build a befitting house for the dead and to take care of other ceremonies before the date is fixed. after such celebrations some individuals go bankrupt and never recover from poverty which leads to untimely death. this informed the time frame put in place by christian groups to curtail as well as help their members avoid lavish spending during funerals (batubo, 2010). however, some other christian groups like the african church and christ army church do not have legislation on the time frame within which a funeral should be done. members are allowed to bury their dead in line with the traditions of the land. after the entire ceremonies they come to church on sunday, the second weekend after the interment for thanksgiving. in addition to participating in the burial, a memorial service is organised one year later by the bereaved family. memorial services in the african church are a demonstration of traditional belief in life after death and a proof that the deceased must be placated through their remembrance to avoid their wrath and incur their blessings. it is an occasion for lavish spending, much eating and drinking during when the church choir performs songs and dirges specially composed for the occasion. sometimes these services are fixed on saturdays to allow for more participation by relations, friends and well wishers. memorial service is a great source of income for the church and the officiating ministers who demand as of right, one-third of the proceeds in accordance with the constitution of the church. in the late twentieth century, the church in niger delta area began to experience attacks from misguided youths during wake-keeping at funerals. according to an informant who attended 155 a wake keeping ceremony in one of the communities in asari-toru local government area in 2001, he ran to save his life from sporadic shooting by militant groups who invaded the compound at about 1:00am in the night leaving two persons dead and many injured. the militants are mainly unemployed youths disengaged by the political class and dumped as political thugs after the 1999, 2003 and 2007 elections to high offices at the three levels of government: local council, state and federal government. the situation grew worse when rival groups rose against one another in order to assert their supremacy in the region. during this period many fled and deserted their homes and communities for up to two years. socio-cultural, religious and economic activities at sea, creeks, communities and local government headquarters came to a halt. the spate of armed robbery, rape, extortion, kidnapping of foreign nationals who were staff of oil companies in the region were on the increase. furthermore, kidnapping of foreigners later snowballed into kidnapping of nigerians for personal gains, vandalisation and stealing oil from pipe lines. this situation which became a threat to national security necessitated the militarization of the niger delta region by the federal government in order to restore peace to the region. the intervention of the federal government, among other measures by sending the military to crack down on militants in the region, brought stability; and people started returning to their villages and communities. curfew was put in place from 10:00pm to 6:00am and all forms of gatherings; social, political, cultural or religious, were prohibited at night for many years. the subsequent pronouncement of the amnesty programme in 2009 by the federal government for the niger delta militants has brought some peace to the region. the performance of funeral rites in káláḇàrì has been affected greatly as a result of the unrest brought about by the activities of the militants in the region. music at funerals and its presentation have reduced tremendously and in some situation displaced from their traditional context of performance. for example, ḏụẹịn bórọmá rite which involves the singing of dirges and special songs by the children and wives of the deceased during wakekeeping at night has been moved to saturday between 10:00am and 12:00 noon. this situation has affected presentation form and performance context. also affected is time spent for socialisation among family members, musicians and guests during funeral ceremonies as people still feel insecure despite military presence as shown on plate 10 below. 156 plate 10: surveillance by joint military task force at a funeral rite in búgúmà conclusion certain conclusions from post field analysis can be made from this study. firstly, the performance of ḏụịẹn-ḏíḇí-a númè (funeral rite music) is rooted in káláḇàrí culture and traditions. performances manifest as instrumental and non-instrumental music by members of the bereaved family, house and community. therefore, it engenders socialization and spiritual bonding among relations, friends and well wishers of the bereaved family to give sympathy and community support to the family of the deceased. secondly, the categories and types of ḏụịẹn-ḏíḇí-a númè are determined and shaped by ritual, semi-ritual and non-ritual contexts. four categories were identified: ákwá (instrumental music), ògbò ḇẹ númè (choral music) with instrumental accompaniment, ḏụịẹn-dúu-a númè (a cappella dirges and chants) and sẹkị númè (dance music). ókóró fárí, a type of instrumental music performed by professional musicians is ritualistic and does not allow female participation. ìgìrà sìrá númè and ámábórọ númè are choral music performed by mixed ensembles in responsorial form. ḏụịẹn bórọma númè are performed as dirges, laments and songs in solo form at the lying in state of the deceased. pre and post interment funerary dance music of ókpókìrì, and kúkú fárí during ḏín krámá tí are performed to give public acknowledgement that proper burial honours have been bestowed on the deceased who is deserving of honour. thirdly, song texts of funeral music are based on the belief system and culture of the people. they are philosophical; expressing historical, praise for supernatural and human being, prayers, laments, moral teachings and scriptural teachings as themes. furthermore, the texts of music serve psychological and spiritual purposes of encouraging the bereaved and facilitating the process of the dead becoming an ancestor. findings show that three musical textures were predominant in the data, namely monophony, homophony and heterophony. 157 these musical textures are structured in solo, call and response, overlapping, mixed structural and presentation forms. fourthly, ḏụịẹn-ḏíḇí-a númè is central to káláḇàrì funeral rites for both the traditionalist (as there is no opportunity for a second burial) and christians. however, some of the funeral rites and its music are already extinct, some are at the verge of extinction and others are experiencing gradual transformation due to urbanization, globalization, insecurity, apathy on the part of the younger generation and the conversion of káláḇàrì people to other religions especially christianity. end note 1. sí fì is referred to as „bad death‟ which is further divided into kpọ-a fì which imply untimely death below age fifty caused by sickness or disease and kurọ fì which is an untimely death brought about as a result of inter ethnic wars, fatal motor accidents and plane crash which makes it impossible for the body of the deceased to be recovered. 2. melorhythmic instruments such as the 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(1975). training of yoruba traditional musicians. in w. abimbola (ed.), yoruba oral poetry, 877-925. roberts, h. h. (1925). a study of folk song variant based on field work in jamaica. journal of american folklore, 38, 149-216. tasie, g. o. m. (1978). christian missionary enterprise in the niger delta. leiden: f. j. brill. wariboko, n. (1997). the mind of african strategists: a study of kalabari management practice. cranbury nj: associated university press. ________________ (2007). a theory of the canoe house corporation. pattern of institutions in the niger delta: economic and ethological interpretations of history and culture, 25-79. port harcourt: onyoma research publications. oral interviews chief a. m. princewill, (member council of chiefs) buguma, 2010 mr. enefaa johnbull, (historian and community elder), buguma, 2010. mr. sasimen barango tariah, àkwá àláḇọ (chief drummer), kalabari ekine cult, buguma, 2010. mr. isobo davidwest, tariah, àkwá àláḇọ (chief drummer), kalabari ekine cult, buguma, 2010. mrs. daisy soberekon, (secretary, pcc st. micheal‟s anglican church, niger delta diocese), buguma, 2010. mrs. gladys harry, (musician and choreographer), ido, 2010. chief igbaibo george, (senior and most experienced member of ekine cult) buguma, 2010. venerable j. a. batubo, (vicar in charge of christ army church) bakana, 2010. . awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 61 an appraisal of yoruba speech mode for composing/performing yoruba gospel choruses dr. adedayo ezekiel babatope emailadedayoebabcock.edu.ng or adedayoezekiel37@gmail.com abstract 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. keywords: speech mode, western mode, functional effectiveness, textual intelligibility. introduction the yoruba of nigeria are delineated by a constellation of musical traits that are distinct in instrumentation, vocal types, musical forms, performance contexts, to mention a few. meanwhile, omibiyi (1981:40) elicits two essential features that designate the music of the yoruba; prevalence of membrane drums and a pastiche of vocal musical types. the advent of christian missionaries and colonialism among other external influences exponentially reshaped yoruba music. such impactions were apparent from the perspectives of instrumentation, forms and styles. aside the influx of western instruments, namely, guitar, keyboard, brass and wood wind, a vast number of musical forms (church or non-church based) emerged. influences of judo-europeanization on yoruba music could not be considered solely within the frame works of instrumentation, forms and styles. one other uniqueness of yoruba music is contained in tonality which largely conforms to the speech mode, a stance that emanates from dialectic/tonal inflections of multi ethnic groups. to an appreciable degree, the superimposition of western harmonic system heralded by colonialism and christian missionaries’ activities vastly obliterated tonal nature of yoruba music (olaniyan, 2001: 59). the aftermath of such gradual concealment of african identity (speech mode) aroused a quest for nationalism by nigeria elites who have received training in western music education within and outside of nigeria soil; either in church or secular medium. in the church (the focus of this study), several attempts were advanced with a bid to salvage the dwindling yoruba cultural identity of discourse. precisely in 1923, a yoruba hymn book was published by the church missionary society (c.m.s.), comprising six hundred (600) hymns with an appendix of fifty seven (57) songs, composed by rev j.j. ransomekuti (owoaje: 2023). laudable this effort portrayed, the western, european distinctive traits were still vivid in such hymns, namely; textual content, musical elements and idioms. the yoruba identity was solely contained in language of presentation (yoruba). meanwhile, the effort exerted by canon ransome kuti in preserving yoruba cultural heritage within the ambit of church music is deemed commendation. aside the language of composition (yoruba), the fifty seven additional songs supplied by kuti also conveyed yoruba tune in both indigenous poetic and musical idioms. he succinctly adapted tunes from traditional folks/ ritual songs on which the religious texts of the church were super imposed. it is needful to also acknowledge the credible involvement of t. k philip as a proponent of yoruba musical cultural heritage and the acclaimed first certified nigerian in western music education. in the similitude of canon kuti, thomas kayode ekundayo philip assiduously engaged in tending the melody of the hymns towards the yoruba tonality of speech mode. he did not stop at tonal configuration; he endeavored to fine-tune the desirable rhythmic pattern that conformed to the textual expression. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 62 the quest for nationalism, cultural identity and indigenization has spurred conscientious agitations and efforts in diverse academic disciplines; humanities, social science, natural science, medicine among others. reiteratively, within the ambit of music, pragmatic measures have been taken to align with such movements. in this context, mention should again be made of scholars and composers of nigeria sacred and arts music who severally drew inspiration from indigenous folk and ritual songs alongside their knowledge in western music theory to compose religious and secular art music that bear african identities. the musical practices (church music inclusive) in recent times are at variance with the inclination and aspiration of the nationalists in african music. this stance is evident in the conventional rendition of church choruses in which case, the melodic line does not align with the speech mode of the yoruba. it is the intention of this study to engage selected yoruba gospel choruses that are composed in speech mode format and the inherent efficacy and defects that attend such measure in the light of the prevailing western diatonic framework for creating and performing yoruba music. chorus i : awa naa re oluwa (here are we o lord) the following observations are apparent from the two variants of this chorus. the first line (phrase) of the conventional variant reads “a–wa-na-an-re-o-lu-wa”. (d m s d m r m r) compared with the yoruba speech mode which presents “ à-wa-ná-aǹ-rè-é-o-lú-wa” (d m s d d m r m r). the syllables re-e, bearing the first and third degrees of the scale (d m) are inevitable to ensure conformity with the yoruba speech mode pattern, contrasting the conventional pattern which simply reads re, “median”, the third degree (m). the second phrase (à–wa-ná-aǹ-rè-olú-wa) which is a textual repetition of the first phrase produces the following solfa notes in the western diatonic scale; m-r-d-l-r-d-r-d. in the context of yoruba speech mode, there is also textual repetition of the first phrase (à-waná-aǹ=rè-é-o-lú-wa) which may repeat notes of the first phrase (d m s d d m r m r) or modified as d-r-m-l-l-r-d-r-d. also, the phrase line “a-wa-du-pẹ-o-re-a-tọ-dun-mọ-dun” of the conventional rendition presents (r m m m d d l d r r r). on the other hand, the following notes (r m m m r r d r m m m) are established in the speech mode version ( awá-dú-pe ̣́-o-re-à-tọ-duń-mo ̣́-duń). though in the conventional presentation, the phrase “a-to-su-mo-su carries notes “l d l d s”, the yoruba speech mode (à-to-sù-mó-sù) reads l d s r s. finally, while the phrase “” in the conventional mode presents the following notes “m s s s m m d d r r”, the speech mode version (a-wá-dú-pe ̣́-o-re-ì-gbà-gbo-gbo) produces “r m m m r r s s r r). chorus ii : jesu mi seun the personality in this chorus appreciates god’s benevolence amidst life challenges. in the conventional mode the first phrase “presents the following notes; s-s-d-l-l while its relative in the yoruba speech mode (jé-sù-mí-seunseun) produces d s d l l. the second phrase ọ-lọ-run-mi-seun-seun in conventional mode reads the notes t d t l s s, declared as r m l-d l r d d in the speech mode version with a slight modification in the phrase as ọ-lo ̣́-o ̣́-run-uǹ-mí seun-seun. ma-bẹ-rẹ-mọ-lẹ ma-gbe-ga which is the third phrase disseminates the following notes in the conventional form; s s s d t l l l whereas the yoruba speech mode (mà-á-be ̣́-re ̣́-mo ̣́-lè-mà-á-gbé-e-ga) presents s-d-s-s-d-s-s-d-d-l-l. the fourth phrase (ma-gbe-je-su-mige-ge) of the conventional rendition produces the notes; l d d t l s s s which in modified form; mà-á-gbé-jé-sù-mi-gẹ-gẹ, supplies these notess,-m-m-m-s,-r-r-r. from the fifth phrase of the conventional form (o-wo-mi-lo-ke-yẹ-yẹ), the following notes results-l-s-l-m-f-f, in which case yoruba speech mode relative in modified form (ọ-wo ̣́-o ̣́-mi-ló-kè–gẹ-gẹ) presents r-m-d-r-m-d-r-r. the sixth phrase (ma-ka-le-luyah-rẹ-pẹ-tẹ) disseminates solfa notes “f-s-f-s-r-m-m-m” in the conventional mode. on the other hand, the yoruba speech mode of this version (mà-á-ká-le-lú-yah -rẹ-pẹ-tẹ) supplies “s-m-m-r-m-d-r-r-r”. from the seventh phrase; “je-su-mi-seun-seun” (textual replication of the first phrase), the following solfa notation is derived “d-d-m-r-r premised on the western diatonic mode. contrastingly, the yoruba speech mode variant (jé-sù-mí-seun-seun) offers sofa notes “s-d-m-r-r”. the last (eight) phrase (ọ-lọ-run-mi-seun-seun) which textually intones the second phrase, produces sofa notes “m-f-m-r-d-d within the frame work of western modal system, whereas, the textually modified speech tonal format (ọ-lo ̣́-o ̣́-run-uǹ-mí-seun-seun) disseminates “r m l-d l r d d” chorus iii: kinlẹ olese ọlọrun mi this chorus that affirms the sovereignty and potency of god supplied the following notes; d-l-s-s-l from the first phrase (kin-lẹ-o-le-se). meanwhile, in the modified form of the speech mode (kiń-lẹ-e ̣́-ò-lè-se), the following notes are delivered; d-l-s-s-s-l. while the second phrase (ọ-lọ-run-un-mi) presented in the conventional mode produces ld-s-m-s, the slightly modified speech mode (ọ-lo ̣́-o ̣́-run-uǹ-mi) reads; l-d-m-s-m-s. the third phrase (kin-lẹ-o-le-se), which is a textual reprise of the first phrase disseminates the following notes; “l-s-m-m-s”. the yoruba speech mode variant (kiń-lẹ-è-ò-lè-se) supplies solfa notation; l-s-m-m-m-s. from the fourth phrase (e-yin-ti-e-da-a-ye-a-tọ-run) of the conventional mode, the following notes are apparent; s-l-d-l-d-l-d-m-m-s. on the other hand, the yoruba speech mode format (è-yin-tí-e-dá-a-yè-à-to ̣́-run) of this phrase renders; d-r-m-r-m-r-m-f-f-s. the fifth phrase (kinawka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 63 lẹ-o-le-se) is a reprise of the third phrase in textual and melodic structure for both western and yoruba speech modes. from the sixth phrase (kin-lẹ-o-le-se), the following solfa notation emanates; “s-m-d-d-r” premised on conventional mode. contrastingly, the yoruba speech mode version (kiń-lẹ-è-ò-lè-se) disseminates; “s-m-d-d-d-r”. the phrase (ọ-lọ-run-un-mi) presented as the seventh section supplies the solfa notes “r-m-d-l-d” within the ambit of western mode. this setting opposes the yoruba speech mode (ọ-lo ̣́-o ̣́-run-uǹ-mi) which delivers the following sofa notation; “r-m-l-d-l-d”. finally, “kin-lẹ-o-le-se” which constitutes the eight phrase embodies sofa notes; “r-d-ll-d” hinged on the western modal format. meanwhile, the yoruba speech mode variant “kiń-lẹ-e ̣́-ò-lè-se” produces “r-d-l-l-l-d” as solfa notation. chorus iv: eniba more rẹ the textual content of this brief chorus implies response to god’s benevolence. the first phrase (ẹ-ni-ba-ẹ-ni-ba) in the conventional mode presents the following notes; d-d-d-m-s-s which are delivered in the speech mode format (ẹní-bá-ẹ-ní-bá) as m-s-s-m-s-s. from the second phrase; ẹ-ni-ba-mo-re-rẹ, these notes; m-s-s-m-m-d, are drawn, premised on the conventional mode of presentation. however, in the speech mode format (e-ní-bá-mo-re-re ̣́) the same phrase produces m-f-f-m-m-s, meanwhile, the final phrase; ko-ba-ni-gbe-je-su-ga engenders notes; m-m-r-md-l-d in the conventional style, averse to m-m-r-m-m-l-d in the yoruba speech mode (kó-bá-ni-gbé-jé-su-gà). chorus v: oyẹ kadupẹ in the similitude of eniba morerẹ, oye kadupe presents justification for thanksgiving in the light of god’s protection over humanity. o-ye-ka-du-pẹ as the first phrase, disseminates the following notes; “s-d-m-m-m” in the conventional format, which in the speech mode variance (ó-ye-ká-dú-pe ̣́), is replicated as m-r-m-m-m. the second phrase which is a reprise of the first phrase, in the conventional mode begins with dominant (s) just like the first phrase, however, in the higher octave. other notes are intact. conversely, in the speech mode, notes of the first phrase (m-r-m-m-m) is repeated in the second phrase. the textual content of the third phrase bears “a-ra-san” presents; s-d-m, which in the speech mode( à-rá-sań), reads s,-ś-ś. the fourth phrase; ‘a-tẹ-gun-fẹ’, while exuding the following notes m-s-d-m in the conventional mode, produces m-s-d-m-m with little modification; ‘a-te ̣́-guǹ-uńfe ̣́’ in the relative speech mode. in the fifth phrase (i-ji-ja-ko-gbe-wa-lọ) are embedded the notes s-l-s-m-s-r-r from conventional perspective. on the other hand, the same phrase (ì-jí-í-jà-kò-gbé-wa-lọ) supplies d-d-ś-d,-d-m-r-r hinged on speech mode. finally, the sixth phrase (o-yẹ-ka-du-pẹ) which presents the following notes; d-l-d-d-d in the conventional style, replicates the fifth phrase in both text and melody. contrastingly, the speech mode variant (óye-ká-dú-pe ̣́) produces “m-r-m-m-m”, a reprise of the first phrase. chorus vi: iyin rẹ baba this praise song acknowledges the reality and supremacy of the trinity; father (baba), son (omo) and the holy spirit (emimimo). the first phrase (i-yin-rẹ-ba-ba) in the conventional format presents the following notes: d-d-md-d, whereas, the yoruba speech mode (ì-yiǹ-rẹ-ba-ba) of the same phrase exhibits notes d-d-r-r-r. from the second phrase; i-yinrẹ-ọ-mọ, l-l-d-s-s are produced as the notes in the conventional mode contrary to the speech mode (ìyiǹ-rẹ-ọ-mọ) which sustains the notes of the first phrase; -d-d-r-r-r. while the third phrase (i-yin-rẹ-ẹ-mi-mi-mọ) in the conventional format disseminates d-d-m-d-m-s-s, this phrase in the yoruba speech mode (ì-yiǹ-rẹ-e ̣́-mí-mí-mo ̣́) presents d-d-r-s,-ś-ś-ś. meanwhile, the last phrase (i-yin-rẹ-ọ) in which the texts replicates the first phrase showcases the following notes, premised on the conventional singing mode; d-d-r-r-d. averse to the conventional pattern, the yoruba speech mode supplies; d-d-r. chorus vii: bi a tilẹ kere this chorus is an affirmation of undaunted confidence reposed in the supreme power amidst life travails. the first phrase (bi-a-ti-lẹ-ke-re) in the conventional mode exhibits the following notes; d-d-d-r-m-m, which is in contrast to the speech mode (bí-a-ti-le ̣́-ké-ré) of notes “m-r-r-s,-m-m”. at the second phrase (a-lọ-lọ-run-un-la), notes; m-f-f-rm-m are presented in the conventional pattern while in the relative speech mode format, the resultant notes are contained in m-ś-ś-d-r-m-m, subsequent to a minor modification in the phrase (a-lo ̣́-lo ̣́-o ̣́-run-ń-lá) in this context, seven syllables are presented against the six of the conventional format. the third phrase (bi-a-ti-lẹ-ke-re-o) in the conventional rendition, elicits notes; s-s-s-m-f-r-l. on the other hand, the same third phrase with the exception of the last syllable (o) in the speech mode reads the following notes; m-r-r-s,-m-m replicating note of the first phrase. finally, the fourth phrase (a-lọ-lọ-run-un-la) which bears the same textual structure with the second phrase, produces the following notes in the conventional pattern d-r-d-t-d-d. meanwhile, the speech mode variant (a-lo ̣́-lo ̣́-o ̣́run-ń-lá) of this phrase supplies; “m-ś-ś-d-r-m-m” as its notes in alignment with the second phrase. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 64 chorus viii: dupẹ lọwọ baba simulating other praise songs, the textual content of this chorus implies a wholesome gratitude towards god’s benevolence. the first phrase (du-pẹ-lọ-wọ-ba-ba) of this chorus in the conventional mode disseminates the following solfa notes; d-d-d-t-l-l which contrasts the notes produced from that of yoruba speech mode “d-d-d-d-l-ll” subject to a minor modification in the phrase by an addition of a syllable (dú-pe ̣́-lo ̣́-wo ̣́-ọ-ba-ba). while the second phrase (du-pẹ-lọ-wọ-ba-ba), carrying the same textual content and structure with the first phrase, exhibits solfa notes l-l-l-l-l-l in the conventional singing mode, this phrase presents sofa notes (l-l-l-l-s-s-s ) in the yoruba speech mode format with modification (dú-pé-lo ̣́-wo ̣́-ọ-ba-ba) . the third phrase (so-fun-po-se-un) gives rise to the following notes; t-t-d-s-s in the conventional mode. again, with modification of the phrase (so-fuń-un-pó-se-un), the following notes emanate from the yoruba speech mode; s-l-s-l-s-s. in the fourth phrase where the textual structure of the third phrase is reproduced, the following sofa notes evolve; “s-s-l-s-s” within the confinement of western mode. on the other hand, both the texts (so-fuń-un-pó-se-un) and solfa notes (s-l-s-l-s-s) of this phrase directly replicate the third phrase when yoruba speech mode is applied. the fifth phrase (gbo-gbe-ni-yan du-pẹ-lọ-wọ-baba) presents the following sofa in the conventional pattern; d-t-l-s-f-f-f-m-r-r. on the other hand, the speech mode version of the modified phrase (gbo-gbo-è-nì-yaǹ-dú-pe ̣́-lo ̣́-wo ̣́-ọ-ba-ba) disseminates s-s-m-m-m-l-l-l-l-s-s-s. lastly, solfa notes; s-s-f-m-m are drawn from the sixth phrase (so-fun-po-se-un) premised western mode format. meanwhile, this slightly modified phrase with an extra syllable (so-fuń-un-pó-se-un) within the frame work of yoruba tonal inflection presents the following notes; s-l-s-l-s-s. chorus ix: ologun loluwa this piece underscores god’s formidability as a mighty warrior. in the conventional western diatonic scale mode, the first phrase (o-lo-gun-lo-lu-wa) of this chorus, supplies the following solfa notes; s-s-s-l-l-s. contrastingly, the same phrase presents “s-l-s-s-l-s” in the yoruba speech mode (o-ló-gun-lo-lú-wa). in the second phrase (o-lo-gunlo-lu-wa); a reprise of the first phrase texts while sofa notes “s-s-m-f-m-r” are disseminated in the conventional western diatonic scale, averse to s-l-s-s-l-s that maintain the sofa notes of the first phrase. the third phrase (i-wọ-sama-sa-ti-le-hin-mi) of this chorus delivers s-s-s-m-d-d-r-l-d in the western diatonic scale mode which is at variance with the speech mode of the yoruba subject to textual modification (ì-wo-sá-à-ma-sà-tì-le ̣́-hiǹ-mi) to engender “dm-s-d-m-d-d-m-d-m” as solfa notes. in the last phrase (o-lo-gun-lo-lu-wa), again, a textual reprise of the first phrase, solfa notes “m-m-d-r-r-d” are produced. this system contradicts the yoruba speech mode (o-ló-gun-lo-lúwa) that presents m-s-m-m-s-m. chorus x: la ẹnurẹ ki oyin oluwa this chorus is an appeal for a heartfelt thanksgiving from humanity to god, stemming from his benevolent acts. the first phrase (la-ẹ-nu-rẹ) presents notes m-m-m-m based on the western melodic diatonic scale. with little modification (la-ẹ-nu-uǹ-rẹ), the same phrase supplies r-r-r-d-r when yoruba speech mode is applied. the second phrase (ki-o-yin-o-lu-wa) from the perspective of western diatonic melodic scale, disseminates sofa notes r-d-r-r-dl. however, the yoruba speech mode (kí-o-yin-o-lú-wa) of this variant delivers m-r-r-r-m-r as solfa notes. in the third phrase (la-ẹ-nu-un-rẹ) that is a reprise of the first phrase, r-r-r-r constitute the notes in the conventional western diatonic scale, whereas d-d-d-l-d are registered by this phrase modified (la-ẹ-nu-uǹ-rẹ) in the context of yoruba speech mode. the fourth phrase (ki-o-yin-o-lu-wa) sung in the western diatonic scale, emanates the following notes; d-l-d-d-l-s. this is contrasted by solfa notes r-d-d-d-r-d presented in the yoruba speech mode (ki-òyiǹ-ò-lu-wà). while the fifth phrase (la-ẹ-nu-rẹ) supplies m-m-m-m, constituting a reprise of the first phrase in the western diatonic scale, the phrase repeats the textual structure as well as solfa notes of the first phrase in the yoruba speech mode format as r-r-r-d-r. the sixth phrase (ki-o-yin-o-lu-wa) is a replica of the first phrase which produces the following solfa notes; r-d-r-r-d-l, hinged on the western diatonic scale mode. this system contrasts the arrangement from the yoruba speech mode perspective (kí-o-yin-o-lú-wa) that disseminates m-r-r-r-m-r as the sofa notes. from the seventh phrase (yin-o-lu-wa), solfa notes r-r-r-r are abstracted with in the ambit of western diatonic scale, averse to notes d-d-r-d, drawn from the same phrase in the context of yoruba speech mode format (yin-o-lúwa). the last phrase of this chorus (o-lu-wa-da-ra) presents solfa notes d-m-r-m-d within the frame work of western scale mode which contrasts d-r-d-r-r-d supplied by the modified phrase (o-lú-wa á-dá-ra) premised on yoruba speech mode pattern. inference from the study considering the tonal nature of african music, characterized by dialectic or tonal inflection, the following deductions are apparent from the contrasting scales (western diatonic and african pentatonic) engaged. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 65 concept misrepresentation it is needful to reiterate that african music, yoruba variant inclusive, extols textual content of a piece, which essentially determines the message and the embedded concept. evidenced from the song analysis, the choruses performed on the western scale to a high degree do not convey the intended meaning of the songs. this scenario also de-emphasizes the contextual nature of african music on which the textual content is largely hinged. in song 1, a distinction exists between the western diatonic (a-wa-nan-an-re) and the yoruba speech mode (a-wa-nan-an-re-e) variant of the first phrase. while the former carries five syllables, the latter contains six syllables. the addition of the sixth syllable (e) with sofa note “m” becomes imperative to enable conformity to the yoruba speech mode. the solfa notes “d m s d m” in the western diatonic scale does not communicate the intended message of this phrase in which case, the song presenters announce their availability or arrival as a sensitivity to god’s benevolence over their lives. the fifth and sixth syllables (re-e) of the first phrase which carry solfa notes “d-m”, embodied by the speech mode of the yoruba succinctly elicit the meaning. contrarily, the syllable “re” and its solfa note “m” of third degree of scale in yoruba semantic connotes “fall” such as falling from a height, from a position of honor and so forth. similarly, the phrase “a-wa-du-pẹ-o-re-a-tọ-dun-mọ-dun” and its notes r m m m d d l d r r r presented in the western diatonic scale betrays the supposed interpretation. the solfa notes of the yoruba speech mode version (r m m m r r d r m m m) is much closer to the intended designation of this phrase. the anomaly lies in the syllables o-re of the first half (a-wa-du-pẹ-o-re)) of this phrase which contain sofa notes d-d in the western mode averse to the supposed r-r of the speech mode. one more discrepancy occurs at the second half (a-to-dun-mo-dun) of the same phrase. rather than sofa notes “l d r r r” which aptly misrepresents textual content, notes “d r m m m” are preferred. finally, the phrase “a-wa-du-pẹ-o-re-i-gba-gbo-gbo with its sofa notes “m-s-s-s-m-m-d-d-r-r” is faulty, contrasting “r-m-m-m-rr-d-d-r-r”, premised on yoruba speech mode. the phrase alludes to the eternal nature of divine goodness, being bestowed on humanity. in a sense, it depicts the convergence of brethren to acknowledge benevolent act of divinity. again, the first half of the phrase, particularly the syllables “a-wa which designates “ we come” is ably represented by solfa notes “r-m” (a-wá) in the speech mode as opposed to the western pattern which presents notes “m-s”, a misrepresentation. a-wa in this content will be misconstrued as “we” (à-wa) which drastically negates the content of this phrase. another misconception ensues in the second half of this phrase (i-gba-gbo-gbo), essentially at the syllables “i-gba. in the western mode i-gba with the solfa notes d-d denotes a numeral figure of two hundred (200). this position contradicts the intended meaning of ì-gbà portrayed by the sofa notes s,-s, in the yoruba speech mode which dwells on season or time in space. in the first phrase (je-su-mi-seun-seun) of the second chorus (jesu mi seun) with the solfa notes s-s-d-l-l, the two “dominant syllables (5th degree of scale) appropriated do not intone jesus. such presentation is at variance with solfa notes “d s d l l” which align with the yoruba speech mode (jé-sù-mí-seun-seun).the second phrase (ọ-lọ-run-miseun-seun) presents “t d t l s s”. this intonation does not agree with the yoruba speech mode that would rather convey sofa notes “r m d l r d d”, in conformity with the direct speech tone mark (ọ-lo ̣́-o ̣́-run). considering the third phrase (ma-bẹ-rẹ-mọ-lẹ ma-gbe-ga) of this chorus, the intended connotation is obliterated by the presentation of the first three syllables (ma-bẹ-rẹ) in western diatonic scale which produces sofa notes “ś ś ś”. such declaration is tantamount to intelligibility. conversely the coherent tone is contained in solfa notes “r s, s,”which succinctly communicates the english translation “i will dance low to the ground, at the same time dance up to extol and praise god”. the solfa notes “l d d t l s s s” established from the fourth phrase (ma-gbe-je-su-mi-gẹ-n-gẹ) distorts the supposed message of the passage. abstracted from the modified variant of this phrase (ma-a-gbe-je-su-mi-gẹ-gẹ), the following notes (s-m-m-m-s -r-r-r) tersely suggest the message. meanwhile, from the fifth phrase (o-wo-mi-loke-ye-ye) of the conventional format, the resultant solfa notes; “s-l-s-l-m-f-f” conceal the designated content of the musical phrase. however, subject to a minimal phrasal amendment (ọ-wọ-ọ-mi-lo-ke-gẹ-gẹ), the sofa notes “r-m-dr-m-d-r-r” projected from the yoruba speech mode deliver the correct interpretation. the sixth phrase (ma-ka-le-luyah-rẹ-pẹ-tẹ) disseminates sofa notes “f-s-f-s-r-m-m-m” in the conventional mode. again, such declaration does not align with the yoruba speech mode and eventually distorts the intended meaning of the engaged phrase. however, the yoruba speech mode of this version (ma-a-ka-le-lu-yah-rẹ-pẹ-tẹ) which supplies notes “s-m-m-r-m-d-r-r-r” aptly salvages this situation. from the seventh phrase; “je-su-mi-seun-seun” (textual replication of the first phrase), the following sofa notation is derived “d-d-m-r-r” premised on the western diatonic mode. contrastingly, the yoruba speech mode variant (jé-sù-mí-seu-seun) offers sofa notes “s-d-m-r-r” which is a direct textual replication of the first phrase. apparently, in compliance with yoruba speech mode, jesus’ name is misrepresented by the western mode construed for this phrase. the last (eight) phrase (ọ-lọ-run-mi-seun-seun) which textually intones the second phrase, produces sofa notes “m-f-m-r-d-d within the frame work of western modal system, whereas, the speech tonal format (ọ-lo ̣́-o ̣́-run-uǹ-mí-seun-seun) disseminates “r-m-l-d-l-r-d-d”. semantically, “ọlọrun” designates god as the owner of heaven (ẹni tí óni o ̣̣́́run), affirming his creatorship. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 66 the first phrase (kin-lẹ-o-le-se) of chorus three (kin lẹ ole se ọlọrun mi) delivers solfa notes “d-l-s-s-l” premised on the western scale. subsequent to a slight modification (kiń-lẹ-e ̣́-ò-lè-se), when this solfa notation is juxtaposed with the indigenous mode of the yoruba which produces d-l-s-s-s-l, a discrepancy is sighted, stemming from intelligibility and textual functionality perspective. the second phrase (ọ-lọ--run-un-mi) establishes the following notes; “l-d-s-m-s”, which when compared with notation; “l-d-m-s-m-s” from the modified phrase (ọ-lọ-ọ-run-unmi) of speech mode version, is incoherent. in the similitude of the present discourse, the third phrase (kin-lẹ-o-lese), a textual reprise of the first phrase with its sofa notes; “l-s-m-m-s” is intelligible when juxtaposed with the yoruba speech mode (kiń-le-è-ò-lè-se) which encompasses sofa notes; l-s-m-m-m-s. again, the sofa notation s-l-d-ld-l-d-m-m-s of the fourth phrase (e-yin-ti-e-da-a-ye-a-tọ-run) is misleading compared to the speech mode variant “d-r-m-r-m-r-m-f-f-s”. the word “eyin” contrived by the phrase in the western mode sofas “s-l” is distortedly appropriated when assessed with the yoruba mode which supplies “d-r”. from yoruba linguistic ẹyin presented by the western mode connotes “palm fruit”, averse to the intended translation of “you” solfa notes (d-d-d-m-s-s) produced by the first phrase (ẹ-ńi-bá-ẹ-ńi-bá) of the fourth chorus (eniba mo re re) in the conventional mode of western diatonic scale is deficient of the exact connotation that the chorus intends. in consonance with the speech mode, sofa notation; “m-s-s-m-s-ṣ” is accorded preference. similarly, solfa notes; “m-ss-m-m-d” drawn from the second phrase (ẹ-ní-bá-mọ-re-rè) does not succinctly resonate the inherent message, averse to “m-f-f-m-m-s,” which favorably inclines towards the speech mode. the third (final) phrase (kó-bá-ni-gbéjé-sù-ga) is aptly intoned by sofa notes; “m-m-r-m-m-l-d within the ambit of yoruba speech mode as opposed to notes; “m-m-r-m-d-l-d” drawn from the conventional mode. “jesu” (jesus) from the western diatonic perspective (dl) does not imply the yoruba tonal inflection for pronouncing “jésù” contrarily the two notes; “m-l” retracted from the speech mode is more appropriate. ,“endeavor to live with us” which is quite irrelevant to its contextual usage that stresses “christ’s exultation”. in the fifth chorus (oya ka dupẹ), the solfa notation (s-d-m-m-m) precipitated from the first phrase (o-yeka-du-pẹ) is a dissonance to the supposed notes m-r-m-m-m which largely communicate the yoruba speech mode (ó-ye-ká-dúpe ̣́) while the third phrase (à-rań-sań) in the conventional mode produces solfa notation; “s-d-m” which betrays the content and context of appropriation, the yoruba speech mode supplies “s,-ś-ś” in agreement with the intended message. àrá is deciphered as thunder in yoruba translation which is ably represented by the yoruba speech mode (s,-ś-ś). the fourth phrase; “a-tẹ-gun-fe” which delivers sofa notation; m-s-d-m is recast as m-s-d-m-m in conformity with the yoruba speech mode “a-te ̣́-guǹ-un -fe ̣́”. the initial phrase (a-te ̣́-guǹ-fe ̣́) with its solfa notation in the conventional mode conceals the intended meaning of this discourse. we consider uń-fé (wind is blowing) not fé. the latter presuppose a command towards the wind to blow. again, the sofa notation (s-l-s-m-s-r-r) presented by the fifth phrase (i-ji-ja-ko-gbe-wa-lọ) is intelligible and fall short of credible connotation compared to sofa notes; “d-dś-d-d-m-r-r” which portend the yoruba speech mode, subsequent to phrasal modification (ì-jì-í-jà-kò-gbé-wa-lọ). iji semantically implies storm which metaphorically designates predicaments or challenges of life situations. as observed, the conventional phrasal representation of such concept is incoherent. from the first phrase ((i-yin-rẹ-ba-ba) of the sixth chorus (iyin rẹ baba), the following solfa notation; “d-d-m-d-d” emerges in alignment with the western mode. on the other hand, the speech mode variant delivers “l-l-d-d-d” (ì-yiǹrẹ-ba-ba) as a reminiscence of yoruba speech mode. though the second phrase of this chorus (i-yinrẹ-ọ-mọ) disseminates “l-l-d-s-s” in the conventional mode, the sofa notation (l-l-d-d-d) of the first phrase is sustained by the second phrase, premised on the yoruba speech mode. solfa notes (d-d-m-d-m-s-m) emanate from the third phrase (i-yin-rẹ-ẹ-mi-mi-mọ) according to the conventional format. this scenario misrepresents yoruba speech mode. in this context, “l-l-d-s,-ś-ś-ś” is given preference with a bid to reecho the intended speech tone (ì-yiǹ-rẹ-e ̣́-mí-mí-mo ̣́). solfa notes “d-m-s-s” does not bespeak the holy spirit which the phrase intends. solace resides in solfa notes “s,-śś-ś” which aligns with the yoruba speech mode. from the last phrase (i-yin-rẹ-ba-ba) in which the texts resonate the first phrase, the following sofa notation; “d-d-r-d-d” is conceded. in the similitude of the previous western mode, such notes are in deviant to the yoruba speech mode. hence, the following sofa notation (l-l-d-d-d) is applicable to enable compliance with the speech mode (ì-yiǹ-rẹ-ba-ba). the solfa notes; d-d-d-r-m-m produced by the first phrase; “bí-a-ti-le ̣́-ké-ré” (despite our feebleness) of the seventh chorus (bi a tilẹ kere) is an apparent departure from the supposed interpretation. this phrase in the contextual appropriation, stresses god’s enabling power in the lives of feeble and frail (kéré) humanity. the intended meaning is more succinctly depicted by the following sofa notation “m-r-r-s,-m-m”. the second phrase (a-lọ-lọ-run-un-la) supplies notes; m-f-f-r-m-m which negates the speech mode notation (m-ś-ś-d-r-m-m), drawn from the modified awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 67 phrase (a-lo ̣́-lo ̣́-o ̣́-run-ń-lá) with the addition of “o ̣́ ” syllable. from the third phrase (bi-a-ti-le-ke-re-o), solfa notation (s-s-s-m-f-r-l) is retracted in the conventional mode. meanwhile, notes; m-r-r-s-m-m in the speech mode align with the notes of the first phrase (bí-a-ti-le ̣̣́́-ké-ré) with the omission of the last syllable (o). solfa notes d-r-d-t-d-d that stem from the fourth phrase (a-lọ-lọ-run-un-la) incline toward western diatonic construct. on the other hand, solfa notation (m-ś-ś-d-r-m-m) disseminated by this phrase in speech pattern constitutes a reprise to that of the second phrase. the first phrase (du-pẹ-lo-wo-ba-ba) of the eight chorus (dupe lọwọ baba), contains sofa notes; d-d-d-t-l-l. to engender conformity to the yoruba speech mode, the following solfa notation; “d-d-d-d-l-l-l” is embraced, subsequent to phrasal modification (dú-pe ̣́-lo ̣́-wo ̣́-ọ-ba-ba). the phrase designates “a clarion call for thanksgiving to god”. the western mode connotation with its inherent sofa notes disrupts such notion when juxtaposed with the notes; “d-d-d-d-l-l-l” which succinctly resonate the yoruba speech mode. from the second phrase that aligns with the first phrase in textual structure are exuded solfa notes; l-l-l-l-l-l within the frame work of western tonal concept. on the other hand, the sofa notation (l-l-l-l-s-s-s) of the first phrase is intact premised on the yoruba speech mode. while the third phrase (sọ-fun-po-se-un) produces notes; t-t-d-s-s within the context of the conventional mode, this phrase in the speech mode consequent upon a mild restructuring (so-fuń-un-pó-se-un), presents s-l-s-l-s-s. from the fourth phrase (gbo-gbe-ni-yan du-pẹ-̣́lọ-wọ-ba-ba) solfa notation; d-t-l-s-f-f-f-m-r-r is drawn based on western mode. contrasting this setting is the following notation; “s-s-m-m-m-l-l-l-l-s-s-s” which emanates from the modified phrase (gbo-gbo-è-nì-yaǹ-dú-pe ̣̣́́-lo ̣̣́́-wo ̣̣́́-ọ-ba-ba) according to yoruba speech concept. again, the textual content of the phrase just presented is largely misrepresented by the western melodic concept. both the act of thanksgiving and the performers of the act are concealed in this phrase. meanwhile, the last phrase constructed on western mode delivers solfa notation; s-s-f-m-m which betrays the speech mode of the yoruba. such an anomaly is remedied by the following notes; s-l-s-l-s-s, abstracted from the slightly modified phrase (sọ-fuń-un-pó-se-un). in the ninth chorus (ologun loluwa), the first phrase (o-ló-gun-lo-lú-wa) delivers s-s-s-l-l-s as solfa notation in the western diatonic scale, which as usual, does not portray the tonal nature of yoruba music. in the context of the presented sofa notation, the textual content of this phrase would simply “god possesses massive wealth”. such a connotation is at contradicts the subject matter being stressed by this chorus, which aptly denotes god as an ‘indomitable warrior”. the following notes; s-l-s-s-l-s ably bespeak the intended message of the phrase in the discussion. the second phrase (o-lo-gun-lo-lu-wa), that constitutes a textual reprise of the first phrase, hinged on the conventional mode, supplies sofa note; s-s-m-f-m-r which is semantically defective within the ambit of yoruba speech mode and devoid of textual intelligibility. contrarily, this phrase presented within the frame work of yoruba tonal system, adheres strictly to the sofa notation (s-l-s-s-l-s) of the first phrase. from the third phrase (i-wo-sa-masa-ti-le-hin-mi) are disseminated the following solfa notation; s-s-s-m-d-d-r-l-d in the western diatonic scale. in conformity with the yoruba speech mode (ì-wọ-sá-à-ma-sà-tì-le ̣́-hiǹ-mi), d-m-s-m-d-d-s-d-m are supplied. semantically, the word, “iwọ” abstracted from western mode solfa notes, (s-s) is non-intelligible, compared to its relative in the speech mode (d-m), which implies the second person plural; “you”, an allusion to god’s personality. notes; m-m-d-r-r-d deducted are from the last phrase (o-lo-gun-lo-lu-wa), resonating the first and the second phrases in textual content and structure. again, western mode is dissonant to the speech mode of the yoruba (o-lógun-lo-lú-wa). to ascertain adherence to the yoruba speech mode, the following notes; “m-s-m-m-s-m” are engaged. the tenth, which incidentally constitutes the last chorus (la ẹ̣́́nurẹ̣́́), embodies a series of tonal departure from the yoruba identifiable tonal speech mode. the first phrase (la-ẹ-nu-rẹ) premised on the western tonal system, produces solfa notates, “m-m-m-m”. subsequent to slightly phrasal modification (la-ẹ-nu-un-rẹ) in consonant with the speech mode, the following solfa notation, “r-r-r-d-r” is appropriated. apparently, construed by the western notation, the intended english translation of the passage; “open your mouth” is overtly obliterated. from the second phrase (ki-oyin-o-lu-wa) of this chorus, is presented solfa notation; r-d-r-r-d-l. the semantic connotation of such phrase in the western mode, particularly the syllable; ‘yin” (r) implies “scratching god” which drastically falls short of its appropriation. the supposed yoruba speech mode variant (kí-o-yin-o-lú-wa) precipitates “m-r-r-r-m-r” as solfa notes. the third phrase (la-ẹ-nu-un-rẹ), which constitutes the textual reprise (content and structure) of the first phrase, encapsulates “r-r-r-r” premised on the conventional tonal system. again, this tone does not portray the contextual usage of the phrase “open your mouth”. the yoruba speech mode in the modified phrase (la-ẹ-nu-un-rẹ) harnesses the following solfa notation; “d-d-d-l-d”. arising from the fourth phrase (ki-o-yin-o-lu-wa) of the tenth chorus is the solfa notation; “d-l-d-d-l-s” which inclines toward the western diatonic system. on the other hand, the appropriate and intelligible expression is sought in notes; r-d-d-d-r-d. the fifth phrase (la-ẹ-nu-rẹ) maintains the awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 68 textual content/structure and the solfa notion (m-m-m-m) of the first phrase from the perspective of western tonal system. in the similitude, solfa notes “r-r-r-d-r” are supplied, constituting a reprise to the first phrase in yoruba speech mode. the sixth phrase (ki-o-yin-o-lu-wa) in both western and speech mode scales is analogous to the first phrase. the seventh and the eight phrases showcase imminent distinctions. from the seventh phrase (yin-o-lu-wa), the following solfa notion emerges; “r-r-r-r” in the western mode which contrasts the speech mode variant that presents solfa notes “d-d-r-d”. the latter notes succinctly intone the yoruba speech mode (yin-o-lú-wa). meanwhile the eight (last) phrase (o-lu-wa-da-ra) disseminates solfa notes d-m-r-m-d in the conventional pattern. subsequent to a mild phrasal modification (o-lú-wa á-dá-ra,), the following sofa notation “d-r-d-r-r-d” is abstracted in consonance with the yoruba speech mode as previously presented. textual modification from the foregoing, it is apparent that the melodic line of the western mode severely distorts the semantic appropriation (meaning) of the yoruba tonal language which is guided by the speech mode. attempts to avert such an anomaly through speech mode entail certain measures which include phrasal modification. in some occasions, rhythmic pattern may also be adjusted (though not the focus of this study). consider the first phrase of the first chorus; “a–wa-na-an-re-o-lu-wa” presented in the western mode (d m s d m r m r). this sounding obliterates the intended meaning of the passage. however, integration of the yoruba speech mode variant (d m s d d m r m r) informs phrasal modification (á-wa-ná-aǹ-rè-é-o-lu-wa) in the second phrase (ọ-lọ-run-mi-seun-seun) of the second chorus (je-su-mi-seun-seun), a need arises for two additional syllables; “ọ” and “un” to accommodate the yoruba speech mode (ọ-lo ̣́-ò-run-uǹ-míseun-seun). the added syllables carrying the median (6th note) play a major role in strengthening the speech mode capacity of the phrase. the third phrase (ma-be-re-mo-le ma-gbe-ga) with its embedded solfa notes; “s s s d t l l l” assiduously misrepresents the intended message (bending low to the ground) of this phrase. in the light of this anomaly, a modified textual form (mà-á-be ̣́-re ̣́-mo ̣́-lè-mà-á-gbé-e-ga) carrying sofa notation; s-d-s-s-d-s-s-d-d-l-l is sought. being intelligible, this setting conforms to the yoruba speech mode. modification also ensues in the fourth phrase (ma-gbe-je-su-migẹ-gẹ) presenting “ma-a-gbe-je-su-mi-gẹ-gẹ” alongside the sofa notes “s,-m-m-m-s,-r-r-r“. the single syllable “a” with its note “m” (mediant) added is highly influential within the ambit of yoruba speech mode. to the fifth phrase (ọ-wọ-mị-lo-ke-yẹ-yẹ) rendered in western mode, a syllable “o” is added to enable conformity to yoruba speech mode (ọ-wo ̣́-o ̣́-mi-ló-kè–gẹ-gẹ) and the solfa notation “r-m-d-r-m-d-r-r”. in consonant with the fifth phrase, a syllable (a) is introduced into the sixth phrase (maka-le-lu-yah-rẹ-pẹ-tẹ) to present “ma-a-ka-le-lu-yah-rẹ-pẹ-tẹ” with the embedded sofa notation of “s-m-m-r-m-s-r-rr” which aligns with the yoruba speech mode. this measure is imperative to engender intelligibility of the appropriated phrase. the last (eight) phrase (ọ-lọ-run-mi-seun-seun) of the second chorus is not exempted from syllabic modification (ọ-lo ̣́-o ̣́-run-uǹ-mí-seun-seun). the inclusion of “o ̣̣́́” and “un” affirms this stance. the first phrase (kiń lẹ ò lè se) with its embedded sofa notes; “d-l-s-s-l” of the third chorus in the similitude of its contemporaries in western mode, flouts the yoruba tonal concept. such misrepresentation necessitates textual restructuring with syllabic addition. to this effect, a syllable “ẹ” with its inherent tonic solfa note; “d” is added to present a new phrase (kiń-lẹ-e ̣́-ò-lè-se) and sofa notation; “d-l-s-s-s-l” that safely conforms to yoruba speech mode. obviously, this phrase addresses the supremacy, sovereignty and potency of god; the concepts that are drastically distorted by the former phrase in it modal system. again, the second phrase (ọ-lo ̣́-ruǹ-un-mì) with its embedded sofa notation “l-d-s-m-s” does not align with yoruba tonality. the correct version resides in the following phrase; “ọ-lo ̣́-o ̣́-run-uǹ-mi” alongside the sofa notes (l-d-m-s-m-s). just a syllable “ọ“ establishes the restructuring. without this modification, the intended claim to heir of god by the phrase falters. the fourth phrase (a-te ̣́-guǹ-fe ̣́) of the fifth chorus (o yẹ ka dupẹ), presented in western mode format does not succinctly intone speech mode of the yoruba until textual modification (a-te ̣́-guǹ-uń-fe ̣́) is appropriated. the integration of syllables; “un” is expedient to afford textual intelligibility. the phrase within the western mode does not actually portray the concept of storm being interrogated in the chorus. in the light of the present discourse, the fifth phrase (ì-jí-jà-kò-gbé-wa-lo) and its embedded solfa notes; “s-l-s-m-s-r-r” in “oyẹ ka dupẹ” is subjected to restructuring (ì-jì-í-jà-kò-gbé-wa-lọ) to engender its semantic connotation. the inclusion of syllable “i” essentially adds significant value. the yoruba speech format interrogates both the concept; “ìjì” (storm) as well as its action “jà” (rage). the second phrase (a-lo ̣́-lo ̣́-run-uń-lá) of the seventh chorus (bi a tilẹ kere) with its solfa notes; “m-f-f-rm-m” in the western mode is textually restructured to enable its intended meaning and conformity with the yoruba speech mode. hence the following solfa notation; “m-ś-ś-d-r-m-m”, emanates from “a-lo ̣́-lo ̣́-o ̣́-run-ń-lá” as modified phrase. the added syllable “ọ” is indispensable in this context. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 69 to the first phrase (dú-pe ̣́-lo ̣́-wo ̣́-ba-ba) of the eight chorus is added a syllable; “ọ” to afford compliance with the speech mode of the yoruba as well as intelligibility. literal or allegoric, allusion to hand by this passage is avidly concealed by the western mode version of this phrase. however, subsequent to modification, the speech mode variant offers a more sustainable and intelligible phrase (dú-pe ̣́-lo ̣́-wo ̣́-ọ-ba-ba) with the following sofa notation; (l-ll-l-s-s-s). the expression “lo ̣́wo ̣́ ọ baba disseminated by the speech mode version with the addition of “ọ” syllable explicitly designates god as the acclaimed receiver of honor which without the integration of this syllable renders the passage vague. the intended message bore by the third phrase; “an urge to be thankful to god”, is again obliterated by the conventional tonal version appropriated. the incorporation of “un” syllable in the speech mode format expressively unveiled the meaning of this phrase. juxtaposition between the two phrases is needful for more clarification. while the third phrase (sọ-fun-po-se-un) in western mode version supplies solfa notes “t-t-d-s-s” the yoruba tonal variant (sọ-fun-un-po-se-un) presents “s-l-s-l-s-s”. “gbo-gbo-è-nì-yaǹ-dú-pe ̣́-lo ̣́-wo ̣́-ba-ba” being the fourth phrase rendered in western mode alongside its solfa notes; “d-t-l-s-f-f-f-m-r-r”, does not align with textual content (everybody) of this phrase from the yoruba semantic world view. modification is needful to enable credible representation of yoruba speech mode, hence the following modified phrase; “gbo-gbo-è-nì-yaǹ-dú-pe ̣́-lo ̣́-wo ̣́-ọ-baba” and it embodied solfa notation; “s-s-m-m-m-l-l-l-l-s-s-s”. in tandem with the previous usage, the inclusion of syllable “ọ” concisely designates and alludes to the receiver (god) of the praise in the discourse. the first phrase of the tenth chorus, which entreats humanity to offer a heartfelt thanksgiving/praise towards god’s act of benevolence is severely distorted by the conventional mode (la-ẹ-nu-rẹ) in its sofa notes (m-m-m-m). this scenario necessitates textual restructuring wroth in the following phrase; “la-ẹ-nu-un-rẹ” underpinned by sofa notes; r-r-r-d-r. the added syllable “un” is expedient to avail the desirable intonation and intelligibility. phrasal repetition apparently, simultaneous textual and melodic phrasal repetition is prevalent within in the ambit of yoruba speech mode which contrasts the western concept that often advances melodic variation over a fixed textual structure. this stance is largely adduced to the aesthetic preference of the yoruba which avidly resides in textual functionality and intelligibility that may be concealed by the western mode. adedeji (2004) is elucidative in this context. text constitutes a veritable outlet of emotion and expressions. hence, intensification/emphasis is often entrenched via repetition of musical phrases or passages that essentially conform to yoruba speech mode which to a higher degree preserves the intended meaning of such passages. it has also been observed that a few phrases are characterized by similar (reprise) textual structures; however, they embody diverse melodic structures which consent to western modal system. this consideration often presents renditions that are dissonant to the concept of yoruba tonal inflection (speech mode). in order to abate this ordeal, phrasal repetition of the texts, premised on yoruba speech mode is often harnessed. a few of the choruses contrived for this study appropriate phrasal repetition. in the first chorus, the second phrase “a-wa-na-an-re-e-o-lu-wa” (d m s d d m r m r) repeats the first phrase which also disseminates “a-wa-na-an-re-eo-lu-wa” (d m s d d m r m r) in both textual and melodic structures. though there is possibility of variation with the following solfa notation; “d-r-m-l-l-r-d-r-d”. such alternative however, does not stress the concept of intensification intended by the phrase. considering the second chorus, the second phrase (ọ-lọ-run-mi-seun-seun) alongside its solfa notes (r m l-d l r d d) is repeated by the eight, which constitutes the last phrase. the third phrase (kiń-lẹ-e ̣́-ò-lèse) including its solfa notation; “l-s-m-m-s” is also resonated by the melodic phrase of the fifth phrase. the first, second and sixth phrases of the fifth chorus constitute a direct reprise in both textual and melodic structure. meanwhile, the first, second and the fourth phrases (i-yin-rẹ-ba-ba) of the sixth chorus bear the same solfa notation (d-d-r-r-r). while the third phrase intones the first phrase in solfa notation the first, the second and the fourth also present a reprise. efficacy/defects of yoruba speech mode yoruba music aesthetic resides supremely in song text, characterized by clarity and intelligibility. sometimes questions such as “kiń loń ko ̣́” implying “what messages is the musician presenting from his or song piece in a performance”? african music, the yoruba inclusive, is functional and such functionality avidly stems from the communicative role. notwithstanding the high degree of proficiency or dexterity advanced by an artist, if the textual meaning of a piece of song is marred, such performance is a stake. a unique linguistic characteristic of yoruba language/ words is contained in the multi-meaning or interpretation. a single word may connote diverse applications. severally, it has been observed that this reality is not addressed by the western modal system. the intended meanings of the song texts are sometimes concealed or distorted. this scenario permeates a few of the choruses engaged for this study. contrastingly, tone mark which is a unique device essentially contrived by yoruba awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 70 speech text proffers a sustainable antidote to this crisis. the tone mark ensures clarification with regard to words that are embedded with multiple meaning. an essential feature of speech mode format lies in phrasal repetition. this concept cannot be undermined in the light of its diverse roles. in the similitude of speech word, message intensification is succinctly fostered by word or phrasal repetition. didactic impetuses offered by such a measure are gratifying. in part, it enhances word/ concept memorization and retention. it should be recurred that early child hood education is primarily anchored on rote memory and drill, in which repetition constitutes the main tool. thus, appropriation of the yoruba speech modal system song rendition including chorus singing will ameliorate teaching/ leaning process consequent upon its tendency to facilitate assimilation/retention of words, concepts and phenomena, importantly, at the elementary school age. the didactic significance of song repetition engendered by speech mode, citing chorus singing interrogated by this study as a template, however, transcends academic scope and influence. rectitude and societal ethics could be amply ingrained in the member of public, particularly, the children and the youth which are the most largest and vulnerable unit within the ambit of moral decadence. averse to the western mode of presentation of song texts which severely distorts the meanings of messages/concepts, the speech mode variant is apt for resonating the societal voice, norms and values. a measure of this nature is terse for stemming the tide of social menace, spanning drug addiction, sexual immorality, infidelity, inebriation among others that are plaguing our world. an inherent prominent role of yoruba speech mode format is contained in its efficacy for cultural preservation and continuity. it becomes exigent to salvage african cultural value, from impending extinction, stemming from foreign influences. this position vehemently corroborates olatunji (2016), stressing the possibility of uniqueness of african music without external interference. the current state of cultural polarization on african soil by western mode in the domain of music is tragic for posterity. such a compromise is also showcased by a vast number of musical practices of the twenty first century that borrows ideologies, styles, forms and idioms majorly from european and arabian traditions. this stance constitutes the thrust of this study, considering anomalies advanced by the adoption of western modal system for performing yoruba music which chorus exemplifies. aside distortion, many are words that are generically and historically underlined, which however, have lost their meanings and more or less insignificant arising from the interference of western mode. it is not a gainsaying that unique cultural identities enhance a nation’s self-esteem among the confederation of nations. citing nigeria as a case study, africa has witnessed a wind of cultural compromise under the disguise of civilization wrought by colonialism, western education and european christian missionary. such a pandemic has immensely ravaged every sector of our existence; food, mode of dressing, education, mode of greeting and language expression on which this study dwells. a stance of this nature does not offer a nation more impetus than a position of savagery. cultural imitation portends ineptitude, intimidation and insensitivity to innate creativity. as much as western mode is contrived for performing african music, european slavery is still in vogue. laudable the appropriation of speech mode for composition of yoruba choruses, this stride is plagued with certain defects. life beauty lies in phenomena of “unity” and “variety” (hickok, 1993). though repetition as a replica of unity gratifies listeners’ quest for familiarity, the inherent syndrome of monotony precipitated is uncomplimentary. simultaneous occurrence of textual and melodic repetition which is an identifiable trait of speech mode renditions severally spurs boredom and hence diminishes listening pleasure. this scenario is counterproductive from the perspective of audience scope. a dynamic society of nigeria in the twentieth century is enshrouded in adventurous youth that crave for innovations. findings elicited from this study unveiled the indifference of the youths which constitute the largest size of the population to song renditions that do not arouse their emotions and sometimes passions. to a certain degree, the adult segment of the contemporary society is not excluded from the prevailing addiction to western modal scale presentation of nigerian gospel choruses. premium placed on textual functionality and intelligibility to an appreciable degree deemphasized musical aesthetic which largely resides in harmonic texture. song rendition within the context of yoruba speech mode is primarily characterized by monophonic texture which conventionally lies in the melody. integration of other voice parts to complement the melody often incites conflict between yoruba speech mode and western mode which may or may not be resolved. hence, it behooves an ideal rendition in speech mode to solely harness monophonic texture to abate such conflict of interest and therefore foster textual intelligibility as its focus. however this position is defective awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 71 within the ambit of listening pleasure. again, the youth music aesthetic essentially lies in homophonic harmonic texture which engages two to four parts singing averse to the monophonic variant. though to some degree, the adults that mostly constitute the conservative of the society revel in monophonic performances which to a higher degree align with speech text, the youths are often indifferent to such renditions. in the similitude of other enterprises, the survival of music industry is largely dependent on patronage from its audience. poor patronage may eventually cripple the deliveries in any musical ventures, stemming from poor funding. severally, the youths constitute the largest population unit of postmodern society. in addition, they are mostly disposed to social and entertainment world. thus, utility and aesthetic value of such sector is deemed consideration to foster sustainability of the business they patronize. conclusion it is evident from this study that adaptation of speech mode is succinctly apt for the composition and performance of yoruba music in which aesthetic resides essentially in textual functionality. sometimes nuanced with textual modification and textual/phrasal repetition, such a feat advances impetuses namely; textual clarity and intelligibility, message intensification, didactic for rectitude/ societal ethics and cultural preservation/continuity. notwithstanding the advantages offered by speech mode, the system is plagued with predicaments such as monotony of textual repetition which eventually may hinder listening pleasure, dominance of monophonic texture that hamstrings musical aesthetic and poor patronage. this study concluded that while speech mode is terse for the composition/performance of yoruba gospel choruses, stemming from its alignment with the yoruba speech tonal center, it is exigent to establish a platform by which it could accommodate the western mode with a bid to widen performance contexts, aesthetic and audience scope of yoruba music which gospel choruses exemplify without compromising african/yoruba identity. references adedayo, e.b. (2021.) african identities in yoruba islamised gospel music. journal of christian musicology. 2. 91-120. adedeji, s.o. (2001). definitive and conceptual issues in nigerian gospel music. nigerian music review. 2. 4653. --------------------classification of nigerian gospel music styles. ((2004) nigerian music review;. 5. 62-79. blacking, j. (1973). how musical is man? great britain: faber and faber limited. euba, a. (1970). traditional elements as the basis of a new african art music. african notes. 5. 33-39. hickok, r. (1993). exploring music (5th ed.). oxford: w. m. c brown communication (inc). merriam, a. p. (1964). the anthropology of music. indiana: northwestern university press. mokwunye, j.n. (2001). relevance of nigerian art music in nigerian contemporary theatre. african art music in nigeria. m.a omibiyi –obidike(ed) (ibadan: sterling-horden publishers. 127-134. olaniyan, o. (2001) a discourse of yoruba lyrics (otherwise known as native airs) as contemporary art music for christian worship. african art music in nigeria. 58-69 olatunji, m. (2016). magbagbe ile: repositioning african identity in contemporary nigerian art music. janim. 10. 23-4. omibiyi-obidike, m.a (2001) african musical resources and african identity in the new african art music. in m.a. omibiyi-obidike (ed) african art music in nigeria. ibadan: sterling-horden publishers. pp. 150-160. owoaje, t.o (2020). a discourse on the documentation of yoruba native airs in christian liturgy. african journal online. https://www.ajo.info>article>view uzoigwe, j. (2001). tonality versus atonality: a case for an african identity. in m.a. omibiyi obidike (ed) african art music in ngeria. (ibadan : sterling –horden publishers, pp. 93 100 vidal, o. (2002). the institutionalization of western music culture in nigeria and the search for identity. o.a.u inaugural lecture series, 161. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 72 appendix a: the western mode variant chorus i : àwa náà rèé oluwa lord, here we are a–wa-na-re-o-lu-wa lord, here we are a–wa-na-re-o-lu-wa lord, here we are a–wa-na-re-o-lu-wa lord, here we are a–wa-na-re-o-lu-wa lord, here we are a-wa-du-pẹ-o-re-a-tọ-dun-mọ-dun here we are acknowledging your yearly benevolence a-wa-du-pẹ-o-re-a-to-su-mo-su here we are acknowledging your monthly benevolence a-wa-du-pe-o-re-i-gba-gbo-gbo here we are acknowledging your ceaseless benevolence à–wa-na-an-re-o-lu-wa lord, here we are chorus ii : jesu mi seun thanks to my jesus je-su-mi-seun-seun thanks to my jesus ọ-lọ-run-mi-seun-seun thanks to my god ma-bẹ-rẹ-mọ-lẹ ma-gbe-ga i shall bow and lift him up ma-gbe-je-su-migẹ-gẹ i shall lift up my jesus higher ọ-wọ-mi-lo-ke-yẹ-yẹ my hand are lifted up higher ma-ka-le-lu-yah-rẹ-pẹ-tẹ i shall shout halleluiah je-su-mi-seun-seun thanks to my jesus ọ-lọ-run-mi-seun-seun thanks to my god chorus iii: kińlẹ òlèse ọlo ̣́run uǹ mi what else is infeasible for my god. kin-lẹ-o-le-se what else is infeasible for you ọ-lọ--run-un-mi my god kin-lẹ-o-le-se what else is infeasible for you kin-le o-le-se what else is infeasible for you ọl-lọ-run-un-mi my god kin-le-o-le-se what else is infeasible for you e-yin-ti-ẹ-da-a-ye-a-tọ-run the creator of heaven and the earth kin-lẹ-o-le-se what else is infeasible for you kin-lẹ-o-le-se what else is infeasible for you ọl-lọ-run-un-mi my god kin-lẹ-o-le-se what else is infeasible for you chorus iv: ẹníbá more re ̣́ whoever is appreciative of his benevolence ẹ-ni-ba-ẹ-ni-ba whoever, whoever ẹ-ni-ba-mo-rẹ whoever is appreciative of his benevolence ko-ba-ni-gbe-je-su-ga should exult jesus christ chorus v: óyẹ kádúpe ̣́ we are deemed appreciative o-yẹ-ka-du-pẹ we are deemed appreciative a-ran-san thunder blasts a-tẹ-gun-fẹ the wind blows i-ji-ja-ko-gbe-wa-lọ the storm rages, yet we are intact o-yẹ-ka-du-pẹ we are deem appreciative chorus vi: ìyiǹ rẹ baba praise yee father i-yin-rẹ-ba-ba praise yee father i-yin-rẹ-ọ-mọ praise yee son i-yin-rẹ-ẹ-mi-mi-mọ praise yee the holy spirit i-yin-rẹ-ba-ba praise yee father chorus vii: bí a tile ̣́ kéré despite our frailty bi-a-ti-lẹ-ke-re despite our frailty a-lọ-lọ-run-un-la we have a mighty god bi-a-ti-lẹ-ke-re-o despite our frailty a-lọ-lọ-run-un-la we have a mighty god chorus viii: dúpe ̣́ lo ̣́ wo ̣́ baba give thanks to the father du-pẹ-lọ-wọ-ba-ba give thanks to the father du-pẹ-lọ-wọ-ba-ba give thanks to the father awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 73 sọ-fun-pọ-se-un acknowledge his goodness sọ-fun-po-se-un acknowledge his goodness gbo-gbe-ni-yan du-pẹ-lọ-wo-ba-ba all and sundry, give thanks to the father sọ-fun-po-se-un acknowledge his goodness chorus ix: ológun lolúwa the lord is a warrior o-lo-gun-lo-lu-wa the lord is a warrior o-lo-gun-lo-lu-wa the lord is a warrior i-wọ-sa-ma-sa-ti-le-hin-mi be thou my refuge o-lo-gun-lo-lu-wa the lord is a warrior chorus x: la enurẹ kí oyin olúwa open your mouth and praise the lord la-ẹ-nu-re open your mouth ki-o-yin-o-lu-wa and praise the lord la-ẹ-nu-rẹ open your mouth ki-o-yin-o-lu-wa and praise the lord la-ẹ-nu-rẹ open your mouth ki-o-yin-o-lu-wa and praise the lord yin-o-lu-wa praise the lord o-lu-wa-da-ra the lord is good appendix b: the yoruba speech mode variant chorus i : àwa náà rèé olúwa here are we o lord à-wa-ná-aǹ-rè-é-o-lú-wa lord, here we are à-wa-ná-aǹ=rè-é-o-lú-wa lord, here we are a-wá-dú-pe ̣́-o-re-à-tọ-duń-mo ̣́-duń here we are acknowledging your yearly benevolence a-wá-dú-pe ̣́-o-re-à-to-sù-mó-sù here we are acknowledging your monthly benevolence a-wá-dú-pe ̣́-o-re-ì-gbà-gbo-gbo here we are acknowledging your ceaseless benevolence à-wa-ná-aǹ=rè-é-o-lú-wa lord, here we are chorus ii : jésù mí seun thanks to my jesus jé-sù-mí-seun-seun thanks to my jesus o-lo ̣́-o ̣́-run-ǹ-miseun-seun thanks to my god mà-á-be ̣́-re ̣́-mo ̣́-le ̣́-mà-á-gbé-e-ga i shall bow and lift him up mà-á-gbé-jé-sù-mi-gẹ-gẹ i shall lift up my jesus higher ọ-wo ̣́-o ̣́-mi–ló-kè-ya-ya my hand are lifted up high mà-á-ká-le-lú-yah -rẹ-pẹ-tẹ i shall shout a louder halleluiah jé-sù-mí-seun-seun) thanks to my jesus ọ-lo ̣́-o ̣́-run-uǹ-mi-seun-seun thanks to my god chorus iii: kińlẹ òlèse ọlo ̣́run uǹ mi what else is infeasible for my god. kiń-lẹ-e ̣́-ò-lè-se ọ-lo ̣́-o ̣́-run-uǹ-mi what else is infeasible for you kiń-le ̣̣́́-e ̣́-ò-lè-se what else is infeasible for you è-yin-tí-ẹ-dá-a-yé-à-to ̣́-run the creator of heaven and the earth kiń-lẹ-e ̣́-ò-lè-se what else is infeasible for you kiń-lẹ-e ̣́-ò-lè-se what else is infeasible for you ọ-lo ̣́-o ̣́-run-uǹ-mi my god kiń-lẹ-e ̣́-ò-lè-se what else is infeasible for you chorus iv: eníbá more re ̣́ whoever is appreciative of his benevolence ẹ-ní-bá-ẹ-ní-bá whoever, whoever ẹ-ní-bá-mo-re-re ̣́ whoever is appreciative of his benevolence kó-bá-ni-gbé-jé-sù-ga should exalt jesus christ chorus v: óyẹ kádúpe ̣́ we are indeed grateful o-yẹ-ká-dú-pe ̣́ we are indeed grateful ó-yẹ-ká-dú-pe ̣́ we are indeed grateful à-rań-sań though thunder blast a-te ̣́-guǹ-uń-fe ̣́ the wind blow ì-jì-í-jà-kò-gbé-wa-lọ the storm rages, yet we are not consumed o-yẹ-ká-dú-pe ̣́ we are indeed grateful chorus vi: ìyiǹ rẹ baba praise yee father awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 74 ì-yiǹ-rẹ-ba-ba praise yee father ì-yiǹ-rẹ-ọ-mọ praise yee son ì-yiǹ-rẹ-e ̣́-mí-mí-mo ̣́ praise yee the holy spirit i-yiǹ-rẹ-ba-ba praise yee father chorus vii: bí a tile ̣́ kéré despite our frailty bí-a-ti-le ̣́-ké-re despite our frailty a-lo ̣́-lo ̣́-o ̣́-run-ń-lá we have a mighty god bí-a-ti-le ̣́-ké-re despite our frailty a-lo ̣́-lo ̣́-o ̣́-run-ń-la we have a mighty god chorus viii: dúpe ̣́ lo ̣́ wo ̣́ baba give thanks to the father dú-pe ̣́-lo ̣́-wo ̣́-ọ-ba-ba give thanks to the father dú-pe ̣́-lo ̣́-wo ̣́-ọ-ba-ba give thanks to the father sọ-fuń-un-pó-se-un acknowledge his goodness sọ-fuń-un-pó-se-un acknowledge his goodness gbo-gbo-è-nì-yaǹ-dú-pe ̣́-lo ̣́-wo ̣́-ọ-ba-ba all and sundry, give thanks to the father sọ-fuń-un-pó-se-un acknowledge his goodness chorus ix: ológun lolúwa the lord is a warrior o-ló-gun-lo-lú-wa the lord is a warrior o-ló-gun-lo-lú-wa the lord is a warrior ì-wọ-sá-à-ma-sà-tì-le ̣́-hiǹ-mi be thou my refuge o-ló-gun-lo-lú-wa the lord is a warrior chorus x: la enurẹ kí oyin olúwa open your mouth and praise the lord la-ẹ-nu-uǹ-re open your mouth kí-o-yin-o-lú-wa and praise the lord la-ẹ-nu-uǹ-rẹ open your mouth kí-o-yin-o-lú-wa and praise the lord la-ẹ-nu-uǹ-re open your mouth kí-o-yin-o-lú-wa and praise the lord yin-o-lú-wa praise the lord o-lú-wa á-dá-ra the lord is good 15 music in the oral literatures of the sephardic jews and the igbos of eastern nigeria: a comparative analysis ngozi chuma-udeh department of english anambra state university abstract music is the universal language of the soul and the music of oral literature flows from the core essence of a people‘s existence. here it becomes a way of expression intricately tied to their social, cultural, economic and political aspirations and to a great extent becomes the determinant of the peaceful co-existence of the society of people that spawn it. ordinarily, traits of music in the oral literatures of different people have been instrumental to the establishment of links and bonds between societies of people and affirming relationships between peoples now widely separated in spatial, historical, and cultural terms. all through the ages, scholars of oral literature and anthropology have tried to trace the link between the jews and the igbos of eastern nigeria. there have been claims of satisfactory empirical evidence to support the fact that these two societies of people have a kinship bond of a sort. daniel lis, from the institute for jewish studies, university of basel, switzerland, is one of the foremost researchers on jewish identification among the igbo. he said in an oral interview that there has been a clear continuity of jewish identity among the igbo. "it's not just something that happened yesterday." the swiss-israeli anthropologist says that igbo-jewish identity can be traced back to the 18th century. apart from lis, cross-cultural comparisons have been documented by people ranging from george thomas basden, the influential anglican missionary and ethnographer who proposed that the word "igbo" awka journal of research in music and the arts (arma) vol. 10 2014 16 evolved as a corruption of the word "hebrew," to olaudah equiano, a freed igbo slave that lived in the 18th century british society. this paper analyses the musical elements in the folk literatures of the sephardic jews and the igbos with a view to establishing some similarities in their eccentric values. introduction the avid claims by scholars over the years that there are striking oral stories and historic notations of cultural resemblances between the igbo and the jews have proven convincing enough to attract varied groups of scholars of assorted fields of study to the eastern nigeria. these scholars have tried to prove the assumptions that the igbo jews originated from syrian, portuguese and libyan israelite migrants into west africa. certain igbo communities with judaic practices have been discovered in recent years by individual israelis and american jews who worked in nigeria. some out-reach organizations like the american kulanu and african-american jewish communities in america have also made concerted efforts to place some plausibility to the claims of kinship between the igbos and the jews. to this end, jews from outside nigeria founded two synagogues in the 1970‘s in nigeria, which are attended and maintained by igbos. due to the fact that no official census has been taken in the region, it is rather difficult to state with certainty the number of igbos in nigeria who identify as either israelites or jews but presently about twenty six synagogues of various sizes have been cited among igbo communities indicating very strong jewish presence. even more important in the tracing of this linkage between the jews and the igbos, is the impact of the strong scholastic evidence of the widely influential statement made by an igbo man, olaudah music in the oral literatures of the sephardic jews… http://en.wikipedia.org/wiki/history_of_the_jews_in_portugal http://en.wikipedia.org/wiki/history_of_the_jews_in_libya 17 equiano, a christian-educated freed slave who remarked in his autobiography of 1789 that : the strong analogy which... appears to prevail in the manners and customs of my countrymen and those of the jews, before they reached the land of promise, and particularly the patriarchs while they were yet in that pastoral state which is described in genesis — an analogy, which alone would induce me to think that the one people had sprung from the other." for authoritative support, he gives reference to "dr. gill, who, in his commentary on genesis, very ably deduces the pedigree of the africans from afer and afra, the descendants of abraham.... though his assertions have since been strongly contested as mere speculations by contemporary historians, archaeologists, historical linguists, and other scientifically based disciplines who held as controversial the proposition that jews were directly involved with igbo-speaking people in prehistoric times, there still remains, sufficient evidence of the jewish presence in the saharan trade centres during the first millennium. an analysis of some common traditional songs from these corpuses with a view to establishing some similarities is the major business of this scholarship. therefore, taking into cognisance the fact that the prosody of a culture‘s spoken language can influence the structure of its music this analysis will endeavour to apply simple comparable quantitative measures to the melody and rhythm in music of the oral literature of the two societies under study. origin of music in the oral literatures of the sephardic jews and the igbos the hispanic jews like the igbos of eastern nigeria have a rich body of songs embedded in their oral literature which can be traced to the ngozi chuma-udeh http://en.wikipedia.org/wiki/book_of_genesis http://en.wikipedia.org/wiki/saharan_trade 18 original medieval corpus. while the igbos take the music in their oral literature as a rich thriving, dynamic culture of sonorous tunes defining an intrinsic and integral aspect of their communal existence, the hispanists, tend to look on the music in the sephardic oral literature as an essentially static, richly evocative treasure trove of medieval survivals (menéndez pidal 1973: 335-336). this establishes the facts that just like the serphadic jews, the igbos in fact have a long and ancient history of excellent traditional music lacing every aspect of their oral literature. intrestingly, music is seen and portrayed in every aspect of life and every activity of these two societies of people. evidences abound to authenticate the fact that every interaction in these societies is submerged in music and every activity is laced with music. this is manifested in the slightest day-today interactions of members of these societies. yet, in as much as there exist many linguistically diverse folk music in the literary traditions of the jews and the igbos with indeed, highly significant and invaluable instances of medieval features of judeo-spanish traditions, it will take an in depth analysis to assume that any of these texts are related. customarily, the music in the sephardic oral literature is located in two major generic types: narrative ballads (romansas) and lyric songs (cantigas). while the igbo oral literatures is fully laced with music in form of ballads (abu ifo) and lyrical songs (abu oto n‘ubulu). this study wades into the rich synthesis of diverse cultural components, gathered from the many peoples encountered by the spanish jews during their multisecular pilgrimage in mediterranean lands as well as the dynamic sonority of the igbos songs to establish or refute traces of similarities music in the oral literatures of the sephardic jews… 19 the sephardic ballads (romansas) versus the igbo ballads (abu ifo) the sephardic ballads are strongly tied to the pan-hispanic ballad tradition. ordinarily, the two sephardic traditions (eastern and north african) and the repertoires of other hispanic language areas— castilian-speaking regions of spain, the canary islands, and spanish america; galicia, portugal, the portuguese atlantic islands and brazil; and the catalan-speaking areas of spain, france, and sardinia—are communally harmonizing. this is evident in the fact that from the philological standpoint, the ballads are regarded as an ongoing dynamic process of the oral tradition involving constant recreation and a high degree of poetic creativity (bénichou 1968b). this makes the entire ballad tradition (the romancero) so much of a pan-hispanic experience. like the other branches of the pan-hispanic romancero, the judeo-spanish ballads include songs based on medieval spanish and french epics; others concern events in spanish, portuguese, and italian history; still others recreate biblical episodes, legends from classical antiquity, or details of medieval romans d‘aventure; many ballads embody a variety of topical, novelesque plots: prisoners and captives, the husband‘s return, faithful or tragic love, the unfortunate wife, adultery, various amorous adventures, tricks and deceptions. many ballads can be traced back to medieval iberian origins, others were invented by the sephardim in exile, still others can be shown to have reached the jewish communities well after 1492, doubtless brought there by converso emigrants; a few eastern romances are adaptations of modern greek ballads (tragoúdia), while others translate french chansons populaires, or italian and catalan narrative songs. judeo-spanish romansas (spanish romances) are narrative ballads characteristically embodying 16-syllable, usually monorhymed verses, divided into two octosyllabic hemistichs, with assonant rhyme in each second hemistich. the eight-syllable assonant ballad verse ngozi chuma-udeh 20 ultimately derives from the anisosyllabic assonant verse of the medieval spanish epic, and a certain number of judeo-spanish ballads, together with some ballads from other hispanic regions, can be shown to be genetically derived, through direct oral tradition, from medieval spanish heroic poetry. it is pertinent to mention at this point that the earliest evidence of the existence of ballads among the hispanojewish exiles does not consist of full texts, but involves an extensive corpus of incipits (or, in some cases, of crucial internal verses), used as tune markers in 16thand 17th-century hebrew hymnals (piyûtîm collections): a typical heading might read: ―pizmôn leḥan arbolera tan gentil‖ (a hymn to the tune of arbolera etc.) on the other hand, the igbo ballads have a wide range of utility because they are derived from the core essence of the society‘s existence. this gives rise to various forms of songs for various activities. this variety is due to the fact that the traditional music is used in articulating every human experience in the society. the igbo traditional oral ballads encompass all forms of public recitals and renditions in form of songs, chants or narration. there are also traditional igbo folk ballads which are enacted in form of folk dances. these may be an enactment of a myth or legend presented on festive occasions for entertainment and the rhythm and rendition is also determined by the occasion of use. because life in the igbo society is a celebration, ballads for celebrations are the most popular. through this medium, important and exemplary achievement, distinguished persons, heroes and deities are celebrated with praise poetries. ballads are also an avenue through which morals and societal etiquettes are imbued into the younger generation. old sages and griots relay ancient wisdom to the new generation through music. religious beliefs and didactics are also spread and fostered through the igbo traditional ballads. music in the oral literatures of the sephardic jews… 21 what is more, the igbo ballads are the societal medium for emphasizing and re-echoing the nature of relationships between man and his environment, man and his fellow man, and between man and his ancestors. they are means of promoting cordiality, culturality and peaceful co-existence in the society. in igbo traditional society, it is not uncommon to see local bards entertaining mixed audience of old and young, men and women, boys and girls with ballads of love, war, heroic deeds, history, epics, legends and myths. through this type of rendering the history of the society is perpetuated and preserved. as a tool for entertainment, the igbo traditional ballads enlighten and satisfy man‘s intellect and emotions. remarkably, just like the jewish romansas, the igbo ballads are mostly narrative in nature and are typically composed in a 16-syllable, monorhymed verses, divided into two octosyllabic hemistichs, with assonant rhyme in each second hemistich. although the eight-syllable assonant ballad may not necessarily draw from the anisosyllabic assonant verse like the medieval spanish epic they tend to be genetically derived, through direct igbo oral traditions. below are two contrasting examples: la bella en misa (the beauty in church) la bella en misa (the beauty in church) is a sephardic ballad of medieval origin—sung in both branches of the judeo-spanish tradition, as well as in castilian-, galician-, and catalan-speaking areas of spain, in northern portugal, and in mexico and argentina (rpi s4). apart from its delightful content, it eloquently illustrates the basic principle that each ballad has its own, sometimes highly distinctive—if not, as in this case, unique—individual history. 1 tres damas van a la misa three ladies are going to mass por hazer la orasión. to say their prayers. 2 entre‘n medio va mi spoza , with them goes my bride, ngozi chuma-udeh 22 la que más quería yo. the one i love most of all. sayo ye va sovre sayo; she wears many pleated skirts un xiboy de altornasión. and a waistcoat of fine cloth. 4 su cavesa, una toronǧa her head is round like a grapefruit; sus caveyos briles son. her hair is golden thread cuando los tomó a peinare, and when she combs it, en eyos despuntó el sol. it glistens in the sun. 6 las sus caras coreladas her red cheeks mansanas d‘escopia son. are apples from skopje; los dientes tan chiquiticos her small teeth dientes de marfil ya son. are all like ivory. 8 su boquita tan chequetica in her tiny mouth y que no le cave‘n peñón. a rosebud would not fit; la su seja enarkada her arched eyebrows árcol de tirar ya son. are like taut bows. 10 melda, melda, papazico, the priest, reading his prayers, de meldar ya se quedó. stopped in his reading. —melda, melda, papazico, ―read on, little priest; y que por ti no vengo yo. i‘ve not come here for you. 12 vine por el hijo del reyes, i have come for the king‘s son, que de amor v‘a muerir yo. for i am dying of love.‖ oma nwanyi mma (oma the beauty) oma the beauty is a traditional igbo ballad about two star crossed lovers who would go against all dictates of culture and reasons to be together. just like la bella en misa (the beauty in church) it is of medieval origin—sung and accepted in all corners of the igbo tradition 1. oma bu nwunye m ooo oma is my bride nwanyi m huru n‘anya she is the love of my life obu m ga alu ya ooo i am her ordained spouse aga m aluriri ya i must marry her 2. nne ya kwere m ooo with her mother‘s consent nna ya ekwere m ooo and her father‘s consent music in the oral literatures of the sephardic jews… 23 umu nna ya kwere m ooo and the consent of her kinsmen aga m alu riri ya she must be my bride 3. obu akwa? aga m egoro ya fine apparel? i will buy in quantum obu uwe? agam ego juru ya dresses? i will buy them in quantum obu ola edo? aga m ego juru ya gold and silver? i will buy in quantum 1. oma jebe nku, anyam n‘ eleru ya oma fetches fire wood, i look out for her oma chube iyi, anya m n‘ eleru ya oma goes to stream, i look out for her oma jebe egwu, anya m n‘ eleru ya oma goes to dance, i look out for her oma jebe oru, anya m n‘ eleru ya oma works, i look out for her 2. odi okporo ato jebe nku three maidens go to fetch firewood oma no n‘ime ha oma is among them odi okporo ato chube iyi three maidens go to the stream oma no n‘ime ha oma is among them 3. oma na agba mbo oma is hard working oma gbasiri ike oma is strong and healthy oma n‘eme ezi omume oma is cultured oma na eje ozi oma is dedicated 4. oma mara mma ooo oma is a great beauty ochia ochi, eze ya di ka aku miri igwe oma smiles, her teeth is as white as snow ogba egwu ukwu ya n‘ebu aju when she dances her waist overwhelms oma n‘egbu m ka manya oma is intoxicating like fresh wine ngozi chuma-udeh 24 5. oma n‘eje uka oma is pious kwa ututu, oma n‘eje uka she goes to church every morning kwa ehihie, oma n‘ekpe ekpere every afternoon, she prays fastidously kwa mgbede, oma n‘eje uka every evening she goes to church 6. a bughi m nwa eze i am not a prince mana oma huru m n‘anya but oma loves me dearly abughi m nwa igwe i am no royalty mana oma na anwuru m but oma loves me to distractions 7. oma kwuru na ogbo ooo when oma stands out in public ona adi iche she looks world apart from others uwe ya bu kwa peke m her dress fits perfectly obu opuru iche ooo she is worlds apart from others 8. oma odi n‘obi m ooo oma my hearthtrob oma bu anya m oma the apple of my eyes nti nji anu ihe the only tune i hear imi m ji eku ume the air i breathe notably, the prosodic and syntactic structures in both songs involve organized acoustic sequences. the pitch and intensity create structured rhythmic and melodic patterns and, though there are glaring differences in the rhythmic organizations, representing the divergence in language, there is a discernible semblance in the sequence in the pattern of the structural rhythmic pulse of the two ballads. music in the oral literatures of the sephardic jews… 25 lyric songs in serphadism (cantigas) versus the igbo lyrics (abu oto n’ubulu) the sephardic jews have abundance of traditional lyric songs embedded in their oral literature. these songs have strong ties to the iberian tradition but they embody the religious lyrics that are authentically traditional lyric song. there are traces of certain poetic forms, notably the moroccan wedding songs that strongly embody what might be termed ―vocabulary‖ of parallelistic, synonymous rhyme words that are partly or wholly identical (alvar 1985:44). in as much as the sephardic ballads also have specific communal functions and lyric qualities like wedding songs, lullabies, songs of mourning, their uses in specific utilitarian social contexts, are in general much more sharply defined. lyrics in serphadism are therefore more of liminal songs that deleneate the thresholds of human life, the crucial moments of transition: birth songs, wedding songs, funeral dirges (armistead 1993: 364-367). essentially also, the igbos have riched repertoire of lyric songs closely tied to their traditional poetry and folkbeliefs; several of which turn out to have very close inclinations. the local bards use music to playfully and tactfully checkmate the society. one special aspect of the igbo traditional music is that it can be composed without much formality. the local bards and some obnoxious brats make use of this quality to extremities. lyrics are composed on the spot especially about immoral and errant men and women. lyrics of abuse and cynical lyrics of denigration and degradations can be composed against a drifting member of the society. lascivious men and morally bankrupt members of the society are always under very close surveillance by the local bards. lyrics of petty gossips and local scandals keep the society alive with fun and perpetually keep everyone on the alert as anybody can become an object of the gossips of lyrics and the lyrics of abuse. ngozi chuma-udeh 26 in the igbo traditional society, it is just natural to hear lyrics – soul lifting lyrics at the birth of a baby, at naming ceremonies, at traditional weddings and on festival occasions. even labourers have chants to lighten the laden of work. the lyrics are composed such that the beating goes in rhythm with the working tempo. the rendition strengthens and reinvigorates the labourers. there is really no aspect of the igbo communal life that lyrics do not surface. in nursing the baby, lullabies are sung and chanted to sooth the baby to sleep. at the death of a member of the society, elegies and dirges are sung to relieve the sorrowful experience. these mournful chants may involve wailing, weeping sobbing and even serious gnashing of the teeth. the themes for such lyrics are abuses on death as an archenemy of mankind, as a thief and a spoiler. they can also dwell on the mysteries and ephemeral life or consolations for the bereaved or even the greatness and heroic deeds of the man or woman that passed on. music is used to celebrate life and death. just as a person is celebrated in his lifetime, so is he mourned at death. the most distinguished aspect of the igbo traditional music is that it is a communal activity. every member is involved in the rendition either by clapping hands, humming or chanting the chorus. the bard initiates the music and the audience responds with rhythmic choruses. nobody is exempted from this exciting aspect of the society‘s culture. music in the igbo society is indeed a cultural experience. it is a heritage handed down from generation to generation. in the morning, it is quite customary for the elder and head of a family to welcome that dawn with sonorous and rhythmic incantations which expresses appreciation happiness, success, joy and appellations to the deities. music in the oral literatures of the sephardic jews… 27 below are two examples from both cultures: the following is a serphadic endecha—sung at funerals and also during the nine days of the month of ab (thishʿā bĕ-‘āb) to commemorate the destruction of the temple at jerusalem, which is evoked in vv. 18. the rest of the poem involves a conversation between a mother and her deceased son or daughter: 1 ḥaḫamim nombrados, famous wise men, 2 de honra y de fama, of honor and of fame, los yevan atados are carried off bound 4 y arrastrados por la vía. and dragged along the streets. ¡yoren, yoren, las señoras, weep, weep, you women, 6 las que tienen razón, for well may you weep, por la caza santa for the holy city 8 y el ḥorbán de sión! and the destruction of zion! —si había algún consuelo ―if there were some comfort 10 y en éste mi corasón, in this heart of mine, yo vos rogo, la mi madre, i beg you mother, 12 por las piadades, for the sake of charity, que escribáis mi dulse nombre to write my sweet name 14 y en vuestros lumbrales. on the threshold of your home.‖ —y escrito lo tengo, escrito, ―and i have inscribed it 16 y en la veluntade. within my very soul. los días que fuere viva, as long as i live, 18 mi madre, con tus pesares. i will mourn for you.‖ —yo vos rogo, la mi madre, ―i beg of you, mother, 20 por las piadades, for the sake of charity: que saquéis mis nuevos vestidos take out my new clothes 22 del arca y del ajugares. from the dowry chest. con la hoja del adefla, with leaves of the rosebay, ngozi chuma-udeh 28 24 mi madre, los bufeares. mother, fumigate them for me. con la hoja de la retama, with leaves of the furze, 26 mi madre, los safumare. mother, perfume them for me. y si al año no volviere, if i don‘t return in a year, 28 sacáilos al delale. take them to be sold y al primero precio, and at the lowest price, 30 mi madre, los qaddeare. mother, sell them off. y el que los comprare, and whoever buys them, 32 que no pase por la mi caye. let him not go by my street, no los vea la mi madre, so my mother may not see them, 34 los de dolor al corasón. those clothes of heartfelt grief.‖ akwa nwunyedi (the cry of a co-wife) this is a song of sorrow from a maltreated woman. it is a conversation between a woman carrying a baby and a river goddess. the woman was found at the bank of the river trying to fetch water on a forbidden day of the week. babies are revered in igbo culture, almost deified; a woman carrying a baby is given special preference in all things. the child stands for the future and for posterity. maltreating a baby is a crime against the gods and humanity. there is an apt image of conveying the fact that the woman contravened the laws of the gods because of her baby. the last part is a consolation from the spirit. 1. o nwa mmuo isi mu koro gi inine spirit do i tell you my story o nwa mmuo isi mu koro gi inine spirit do i tell you my story 2. na nwunye di mu di njo inine my co wife is evil na nwunye di mu di njo inine my co wife is evil 3. agara m kuru miri m n‘ enye nwa inine i took a cup of water for my baby 4. osi mu kwuo ya ugwo miri, miri nwa inine she demands a replacement nwa n‘ebe, nwa n‘eti inine the baby cries, the baby shrieks 5. osi m je n‘ogba churu iyi puta inine she demands i should go to the river m si ya ejighi taa eje n‘ogba lota inine i told her the river is forbidden today 6. osi mu kwua ya ugwo miri, miri nwa inine she demands a replacement osi m jee n‘ogba chute iyi puta inine she demands i should go to the river 7. eze ogba, isiri gini? inine you mean the sacred river? music in the oral literatures of the sephardic jews… 29 ubochi eke? inine on an eke day? 8. miri kuru gbam gbam la n i‘gwe? inine the sacred river of thunder? miri gburu amuma ka onwa n‘eti? inine that draws lightening on a moonlight night? 9. a bum nwanyi, nwanyi ku nwa inine i am only a woman carrying a baby biara ekuru miri nwa inine i came to fetch water for the baby 10. ahhhhahhaa nne nwa ndo inine ahhhahhh baby‘s mother what a pity ewoooo nne nwa ndoooo inine ewoooo baby‘s mother what a pity 11. ewoooo churu ogba lawa inine fetch as much as you want ewoooo churu aku lawa inine fetch also as much wealth 12. ewoooo ndo ndooooooooo inine ewoooo what a pity ndo ndoooo inineeeeee ininee a pity indeed! the two songs exploit the literary devices of paradox and imagery to effectively communicate meaning.there are apt stylistic manipulations of the songs which to a great extent reveal a rich exploitation of literary devices like metaphor and imagery and rhetorical questions. all these combine to imbue the songs with solemn lyrical effects. the two have the ability to draw pathos from the audience. the dynamic levels of both songs naturally indicate the emotional state of both women. the elements of turmoil and conflict seem too close to the surface. the timbre is touchy and easily influences the psychological "richness" of the human mood thereby eliciting compassion. the rhetorical questions ―the sacred river of thunder? that draws lightening on a moonlight night?‖ helps to accentuate the woman‘s predicament. conclusion from the ongoing, one can say without fear of contradictions that the igbo traditional music and the music in the sephardim have wide range of utility. similarly, music in both cultures articulates every human experience in the societies. there is to be found in both cultures, traditional oral music that encompasses all forms of public recitals and renditions in form of songs, chants or narration. there are also traditional folk songs, myth or legend which are enacted in form of ngozi chuma-udeh 30 folk dances and presented on festive occasions. there is therefore a poetic form for every occasion and the rhythm and rendition are also determined by the occasion of use. this study also arrived at the conclusions that life in both the igbo society and the serphadic is a celebration therefore songs for celebrations are the most popular. it was also discovered that both societies use their traditional music as avenues through which morals and societal etiquettes are imbued to the younger generation. religious beliefs and didactics are also spread and fostered through traditional music. la bella en misa (the beauty in church) is a sephardic ballad drawn from the judeospanish religion while the serphadic endecha is an invocation and prayer used during the nine days of the month of ab (thishʿā bĕ-‘āb), the igbo lyric akwa nwunyedi (the cry of a co-wife) is a type of invocation with strong ritualistic supplications. there is also strong evidence that in sephardim as well as in igbo traditions, music fosters unity, promotes cordiality, culturality and peaceful co-existence between people of the same culture. it stands as a societal medium for emphasizing and re-echoing the nature of relationships between man and his environment, man and his fellow man, and between man and his ancestors. these societies simply live music! references alonso, dámaso, (1970-1971), ―la tradición épica castellana en la obra de menéndez pidal (teoría y 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(santa barbara, california: abc-clio, i, 61-71, 475-488. armistead, samuel g., and joseph h. silverman, (1983), ―adivinanzas judeo-españolas de turquía: los ‗enigmas‘ del rabino menahem azôz,‖ philologica hispaniensia in honorem manuel alvar, i: dialectología . madrid: gredos, pp. 81-92. armistead, samuel g., and joseph h. silverman, (1980), ―el romancero entre los sefardíes de holanda,‖ études de philologie romane et d‘histoire littéraire offertes à jules horrent, ed. jean marie d‘heur and nicoletta cherubini. liège: gedit, pp. 535-541. armistead samuel g. and joseph h. silverman, with oro anahory librowicz. (1977), romances judeo-españoles de tánger (recogidos por zarita nahón), madrid: c.s.m.p. bruder, edith (2008). the black jews of africa: history, religion, identity. oxford university press. p. 143. equiano, olaudah (2005). "1". the interesting narrative of the life of olaudah equiano, or gustavus vassa, the african written by himself. ebook #15399. sanders, edith (1963). "the hamitic hypothesis: its origin and functions in time perspective". journal of african history 10 (4): 521–532. ngozi chuma-udeh 30 awka journal of research in music and the arts (ajrma) vol 17 june 2024 conceptualization of scenic design: a study of esiaba irobi’s “the other side of the mask” in nigerian educational theatre ajiwe uchechukwu chimezie department of theatre and film studies faculty of arts nnamdi azikwe university, awka. abstract the stage picture depends to a great extent on the setting and costumes. the placement of doors, windows, and furniture allows some compositional patterns and impedes others. thus, the ability of the designer to conceive ideas on the arrangement of scenic properties to conform with the playwright's ideas and the director's ideas creates a balance in the stage visual composition. this explores the conceptualization of scenic designs in nigerian educational theater through an analysis of esiaba irobi’s play, “the other side of the mask.” by examining the use of space, set elements, and visual aesthetics in the production, this study aims to uncover the ways in which scenic design contributes to the overall theatrical experience and educational goals in nigerian theater. it also looks at the possibilities of an artistic or set designer creating effective designs and the aesthetic transformation of a play text. the paper equally suggests appropriate measures towards improving scenic design in nigerian universities. keywords: scenic design, play production, sat designer, aesthetics of scenic design, set design introduction background to design is crucial to the understanding and appreciation of the subject. this is because it deals with the visual and spatial aspects of theater. but in african theatre studies, there are very few detailed works based on individual playwrights or their plays. this is a major drawback, as the african dramatist has always used traditional african theatre forms in a modern context, and traditional forms are always direct in the use of visual and spatial expression. in his study of pete edochie and the actor's craft in contemporary nigerian drama, scholars like dapo adelugba emphasized the need for such works to be properly understood, and its interpretation in realistic acting styles has been accounted for by nigerian playwrights. it is necessary that its essentials (ere, concept, and form) be properly explained. the same can be applied to the use of western actor training methods in traditional performance genres.. there are many different ways in which this training is put into practice, but one suspects that an inappropriate use of scenic signs is probably the major factor in the failure of such attempts. in terms of accessibility, reliability, and availability, internet research on the other side of the mask proved unsatisfying. as a result, the researcher has relied almost entirely on the text of the play. scenic design is the designing, executing, and lighting of a play set in motion for production. it is primarily to establish, for an audience, a physical and atmospheric environment on stage for the duration of a dramatic experience. in addition, it is a special area of design based on a wide background of semi-related as well as specific training in modern theater. moreover, it is concerned with the total visual effect of a dramatic production. scenic design is also known as scenography, stage design, or set design. this includes the creation of theatrical as well as film or television 31 awka journal of research in music and the arts (ajrma) vol 17 june 2024 scenery. scenic designers come from a variety of artistic backgrounds. in this way, chris guzardo (2017) asserts that "scenic designers are professionals in theater who design sets for the stage that communicate aspects of a performance, such as time of day, location, and era. scenic design plays a very important role in shaping the audience’s perception and understanding of a theatrical production. in the context of nigerian educational theater, scenic design serves not only aesthetic purposes but also serves as a tool for conveying cultural, social, and educational messages. therefore, the focus of this paper is on the scenic design of esiaba erobi’s the other side of the mask, a play to explore how scenic elements are conceptualized and utilized in nigerian educational theater. “sets are supposed to lay a foundation for performances as they communicate information to audiences through visual design” (p. 1). to this end, scenery, lights, property, costume, and sound effects are coordinated. thus, ways and means of developing this coordination and the effect of each individual element are influenced by the sociological, cultural, artistic dynamism, and technological resources of the locality in which theater production is to be presented. in this wise, utoh, t.c states that, the nigerian society cannot, but pay heed to the issues of social concern which are given ample exposition in many plays. this is because the dire need for mass consciousness a lever which propels people to re-order and re-assert their values and priorities. the unprecedented development, growth and subsequent expansion of the nigeria theatre bears a direct relationship to the dynamics of social change evident in most nigerian plays. (p.126) the weight of this assertion centers on the basis on which an artist, a playwright, and the designer’s ideas evolve, as well as being guided by their surroundings. thus, an artist is affected by his society. in this case, art can, through intimate identification, create empathy. this means that art challenges the view not just visually or through the intellect but through their whole emotional, spiritual, ethnical, intuitive, and psychological being. to find empathy requires us to reach beyond our differences to a point of shared humanity. in any educational theatre environment, there are many different ways in which a student or group of students’ training is put into practice, but one suspects that an inappropriate use of scenic signs is probably the major factor in the failure of such attempts. in terms of accessibility, reliability, and availability, internet research on the other side of the mask proved unsatisfying. as a result, the researcher has relied almost entirely on the text of the play. also, unconsciously, the environment will influence the actors and their performance, with a culture of set design being that actors don't feel ownership of the space until they have something to interact with. this both affects the process of character development and the final outcome, primarily because acting is an action-based practice, not one of contemplation. so, anything that influences an actor's actions will also influence character and performance. for example, in the development of his character lysander in the 2008 production of a midsummer night's dream, david is cited visiting the set and getting in bed. this change is largely attributed to the tangibility of the bed enforcing the action of actually getting into it; something that would likely not have happened had the set design been different. thus, the basic communicative qualities of set design are the same as in any other visual art. in complementing this, carroll n. (1998) posits that, we can challenge the radical autonomist’s appeal to the nature of art with appeals to the natures of specific art forms or genres which given what they are warrant at 32 awka journal of research in music and the arts (ajrma) vol 17 june 2024 least additional criteria of evaluation of supplement whatever the autonomist claims is the common denominator of aesthetic evaluation. (p. 227) this refers to the understanding and appreciation of plays or any work of art. thus a playwright’s view might differ from how the director and the designer view his work. but the director ensures that he strikes a balance in the playwright’s ideas with his and other crewmembers of the play production like the designers. aesthetic factors in scenic design the aesthetics of scenic design in nigerian educational theater often blend cultural elements with practicality. designs may incorporate vibrant colors, traditional motifs, and versatile sets to accommodate various productions. additionally, there's a focus on engaging students through immersive environments that reflect nigerian heritage and encourage creative expression. in this regard, certain elements are considered and applied; some elements are what make up the aesthetics of a scenic design for a stage production when producing a play. as such, the aesthetics of stage design for play production encompass various elements such as set design, lighting, props, and costumes. in creating a visually compelling stage, designers often consider the themes, mood, and setting of the play. they may use techniques like color palettes, textures, and spatial arrangements to enhance the storytelling and evoke emotions in the audience. additionally, attention to detail and creativity play crucial roles in crafting sets that transport viewers into the world of the play. the act of the theatre differs from the other art forms, although it has some relationship with them. their basic difference lies in the aspect of their impermanence. since it exists only for the brief space of time in which the play is performed, design in theater becomes a temporal art with its visual quality. based on the visual quality of the play production and the intended message of the playwright. it serves more than just the physical characteristics of a work of art. thus, beauty is a quality of the transformation experience that awakens the unconscious and grasps human solidarity. as such, scenic design in most educational theatres focuses on enhancing the overall aesthetic experience while also serving educational purposes. 1. visual impact: the design ought to captivate the audience’s attention and create a visually stunning backdrop for the performance. 2. authenticity: it should accurately represent the setting of the play or performance, whether it’s a specific time period, location, or mood. 3. symbolism: utilizing symbolic elements to convey themes or motifs present in the production, helping to deepen the audience’s understanding and engagement. 4. functionality: the design ought to be practical and functional, allowing for smooth transmission between scenes and accommodating the needs of the performer. 5. composition: consideration of arrangement and placement of set pieces, props, and lighting to create a balanced and cohesive visual composition stage. 6. colour and texture: thoughtful use of colour palettes and textures to evoke specific emotions or convey the mood of each scene. 7. detailing: attention to detail in set construction and prop selection to add depth and richness to the overall design. 8. accessibility: ensuring that the design is accessible and inclusive, considering factors such as wheelchair access and sightlines for all audience members 9. adaptability: designs should be adaptable to the different performance spaces and budgets, allowing for flexibility in implementation. 33 awka journal of research in music and the arts (ajrma) vol 17 june 2024 10. collaboration: collaboration between directors, designer, and performers to ensure that the scenic design complements the overall vision of the production and enhances the educational experience for both participants and audience. by carefully considering these aesthetic factors, scenic designers contribute to the overall artistic vision of the theatrical production and help transport audiences to the world of the play. as such, when we consider design, its specific not general forms we being to understand that design is an interpretative art. it is interpretative in the sense that it helps to bring out performances based on a set script. obviously, without a given script, or the play in which it is created, design cannot be independent. thus, every element of the design of a play should complement the others. in this sense, empty costumes do not comprise design for design. rather, it exists only during the performance of the play. as a result, the lack of independent existence of design and its conception is thus influenced by a number of factors. the factors will be discussed in the course of writing this paper. conceiving an idea for scenic design in designing for a play production, a set designer takes certain steps in generating ideas in creating an environment in the play text revolves in. he or thus, develops series of questions which will lead to the generation of ideas through discussion and research into the play. of course, this is done with the knowledge of the director’s concept. at each stage, there may be a number of ways to proceed. so the designer will need to judge which is the most appropriate. the process details the method through an example in which w follow a designer work in ng on a student production of macbeth with a minimal budget. at the end of the process is an example of how the design work on the play might be broken down into visual materials and methods. generating ideas for scenic designs in play production aims to describe a process which will help a scenic designer to organize and plan the scenic design of a play from reading the script to an effective design. this process concerns the generation, development and to some cases, production of a number of visual materials that may affect or effect the way a play might look. the results of this process might be anything from a verbal description of suggested scenery to a fully formed maquette or model. the creation of imaginative worlds and environments for actors to play within is a fundamental activity for theatre designers. at the very least, this should significantly add to the audience's understanding and experience of the play. however, it can also establish long-term emotional connections. a good set design for a forum theatre production concerning domestic violence could create a house in incredible detail and invoke a real memory for an audience member of watching action unfold in that same house. according to ajiwe u. c (2008) … design involves creativity and skill to express thoughts. and this thought is appreciated when manifested physically in its several art forms. thus, the act of conceiving an idea and executing same physically … (p. 247). this implies that through design ones thought is conveyed which is appreciated when creativity and skills is exhibited physically. in designing a play for production the designer should be high in imaginative reasoning. and the designer’s ideas should base on the playwright’s views and ideas of the play. this is the first hand aid by which the quality of the design is judged. moreover, there is need for originality in the work. the originality of art can be seen as the uniqueness of the piece of work that derived from the creator. definitely, when the concept of originality is lost in any work of art, it become detrimental to the artist and the society. addressing the subject on the art of creativity, it is this sense that 34 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the theatre artist is being conceived in its own right as an art. thus, a courageous artist, in this forum, exercises the instruct to create through the power of imagination, dreams and concretisation of idea(s). as well as perception, perception yields creativity. psychologists like anders nh (1968) arguing the importance and significance of perception in human life and living, pointed out that, “the story of how man knows the world begins at the sensory surface the interface between the knower and the known, where physical energy is transformed into neural activity, to be treated as information”. thus, it is clear that without perception a designer or an artist cannot execute or conceive ideas. with this, effective creativity will not be seen in the artist's work. this applies to all faces of art, especially the theatre artist. to improve, there is need for change in thoughts, behaviour which will arise from experience. just as norbert n. okoye points out that, “any attempt made at improving perception will also hopefully improve learning and cognition”(p.83). it is thus clear that improvement in thoughts and perception of images will yield effective designs for play production. theatre art is not art that solely exist on its own, it is a conglomeration of all other various forms of art. in this light, the theatre artist is described as the being with a particular inner deposit of creative energy. thus, the designer as a theatre artist is enabled to operate within the right framework of creativity based on profession and aesthetic of myriad art forms. according to oren parker and harvey smith from the theme of the play the designer can usually find a visual image that can lead to a design concept. and from the style of the play the designer gets an indication of the form of his design. (74) this implies that a designer can draw up a visual image from the theme of the play and it will lead to a design concept. also designer develops the form of his design from the style of the play. in same vein, chris murphy explain that “a scenic designers work …involves imagination, creative abilities, technical skills and crafting to create worlds for live performances, but opportunities can be inconsistent at times.” this affirms that the scenic designer’s work is dependent on his imagination and creative ability to conceive and develop design concept and imprint his style in play production. this is achieved through reading and understanding of play. in addition, having knowledge of the playwright’s ideas and making additional research on some images described by the playwright as well as culture and environment in which the play is situated. for instance, for a designer to design the play text the other side of the mask written by esiaba irobi must get the picture of a typical university quarter for lecturers the playwright is describing. and if possible visit a university with lecturers’ quarters, thus this will widen his idea for an effective design of the play. thus, a designer as an artist replicates life on stage. this can be seen in the words of jamike and njemanze as they were arguing. jamike: prof., this is reality njemanze: your own twisted reality! a depressing reality! jamike: is that not the function of art? to exhume the truth of a reality. not to mask it or perfume it. njamenze: jamike, art deals with beauty not ugliness. 35 awka journal of research in music and the arts (ajrma) vol 17 june 2024 from their argument we can understand that art is a repetition of life. thus, designer must endeavour to recreate in time and space the setting of the play. and should posses some form of individuality. art is an expression of thought, no matter the source(s) in all creation and recreation; there is still the individuality of the designer. this is the artistic figure, the instant process of the designer to create. a brief summary of the other side of mask this is a play set in a university environment, a typical nigerian university quarters. it is about a man named jamike, an artist who is a sculptor. jamike who believed in his artistic works and has been with hope win an award but was turned down. though he never relents in chiseling out more pieces of art works. but did not sending any work for another year’s national award. jamike has a muse named zhipora. she (zhipora) understands him more than anyone else. and jamike a brother named kamuche who is nervy commander. kamuche wanted jamike to marry elesie, forcing her on jamike in which he did not succeed. moreover, the whole story describes the essence of art and the processes in art as a whole. it also discussed the struggle of an artist to achieve a “master piece”. identifying the playwright’s directorate stage design of the other side of the mask in identifying the playwright’s intentions it warrants obvious textual references to the setting, the social class of the characters, the metaphorical implications of actions, etc. sometimes the playwrights will have a very clear image of what he or she wants, and sometimes it may be a projection of what or where the action took place in his perception of his society. other times, it may be very vague, leaving much to the director. as such, there are two forms of stage design: one is the playwright’s apparent or mental image of the play, and the other is using the play a s starting point for the director’s concept. this paper therefore discusses the case in which the playwright has left various hints on his or her perception of the play production and the possible variation the intended design could be change using the play as a base inciting new design idea. design art is located primarily within the disciplines of image conception and object making. thus, basing this on stage media, in design practice with an emphasis on the study of material culture relative to the play. the playwright ideas and visions on the story he is writing should include the setting and sets to be used. this is seen in esiaba irobi’s the other side of mask arching the designer in design play for production. it is important to note that the whole play takes place in one room until the play ended. in scene one the playwright gave description of how the setting of the play should be. thus, easing the work of the designer. esiaba made good choice of words in creating a picture of jamike’s apartment. reading the play text alone creates a clear picture in the reader's mind, leaving the designer with fewer thoughts about how to gather material for his designs. for example, in side one: a screen of flowers masks the frontage of a typical african university apartment for lecturers. stretching fully across the stage is the framework of the apartment’s insect-gauzed balcony. within the balcony are potted flowers. this description took a full-length page of the play text, which is to the advantage of both the reader 36 awka journal of research in music and the arts (ajrma) vol 17 june 2024 and designer, for proper enhancement of visual composition of the play. in giving a directorial stage design of the play-text, esiaba has heightened the beauty of play-text, at the same time enhancing the conversion of the dramatic text into a stage performance. thus, presenting elusive image representations of his imaginations. moreover, materials mentioned by the playwright are tools functional to plot of the play. these materials for the design of this play has reflection of the society (nigerian society). just as tracie chima utoh rightly confirmed, nigerian playwrights have remained committed to the cause of social reforms. they use their plays as avenues to give exposition to the experience, values and worldview of the nigerian people. through these expositions; the playwrights strive to achieve the social, political cultural and moral purification which has consistently eluded the nation. (13) thus, the scenic design of "the other side of the mask" exemplifies the integration of aesthetic and educational elements in nigerian theatre. by drawing on indigenous cultural motifs and incorporating them into the design, the production not only enriches the theatrical experience but also serves as a platform for cultural preservation and education. the use of symbolic imagery and spatial arrangements fosters a deeper understanding of the play's themes and encourages critical reflection on nigeria's colonial legacy and postcolonial identity. for a nigerian educational theater production, consider a scenic design that reflects the rich cultural heritage of nigeria while also incorporating modern elements. you could create a versatile set that can easily transform to depict different scenes, such as a traditional village setting, a bustling urban area, or a school classroom. utilize vibrant colors, traditional patterns, and symbolic elements to represent nigerian culture. incorporating local materials like woven fabrics, wooden carvings, and pottery can add authenticity to the set design. additionally, consider using innovative lighting techniques to enhance the mood and atmosphere of each scene, creating a visually engaging experience for the audience. thus, a scenic designer takes into consideration designs, symbolic patterns, and design motifs that capture the essence of the play’s settings and themes. in this regard, the set designer creates a dynamic set design that transports the audience to an environment in which the play production is set, portraying a typical nigerian environment using esiab irobi’s the other side of the mask, which is set in a typical university lecturer’s quarters, and some sculptural motifs that portray nigerians, especially igbo cultural artifacts. to convey clashes in the play certain pictorial motifs could be placed at the backdrop which are relevant to play text and could be referenced to by the main character of the play. symbolic elements such as masks, drums, and ritual objects could be incorporated into the set design to represent the spiritual and cultural traditions of the igbo people. lighting effects could be used to enhance the mood of key scenes, such as when his muse enters the scene symbolically setting the mood that he is about creating a master piece. likewise, when his creativity calls for blood, certain coloured light are creatively applied to set the mood of the scene. from tracie utoh's statement, one will agree that esiaba based his work on the culture and the environment of the nigerian society through the setting of the play. in essence, creating a workable environment for performers. with the directorial stage design by the playwright, it aids the designer to set the tone and style of production, letting the audience know where and when the action takes place. 37 awka journal of research in music and the arts (ajrma) vol 17 june 2024 as well as telling whether the play is a tragedy, comedy, or some other drama. in addendum, esiaba made use of symbolism in this play when he suggests that most artistic sculptural works to be displayed on stage represents the society and symbolic to one theme or the other. moreover, all these art piece of sculpture relates to the theme of the play which is struggle between the oppressed and oppressor. also, instruments used by sculptors are mentioned in the play such as woods, chisel, and hammer, carried woods are functional to the events that happened in the play. for example, the chisel is instrumental the shedding of blood in the play. i have played a part as the stage designer for the production of this play, with the director and other crewmember and the entire class members while i was in school (300 level). it was a great task designing the play. though a martini production without lighting effects but achieved the same effect as achieved in a might production. moreover, esiaba irobi’s visual idea of this play is intense such that his idea for the lighting design falls in other which will aid in effecting the audience emotions. such that the colour he chose for the lighting at the scene where amadioha, the gods of jamike’s family is been brought out by kamuche for inspection fits the scene. at this point, the mood of the play changed a little, becoming moody due to the red gel light on kamuche and the fetish – (amadioha) amadioha is the god of justice, thunder and lightening in igbo land (igbo culture). this shows that esiaba, is not irresponsive to social and cultural dictates of our society through his creative writing. conclusion therefore, through the playwright’s ideas, a designer conceives his ideas and executes them. moreover, the designer manages his material resources with the funding he has for the design of the production. as well as ensuring that his designs complement the total visual composition of the play production. moreover, the designer notes the emphasized design materials to be used. this he does by reading the play and noting the necessary elements needed, as well as making sketches of the ideas conceived. there is a need for him to do research on some material to be used for the play. alternative might be provided if demands cannot be met. this should be done creatively. works cited carroll, n. (1998). understanding art, narrative, and moral. in j. bevinson (ed.), aesthetics and ethics (pp. xx-xx). cambridge, uk: cambridge university press. guzzardo, c. (2017). visual rhetoric and semiotics in scenic design: a pedagogical analysis (master's thesis). university of tennessee. retrieved from https://trace.tennessee.edu/utk_gradthes/4877 wilson, e. (1991). the theater experience (5th ed.). new york, ny: mcgraw-hill. irobi, e. (1999). the other side of the mask. enugu, nigeria: abic publishers. murphy, k. n. (2022). emerging trends: scenic design beyond the stage (master's thesis). .louisiana state university. retrieved from https://digitalcommons.lsu.edu/gradschool_theses/5503 okoye, n. n. (2001). psychology of human learning and development. awka, nigeria: erudition publishers. parker, o., & smith, h. (1979). scene design and stage lighting (4th ed.). new york, ny: holt, rinehart and winston. tertulian, n. (1980). notes on the aesthetics of the theatre (vol. 2, xxxivth ed.). romania: publisher. utoh, t. c. (2002). theatre and contemporary realities: the dynamics of social change in nigerian plays. theatre experience: a journal of contemporary theatre practice, 1(1), pp. xx-xx https://trace.tennessee.edu/utk_gradthes/4877 https://digitalcommons.lsu.edu/gradschool_theses/5503 74 effective teaching of cultural and creative arts (cca): integrated approach ojukwu, ebele veronica & onyiuke, young sook department of music, nnamdi azikiwe university & department of music university of lagos nigeria. ev.ojukwu@unizik.edu.ng, ysonyiuke@yahoo.com abstract quality education for young students is critical not only for individual growth, but also for a society’s future. considering the fact that cultural and creative arts is indispensable in the lives of the young students, paying attention to the methodology of teaching the subject is very essential. the success of cultural and creative arts programme in the pre-tertiary schools depends on how much emphasis that is laid in the teaching and learning carried out by the teachers and students of cca. this should be geared towards achieving a well rationalized system of cultural and creative arts education that can sustain the transmission of age-old indigenous knowledge and a systemized practices and creative advancement effectively. this paper is therefore aimed at providing an integrated approach towards effective teaching of cultural and creative arts in the secondary school in which the ultimate goal is to have each student achieve his/her maximum potential both artistically and academically. the paper also discusses the obstacles to cca teachers’ performance. survey and library method of research is employed. it concludes by recommending for constant re-training of the teachers of cca in order to get them acquainted in the new teaching methods focused on the innovative techniques of teaching cca. awka journal of research in music and the arts (arma) vol. 10 2014 mailto:ev.ojukwu@unizik.edu.ng mailto:ysonyiuke@yahoo.com 75 introduction as society changes, so is the curriculum also changing to meet or adapt to the needs of society. the needs of society should be fully reflected in the educational system for relevance to be achieved. the nigerian educational research and development council (nerdc) has developed and published new curriculum as approved by the national council on education (nce) with effect from september 2007. the curriculum comprises the new 9-year universal basic education curriculum and also the new senior secondary education. the new curriculum was designed to fill the gaps in the old curriculum, introduce new subjects to replace obsolete subjects, redefine core subjects and also meet the key targets of the national economic empowerment and development strategy (needs). these key targets are expressed as: value re-orientation; poverty eradication; job creation; wealth generation and using education to empower the citizenry (nerdc, 2007). the implication is that the school principals and the teachers are the key people, and they are the players that will ensure that the new curriculum succeeds in schools across nigeria. for teachers to be successful in handling this new curriculum there is need for them to study effectively their subject areas and merge it with the components of the scheme of work derived from the new curriculum which has been prepared in a thematic pattern. the nature of the topics and content areas to be taught by teachers of various subjects will determine the type of skills to be developed in the students. ‘government is transforming the education sector’ to make teachers more relevant in their teaching job because quality education for young students is critical not only for individual growth, but also for a society’s future (http://www.lagostelevision.com/.../ministerstates-accessed-n50b-ubec-cash-in-2011-the-nation-newspaper/-31k). teachers play a vital role in the effective implementation of the changing curriculum because they are involved in very many ways in the things that learners do in school. the teacher is the principal ebele veronica & onyiuke, young sook http://www.lagostelevision.com/.../minister-states-accessed-n50b-ubec-cash-in-2011-the-nation-newspaper/-31k http://www.lagostelevision.com/.../minister-states-accessed-n50b-ubec-cash-in-2011-the-nation-newspaper/-31k 76 actor in all teaching and learning situation and as a result, much centres on him/her. a good teacher must cultivate and possess some personal qualities or characteristics that will ender him/her to the learner. according to ikeme & oforma in nwokenna (2006:48) ‘a teacher needs to be competent both in the content and subject pedagogy to make his teaching interesting to the learner’. effective learning is the product of effective teaching. for both teaching and learning to be effective, much depends on the ability of the teacher who will handle the teaching and learning process and the variables that enhance teacher effectiveness. students must be properly guided by the teachers through planned activities so that learning may be acquired. high quality education is essential if individuals are to realise their full potentials and the teacher is fundamental in that process. the cultural and creative arts (cca) education has been listed as one of the ‘core basic subjects’ by nerdc in the new 9-year basic education curriculum (fgn, 2007:7). it is aimed at developing the students’ acquisition of cultural repertoire, aesthetic perception, artistic talents, creativity and expression. it is designed to stimulate interest and inquiries into the theoretical and practical areas, particularly as they affect the teaching of the arts in school (http://www.ncceonline.org/…/ arts…/). the importance of teaching cca in schools has often been viewed as seemly less essential than other core subjects particularly by school administrators, whereas it is not supposed to be so. this may have been the reason why several previously held workshops focused predominantly on subjects such as english language, mathematics, basic science, basic technology and social studies. it should be noted that the ancient world held the arts education to a high esteem and it was included in their curriculum. nigerian government equally recognized that arts education is the expression of the people which reflects the society, the environment and aspect of their culture. according to an internet source (en.wikipedia.org/wiki/arts effective teaching of cultural and creative arts ojukwu, 77 integration-cashed), ‘these therefore constitute the underlying principles for formulating the philosophy of cultural and creative arts education for primary/junior secondary school in nigeria’. the integration of arts education could have been highly welcomed by the teachers of these arts subjects but it is ill-timed because the teachers were not given adequate orientation before introducing it. the teachers of cultural and creative arts must be acquainted with the existing programme of cultural and creative arts from the onset for developmentally appropriate cultural and creative arts education for young students to be provided. it is expected that the classroom teacher should provide an integrated approach in the teaching of cca, stressing creativity, artistic expression, in its historical and cultural context. though, the teachers are forced by circumstances to embrace cca, most of them have come to realise the aesthetic values inherent in the subject and are now more eager to learn the best ways to handle it. the concept of cultural and creative arts cultural and creative arts education is the umbrella term which brings together the three arts subject areas; music, fine and applied arts and drama/theatre. though, these three subject areas ‘have their own discrete characteristics which largely inform their particular and varied ways of working but within that work model arguably the creative aspect is fundamental’ (http://www.reading.acuk/a-z). cultural and creative arts have been introduced as holistic and integrated subject. the integration of the three major arts subjects has been achieved in some countries of the western world as arts education and had been in existence in different forms during the 19th century. arts education gained popularity as part of john dewey’s ‘progressive education theory. in the later part of 20th century, ‘arts education’s role in public schools ebbed and flowed with the country’s ebele veronica & onyiuke, young sook http://www.reading.ac/ 78 political leanings and financial well-being’ (en.wikipedia.org/wiki/ arts_integration-cashed).these three major arts subject areas that are integrated into one subject is an expression of the people, it reflects the society and the environment and it is the aspects of the people’s culture. this is in accordance with what constitute the arts in traditional culture as ‘music, dance, drama, et cetera are usually integrated and often are performed and presented together at appropriate occasions, in order to promote the cultural heritage’(http://www.ncceonline.org/ …/arts…/). integrated approach to the teaching of cca teaching and learning like any other activity in life has been undergoing changes. what the society regarded as teaching two decades ago is no longer what it is today. for the purpose of this paper, teaching is defined as a process of manipulation of the environment to bring about learning while learning is a deliberate change in behaviour of learner(s) through activities, experiences leading to permanent improvement in knowledge, skills, attitudes and modes of adjustment of learners (nti, 2011). alla-boison in nti (2011:141) classified teaching into formal and informal teaching. formal teaching is teacher centred because the teacher does all the talking with minimum involvement of the learner while in informal teaching a teacher facilitates learning by taking into cognizance and use of learner needs, thus it is termed ‘learner-centred’, ‘learned – focused’, ‘learner-friendly’. a teacher who is worth his/her onus employs appropriate methods (strategies and techniques) that are learner centred to bring about permanent learning. teaching should be more of activities and the learner should be at the centre of learning. nye & nye (1970:78) asserted that ‘children learn best when they see meaning and have a part in establishing their purposes’. effective teaching of cultural and creative arts ojukwu, 79 the goal of integration of cca is to increase knowledge of the subject area while concurrently fostering a greater understanding and appreciation of the three major art areas. fundamental to the philosophy of education is the precept that children learn by doing and performing (mckinley.pasadenausd.org/modules/cms/pages.phtml?...cashed). cca exposes students to both theory and practical in various areas of cca. the integrated nature of the practice of cca necessitates the use of specialised teaching strategies by the teacher. the initial artistic quality in the life of the students should be discovered and the teachers’ needs as they respond to and participate in cultural and creative arts practices. many methods/techniques of teaching abound, such as discussion, lecture, demonstration, project, field trip, discovery, questioning, brainstorming, et cetera. each of these methods/techniques can be made to be learner-centred if properly managed. cca teacher needs to employ methods and techniques that will bring about permanent learning which is also learner centred, learner focused, learner-driven and learner friendly. cca teacher is morally and professionally bound to carry out the teaching as an active performer. adequate care must be taking in planning cca lessons to ensure effective teaching and learning. adequate lesson plan is a building block for effective teaching at the level of students. teachers should have a firm grip of the fundamentals of the lesson plan and their import in purposeful teaching. without adequate lesson plan, the teacher finds it difficult to maintain a focus and may end up teaching much but imparting little knowledge. maduewesi (1999:18) asserted that it is ‘the teacher’s responsibility to create or influence desirable changes in behaviour or in tendencies towards behaviour in his students’. for effective teaching of the content areas in the cca curriculum, teachers need to be knowledgeable and skilful in ebele veronica & onyiuke, young sook 80 construction of the teaching objectives and using learner-friendly methods and techniques of teaching. the objective of a lesson determines how much a teacher wants to achieve in his/her lesson. it is a teacher’s guide throughout the period of the lesson. teachers should aim at achieving performance based objective that is the result of a student’s action which is observable and can be measured at the end of a lesson. ‘a lesson without performance objective is like a missionary without a mission’ (nti, 20011:138). performance objectives are stated using measurable verbs that is, verb that describes an action. examples of measurable verbs for stating performance objectives are: to list, to describe, to state, to mention to demonstrate to interpret, to draw, to cut, to sketch, to apply, to carry out, to diagnose, to construct, to dismantle, to assembly, et cetera (nti, 2011). teaching a cca class especially at this period poses several challenges. therefore, it is the duty of a competent teacher to plan for the effective management of such challenges since the assessment of the cca programme will be based on the following:  whether the teachers of cultural and creative arts conduct instructions based on learning outcomes.  the extent to which teachers of cultural and creative arts specify objectives when teaching to cover the three domains of education.  whether the curriculum of cultural and creative arts was viewed as short term planning rather than a planned series of sequential activities designed for the development of cognitive, affective and psychomotor skills with definable goals and outcomes.  the extent to which the instructional materials and other equipment are provided for the proper teaching and learning of cultural and creative arts.  whether the teachers adopt activity-based teaching by involving lots of activities in their teaching. effective teaching of cultural and creative arts ojukwu, 81  the kind of topics that best provide opportunities for the students to explore their nature and develop their creativity.  whether the teachers of cultural and creative arts emphasize the learner centeredness in their approach to teaching.  whether the teachers of cca are using appropriate teaching aids which will include the following: video tape recorder, pictorial reproduction, photographs, slides, film stripes, charts, sound-producing objects, improvised sound-producing objects, arts materials, musical instruments, et cetera (http://www.ncceonline.org. there is need for modern educators in the cultural and creative arts to be mentally and practically equipped. performance of students in cultural and creative arts can improve if teachers possess certain competences in handling the subject. this will enable the teachers inculcate in the students their cultural identity and creative practices. obstacles to teachers’ performance in cultural and creative art the policy provides that the curriculum for universal basic education in the primary and junior secondary schools in nigeria should include cultural and creative arts. the integration is done without putting the teachers into consideration or at least give them enough orientation on how to go about it. according to okafor & okafor (2009:34) ‘there is no guide as regards selection, variation, implementation, goals and opportunities for this provision’. it should be realised that these teachers who are specialists in their different subject areas are pushed to teach two other subjects merged with their specialty. due to the nature of cultural and creative arts education and the government inability to organize workshops or retraining exercise for the teachers of cultural and creative arts, most of the teachers lack ideas and confidence in handling the subject. is it not proper for the authorities concerned to organize workshops to retrain the ebele veronica & onyiuke, young sook 82 teachers of creative arts to get them abreast with the new development before enforcing such curriculum on them? the national policy on education laid down certain expectation as to the quality of educational outcome. however, a number of difficulties in the operating environment inhibited the full attainment of these outcomes particularly in the quality of education. most teachers do not handle the lessons adequately as it should be. this situation is not quite because of lack of knowledge and teaching approach but because of certain factors. the schools are congested. the policy specified a maximum of forty (40) students per class in the secondary schools. experience today shows that in urban schools, classes have grown so large that there are secondary schools with over fifty (50) students in a class built for forty students. the large number of students has not been matched with a corresponding increase in educational facilities and infrastructure. classrooms, teachers, instructional materials and equipment are inadequate and the students are the ones affected on the long run. evidently, little meaningful teaching and learning can take place in such congested classes. due to inadequate funding, classrooms are insufficient and teachers are in short supply. over populated classrooms, inadequate periods in the school timetable and jam packed scheme of work has resulted in the teachers of cultural and creative arts relying more heavily on conventional methods of teaching such as lecture method, dictation and note taking among others which are not interactive in order to meet up with the demands of their job. recommendations secondary school represents a critical stage in the educational system of any nation. it provides further educational and vocational opportunity for completers of primary school as well as lays the foundation for academic pursuit at the tertiary level. for education effective teaching of cultural and creative arts ojukwu, 83 presently in nigeria to achieve functional curriculum implementation in the area of cca, the following are recommended:  in other to develop a high quality cultural and creative arts curriculum, it is necessary that the government should identify the difficulties that current teachers of cultural and creative arts face when teaching the students;  there is need for constant re-training of the teachers of cca in order to get them acquainted in the new teaching methods. the retraining workshops should focus on the innovative techniques of teaching cca because according to an internet source, (http://portal.unesco.org/education/es/ files) retraining may take place when the teachers job imposes new and emerging demands driven by curriculum change and pedagogy that require regular re-training of teachers to upgrade their knowledge and in order to meet new standards of education that are geared towards the improvement of the entire education system.  more varied and applicable procedures should be adopted in handling the cultural and creative arts as a course of study. teachers of cultural and creative arts should take up remedial courses in the other two subject areas that are not his/her specialty in other to be equipped and possess sufficient indepth knowledge of the methodology and skills required for handling all aspects of cultural and creative arts;  it is my candid opinion that basic education certificate examination (bece) should be based on area of student’s specialty as is obtainable in certain subjects like business studies where students are allowed to choose their special areas. this will enable the students choose the areas their teachers taught best; ebele veronica & onyiuke, young sook http://portal.unesco.org/education/es/%20files 84  achieving quality assurance and capacity building in education should also include sending the teachers on in-service training such as study leave with pay to enable them further their education, sponsoring them in seminars and conferences and other new developments and trends in education;  computer technology and other internet facilities should be incorporated in the secondary schools and should be maximally utilized by the teachers to complement the traditional pedagogical and didactic approaches. this will help to improve the teachers’ competencies and they also will be mandated to learn from their colleagues from other parts of the world from the internet and that teachers will also ‘be able to raise their heads high among their counterparts in the developed countries’ (olorunsogo, 2008:34)  teachers are advised to make efforts to provide their own instructional materials from local sources, involving the principles guiding the teaching of large classes and emphasizing learner centeredness. conclusion a student begins to learn when he becomes deeply involved in the learning situation. the vehicle for transfer of learning is the method a teacher employed in teaching or presenting the lesson. this suggests that substantial attention should be given to mode of teaching and learning of cultural and creative arts to ensure that each student achieves his/her maximum potential both artistically and academically in the nigerian educational system. this paper aimed at suggesting an integrated approach in the teaching and learning of cultural and creative arts in nigeria. it has several implications for both the teachers and students of cultural and creative arts. it also provides valuable information to policy makers in education to develop a useful effective teaching of cultural and creative arts ojukwu, 85 cultural and creative arts curriculum as well as in-service or retraining exercises for professional development of the teachers. there is no doubt whatsoever that the performance of students in cultural and creative arts can improve if teachers possess certain competences in handling the subject. references arts integration-wikipedia the free encyclopaedia. available @ en.wikipedia.org/wiki/arts_integration-cashed [retrieved: 24 may, 2012]. federal government of nigeria (2007). the 9-year basic education curriculum at a glance. abuja: nerdc. http://portal.unesco.org/education/es/files [retrieved: 16 february, 2012]. http://www.lagostelevision.com/.../minister-states-accessed-n50bubec-cash-in-2011-the-nation-newspaper/-31k [retrieved: 16 february, 2012]. http://www.reading.ac uk/a-z [retrieved: 16 february, 2012]. http://www.ncceonline.org/…/arts…/ [retrieved: 24 may, 2012]. maduewesi, b. u. (1999). the elements of education. in b. u. maduewesi, l. u. ezeani & c. p. maduewesi (eds.), curriculum implementation and instruction (pp. 15-30). onitsha: west & solomon. mckinley school-music and arts curriculum. available @ mckinley.pasadenausd.org/modules/cms/pages.phtml?...cashed [retrieved: 24 may, 2012]. national teachers’ institute (2011). manual for the re-training of junior secondary school teachers in basic science and technology. kaduna: nti press. ebele veronica & onyiuke, young sook http://portal.unesco.org/education/es/files http://www.lagostelevision.com/.../minister-states-accessed-n50b-ubec-cash-in-2011-the-nation-newspaper/-31k http://www.lagostelevision.com/.../minister-states-accessed-n50b-ubec-cash-in-2011-the-nation-newspaper/-31k http://www.reading.ac/ 86 nigerian educational research and development council (nerdc) (2007). the new 9-year basic education curriculum at a glance. abuja: nerdc press. nwokenna, e. n. (2006). competencies needed for effective teaching of music in the secondary schools. awka journal of research in music and the arts (ajrma), 3, 47-61. nye, r. e. & nye, v. t. (1970). music in the elementary school. englewood cliffs, new jersey: prentice-hall. okafor, r. c. & okafor, c. u. (2009). music and national development in nigeria. enugu: new generation books. olorunsogo, a. (2008). the advancements of computer music: a perspective for music education in nigeria. journal of association of nigerian musicologists (janim -special edn.), 29-35. effective teaching of cultural and creative arts ojukwu, tonemic substitution 156 awka journal of research in music and the arts vol.15 (2021) 156 igba-eze instrumental ensemble of anaku: a critical review of documentation style stella n. nwobu, ph.d. & emmanuel c. umezinwa, ph.d. abstract here is something wrong with the ways some scholars in ethnomusicology have conceived archiving and documentation of musical materials among cultures. some of these come as prejudice or bias regarding the very essence of traditional music. this paper is an attempt to review the common approach to documentation of traditional music which makes a reduction in the vital value of a people’s music. the music, thus reduced to artefact, satisfies only the whims of academic scholarship. here the musical data gathered from the living music of anaku people are carefully transcribed as is common practice. this however, raises issues bothering on the essence of musical notation for traditional music. this notation is often of little or no use to the culture or music owners except to academics. is this a form of cultural superiority to impose this form of notational documentation on local music? this descriptive survey employs musicological tools which include participant observation, field recordings and interview of “informants”. the usual explanations which claim to project local music to the world, to protect them from going extinct, or to preserve them for future generations are all found in the study to be off the mark for overlooking the inner workings of traditional music and its transmission medium from time immemorial. introduction t awka journal of research in music and the arts (arma) vol. 15 2021 nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 157 music is found in every known culture, past and present, varying widely between times and places. music notation has been adopted to many kinds of music, including traditional music and ways of writing music developed independently in various times and places. types and methods of notating music varied between cultures and throughout history, even different styles of music and different cultures use different music notations which have been discussed by different scholars. ekwueme (2004) detailed several attempts made at notating african music in a unique and supposedly more satisfactory ways. a tabulature system for the notation of ewe drumming; time unit box system (tubs), african vowo, western music notation (standard notation) among others were in use. ekwueme pointed out that western music notation attempts to notate african music more accurately but is not completely satisfactory for transcribing african music. umezinwa (2008) stipulates one of the obvious advantages of western notation system which is that it universalizes music making it understandable beyond the confines of its narrow culture. some music scholars pointed out that music notation is devised for the purpose of preserving and documenting music and the essence of it is to have a preserved music tradition. ekwueme (2004) observes that a system of music preservation is through documentation in some form of paper, what might be called notation. nwobu (2017) opines that music as a language is by nature transient with what is present instantly becoming past, leaving perhaps but nothing tangible. for nwobu, music as a perishable medium depends for its preservation on adequate system of musical notation and lack of adequate preservation will result to most of the valuable music fading away so fast. ibekwe (2006) states that nothing is as dynamic as change, and it has a great impact on the societal values, beliefs and in fact culture in it’s entirely. she pointed out that some communities have lost what made them unique. they have embraced change at the expense of tradition. as a result, nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 158 if studies are not made, and documented, posterity will experience the vacuum of neglected culture. music was often written out as a means of preserving and communicating it. the idea to preserve music which many scholars have expressed out of fear of total extinction of traditional music was made obvious by what blum (1993) says: one of the things that have been uppermost in the mind of ethnomusicologist is “to encourage and assist in the preservation and renewal of musical knowledge for the fear that certain practices and even whole communities of musicians might not survive (p. 1). nwobu (2017:189) elucidates that “the entity of notation is nothing other than communication to some other people who understand the language in use even if they are from other parts of the globe’’ the issue here is that the method of our music writing is beautiful and ornate, complex and hard for some people to process mentally . some music scholars have conceived the idea that without putting music on paper as scores, that such music is not valuable. nettl (1983) discloses that “the academics among us can hardly conceive of discussing music without knowledge of a single, authoritative, visible version. mimicking what the critic may say upon a new score “i can’t say a thing until i’ve seen the score” and it is surprising that he does not normally say about a score, “i can’t say a thing unless i’ve heard it” (p. 65). most people from the point of view of this style of notation and documentation articulate that the reason of such notation is for our music not to be extinct, for such music to be memorable and not fade away. considering the music in question ‘igba-eze music of anaku’ which is one of the traditional music of the igbo people; of what benefit is this style of documentation for them? what is the eventual essence of such documentation to the music owners, people who eventually rely on nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 159 oral transmission? what is the advantage of this documentation style when the owners of such music cannot understand it? what does this type of existing documentation achieve for the culture, for the music owners, for the future generation of the owners of igba-eze music? the point is that this documentation style we are using now is not of essence to the music owners only for the academics. but of what benefit is this music for the scholars and what has the music scholars to do with such igba-eze music? some will say presenting it to the world, is the world really interested in such music? is the white man interested in coming to learn how to play igba-eze music? the rule of the university is to assess creative works of people with this form of documentation style during appraisal exercises why? every time, you will hear where is the score as if that score is the end of all essences. from the point of view of this style of documentation/archiving, which seeks to find a visual equivalent to an oral phenomenon widely interpreted to mean the reduction of sound to standard western notation and which nettle (1983) pointing up the major characteristic of western academic musical culture because of its impact on ethnomusicology avers: dealing with the written music is the classical musician’s ideal. they are so tied to notation. it equates composing with writing and accepts the creation of music on paper even when the composer can barely imagine its sound until he has heard it (p.65). nettl further explains that the culture of western classical music seems to represent a serious departure from the norm of all the societies in which music is created and transmitted entirely or largely aurally. this documentation style which encourages people to think that a piece of music only exists in its truest form only when written on a piece of paper have succeeded in reducing our music to mere artifact, nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 160 written and stored in archives, stored away from people who want to practice the music. umezinwa (2008) rightly puts it that: african music is hardly a permanently fixed piece of music which is kept away somewhere waiting for another performance someday. it is music that lives in the lives of both the people and their culture. it is free from its conception to its performance and so cannot be chained within the narrow confines of a notation on paper (p.191) this present style of documentation/ archiving is of no use to the owners of traditional music who might see it and will not know or understand that it is a real living music. such documentation style is perhaps just for academic purposes; it is not directly influencing the culture even the future generation will not know that such music is scored and stored somewhere. this is to show that there is problem with the practice in which we are all involved with hence this critical review. igba-eze instrumental ensemble igba-eze music as the name implies is popularly associated with the kings or the igwe in igbo society. it is music specifically attached to tradition. it is a type of music reserved for a stratified group in society. igba-eze music is most common among the igbo tribe. it is the music associated with the king and not meant to be heard every day but for specific events within and outside the king’s palace. it has similar traditions (common) in many communities in igbo tribe. according to ibekwe ( 2006), “igba-eze is the most popular music that can be found in igwe’s palace, thus igba-eze is a special music. special in the sense that it is meant for a special group of people such as the igwe and titled men (ndi nze na ozo)” (p. 58). ibekwe further listed some of the important occasions when igbaeze music played within and nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 161 outside igwe’s palace to include coronation or installation ceremony, the ofala festival iguaro or iwaji, etc. the music group accompanies the king when attending ofala festival of another king or funeral ceremony of fellow king. it is also performed when the igwe has visitors. igba-eze of anaku is music traditionally recognized and reserved for king, connected with serious activities such as coronations of a king ofala festival, burial of a king, iwa ji or igu aro festival and outing or the like. igba-eze is a royal music of anaku, a town made up of three villagesumuria, ikenga and umueragu in ayamelum local government of anambra state. this music symbolizes dignity, royalty, class and is reserved for the stratified group in the society. igba-eze music of anaku is also known as okanga eze, a music organized by igwe udo 1 (ezeudo of anaku a.k.a omena cash). igba-eze music is used to give due regards to the king (eze).according to nze nwokeno: igba-eze has been a long traditional music played only for titled men (igwe). the music is played for and used by some of the igwes of anambra state such as igwe okagbuo, igwe nwokedi, igwe kenneth okonkwo, eze nri, igwe neni, eze uzu awka among others. igba-eze is a special music for the igwes not for all or commoners. it is not played always unless for coronation and ofala ceremonies. igba-eze is not a large ensemble or music group. the music group is made up of nine people of which four persons play flutes, four persons play drums and one person plays bell. three drums provide strict and steady rhythms while the master drummer improvises. three flutes response in unison the call of the master flutists (personal communication, april, 2019). nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 162 this music group has four (4) styles of music. the titles of tracks are “eze na-abia”, obi eze, ijomme and ife eze gwara anyi. the first music is used to indicate that the king is about to enter the coronation or ofala arena. the second one shows that the king has entered the arena. the third track is for (igba ofala). the igwe dances to the music proudly, slowly, gaily, and meaningfully. every bit of his movements portrays dignity as he has to follow the rhythmic rendition of the igbaeze music. the king dances to the drums beat and listens to information the oja is giving (when to appear, dance, speaks and when to leave). he normally appears in royal attire when dancing to give it the desired meaning. the last track indicates the returning of the king (leaving the arena). the music plays an informatory or communicative role. it directs and informs people when the king is about to appear or leave the arena nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 163 the igba-eze of anaku is an instrumental music, though in some communities, it is a combination of vocal and instrumental ensemble. ibekwe (2006:59) discussing igba-eze of achina avers that: igba-eze is not a very large ensemble. it is a combination of vocal and instrumental ensemble. through the songs, the singers recite the history of their present and past generations. the songs find its highest expression at the court of the igwe, the chiefs’ praise names are recited through songs. the singers use the songs to strengthen the position as well as legitimize the authority of the reigning chief. the texts of the songs are full of proverbs and idioms which the chief understands and which are peculiar to only the insiders, the songs also portray the achievements, bravery, victory and highlight of both past and present dynasty. in instrumental music, instruments are selected in relation to their effectiveness in performing certain established musical roles or for filling specific musical purposes. the choice of instrumental selection of igba-eze group coincides with what nketia (2005) discussing the choice and combination of instruments that are meaningful in terms of aesthetics of african music said. he categorized these selections into three: ensemble that consist exclusively of melodies instrument (instrument of definite pitch), ensemble that consist exclusively of nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 164 percussive instruments (instrument of indefinite pitch) such as bell, rattle, clappers e.t.c and ensemble with the combination of both melodic and percussive instrument. of these three categories, igbaeze music ensemble falls under the third category that combined both melodic and rhythm instruments. this music group has four membrane drums, four flutes (flute choir) and a bell which performs communication function. the bell is used in cueing the music, changing tracks as a cue signal and as a cadential call. the theory of deconstruction deconstruction arose in france in 1967(late1960’s) as a reaction to structuralism and existentialism. it has been attributed to jacques derrida, paul de man and other thinkers. it relates to the activity of reading to address the concerns raised in the way that texts are interpreted. its application is, however not limited to literary texts. it is good to understand the principle on which the theory operates. this theory states that “texts, institutions, traditions, societies, beliefs and practices do not have unambiguously definite meanings, as they do not have very strict and rigid boundaries”. it is good to understand that structuralism sought to explain how a system works. it was roundly criticized for been static and lacking dynamism. that is why some writers describe deconstruction as a post structuralism theory. deconstructionists hold that written words are in adequate to express meaning fully. it seems that their maxim is david rehman’s statement: “there are no truths, only rival interpretation’’ the theory has been criticized for leading to uncertainty. justification for applying deconstruction theory the tradition of scholarship and research has always grown and often overgrown the practitioners. in the field of ethnomisicology, it is not nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 165 entirely different. the fact of sciencing about music is a given. a living, cultural heritage like music and or dance could very easily but unwittingly reduced to mere artifact by research processes. the very methodical information gathering, interviews, open and structured, recording of sound bytes, replays and transcriptions are all professional means of reaching an understanding about the particular research objectives. the analyses that usually follow these painstaking approaches have often been viewed by some scholars with a certain kind of suspicion. this suspicion arises from some reasons. to whose advantage is such research? is it for the advancement of the dance or music, or the group or the community? or is it for the growth of the researcher? even when it is claimed that such a research serves as a launch pad for the culture to start orbiting the firmament of scholars, it is still taken with a pinch of salt. this type of research has gone on well for a time, often as a one off thing where nothing is heard again from the researcher once the information for the research is deemed complete. there has been no feedback mechanism for the music/ dance, or troupe or community. in some cases, effort is made to resurrect a dead dance for the purposes of research after which the music/dance dies a second time. it appears rare that such cultural music would receive any form of boost from these researches. of course it is not the primary concern of the researcher to embark on a revival trip for a dance that is moribund. but even beyond this, the finished product in the staff notation shows that the audience for the research has changed. in that form, it cannot be recognized by the music/dance owners. many empirical studies like this have been shelved away in many libraries after serving their purpose. the question now is, is that all? must researches follow this trend in an attempt to showcase meaning? is it out of place to start looking at a new possibility in the approach to ethnomusicological researches? nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 166 analysis of anaku instrumental music the scale mode and melodic range 1. eze n’abia the track “eze n’abia” is within the pentatonic scalic mode while the range is within the interval of an octave of e to e. 2. obi eze obi eze is within the tetratonic scalic mode while the range is within the interval of a perfect 5th of c to g. 3. ijomme the track “ijomme” is within the pentatonic scalic structure while the range is within the interval of a major 6th of g to e. nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 167 4. ife eze gwara anyi ife eze gwara anyi is within the diatonic mode of the major scale while the range is a compound interval of a 9th, the interval of d to e. looking at the four tracks of igba-eze music of anaku (see appendix i-iv), one discovers there is parallel form and equally unisons performance between flute 2, flute 3 and flute 4. on the part of drums of igba-eze music, the production of independent rhythms by the drums of the igba-eze music showcases polyrhythm which is one of the features of african music. igba-eze music ensemble serves as speech surrogate resulting from the instruments imitating human speech. what the instrument is saying may not be obvious to a non-local or who is not in the community; it has a restricted sense of meaning. this notational system cannot show the psychological connection which anaku people have with this music. this is always an aspect of record that has a question mark. there is certain history, affection and attachment which develop between the people and their music; it is elusive as researchers’ don’t capture that psychological aspect. igba-eze music of anaku has its own language and every member including igwes, nzes and ozos among others are expected to understand the language and respond accordingly. drums as well as flutes function in encoding messages in tonal imitation or native language. they could be used to reproduce tonal speeches as well as play melodies within the scope of the drums, flutes and skills of the performer. nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 168 eze n’abia is like entrance hymn for the king. the ensemble ushers in the king to the arena for any ceremony with this track. it informs the audience that the rich king is coming or entering the arena. ex. 1: eze n’abia the players gave this interpretation to the above transcription: igbo text english text ogaranya nwere ego eze na-abia eze niri oto eze ijele niri oto eze rich and wealthy king the king is coming stand on your feet king big masquerade step out ex. 2: obi eze obi eze and eze na-abia are both used for ushering of the king into the arena igbo text english text obi eze na eze naabia king’s palace, be attentive, the king is coming nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 169 ex. 3: ijomme igbo text english text ijomme eze na awa ijomme the king is dancing ijomme is used to communicate to people that the king is dancing. ex. 4: ife eze gwara anyi igbo text english text ife eze gwara anyi anyi emee eze ikago ubochi i ga agba ofala ka anyi bia ife eze gwara anyi anyi emee whatever the king says, we will do the king, have scheduled for your ofala so that we can come critical review of elitism and imperialism in research the sort of thinking expressed in this work has been around. every research sets out to explore, unravel or solve a perceived problem in an attempt to gain a deeper insight into reality. to do this, several nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 170 methods of research are employed. conversations among scholars have almost often taken different forms as rivalry, debates, criticism, disagreement or even rejection. these battles have raged concerning the content, context, methodology, scope, significance, purpose, impact, responsibility and even the future of researches. while this is going on, there are scholars whose contributions compel agreement more than other. then, there is a large band of somewhat passive professionals who accept the scholarly opinions or theories of other. sometimes the discussions have so gone out hand that one forgets that the subject matter is still music and musical experiences of people. high sounding theories like pc set theory are employed and musical notes and intervals begin to assume the status of statistical symbols. one wonders about the real audience of these writings. are scholars unwittingly entertaining themselves? this has resulted in too much elitism, a subtle form of imperialism (an imposition of assumed superior opinion). this is not new. there was a time when classical music was associated with high class, other ‘’lower’’ music genres were supposed to belong to the lower class. in ethnomusicology, however, there seems to be a different kind of issue not the relationship of musical taste to social strata. it is the issue of the perceived research style associated with data collection and analysis. it is an improvement that the owners of the local music who used to be known as informants are now more appropriately called teachers. indeed, they teach the researcher what he or she seeks to know. for what is the difference between the teacher and student except in the amount of information each has? it seems that the relevance of these teachers end once the information is released. from then, the researcher transcribes, notates and injects series of interpretation to the melodies, harmonies, rhythms, ululations and, indeed, every component of the nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 171 music for this elitist audience. these subsequent analyses are not often known or shown to the dance owners. the language of analysis is above them. so there is the danger of sliding into elitism in music research. this elitism may have even happened and is being sustained inadvertently. is it possible to explore other ways of conducting researches in ethnomusicology without seeming to be caught up in the quasiimperialist attitude of tradition? how can researchers enhance the music they have studied? is there a possibility of evolving a feedback mechanism so as to inject varied form of value and dynamism to the music or dance studied? is it possible to allow a free approach that does not give off a scent of limited freedom, a sense of regimentation and confinement? this free approach is not a yet defined or clear cut path but fact is that in the atmosphere of freedom, great strides have been recorded; breakthroughs have been made. problem of the dance ensemble igba-eze music ensemble members pointed out some of the problems that they are having as a group. the problems include: 1. lack of interest by the youths of the town, those who will sustain the tradition.. 2. inadequacy of finance 3. insufficient events to attend and patronage 4. lack of sponsors among others looking at the problems of the igba-eze group, one can wonder how this research relates to the problems or address these problems of this group. how can the documentation style we are using solve the problem of this dance group? it is obvious that our researches cannot address any of these problems, proving that what the researchers are doing are just looking at the artists and their music, scoring and nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 172 keeping them in shelves or library/archives and the music will be there without direct benefit on the society. this type of documentation has become part and parcel of the academics and rather than appearing to be solution to any problem, it is done as routine. saving of music materials in archives is not going to solve the problems of different traditional music groups. it is pertinent to find out the problems of each group and seek for solutions. as regards to igba-eze of anaku, the solution to lack of interest of the youths is to motivate them by sponsoring their trips to different places and by organizing festivals and competitions which will motivate them. for instance, if all royal music groups in igbo society should be holding competition regularly and the winner rewarded handsomely, what will stop music groups from engaging in serious and constant rehearsals? organizing of music events regularly will be of immense help, and equally seeing that same music type should be performed by people of different ages – adult, adolescence and children. if many wealthy people should turn into motivators for different music groups, why then should there be fear for extinction of such music? conclusion presently in the field of ethnomusicology, the way in which music scholars have conceived archiving and documentation of traditional music materials among cultures, in which music is created and transmitted entirely or largely aurally seem erroneous. the abandonment of the earlier system of music transmission and preservation by rote which existed for centuries is specious. the issue of preserving african music was intensively dealt with by ekwueme (2004). he stresses on the need to preserve the african music and he is of the opinion that the system of preservation should be one that keeps african music alive and continuously growing and developing. he adds that in seeking for ways of preserving the african music that it nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 173 should not be done in such a way that participation in it will not be restricted. we are practicing and enjoying the indigenous music we have at our disposal in this contemporary time because our forefathers preserved it traditionally, they made sure it was practiced and handed over from one generation to another. we should equally benefit from such inheritance, the knowledge to continuously reproduce our traditional music as musicians and other participants in musical life. blum (1993) avers that “reproduction of musical knowledge is one of the many human activities that foster and are sustained by various types of historical consciousness” (p. 1). it is clear that solution to our problem of seeking ways of preserving our traditional music genre from total extinction is not just documenting or notating and storing the music materials in archives. the concerns of the ethnomusicologists should not with the study of music that lives largely in oral tradition, they should stop spending great deal of their energy finding ways of reducing audio music to visual form which definitely is the classical musician’s ideal and beneficial to the academics. references blum, s. (1993). ethnomusicology and modern music history. ed. by stephen blum, philip v. bohlman and daniel m. neuman. illinois: university of illinois press ekweme, l. (2004). essays on the theory of african music. lagos: lenaus publishing ltd, yaba ibekwe e. (2006). royal music in igbo culture: the socio-cultural roles of igbaeze music in achina traditional society. an unpublished m.a. thesis of nnamdi azikiwe university, awka nawaz, h. (n.d). the theory of deconstruction www.slideshare.net deconstruction retrieved 7/8/19 nettl, b. (1983). the study of ethnomusicologytwenty-nine issues and concepts. illinois: university of illinois press. http://www.slideshare/ nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 174 nketia, j.h.k. (2005). the study of africa. ghana: afram publications ltd. nwobu s. n. (2017). the challenges of notating traditional music of the igbo people of nigeria. (wajmae) west african journal of musical arts education 4 (1), 189-204. pan african society for musical arts education, (pasmae) west africa sub-region umezinwa, e. c. (2008). the idea of the metagraphic in the transcription of african songs. awka journal of research in music and the arts, 5, 189-195. awka: department of music, nnamdi axikiwe university. nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 175 appendix 1 nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 176 nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 177 appendix ii nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 178 appendix iii nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 179 nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 180 appendix iv ife eze gwara anyi nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 181 nwobu, s. n. & umezinwa, c. u.: igba-eze instrumental ensemble of anaku: a …. awka journal of research in music and the arts vol.15 (2021) 182 tonemic substitution 108 awka journal of research in music and the arts vol.15 (2021) 108 the ministerial role of choirs in the liturgy jude toochukwu orakwe ph.d. abstract his essay reflects on the ministerial role and relevance of choristers within the catholic liturgy. fact is that in the contemporary explosion of charismatic/pentecostal spirituality and worship––which, by the way, coincides with the era of inculturation and spontaneity of worship, and also, given the gradual decline of latin liturgy––there is the tendency within the catholic church––and this can be verified in other non-catholic confessions––to pose a fundamental question regarding the functionality of the choir. indeed, there is the feeling or temptation of thinking that the advent of vatican ii era has abolished the role of the choir such that cultivation of church choirs should now be a matter of secondary importance. the author in this study (originally presented as paper at the conference of the national catholic liturgical music council of nigeria, 2022) seeks to interrogate some of the post vatican ii assumptions by a systematic and analytic exposition of what the council really taught in continuity with previous magisterial positions of the church––not what someone thought the council said––and concludes by indicating that the exigency of the choral function remains as fresh as it was, ever since the church conceived of the liturgical duties of the schola cantorum, right from the middle ages. while the conclusions of this article are based on findings from catholic church documents, its thesis concerning the sempiternal exigency of the choral ministry within the liturgy has much relevance for the worship of other christian communities. t awka journal of research in music and the arts (arma) vol. 15 2021 orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 109 prolegomena the relevance of the choir within liturgical service has been a burning question in many christian churches. it caught the attention and reflection of the fathers of vatican ii, such that it occupied a notable locus in the council fathers’ reflection on the liturgy. today, it remains an important issue in the organization of church worship in the catholic church. in this essay, i will reflect on the ministerial role of the choir in the liturgy. i am particularly delighted to engage with this topic because an igbo adage says that when one is ignorant of his great status, he ends up being carried atop by opponents beyond his father’s compound (as though he is an inferior person). bearing in mind that this essay was originally presented to a conference of nigerian catholic choristers, i, nevertheless, expect members of church choirs – catholic or non-catholic – who would read this discourse would start to be proud of their status as ministers of the liturgy, holds their heads high with some bit of genuine spiritual self-esteem, and approach their ministry of sacred music with greater sense of gravity. let me say it straight away that the service of the choir in the liturgy is not a tangential addendum or musical appendix within the sacred worship. it is a service that is so integral to the liturgy. but how do we establish the ministeriality of the choir? is there any church teaching on that? the answer is yes. but before examining the teaching of the church on the ministerial status of choir within the liturgy, let us first examine the meaning of the term itself. conceptual definitions the term “choir” has both architectural and human definitions. in terms of architecture it refers to “that part of the church where the stalls of the clergy are. [sometimes it] is often loosely used for the whole of the eastern arm, including the choir proper, sanctuary, retrochoir…” (poole 1908). another definition from new oxford american orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 110 dictionary (noad) talks about “the part of a cathedral or large church between the [high] altar and the nave, used by the choir and clergy.” the architectural choir is sometimes referred to as chancel. on the other hand, the word “choir” also designates “an organized group of singers, typically one that takes part in church services or performs regularly in public” (noad). now, a choir can be described as mixed if composed of male and female voices; but there could also be an all-male choir as typically seen in the sistine chapel choir or even all boys’ and all girls’ choir. shebbeare (1908) also defines a choir as “a body of singers entrusted with the musical parts of the church service, and organized and instructed for that purpose.” as is evident from the above definitions, the choir is not necessarily the group that sings at mass. there can be concert choirs that are primarily engaged in musical performances in theatres and concert halls. the choir as liturgical ministry in the church an original or seminal teaching on the ministerial role of the choir within the liturgy in the modern time is located in the document, tra le sollecitudini, an instructions on sacred music that was issued by pope st. pius x, on november 22, 1903. in articles 12-14 of the document, pope pius x defined singers in the liturgy as the “choir of levites.” in designating singers as a “levitical” choir, pius x (1903, ¶12) was highlighting the fact that singers are indeed performing a ministerial role, for the reason of which their vocal renditions in the liturgy ought to have “the character of choral music.” indeed, precisely because of their ministerial collocation or emplacement within the liturgy, “singers in the church, even when they are laymen, are really taking the place of the ecclesiastical choir” (pius x 1903, ¶12). it is important at this point to indicate that the use of the term “ecclesiastical choir” bears a contextual reference – or at least an allusion – to the choir of the clergy, which would usually occupy the part of the church known architecturally as the “choir.” in other words, st. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 111 pius x (1903, ¶13) is alluding to the role of the choir as being semiclerical. and it is exactly for this reason that he excluded women were from singing in the choir at the liturgy and suggested that their role should be taken by boys and perhaps male falsettists.1 in furtherance of his desire of having the choir perform its role in a most worthy and dignified manner, pius x (1903, ¶14) insisted that only men of known piety and probity of life are to be admitted to form part of the choir of a church, and these men should by their modest and devout bearing during the liturgical functions show that they are worthy of the holy office they exercise. we may define this as pious spiritual or internal disposition that should be a prerequisite for participating in the choral function. but the pope goes further to indicate some criteria for external decorum: “it will also be fitting that singers while singing in church wear the ecclesiastical habit and surplice, and that they be hidden behind gratings when the choir is excessively open to the public gaze” (pius x 1903, ¶14). now, we know that presently the church values the contribution of women in the making of church choirs. but apart from the changing role of women in the constitution of church choirs, everything else that we see in the above cited papal document, including the pope’s emphasis on appropriate liturgical vesting, has lost none of its validity, even if there would be need for some form of adaptation in the application of the instructions in the present-day circumstances. indeed, it is intriguing and would be interesting to point out that in nigeria of today, the instruction of wearing ecclesiastical habit and surplice is most punctiliously observed mainly by non-catholic choirs, especially in the 1 falsettists sing with what in nigerian cantorial parlance is defined as head-voice. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 112 anglican church. but suffice it to say that all the above provisions from pope x were ways of accentuating the specifically ministerial function of the choir within the liturgy. choristers are not just out there in the choir stand to lead the congregation in singing one cheap tune or the other. it would, therefore, be inappropriate to reductively assign them to the role of intoning songs for the congregation and, worse still, placing them under obligation of singing musical pieces that are “liked” by this or that priest and/or the people, even when these pieces have no liturgical relevance. next in recognizing the ministry of the choir in the liturgy was pope pius xi. twenty-five years after tra le sollecitudini, precisely on the 20th of december, 1928, he issued the document, divini cultus, on divine worship, in which he expressly recommends “the formation of choirs,” acknowledging that they were formerly “established in the basilicas and greater churches especially for the singing of polyphonic music,” sacred polyphony itself being “rightly held second only to gregorian chant.” pius xi (1928) therefore instructed that choirs be established “in churches where the scale on which the liturgy is carried out demands a greater number and a more careful selection of singers” such that choral music may flourish anew in those churches as they did in the 14th to 16th centuries, that is, the renaissance period. more importantly, he earnestly demanded that “choir-schools for boys should be established not only for greater churches and cathedrals, but also for smaller parish churches” and that “the boys should be taught by the choirmaster to sing properly…” (pius xi 1928)2 of course, there is no gainsaying that the era of having choir-schools for training only boys as choristers has passed. although this tradition is still upheld in some famous and historic european cathedrals, yet it 2 pope pius xii also made similar demand in his encyclical, musicae sacrae disciplina, ¶73. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 113 is definitely clear that such choir school as pius xi intended can and should also include girls. indeed, in a latter instruction, musicae sacrae disciplina by pope pius xii (1958), the possibility was foreseen of allowing “a group of men and women or girls, located in place outside the sanctuary… [to] sing the liturgical texts at solemn mass…” one of the recent happy incidences in onitsha is the foundation of parishbased music academies, dedicated to the formation of boys and girls from very early age. it is important and necessary that dioceses in nigeria explore ways of initiating and sustaining such music academies and even try as much as possible to have a version of it in all parishes. i strongly believe that formation of young boys and girls in singing and even playing of modern musical instruments will have far-reaching positive effects on their spiritual and human development. i am personally struck by pius xi’s rather uncanny argument that liturgy and music are “matters closely associated with christian doctrine” (1928). vatican ii and post-vatican ii on the liturgical role of choirs according to the instruction on sacred music, musicam sacram, issued by the sacred congregation of rites [s.c.r.] on march 5, 1967, the role of the choir within the liturgy “has become something of yet greater importance and weight by reason of the norms of the council concerning the liturgical renewal” (¶19). the liturgical function of the choir according to musicam sacram is “to ensure the proper performance of the parts which belong to it, according to the different kinds of music sung, and to encourage the active participation of the faithful in the singing” (s.c.r. 1967, ¶19). in saying this, the document assigns to the choir a double-pronged function in the liturgy, which is an appropriate execution of those parts of the liturgy that belongs strictly to the ministerial function of the choir itself and then fostering the general singing participation of the worshippers. on the one hand, the choir – obviously – should not monopolize the singing. indeed, on the one hand, the church exhorts that “directors of… choirs orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 114 and… rectors of the churches should take care that the people always associate themselves with the singing by performing at least the easier sections of those parts which belong to them” (s.c.r. 1967, ¶20). on a similar note, the church affirms rather strongly that “the usage of entrusting to the choir alone the entire singing of the whole proper and of the whole ordinary, to the complete exclusion of the people's participation in the singing, is to be deprecated” (s.c.r. 1967, ¶16c). on the other hand, however, the church is neither saying that the choir is redundant nor that they must only serve to lead in purely congregational singing. rather, she recognizes the importance of great and large choirs, which, in the course of history, have been very instrumental in fostering in the church “a musical heritage of inestimable value” and therefore demands that such choirs be employed in “sacred celebrations of a more elaborate kind” (s.c.r. 1967, ¶20). in recognition of the weight and importance of the liturgical function of the choir, musicam sacram gives the express instruction that “there should be choirs, or capellae, or scholae cantorum, especially in cathedrals and other major churches, in seminaries and religious houses of studies, and they should be carefully encouraged” (s.c.r. 1967, ¶19). the document further insists that “it would also be desirable for similar choirs to be set up in smaller churches” (s.c.r. 1967, ¶19). the implication of the foregoing is that the existence of the choir for liturgical service in each of our parishes and institutions is a necessity. it is not an optional extra. the choir has a unique relevance. it has no replacement. indeed, with regard to the relevance of the choir, pope st. john paull ii asserted in his chirograph on sacred music: “the schola cantorum’s [i.e. the choir’s] task has not disappeared: indeed, it plays a role of guidance and support in the assembly and, at certain moments in the liturgy, has a specific role of its own” (john paul ii 2003, ¶8). orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 115 in the contemporary charismatic/pentecostal age, there is a real temptation to set the choir aside and employ the services of the gospel band, nkwa group or even the marching band, especially given that the latter (non-choral options) may be relatively cheaper, easier and quicker to come by. that would be flatly wrong because the highly percussive (western or local) gospel band musicians are more adapted to and usually given to performance of popular religious music but not liturgical music. although one may argue that religious music/singing could be regarded as a form of sacred music, the fact remains that it is – pure and simple – not an equivalent of liturgical music (which is usually supplied only by a well-formed choir). therefore, no amount of resources employed to ensure the establishment and fostering of liturgically functional choirs in parishes would be too much. a next important concern of musicam sacram is the formation of the members of the choirs themselves. in paragraph 24, we read thus: besides musical formation, suitable liturgical and spiritual formation must also be given to the members of the choir, in such a way that the proper performance of their liturgical role will not only enhance the beauty of the celebration and be an excellent example for the faithful, but will bring spiritual benefit to the choir-members themselves (s.c.r. 1967). i am thinking that we really need to do more in terms of training church singers. some of our choir members really do not know their left from their right. they have a serious ignorance of catechetical issues, hence their inability to do a proper placement of appropriate music within the liturgy. some do not know the difference between liturgical and religious music. i believe it is only by creating the time and enabling environment and then adequately exposing choir members and their directors to basic church theology and doctrines, shall we be able to achieve a required liturgical and spiritual formation. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 116 but there remains the necessity of musical formation. i think it is time we begin to teach choristers in our local church the principles of music in a bit more scientific way. that is why i would recommend that any diocese that does not have a music institute or academy should plan to have one – asap (as soon as possible). such institute would serve to train future music directors and choirmasters by exposing them to the basic theory of music including principles of composition, keyboard playing and singing of gregorian chant. similarly, dioceses should set up a system by which choirmasters and music directors can get to update their knowledge through meeting with the diocesan chairman of the liturgical music commission once or twice every year and also through annual seminars. however, notice that the document we are examining chooses not talk about training, that is, musical training, liturgical training, or spiritual training. it speaks about formation to stress the human dimension of the activities involved. dogs can and have been trained. wild animals can be tamed; call it training if you like. even machines can be trained – in the present age of artificial intelligence and deep learning – by way of programming. but only human beings endowed with a functional intellect can be formed. when members of the choir are diligently and integrally formed and “trained to perform their functions in a correct and orderly manner,” they become “deeply imbued with the spirit of the liturgy” and are able “to discharge their office [or ministry] with the sincere piety and decorum demanded by so exalted a ministry and rightly expected of them by god’s people” (vatican ii 1963, ¶29). in other words, through such formation, transformation will occur in the lives of the choir members thus educated: transformation of their musical knowledge, transformation of their spiritual life, as well as their growth in sound theological appreciation of the liturgy. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 117 the ministerial relevance of the choir in today’s church from the foregoing, it is clear that the choir has much liturgical relevance and it would be quite unfortunate to try to diminish or explain away this functionality. the church defines the role of the choir as being “to ensure the proper performance of the parts which belong to it, according to the different kinds of music sung, and to encourage the active participation of the faithful in the singing” (s.c.r. 1967, ¶19). thus, the ministerial relevance of the choir is primarily seen in two different but related roles assigned to the choir, namely: proper execution of parts belonging to the choir itself and then fostering the participation of the worshippers. it is liturgically unwise to create a mix-up between these two distinct but related choral functions or to deny that any such distinction exists. the choir––in the first place ––serves to ensure “the proper performance of the parts which belong to it.” in other words, there are parts of the liturgy that specifically belong or should belong only to the choir. notice that the church speaks first of the parts of the liturgy belonging specifically to the choir as a way of emphasizing the truly ministerial function of the choir. in performing this ministerial duty, the choir, although it “is itself part of the community… sings for it in the sense of legitimately representing it or standing in for it” (ratzinger 1997, p. 139 in harnoncourt 1991, p. 17). hehn, a professional music director, has some useful insights concerning this important aspect of the choral function: there’s lots of great music that needs to be sung that just cannot reasonably be done by a congregation. whether it’s too complex to be done by untrained musicians, or just too difficult to be done without extensive rehearsal, there’s a lot of music that cannot or should not be done by a congregation. … there are some texts set to challenging music that congregations need to hear, whether it’s because it is comforting in times of orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 118 crises, praising in times of joy, or inspiring in times of apathy. by spending the time and effort to rehearse each week, the choir provides a great service to the congregation by opening up the amount of literature the congregation can be exposed to. used appropriately, this has significant theological and musical implications, broadening the congregation’s experience of the divine (2016). by way of elucidating hehn’s statement concerning the congregation’s experience of the divine, it would also be quite germane to invoke the theological reasoning of ratzinger who indicates thus: through its [the choir’s] singing everyone can be led into the great liturgy of the communion of saints and thus into that kind of praying which pulls our hearts upwards and lets us join, above and beyond all earthly realizations, the heavenly jerusalem (ratzinger 1997, p. 140). it would therefore be very wrong to jettison this specifically “ministering” aspect of the choral function as a way of making the congregation sing everything in the liturgy that can possibly be sung. indeed, the crux of the matter is that there are certain musical pieces the congregation has the right to hear—needs to hear and should listen to—sung only by the choir playing the vicarious role of expressing the deepest emotions in the hearts of the worshippers, whether joyful, painful or sorrowful, in a specialized and deeper ways the congregations just cannot. it would amount to aesthetic injustice to deprive worshippers of the opportunity of experiencing such intensely aesthetic-spiritual moments that come from listening to choral renditions that require higher artistic skills. therefore, it is precisely incorrect to quench the performance of beautiful and sacred choral works in the liturgy in order to adopt cheap utility music or “songs, easy melodies, catchy tunes,” (ratzinger & messori 1985, p. 128)––something orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 119 ratzinger defines as setting the church on the highway of uselessness! (ratzinger n.d. p. 109 in ratzinger & messori 1985, p. 12)––as a way of arriving at or achieving an exaggerated and grotesque form of active liturgical participation that is in reality a form of liturgical hyperactivism. flowing from the above-mentioned function is the relevance of the choir as a group that adds the value of beauty to the liturgy. on this, hehn (2016) argues that it is necessary that when the choir sings, it should “sing beautifully, because it touches people’s souls.” apparently for him, the choir has every good reason to “work so hard to create a beautiful music together” so that it “can glorify god and help people experience a holy moment.” in another essay, i have argued that “the demand for a high artistic quality of sacred music serves as a perfect guarantee of the beauty of the liturgy” (orakwe 2019, p. 9). in this way, the liturgical prayer is expressed in a more attractive way… minds are more easily raised to heavenly things by the beauty of the sacred rites, and the whole celebration more clearly prefigures that heavenly liturgy which is enacted in the holy city of jerusalem (s.c.r. 1967, ¶5). now, there is the temptation to regard beauty as something that is accidental or incidental to liturgical worship. quite the contrary! for tveit (2017, p. 17), given the captivating character of beauty itself, it is incorrect to “…think of the beauty of sacred music merely as a means to an end. the implementation of beautiful sacred music in parishes is a good for its own sake.” and this is because “beauty can be a way in for people, a way for them to come to faith. for this reason, beautiful liturgy is a sine qua non of the new evangelization.” in consequence, the role of the choir with regard to furnishing sacred worship with beauty is one that cannot be shied away from: “beauty in sacred liturgy and sacred music is… not irrelevant to parish life” (tveit 2017, p. 17). orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 120 but the function of the choir inexorably includes ensuring and leading the congregational singing. this must be understood in the sense that liturgical singing in general is meant to be an instrument of edification of the worshippers. this happens when “the faithful join their mind to what they pronounce or hear, and [thereby] cooperate with heavenly grace” (s.c.r. 1967, ¶15[b]). hehn (2016) goes as far as saying that “when we take words and put them to music, it becomes part of who we are. therefore, it becomes imperative that we put as much of the word into the bodies of the congregation as possible.” in other words, the congregation tends to listen––perhaps––more contemplatively to the words when it sings these words with the choir. hehn (2016) therefore argues further: “if the congregation can sing it but we don’t let them, we miss an opportunity to transform people’s life in the most direct way possible.” the importance of the congregational singing is seen in the fact that what is sung—especially the liturgical chants—has catechetical value inasmuch as these songs and chants of the church serve to illuminate the doctrines of the church itself in a most pleasant way. in line with this, st. augustine exclaimed in reference to the hymns of st. ambrose: “how i wept, deeply moved by your hymns, songs, and the voices that echoed through your church! … a feeling of devotion surged within me, and tears streamed down my face — tears that did me good” (catechism of the catholic church, #1157). no one would doubt that this unique experience possibly played great role in the definitive conversion of st. augustine to christianity. along the same line, the church teaches that when she “prays or sings or acts, the faith of those taking part is nourished and their minds are raised to god, so that they may offer him their rational service and more abundantly receive his grace” (vatican ii 1963, ¶33). definitely, much of this would be lost if the choir would monopolize the singing. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 121 beyond the above well-known liturgical functions of the choir, we can further point to the ministry of the choir as a faith group. the principal issue here is the capacity of choristers to minister unto themselves, unto each other, whether in or out of the liturgical context. churches— catholic or even non-catholic—have always felt the need of having smaller forums in which members of their congregations are formed in christian faith and ministry. in some circles, there is talk of small or basic christian communities. in the catholic enclave, the reference is usually to lay apostolate groups which can be defined as associations established for carrying on the apostolate3 in common. [these associations] sustain their members, form them for the apostolate, and rightly organize and regulate their apostolic work so that much better results can be expected than if each member were to act on his own (vatican ii 1965, ¶18). the church choir is one of such associations where members are trained to live like brothers and sisters, serving god with all their hearts and also being of loving service to one another. hehn (2016), already cited above, describes the rapport that ought to obtain within a choir in these glowing terms: i imagine… choral groups taking care of each other or holding someone up in a time of need. when we sing together, a bond is created that unites us unlike any other activity. in a church setting, this function can be intentionally formed and nurtured. because we meet together once a week to do work for the glory of god and benefit of neighbor, taking care of each other is no longer an option, it’s a responsibility. 3 the word is synonymous with serving in the church or engaging in any of the church’s ministries. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 122 pastors of souls would therefore do well to see the formation and nurturing of choirs in their parishes as a wonderful opportunity for the christian formation of parishioners in the life of christian discipleship and service to the entire christian community—by way of promotion of the beauty of the sacred liturgy through singing. another important role of the choir that very often is swept under the carpet, sometimes in the guise of humility or being modest is the ministry of healing exercised by choristers as they sing in the liturgy. liturgical spirituality apart, fact is that music has and can have a chilling effect on a troubled soul and a soothing effect on the sick. this is verifiable, scientifically speaking. outlining the importance of music for health, kemper and danhauer (2005, p. 282) give the following indications: music is widely used to enhance well-being, reduce stress, and distract patients from unpleasant symptoms. although there are wide variations in individual preferences, music appears to exert direct physiologic effects through the autonomic nervous system. it also has indirect effects by modifying caregiver behavior. music effectively reduces anxiety and improves mood for medical and surgical patients, for patients in intensive care units and patients undergoing procedures, and for children as well as adults. music is a low-cost intervention that often reduces surgical, procedural, acute, and chronic pain. music also improves the quality of life for patients receiving palliative care, enhancing a sense of comfort and relaxation. on a practical note, the author conducted some fieldwork interviews in 2010 concerning the therapeutic effects of choral singing. it was with a church choir in bloomington indiana during his years as a student of indiana university. the result was revealing. one of the respondents indicated that the music performance of their choir often fulfills the role of upliftment in moments of depression. another indicated that a orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 123 member of the choir at a time had cancer but her singing in the choir every sunday was for her a source of considerable emotional support in her pains: she had cancer and she had chemotherapy and she was so sick with the chemotherapy but every week she came to church and she sang in the choir with a smile on her face and she said that this gets her from one day to the next with her treatment for her cancer and she is cured (interview with nancy allerhand). the lady being referred to equally told the author emphatically that she has sometimes received feedbacks concerning her singing having healing or therapeutic effects on some worshippers. as already indicated above, the therapeutic force of music is a wellknown in scientific circles. the insight of health science on this matter is quite relevant: with regard to direct physiologic effects, in animals, music changes neuronal activity with entrainment to musical rhythms in the lateral temporal lobe and in cortical areas devoted to movement. steady rhythms entrain respiratory patterns. listening to classical music increases heart rate variability, a measure of cardiac autonomic balance (in which increased levels reflect less stress and greater resilience) …. (kemper & danhauer 2005, p. 282) with the above scientific evidence, i think it is important i inform you, dear choristers: you never know the number of those you are giving healing every sunday when you sing at the liturgy. maybe you will come to know on the last day. besides, you never know the amount of health tonic you are ministering or administering to yourselves and others by simply belonging to and singing in the choir. you save so many people from health challenges by simply continuing to remain in the choir. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 124 epilogue in the preceding lines, i have striven to put forward the argument—to wit—that choral singing, far from being an incidental invention of christian liturgy, is a ministry that has an important emplacement within the liturgy. choristers are properly speaking liturgical ministers in the same way that other functionaries in the liturgy––the priest, deacon, altar servers, and lectors––are although the various liturgical ministries are hierarchically ordered. the liturgical function of the choir has an indispensability all its own, given its apposite collocation in the liturgy correctly understood—primarily—as “the work of god” and then, as “service in the name of [and] on behalf of the people.” (catechism of the catholic church, ##1069-70; see ratzinger 1997, p. 133). from the exposition above, i hope to have succeeded to demonstrate that the choir is still absolutely necessary and has a fundamental relevance in the context of vatican ii liturgical reform and actual worship praxis. consequently, the idea that the dispositions of vatican ii liturgical reform have rendered the function of the choir superfluous—given the “the exaggerated and…. completely unrealistic concept of congregation” which leads to the erroneous conclusion that “only the priest and congregation can be acknowledged as the legitimate singers of liturgical hymns” (ratzinger 1997, p. 139)—is precisely false and lacks historical foundation or documentary proof. it therefore becomes clear that diminishing or deemphasizing the ministerial role of the choir within the liturgy is a direct attempt at subjecting the liturgy to a subtle strangulation. in fact, that would amount to subjecting christian worship to the dictatorship of some unjustifiable religious or liturgical ideology—one such ideology being defined by cardinal ratzinger as “primitive actionism” and the other as “prosaic pedagogical rationalism” (ratzinger 1997, p. 139). this would often lead to the liturgy becoming something we craft for ourselves in orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 125 accordance with our personal whims and ideological preferences. in that case, the liturgy loses its status as something given. the conviction of “primitive actionism,” namely, that every participant in the liturgy must be active and alive with some form of external activity at all times, subjects the liturgy to a subtle spirit of anthropocentric showmanship—implying that the efficacy of the liturgy depends on the amount of external activity that the worshipping community engages in. this conviction is laden with theological flaw inasmuch as the liturgy—and indeed every prayer—constitutes an instantiation of the work of god (opus dei). besides, such attitude is contrary to the stipulation of vatican ii constitution on the sacred liturgy that “each person, minister, or layman who has an office to perform… carry out all and only those parts which pertain to his office by nature of the rite and the norms of the liturgy” (vatican ii 1963, ¶28).4 now, the choir has unique ministerial role that is both crucial and non-substitutable within the liturgy. finally, the idea that the contemporary liturgy is and must always be an arena for a classroom-like clarification of some catechetical points, such that every single liturgical item ought to be immediately linguistically comprehensible, is hardly realistic. this is the error of prosaic pedagogical rationalism—in nigeria, usually directed against the choir singing either in latin or even in english, the nigerian lingua franca. in another essay, i sought to demonstrate that “the error here is built on a wrong conception of the liturgy as some kind of ordinary forum for exchange of information” (orakwe 2019, p. 13). the liturgy as a concrete celebration of the paschal mystery requires more of experience than comprehension: “it is primarily meant to be apprehended, not just merely comprehended” (orakwe 2019, p. 13). 4 emphasis mine. orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 126 this ‘apprehension’ comes with all the senses: smell, hearing, touch, sight and taste. thus, when the choir is singing in latin or in english and/or does so with such level of musical skill that the ordinary faithful—as a genuinely conscious and active participant—is obliged only to listen, it is germane to remember that it is still the entire worshipping community giving quality praise to god through the ministering function of the choir. even the absence of full linguistic intelligibility of what is sung can contribute—in some subtle way—to the positive outcome of the worship experience. indeed, rudolf otto wrote—with regard to the use of liturgical latin—about the advantage of “the only half intelligible or wholly unintelligible language of devotion, and . . . the unquestionably real enhancement of the awe of the worshiper which this produces” (otto 1923, p. 67). it would be unjustified then to engage in a sort of liturgical leveling whereby only the easiest, simplest, cheapest and most banal forms of music are put forward in the service of the liturgy. in such circumstance, it is important to remember the wise advice of ratzinger that a recourse to intelligibility as the only condition for liturgical effectiveness “does not really make liturgies more intelligible and more open but only poorer” (ratzinger & messori 1985, p. 35). references catechism of the catholic church (ccc), #1157. <http://www.vatican.va/archive/eng0015/_index.htm> john paul ii, (2003). chirograph of the supreme pontiff john paul ii for the centenary of the motu proprio “tra le sollecitudini” on sacred music. harnoncourt, p. (1991). gesang und musik im gottesdienst. die messe: ein kirchenmusikalisches handbuch. h. schützeichel (ed.). düsseldorf. hehn, b. (2016). the four functions of a choir. american choral directors association. www.choralnet.org/2016/11/526739 orakwe, j. t.: ministerial roles of choirs in the liturgy awka journal of research in music and the arts vol.15 (2021) 127 sacred congregation of rites (1967). instruction on music in the liturgy, musicam sacram. orakwe, j. (2019). composing music for the liturgy: basic requirements, sacred music, vol. 146 (4), 6-18. orakwe, j. (2009). im nigeria, singen alle lateinisch? a critical review of the retention of spoken chanted liturgical latin in the nigerian local church. sacred music, vol. 146 (1), 9-14. otto, r. (1923). the idea of the holy, tr. j. w. harvey. new york: oxford university press. pius x (1903), motu proprio, tra le sollecitudini. pius xi (1928), divini cultus, on divine worship. pius xii (1955), encyclical, musicae sacrae disciplina, on sacred music. ratzinger, j. (1997). a new song for the lord: faith in christ and liturgy today, tr. m. m. matesich. new york: the crossroad publishing company. ratzinger, j. and messori, v. (1985). the ratzinger’s report. san francisco: ignatius press. second vatican council (1963). constitution on the sacred liturgy, sacrosanctum concilium. second vatican council (1965). decree on the apostolate of the laity, apostolicam actuositatem. tveit, j. (2017). a pastoral plan for parochial music. sacred music, vol. 144 (2), 16-22. 198 relationship between traditional musical instruments and song texts onwuka, ugo a. department of music, nwafor orizu college of education nsugbe. & oguoma, patience u. music department, alvan-ikoku federal college of education owerri. abstract man, no doubt, is a musical creature because he was found to derive great pleasure in using different parts of his body in producing artistic or musical sounds. as time went on in the history of his development, he began to explore his environment by fashioning some sound producing objects to substitute for his body parts. these objects, now referred to as musical instruments are used for producing a variety of musical sounds. in every culture, they differ in many dimensions which include concept, design and size, material of make, technology and function. in the african context, they have some remote or established connections with verbalized musical sounds commonly known as song texts. this paper identifies these significant connections and brings to limelight how musical instruments and song texts affect each other for the benefit of the african musicologists. introduction from the large body of available literature concerning african music, studies on song texts of different cultures abound. there are also research reports on the origin, material resources, technology, classification, socio-cultural significance, functions and uses of african musical instruments. observations, however, show that much has not been written about song texts and musical instruments more so, on their significant relationships. having identified this as one of the less explored aspects of music making in africa, it is considered the focus of this paper as it discusses their linguistic, musical, technological, contextual and cultural relationships. linguistic relationship awka journal of research in music and the arts (ajrma) vol. 9 2013 199 here, we are concerned with language in music relationship. since it has earlier been established that in african music practice, every melody naturally grows out from the speech melody or contour of the text, it then means that language affects music as much as music also affects it. according to bright (1963), both language and music are human behavioural means of expression which are characterized by overlapping mutual influences in social communication. in realization of this fact, blacking (1970) describes music as “signals and symbols of human experience in culture which relate musical form to its social and cultural content” (p. 69). similarly, merriam (1959) explains that “almost all songs have words, whether or not those words are actually sung, so that when a song is played upon an instrument, words are automatically conceptualized, although they may not be verbalized” (p. 57). this implies that most african musical instruments are constructed for communication in performance situations. when melodic instruments, as extensions of vocal experiences, are involved in reproducing melodies of songs or melodic fragments, they equally trace the natural curve or contour of the relevant texts. in so doing, instrumental melodies so produced could be word-borne (logogenic), emotion-borne (pathogenic) or music-borne (melogenic). if we reason along the same line with akpabot (1986), we can accept that the two main types of instrumental rhythms in african music derive from this overlapping relationship between language and music. he observed that percussive rhythms are produced by such percussive instruments as the gong, drum and rattle while melodic rhythms are produced on the melodic instruments. a closer examination of these rhythms reveals that they are strongly related to the stresses and movement of conceptualized words of the text which also produce inherent speech rhythms. if we use the first phrase of an efik song text: sob ubok wat inyang, as an example, the regular rhythmic accents of duple timing fall on sob, wat, ke and di thus: when the beats are properly distributed to their correct rhythmic divisions, the instrumentalist will be able to establish clear basis for drawing his accompanying patterns purely from built-in speech rhythms. in fact, we can conclude that each of the two rhythmic types as earlier mentioned is mostly determined by speech rhythms which nketia (1974), refers to as “the durational values of the syllables of words” (p. 180). given the fact that these instruments are provided with linguistic or communicative attributes, they are advantageously used for communication both in musical and extra-musical contexts. in this wise, they are designated as “talking instruments” or “speech surrogates”. exemplifying these are ilu, the hourglass drum of the yoruba people; ikon eto, the four-note xylophone of the ibibio and ekwe or ikoro, the wooden drum of the igbo people just to mention but a few. as akpabot (1986) puts it, “all african drums talk – some more eloquently than others depending on their size, shape and construction. the chief difference between african and european instruments lies in their functions and use” (p. 19). since african musical instruments are also used for imitating and reproducing phrases and proverbs common to the area; they are, therefore, consciously tuned to the talking range of the people. when used 200 singularly, a master player conveys verbal messages or matters of personal or social importance through melo-rhythmic cues or codes. while deriving clues from their melodic contour, these cues are not only understood by members of the community but also given literary meanings. through such an artistic medium, a verbal statement, phrase, proverb or praise-name can be transmitted by any of these instruments. in another development, some like the wooden drum (ekwe) and the big gong (alo) are also used for regulating times and seasons, signaling danger, summoning emergency meetings or by the town-criers for securing attention of the people when important public announcements are being made in the community. this communicative or socio-linguistic function of some musical instruments is, however, very important though secondary to the musical. it is equally symbolic of the communicative relationship between musical instruments and song texts. in the light of the foregoing, therefore, we can establish that song texts and musical instruments have either structural and tonal relationships or linguistic and communicative connections. musical relationship bright (1963) acknowledges that “languages display regular patterns of high-pitched and low-pitched syllables, loud and soft syllables, long and short syllables; and different languages give different emphasis to these factors” (p. 27). in this music in language relationship, we can see that the musical elements of pitch, dynamics, duration and, of course, tone colour (timbre) are also basic parameters of speech and can equally be realized on some african musical instruments through coded cues. akpabot (1986) maintains that “an instrumental melody many times, follows the vocal pattern which is inflectionary in conception: this means that a sentence as previously mentioned, can only have one curve if it is to maintain its meaning” (p. 11). reasoning along the same line, merriam (1964) states that “language clearly affects music in that speech melody sets up certain patterns which must be followed at least to an extent in music” (p. 188). if we accept that instrumental music is summarily, an extension of the vocal experience and that african melodic instruments are tuned in respect to the tonal inflections of speech, it then means that vocal music cannot be divorced from instrumental music. this is because the latter derives from the former. the illustrative figure below represents the coded cue for a security imperative which some igbo vigilante groups play on the wooden drum to compel people to stay indoors at odd hours of the night: while attending to the style of attack and release, an artistic execution of this cue, will produce the same desired effects and elements as in speech. in so doing, the two parameters of pitch and duration will be clearly exhibited as while the realization of the other two will depend on the medium and style of execution. furthermore, it is common knowledge that pitch in african music is not standardized. this is because it is closely related to the language behaviour of a given culture. to this end, african 201 scales are simply constructed by ear and consist of non-tempered pitches whose choice and arrangements are determined by some regional characteristics. akpabot (1975) reports that in central africa, “the speech melody derived from the sentence, wili pai sa sunge, is used to tune the harp to the note of the pentatonic scale,” (p. 5) thus: in a similar development, the musicians of ekeremgba music ensemble of ngwa use the speech melody of what they call ilu nkwa in tuning their set of baton skin drums. such phrases which are used either in the workshop or on the stage, serve the individual ensembles the same purpose the „concert a=440 c.p.s.‟ serves the western symphony orchestra. for example, when samples of the pentatonic scale mode are closely examined, noticeable differences in the choice and arrangement of their pitches may be found. nevertheless, the striking thing about the examination is that the basic principle of the scale mode remains the same. stressing this fact, akpabot (1998) states that “in african music, any five notes, regardless of how they are arranged and their intervallic relationships, comprise a pentatonic scale” (p. 28). while tuning the tonal instruments, therefore, a lot of factors including linguistic, structural and regional characteristics come into play. they really help to emphasize the serious relationship between the musical instruments and song texts. in solo singing, poem recitations and song narratives, some musical instruments like the hourglass drum, wooden drum, sanza and the chordophones are craftily employed for providing suitable rhythmic accompaniments or background melodic fragments over which the griots sing or recite. moreover, the instruments do not only support, embellish and supply musical interludes but also stress the main themes in the performance through communicative dialogue. in so doing, they serve to add some dramatic dimensions that heighten the performances while providing the performers an unassuming atmosphere and time to organize the succeeding sections of their creative works. technological relationship according to echezona (1963) “life has a melodic or rhythmic orientation, and again, no event happens that is not associated with music” (p. 12). stressing this same fact, nketia (1963), said that “for the african, music and life are inseparable, for there is music for many of the activities of everyday life as well as music whose verbal texts express the african‟s attitude to life, his hopes and fears, his thoughts and beliefs” (p. 4). in the spirit of the foregoing postulations, we are given to understand that in africa, all aspects of music making, including the conception, design and technology of traditional musical instruments, are to a large extent, influenced by a lot of human behaviours and thought processes. in fact, okafor (2005) thinks that “makers of african musical instruments rely on their eyes, sense of pitch, ears and on tradition for the construction” (p. 160). it should then be noted that some african musical instruments are primarily conceived either as speech surrogates or as extensions of those body parts that are used for interpreting vocal melodies or for stressing the rhythmic patterns of life. 202 in the ufie music ensemble of the esoteric igbo for example, the pair of wooden drums is regarded as a symbolic representation of an initiate and his wife who always engage in a romantic dialogue in performance situations. what readily comes to mind here is that the pair is not only musical but also communicative. with this understanding, each of the drums is, therefore, designed and constructed to assume a hollowed cylindrical wooden body fitted with two sounding lips (one high, one low); and two rectangular sound holes through which the hollow was chipped out to make for improved resonance. in addition to the high, medium, low tones that could be obtained from the sounding lips; the body of each drum when rasped, also produces muted sound that could represent the drop tone, heave or aspiration in igbo speech. provided with these special features which characterize the typology of african language, therefore, the drums are then melo-rhythmically used by the people to imitate their speech patterns and rhythmic movements on one hand and to convey through coded cues, some important literary information on the other. it then implies that the technological processes of the said drums and most of the other percussive instruments are greatly influenced by the linguistic framework of a given culture. this technological relationship is also evident in the construction of some melodic instruments like ọja (notched flute) and opi (horn). since they are primarily designed for reproducing melodic fragments which trace the contour of some texts, they are tuned to the talking range of the people. this, perhaps, could be why they are equipped with narrow compasses. since it is now common knowledge that african melodies normally grow out of the speech rhythm and speech melody of relevant texts, they are by nature short and repetitive. so, if any such tune is to be extra-verbally reproduced on an instrument, it must be on one that is equipped with melodic, rhythmic and linguistic properties. this explains why these melodic instruments are so built and employed for the same purpose. we can then conveniently say that in african traditions, the conception, design and construction of musical instruments are by and large related to song texts. among some ethnic groups, people claim and also believe that it is only trees which grow along roadsides or near homesteads that can provide better resource materials for constructing „talking/musical instruments‟. although this could be one of the popular myths surrounding african music practice, suffice it to say that it was informed by the assumption that such trees overhear human conversations and by association, have the ability to reproduce their language patterns with discernible tonal figurations. it is in the spirit of this thought process that the wood from ọma and ọpa trees are to the yoruba people, best for constructing drums as wood from ụkọ and okwe are to the igbo, best for making xylophone slabs. contextual relationship in most parts of africa as euba (1977) observes, “much of the traditional music is realized within the context of social ceremonies” (p. 11). agu (2000) acknowledged that in such contexts, “music not only serves specific purposes and functions but also enriches and glorifies events of life.” okafor (2005), therefore, says that: in african culture, music is an entity rather than a mere mental creation or conception. it reflects and interprets the man in a specific environment and is often 203 the key, which opens the gates to spiritual, mental, emotional, psychological, social and mystic realms. (p. 88) stressing this same fact, nketia (1975) admits that: every musical type played has a tradition behind it, a tradition which governs its mode of performance, its repertoire, its choice and use of musical instruments as well as traditions that govern the context in which it should be played. (p. 48) we are thus given to understand that the meaning and content of african traditional music are to a large extent, determined by the context in which it is performed. this could be ritual or non-ritual. apart from the issue of tone colour which bears upon the instrumentalist, selection of instruments is primarily linked with the nature of his musical creation. nketia (1975) further emphasizes that “the conception of a musical piece and details of its form and context, are influenced not only by its linguistic and literary intention, but also by the activities with which it is associated” (p. 206). in ritual contexts for example, the texts of the songs usually connote very serious and solemn subjects. in such circumstances, it could be seen that, like the theme, the instrumentation, is extremely restricted. akpabot (1986) tells us that in the ritual worship of sango, the god of thunder, the culture constituted only four drums namely: iya ilu bata, emele ako, emele abo and kudi, which the yoruba worshippers symbolically use in accompanying their praise songs, incantations, supplications and intercessions. here in context, it is apparent that the subject of the song text, as well as its instrumentation, is exact and definite. the story is, however, different in non-ritual situations. such circumstances are characterized by secularization, relaxed atmosphere and flexibility in the instrumentation as revealed in the preponderance of percussive instruments other than the drums. so far, what really emerges from the foregoing is that context of musical activity is seen as a major determinant of its subject and song text. this, in turn, influences the melody which characterizes the song type and the song type finally determines the instrumentation. cultural relationship it is worthy to note that both song texts and musical instruments are closely linked to culture. this is because examples of song texts and particular musical instruments clearly point to the culture which they are part of. given the fact that african song texts are usually in the local language of particular cultures, they constitute effective media through which histories of genealogies, past rulers and patriarchs, legends and mythologies can be taught or recounted. this explains why they are seen as embodiments of oral traditions through which people learn of their glorious past, mythical origins, beliefs and thought processes. merriam (1964) observed that “mythology, legend and history are found in song texts, and song is frequently used as enculturative device” (p. 208). akpabot (1986) also said that “myths and legends are integral parts of the people‟s way of life,” (p. 96) and are used in a given society to regulate and reinforce the cultural traits and daily life of the people. just as proverbs, maxims, mythical references of valour and legendary powers of past heroes and ancestral gods are borne through song texts, so are they encapsulated in the evolution, technology and organizational practices of african musical instruments. 204 against this background, one can conveniently say that some musical instruments and their symbolic sounds have grown to be associated with particular cultures. in nigeria for example, it is no secret that the hourglass drum (ilu) is admittedly synonymous with the yoruba culture, where it is dominantly used not only as a musical instrument but also a communicator in social and ceremonial situations. the story seems to be the same with the giant wooden drum (ikoro) as well as the wooden flute (ọja) in igbo culture while the double reed flute (algaita) and the elongated trumpet (kakaki) tend to indicate connections with the hausa/fulani culture. as one cannot divorce musical instruments from music making, it is equally impossible to separate song text from musical instruments because they are not only closely related but also significantly linked to the people‟s way of life. conclusion in this discourse, an attempt was made to identify and outline some of the significant connections between musical instruments and song texts in the african cultural context. as a modest attempt, therefore, it cannot claim to have exhausted all the possible links owing to obvious reasons. nonetheless, it can be seen from the foregoing, that musical instruments and song texts are incompatible aspects of african music that constitute the most diversified source of information on the beliefs and thought processes of the people, their social and artistic values, musical practices and structures, cultural and historical traditions, as well as language and communication. these and more, led africans to believe that music is an essential part of the living process. as one of those aspects of african music that has not been fully explored, there is no reason why it should not be properly investigated, sustained and improved upon by the present day researchers and ethnomusicologists. they should, therefore, collaborate with the traditional music practitioners to provide ways of creating greater awareness about the modus operandi of these significant links between musical instruments and song texts. when this is done, it is hoped that it will not only offer the people a better comprehension of the subject matter but also increase their appreciative capacity of the same. references agu, d. c. c. (2000). music in the nigerian cultures: types and practices. in n. ojiakor; g. c. unachukwu & a. obiajulu, (eds.), challenges of national growth and development in nigeria, 79-88. enugu: john jacobs classic publishers. akpabot, s. e. (1975). ibibio music in nigerian culture. michigan: state university press. __________ (1986). foundations of nigerian traditional music. ibadan: spectrum books. -------------- (1998). form, function and style in african music. lagos: macmillan nigeria publishers. blacking, j. (1970). deep and surface structures in venda music. dyn. 1, 69-98. bright, w. (1983). language and music: areas for co-operation. ethnomusicology, 7(1), 205 2337. euba, a. (1977). an introduction to music in nigeria. nigerian music review, 1, 1-21. feld, s. (1974). linguistic models in ethnomusicology. ethnomusicology, 18(2), 192-217. merriam, a. p. (1959). african music. in w. r. bascom and m. j. herskovits, (eds.), continuity and change in african cultures, 49-86. chicago: phoenix books. ---------------(1964). the anthropology of music. evanston: northwestern university press. nketia, j. h. k. (1975). the music of africa. london: victor gollancz. okafor, r. c. (2005). music in nigerian society. enugu: new generation books. 318 awka journal of research in music and the arts (ajrma) vol 17 june 2024 popularity of women in indigenous music performance in obosi community of igboland: an expository study okechukwu, ifeoma p. alvan ikoku federal university of education, owerri & egwu-kalu, kalu kinsley (phd) alvan ikoku federal university of education, owerri email: kaluck27@gmail.com abstract the participation of women in their indigenous musical activities during ceremonies in obosi community of lgboland is very significant. but the issue of exposing its popularity is not taken serious. as such, the authors see the need to do an expository study on the level of the women’s popularity in their indigenous music performance during ceremonies. in obosi community, women play expedient musical roles as regards burial, ito ogbo, welcoming a new baby, birthday and other ceremonial events which call for popularity and exposure for the purposes of documentation and generational transfer as well as continuity. the researchers in their study exposed among other things the brief historical background of women's indigenous music in obosi community, the instruments they use during such occasions, performance situations, costumes and few musical examples of their music. most importantly, its popularity in the community and the entire society as the main focus of the study. as a result, the theoretical framework of this study hinges on indigenous music and popularity theories. the method of data collection for the study are interviews, library and internet asset. from the findings, it was shown that much popularity, importance and recognition are not given to women’s indigenous music in obosi community. therefore, the researchers recommend that appropriation of popularity should be given to the women’s indigenous music because of its expedient roles during events and general ceremonies in the community and the society at large. moreover, an individual and group sponsorship as well as community encouragement should be given to such music for continuity and transmission purposes. keywords: popularity, women, indigenous music, performance community. introduction african women at large and obosi community women in particular are born and bred with their indigenous music along with its performances. in nigeria and obosi community in lgboland, women play serious and integral part in their indigenous music during ceremonial events. nevertheless, the women appreciate their music whenever there are burials, traditional marriages, birthday and welcoming a new baby in their community. therefore, exposing their music for recognition and popularity is worth studying. forchu (2017) affirms that, ‘’lgbo women participate in many musical activities as the culture demands, composing, singing, playing musical instruments and dancing” (p·130). however, the women’s music in obosi setting covers all aspect of humn life and their cultural activities ranging from social, historical and religious activities. ezeifeka and ogbazi in forchu (2017) infers that,” indigenous igbo women’s music is a medium through which patriarchy is challenged and concessions demanded, albeit, in very mild and diplomatic tones” (p·130). in very mild and diplomatic tones proves how accommodating their musical activity shows and sustains the consumers. nevertheless, there is need for its exposure and recognition towards cultural continuity. the popularity of women in indigenous music of obosi in igboland area carries the 319 awka journal of research in music and the arts (ajrma) vol 17 june 2024 ethics, values, customs, traditions and the cultural artifacts of the society as well as the general africans to the outside world, thereby exposing its popularity roles. nwobu (2018) posits that, “nigerian society is blessed with women of ability and integrity across all disciplines of human endeavor· women have broken into many careers including music, and a large number of women involved in the music industry play different roles such as singing, dancing, composing, playing of instruments, teaching of music etc.(p.159). since women are seen performing very well in the above mentioned fields especially music, there is serious need to expose their popularity in our indigenous music performances during occasions. women music instills in the community diverse awareness in the areas of birth, politics, burials/death, birthday, coronation, installation, ofala and almost every activity from cradle to grave. ibekwe(2018)postulates that; the analysis drawn from the above investigation brought women involvement in music production and performance to the lowest ebb irrespective of the fact that they are the major carriers of cultural identity in almost every society not only in lgbo. the fact that their roles are most outstanding in most traditional activities ranging from rites of passage, entertainment, initiation, social control to death does not square up the gaps (p.208). since women’s music carry the cultural way of life of the people, there is need to expose its popularity especially its roles during community events. olisaeke and olisaeke(2018)infers that; in african traditional setting, music play roles according to the dictates of the function it accompanies. one of the main features of traditional nigerian music in its close association with social context. they are always related to an event out of which they are born, made and established. a typical traditional music would only have meaning when associated with the socio-cultural institutions which they are made (pp. 114-115). with such exposure to socio-cultural events, their popularity in indigenous music performance is very outstanding. purpose of the study the purpose of this study is to expose the popularity of women’s participation and performance in indigenous music as regards to the musical roles they play during critical events like burials, welcoming new baby, amongst others. moreover, the study will also prove the importance of women’s music during occasions so as not to relegate the music to the background. problem of the study nowadays, women make indigenous music during their events in their different communities, but the issue of its popularity becomes a problem. however, they perform music during burials, welcoming a new baby and for new married co-wives but such their music are done casually for that purpose and nothing more. nonetheless, the issue of exposing its popularity and recognition becomes a problem. moreover, no proper and close attention, documentation, archiving, and transmission for continuity are given to such an important music. as such, there is a gap to be filled which this study tends to expose and redress. theoretical framework 320 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the research is anchored on popularity and indigenous music theories. popularity theory the theory of popularity states that popularity is the middle point of a group and it has influence on it. the theory was propounded by a renowned educational psychologist known as tesa lansu. adetunji (2018) ascertains that: music itself is the communication of the culture group by means of songs and other musical practices. the lyric of several songs often contains the indigenous practices of the locality or the beliefs and practices of the foreign styles being initiated. these could include marriage practice, intergroup relationship, ethnic identification, religion, family care, love, language among others. some indigenous songs became so influential and customarily that they have become adopted as a culture of the people (p. 440). indigenous music theory indigenous music theory states that the symbolic reference in music deals with the concept of musical communication in codified symbols and terminologies that address various subjects in society. consequently, the music must be positioned scientifically and pragmatically which deals with the basic principles of music as regards background, middle ground and foreground. as such, building a framework for a creative and logically integrated development into folk music in a human society. the theory was propounded by heinrich schenter in 1935 (internet asset wikipedia: retrieved, 22nd may, 2024). in relating the theory to the study, it explains how indigenous or local music of a particular community are handled communicatively by women to pass the cultural values of the community across through their performances which needs to be exposed. women involvement in indigenous music performance in obosi community of idemili north local government area of anambra state presently, women’s involvement in indigenous music performance has a tremendous improvement but no recognition, popularity and archiving of it is taken note of. in obosi community of igboland, women take part in most of the musical activities during ceremonies such as in:  ito ogbo obosi ceremony  welcoming a co-wife  welcoming a new baby  igba ofala festival  traditional marriage ceremony  birthday ceremony  burial ceremony  coronation/installation ceremony  initiation ceremony  age-grade celebration etc. the researchers in the interview with chief alex obi (aka di okpa ire) and clement chukwujekwu emekwue (aka ogbueshi mentus). they stated that women's music started with obosi community ancestors and very valuable in correcting mishaps and social vices in the community. for instance, if somebody (a woman) steals or sleep with another's husband, the women will compose it into music to put the offender into shame for corrective and deterrent purposes. in some cases of some women who are lazy, some songs like nwayi di ya huru n’anya the woman whom the husband loves 321 awka journal of research in music and the arts (ajrma) vol 17 june 2024 onye ujo olu lazy person nwanyi jee luo olu ooo woman go to work anaghi m alu oooo i will not work na dim huru m n’anya my husband loves me onye ujo olu lazy woman likewise, during burials, they sing burial songs like onwu imalu i bulu ego death, you could have carried money rapu nwa nne m k’odili m o o o leave my siblings to live for me (monday, 20th may, 2024 9.30am – 12.05pm; personal communication). during other famous and popular events of the community like ito ogbo obosi ceremony, the women play serious significant roles especially as it pertains to ima mbem (chanting praises) to dignitaries. apart from women group music, there are women that specialize in chanting praises (ima mbem) in the community. those two women specialists in chanting and singing praise names are: 1. iyom nkemdilim emodi (iyom onu okwa) 2. inugo onum egodi ndubuisi (ijele nwanyi-akudenu) during coronation and installation of chieftaincy titles, the women musical groups such as umuada and lnyomdi feature prominently. each group with its own songs, musical instruments, uniforms and dancing styles come in mass to grace the occasions. likewise, they function in other afore mentioned ceremonies to make merriments and provide sustainable entertainment to the audience. however, there is no ceremonial events the women are not involved in participating musically,which exposes the musical integrity and identity of obosi community and the entire society. hence, its popularity calls for its exposure as pertains documentation, archiving and transmission. in most of the women’s music, they value sisterly, brotherly and general siblings’ unification bonds in obosi community in particular and the entire society at large. such is seen in the musical example below. okpara (2023; 107) submits and cites some women’s musical example arranged by prof. agatha ijeoma onwuekwe. 322 awka journal of research in music and the arts (ajrma) vol 17 june 2024 identifiable items used by women for their popularity purposes and exposure. the women are identified with some identifiable items during their performances such as:  uniform/costumes  musical instruments  musical language and its structural forms  occasions for performance  socio-cultural impact of their music. uniform and costumes during the women performances of the indigenous music for ceremonies, they wear and carry some outfits that call for easy identification for proper exposure and popularity. agu in okpala (2015) posits that ‘’costumes are carefully selected to portray the mood of the music and also to transmit the message of the group to the audience. costume adds glamour to dance performance’’ (p.101). the different women musical groups wear their unique uniforms and accessories like: beads aaka anklets mgbaka wristlets mgbokpa waistbids ejije-ukwu designed horse tail uzari gele ichatu decorated hairs ntutu-isi musical instruments the women carry portable instruments that will not be too heavy for them to carry. such simple musical instruments are: nne igba mother drum nkere small drum etiti igba medium drum ogwe long membrane drum udu musical pot ichaka rattle (calabash) oyo basket rattles ekpili tortoise shell okpokoro wood block alo long metal gong ogene metal gong modeme and nnodim(2022) asserts that; “women in general sing and dance with accompaniment usually made up of hand clapping, deep breathing aspiration, yodeling, gultural singing and playing such instruments as udu(pot), ogene(metal gong), ekwe(wooden clappers), and also(very large metal gong)’’(p.88). however, the number of musical instrument that is chosen for performance depends on the women group's choice. okpala (2015) submits that, “the selection of musical instruments by african music ensemble is done based on the orientation of the group” (p.106). musical language and its structural forms. the language of indigenous music is the language of the people which they carry along with it its structural forms and features okpara (2016) postulates that: 323 awka journal of research in music and the arts (ajrma) vol 17 june 2024 in our present dispensation, in addition of the above description of african indigenous music, any original composition that does not deviate totally from african music features is also indigenous music especially when an african language is used for the composition (p.20). consequently, the language of this particular indigenous music popularity and expository purposes is purely lgbo in obosi dialect proper. some of the structural forms found in the sound of indigenous music are:  solo  call and response  call and refrain  solo and chorused refrain  mixed structural form. socio-cultural impact of their music in the community for popularity and exposure every indigenous/traditional music has a socio-cultural impact on the lives of the community. the reason being that indigenous music as performed by community women carries along with it the values, ethnics, customs, traditions, pathos, ethos among other positive attributes, to keep the community’s solidarity from generation to generation. udeh (2014) posits that, “music in the igbo society is indeed a culture experience. it is a heritage handed down from generation to generation’’ (p.26). this caption exposes the identity and integrity which indigenous music carries for generational transmission. odogbor (2008) asserts that: socio-culturally, traditional music helps promote group sentiments and the people’s ideals. during traditional festivals and other social gatherings, for example, music generates an atmosphere of conviviality where boundaries based on sex, age, status etc. are blurred into insignificance, and everybody celebrates as an entity. this is capable of providing a forum for mending broken relations and providing common ground for development (p.69). women indigenous music performance is all round efficiency in the areas of religion, politics, economy, education and therapy among others. udoh (2012) opines that: traditional music is a communal property with spiritual qualities that are shared and experienced by all. it is a product of the society and fundamentally, a collective art; therefore, it cannot be separated from the society as ours, nigeria. it is an embodiment of people’s culture-their way of life. traditional music is truly the mirror of the people’s culture. therefore, the musical practices of such a people are truly maintained. the totality of this manifests the integrity of traditional music and a total revelation in the identity of such a people (p.119). therefore, the general socio-culture impact and influence in popularizing and exposing the women's performance in the indigenous music can be summed up under the following attributes; 1. lt has social influence 2. it inculcates cultural values 3. acts as mirror of integrity to people's behaviors 4. carries ethical values, customs and traditions from generation to generation. 5. it is very good for the maintenance of law and order in the community. 6. acts as a unionist to the society 7. gives general entertainment to people 324 awka journal of research in music and the arts (ajrma) vol 17 june 2024 8. it acts as an agent of communication 9. teaches the historical background of a community 10. good at therapeutic healing 11. a philosophical pointer of what is to come or happen in future 12. brings equity in gender discrepancy. challenges facing popularizing the women in indigenous music performance despite the fact that women play significant and indefectible roles in our present day indigenous music, there are still challenges and tasks that are hindrances in making and exposing their music for popularity purposes. these challenges are threats to their indigenous music performance as regards popularity for attainable exposure. ógbazi in forchu (2017) affirms that, ‘’ indigenous igbo women’s music is a medium through which patriarchy is challenged and concessions demanded, albeit, in every mild and diplomatic tones’’’ (p.130). some of the challenges are as follows; 1. gender inequality problem 2. inferiority complex by women 3. domestic violence 4. insecurity in the society 5. household chores and family up-keep/responsibilities. 6. fear of the unknown and african belief syndrome on gender 7. mobility of heavy musical instruments during performances. 8. superstition and ignorant attachment in some communities’ belief 9. lack of knowledge on the use of ict 10. inadequate funding and sponsorship 11. popularity of western musical instruments over african musical instruments. gender inequality problem gender inequality between men and women performers of indigenous music has been a great challenge to popularizing women’s performances. as a matter of fact, it sets the women back in the exposure to performance popularity. special and un-necessary attachments are placed in some musical instruments like drums (both membrane and wooden). ugochukwu (2018) affirms that; the issue of women participating in drumming has been a great concern in today’s indigenous music development in africa at large and nigeria in particular. women have been marginalized as a matter of fact when it comes to traditional drumming especially in igbo land. the fact remains that men have been the only drummer in almost every traditional music performance with the women folk sidelined (p.83). in the same way, ibekwe (2018) posits that, “the concept of feminism has remained a bane among women folk in igbo society and even beyond” (p.199). the above statements show how gender inequality is a threat to our women performance in indigenous music renditions. inferiority complex among women folk/feminist syndrome most women groups in the society regard themselves as weaker sex. as such, they feel that men are more likely to do more indigenous music strenuous parts like playing some musical instruments. this phobia makes some women not to show interest in some indigenous music areas like tradopopular music. idamoyibo (2008) states that,” in commercial music, we may find the men dominating the popular music scene, not because of any restriction, but perhaps interest. in the traditional african society, however, women reserve rights to participate in, and possibly dominate the scene” (p.59). most times women will rise to fight for their right but to no avail. 325 awka journal of research in music and the arts (ajrma) vol 17 june 2024 onoyona (2016) argues that, “this traditional song is sung by a group of women who are aggrieved. it is a warfare song meant to resist male domination and patriarchal injustice” (p. 66). as a matter of fact, ekwueme in mokwunyei (2018) affirms that, “in patriarchal societies such as ours, gender functions have been so arranged and segregated that men arrogate superior functions to themselves and inferior functions to women due to gender stereotypes” (p.5). domestic violence the issue of domestic violence in the present families has been an issue and serious threats to women in indigenous music performance. some men are too aggressive and jealous that they cannot allow their spouses freedom of performance in music areas. the case with osinachi’s talent was buried due to domestic violence in 2022. the husband was so wicked that osinachi was not given a breathing space to live up to the expectations of the masses as regards indigenous gospel music. guanah in nwafor, guanah and nwaebi (2022) argues that, “it appears that gender violence against women and girls is not decreasing. women and for girls still encounter sexual abuse, assault and many forms of domestic violence notwithstanding the challenges the confront during times of natural catastrophe, war, pandemic and displacement” (p.183). in relation to this, mokwenyei (2018) postulates that; gender issues in relation to music in this category is most prominent and most worrisome in terms of misogyny (feeling of hatred for women by men), identity crisis (neither portraying male or female, sometimes suggestive of homosexuality and lesbianism), drug abuse(promoting of or engaging in use of drugs, vulgar language in lyrics, extravagance, nudity(skimpy outfits or outright nudity) and uncensored sexual activities(erotic snippets in full view) that leave nothing to imagination, have become the order of the day(p.13). insecurity insecurity in the community, society and the world at large is a great challenge to women indigenous music performance because free movement to some parts of the country and in some other hours like late hours does not give room for free performance of such music. hence, it hinders its popularity. omonobi and muhammaed in eboselumen (2022) posits that; “boko haram has dramatically changed the landscape of internal security in nigeria when it mounted the first ever suicide bombing in nigeria which took place at the police headquarters in the federal capital city, abuja on 16 june 2011"(p.76).the issue of kidnapping and abduction has been a threat to women’s popularity in indigenous music performance. onuoha and temilola in eboselumen (2022) state that; the nation has witnessed increasing feminization of terror by boko haram in two paradoxical ways-the targeting of young girls as both the victims and vanguards of terror, in the form of abductees, their abuse both sexually and psychologically has received the greatest international condemnation. the group (boko haram) has abducted at least 500 women and girls in north-eastern nigeria since 2009. (p.75). household chores and family up-keep and responsibility by women as a matter of fact, the womenfolk are most often engaged in family upkeep like:  child bearing and family care  household chores and children's upbringing  inculcation of family culture and societal values 326 awka journal of research in music and the arts (ajrma) vol 17 june 2024  psychological and informal educational training for the family  spiritual indoctrination of the proper morals and ethics. groot and van den brink in yesufu and egbeinyon (2022) affirms that;” women spend more time than men in relation to domestic chores and child care” (p.177). meanwhile, the women still devote time to their academics and education to meet up with the present demand of the society. muokwunyei (2018) postulates that, "woman, if you don't strive for greatness and empower yourself, you will be relevant only in the kitchen, the living room and the ‘’other room’’. you will never get to the boardroom” (p.3). nevertheless, to popularize women and their indigenous music and for exposure, they must equalize their domestic work and educational attainment. fear of the unknown and african belief syndrome on gender most women, especially the married ones entertain fear of being faced with their husband suspecting their moves as subordinates. while the un-married ones may find it difficult for exposure for fear of not being able to get married as a result of the popularity involved in the indigenous music performance. consequently, as a result of this fear, the lgbo people in particular and the africans at large have serious attachment to the subordination of women to men. aideloje (2022) ascertains that, "in african cultures, women are assigned the subordinate position. as a consequence, women have for long suffered various forms of discrimination, inequality and violence" (p.205). as a result of this, the women suffer lack of popularity and exposure to their music and in the playing of some musical instruments. mobility of heavy musical instrument during performances this is another issue that hinders women’s popularity in the indigenous music performances. some instruments that can be used for amplification of their instruments and songs sound during performances is a big challenge. however, the problem of hiring boys or men that will help them transfer, transport or setup those instruments will cost them money or delay which may not give them the desired services needed at a particular point in time. therefore, going with portable ones may not give them complete harmony. anugwa (2018) posits that, the nature of women has made it in such a way that they use the following instruments for performance. these include: basket rattles (oyo, uya) , gourd with chaplet beads (ichaka, nsaka), giant metal bell (alo, ubom, ivom, nkwong), wooden clappers (aja, oja, ukwu-nkwo), clapperless bell(ogene, ugene, akan). they also use the water pot. this instrument is of two types, a bigger one hole and a smaller one with two holes (p.245). looking at the above statement clarifies that women are confined to the use of some lighter and portable instruments that do not produce heavy sounds as regards women’s exposure and popularity in their indigenous music. superstition and ignorant attachment in some communities belief most communities still believe in superstition as regards women's musical performance and its exposure for popularity. meanwhile it is a set-back to modern day women in musical practices. ibekwe (2018) infers that; women in lgbo traditional setup do not have the privilege of moving from place to place entertaining people with music neither do they have the approval of doing apprentice job under the tutelage of well-known musicians just as men do. women 327 awka journal of research in music and the arts (ajrma) vol 17 june 2024 who are involved in such serious public displays (apart from traditionally approved folk and group performances) are considered wild and promiscuous. the person is seen as going against the societal stipulations which expects every woman to remain docile and submissive even against her wish, and for a prospective young woman she rarely gets proposals for marriage as such women are seen as being unruly and uncontrollable and prove to independent life style. it is only a very insignificant percentage of men that can allow or tolerate a serious performing musician as a wife (pp.205-206). nevertheless, when seen is the case, it will be difficult to popularize women in their indigenous music for positive exposure. elegbe(2022)ascertains that; african culture is unfavorable to women. the patriarchal system of our society promotes women subjugation and gives men power over women. i think there is need for us to check ourselves and traditions and do away with those that do not embrace gender equality (p.70). lack of knowledge in the use of information and communication technology(ict) looking at the challenges facing popularizing the women indigenous music performance, lack of knowledge on the use of ict in this modern world is a problem because most women do not show seriousness in learning the use of computers as regards music generally and indigenous music in particular. modeme and nnodim (2022) opine that; the nature of our society is men dominating right from the beginning. so work done by women in some communities are never recognized and appreciated even their contributions in music. researchers have observed that there is lack of in depth understanding of the use of in-depth understanding of the use of icts for women’s empowerment (p.88). therefore, growth in modern technological advancement has to be observed and applied by women in the indigenous music performance so as to popularize it. inadequate funding and sponsorship problem financial difficulties and lack of sponsorship can hinder the issue of popularizing the women in indigenous music performance. nonetheless, when any community women music is meant only for entertainment without adequate funding and sponsorship for exposure, such musical group will retire to its shell or revolve only around small unit for miniature financial gain instead of extension of performance to the larger society that can attract individual and government grants or subsidy. with adequate funding and sponsorship, such music can gain patronage to travel abroad for special performance. forchu (2017) posits that, “indigenous music should always be encouraged by the stakeholders because through it, many ills in the society are brought to the fore and corrected” (p.136). this is where the issue of adequate funding and scholarship arise. popularity of western musical instruments over african musical instruments most bands and indigenous music performers make use of western musical instruments. some people prefer it to african musical instruments and this hampers much use of the traditional ones which most of the women’s groups use for their indigenous music. nwabufo (2023) infers that, “the popularity of the piano-keyboard, guitar, violin, saxophone, autoharp etc. in the study of music has downplayed the relevance of several other musical instruments such as the harmonica” (p.31). 328 awka journal of research in music and the arts (ajrma) vol 17 june 2024 conclusion there are rare exposures of indigenous music women performances in most communities in africa. as such, women's involvement in indigenous music performance is not given the rightful recognition in the society but they are the major custodians of our cultural heritage from the homes to the entire society for generational transmission and transfer (g.t.t). the research has ascertained that the women in different communities participate seriously in indigenous music to pass to the society the morals, ethics, customs, traditions and their general culture. however, they are to be given the proper exposure and recognition for popularity purposes. as such, if that is done, it will add to the society welfare and development for better living. hence, the women are the major custodians and carries of our culture through their indigenous music performances. it is also the channel through which igbo indigenous music creates avenue for the women to challenge men over intimidation, marginalization and subordination of their female folk nature. ibekwe (2018) states that, “there is no community in igbo society that exists without various groups of women performances or dancers” (p.208). recommendations for the popularity of women in indigenous music performance for communities and development growth, much exposure and recognition should be enhanced. the researchers therefore recommend that;  obosi/igbo women should be encouraged to promote their women in indigenous music practices and performances through adverts and awareness.  the society should enhance adequate documentary and archiving of the women’s indigenous music as well as generational transfer of such music.  indigenous music should be encouraged to be performed in the governmental gatherings like independent day and children’s day celebration.  government, nongovernmental and individual organizational foundations should organize indigenous music carnivals for women to promote their identity and integrity.  curriculum planners and policy makers should also be attracted to consider it in the school syllables.  seminars and symposiums should be organized to teach the women in indigenous music for exposure and portrayal purposes.  community philanthropists and special personalities should be attracted as patrons of the women in indigenous music.  individual and group sponsorship should be given to women of indigenous music performances.  aids, grants and subsidies will be very useful to promote the popularity of women indigenous music.  more so, the use of major nigerian multi-lingua languages or the lingua franca can be applied to expose the popularity of such music. references adetunji, t. 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(2022). gender inequality and household decision making in benin city, edo state, nigeria. international journal of gender studies & research (ijgsr) 7, 174181. interview/personal communication alex obi (aka diokpa ire) and clement emekwue (aka ogbueshi mentus). monday, 20th may, 2024 9.30am – 12.05pm. ire village, obosi. tonemic substitution 69 egwu-ekpili in anaocha community: aesthetic and dynamic use of the folksongs as a tool for sociocultural communication kate ndubuaku offor abstract any writers on african music have emphasized the extramusical roles and functionality of traditional music. attention has been drawn on the place of music as not mere art but as the life wire of various communities, making music a valued product integrated to all aspects of human life in africa. similarly, musical instruments have been noted to be significant in the execution of various forms of music, with many communities and cultural contexts utilizing and promoting musical instruments available in their social contexts. the body of musical outputs from africa constitutes a strong cultural heritage that africa boasts of and is constantly contributing to the global musical expressions. indeed, african traditional music permeates the totality of a people‟s culture and life style. while so many musical traditions and specific styles have been given research attention, some critical and significant musical types remain untouched, denying researchers the inherent potential of such music. egwu ekpili ensemble from anocha in anambra state falls in this category. this paper, therefore, focuses on the egwu-ekpili ensemble in anocha community of anambra state with the intent of discussing the nature and specific norms of the music but with particular attention to the communicating power of the music in its peculiar aesthetic and dynamic forms. attention is also given to the instruments and the uses of the ensemble in the society in the presentation. data were m awka journal of research in music and the arts (ajrma) vol. 14 2020 70 collected through interviews, review of related literatures and observation. findings were made and possible solutions proffered. introduction anocha is a community in anambra state, with many forms of cultural expression including traditional musical performances. the musical tradition of the people of anocha is rich with several varieties featuring instrumental, vocal and a combination of vocal and instrumental ensembles. many folk songs are performed individually and collectively with many featuring in different traditional events. some of the folk songs bear extra-musical import and facilitate communication of cultural norms and values among the people. while this is not peculiar to anocha people, it is a practice that is significant and valued by the people in their music making. thus music is, quite often, an expression of cultural value beyond the sound and entertainment value of the music. one of such musical types is the egwu-ekpili. this cultural practice ties with the well-known practice of utilising music as a critical tool for communication, exploring its aesthetic and dynamic nuances. music is generally a product of organised sound by man which eventually is employed in various aspects of human life. it could be produced by the musical instruments, human voice or both, as already stated. music has therefore, traditionally played a very important role in the cultural life of the people and represents a strong anocha heritage. in certain ways, it is a form of communication and media which plays functional role in the anocha society. this paper therefore, focuses on the aesthetic practice of utilising folk tunes to communicate messages to the public within the anocha cultural milieu. conceptual framework aesthetics: aesthetics is the concept that describes the idea of beauty in arts. it generally attempts to capture the notion of value 71 and acceptability of arts within a cultural context based on the acceptable codes of the people. the culture and the owners therefore define what is acceptable or beautiful in the arts and how such applies to their creative endeavours and well-being. thus a given musical performance may be exciting and aesthetically valuable based on the functionality and social relevance attached to it. okafor (2005) affirmed that the essential thing is that: man consciously sets out to compose music of a certain type, of a certain effect, of a certain use and of a certain shape just as he consciously sets about to combine or assemble certain compounds and elements into a product of a certain type, colour, shape, texture for specific use by targeted customers or users (p. 385). folk music is always characteristic in a given culture, signifying several things in the cultural context. every society extols its own musical heritage and promotes it for the various cultural roles they play. an igbo adage says:“nku di na mba na eghelu mba nni” (the firewood found in a given town is what is employed in cooking food in the place.) thus folksongs are not performed for the mere fun of it. it must have a serious purpose or be attached to a serious occasions within or outside the community. in this regard, nketia (2004) posited that the yoruba choral groups are not organised on musical value rather, their organisation is based on activities and functions which are considered primary. describing egwu-ekpili, nzewi (2006) stated that the primary principle of aesthetics in indigenous style is the pure tradition of the group and refusal of the acceptance of modern trends. they are purely native performers, they reject genre at any level with influence of western tradition. egwu-ekpili makes use of some selected musical instruments found in anocha such as ichaka, 72 (beaded rattle) ogene nkpinabo (double bell),elele (bamboo stick), une(still product of bamboo) and udu(musical pot with double holes). the ensemble occasionally includes oja (wooden flute). dynamics: the dynamics of egwu-ekpili performance presentation is highly aesthetic in nature. the level at which the performers respond, entertain and play their instruments often stimulate the audience to dance and this leads to the achievement of the musical and social intentions of the music ensemble. there is generally a mutual relation that exists between music, dance and audience during performances. the high level aesthetical and stylistic appearance during performances makes the group very popular in anocha, making egwu-ekpili to be highly sought after for social events. they perform, play their instruments and sing their folk tunes in good volume and with slow transitions. the audience is also actively and critically involved in the dynamics of egwu-ekpili presentation. it is often understood that in african traditional music, the beauty and excitements that pull the population or audience may result from the techniques applied in adding melody, harmony and rhythm to the music performance. dynamics can also be used to dramatise the performance at the end of the music with instrumentalist instrumentation and the response/refrain. the blending of the instruments also results in an interesting output during the performance, by controlling loudness at the right times in the music. messages: song texts provide access to meanings, values and social issues in various cultural locations. songs therefore constitute integral part of cultural literature orally transmitted from one generation to another. quite often indigenous musicians employ local languages in their various dialects to present and communicate to the public the essence of the folksongs and the messages contained in 73 them. thus, traditional music makers are known to use vernacular language more often to communicate their music to the society at large to enable the song texts permeate the entire life of the society. egwu-ekpili group is an example of such cultural practice. the group‟s folksongs are presented in the language and dialects of the people which permeate the entire igbo people added access to the social, cultural and moral meanings and implications of the texts. these feature on such occasions as religious, political, protest, social, rite of passage and christian activities. rendering the songs and the messages in local dialects draws the people to the music, making them enticing and artistic in style. stylistic and dynamic use of the local language and dialects in the song texts provide aesthetic appeal and stimulate communal interest in egwu-ekpili music. the group boasts of very popular and well-known song titles. an example: 1. ebulu jeman jemanje oriaku oriaku inokwa no uno oriaku efuomu inokwa na uno this generally translates to: wealth eater, wealth eater, are you in the house? wealth eater i am missing, are you in the house? social access to the songs by the audience enables aesthetic judgment after each performance. for instance, the people might say “egwu a atoka”, meaning “the music is very sweet” or “ogulu ya ofuma”, “the music was well rendered.” oluyemi olaniyan in his article in the hand book of methodology in african studies affirmed that in the yoruba society for example, there are terms used to describe the quality of music performed by any artistes or a group of artistes such terms like “ohun iyo” (the voice of salt) means it is sweet voice “ohun goodoro”, (smooth voice) means sonorous voice, “ohun oro” 74 (treatment voice) means vibrato voice which is most suitable for the rendition of mournful songs. an artiste who possesses these voice qualities is described as “oludun iyo, ololun gooro” and „olulun aro”, as the case may be (1999: 57). the above is applicable in igbo land and in anocha area. they use the terms “onu-okwa” – partridge voice, “onu-ogene”-bell voice. in igbo community for instance there are lots and lots of them. in anocha for example, egwu-ekpili explores vocal resources for their performances. similarly, igbo highlife songs gain popularity by use of local languages. an example by osita osadebe is “oso ndi owe ndi.”blacking‟s (1976) expression of music as “humanly organized sound” finds validity in the use of folk music in various aspects of human life and in the language accessible to them. okafor (2005: 385) stressed that “since man uses music to express or communicate an idea or emotion, music then is a language, it universally lies in its occurrence in every culture.” theoretical framework egwu-ekpili performance: the writer anchored this paper on akpabot‟s (1986) theory that states that from the day an african is born up to when he attains manhood, marries and eventually dies, music plays a very important part in his daily experiences and the behavioural patterns in a given society (is) to a large extent dependent on their musical life. concepts this theory is in support of this paper that focuses on the music performance of anocha people with their local instrument and folksongs called egwu-ekpili which is a kind of minstrel music. it sends message, sometimes with proverbs. it gives information to the society. egwu-ekpili acts as a medium through which information is 75 disseminated to the community. in anocha community eze and ozo tilted men make much use of the group by hiring them during their celebrations which may be religious, social, kingship coronations, political and rites of the passage and soon. members of the communities are also free to invite them during marriage ceremonies, chieftaincy title taking, etc. in general, egwuekpili originated from the gatherings during the moon light games often after supper to tell tales in different village settings. according to akpabot (1986: 1) “it is not unusual to find musicians in an african villages gathering together after supper to make music in the moonlight for the fun of it.” egwu-ekpili is popular in anocha community because of the series of performances they present during events they attend and how they entertain their audiences. their creative use of folksongs and instrumentation provide exciting moments for the people. they have very good unique local instruments which play speech melody, intricate rhythms and they deliver their messages through songs in rhythmic and artistic manner, delivered with very good tempo and aesthetic cum dynamic moods. there are other musical groups in anocha community such as egwu-ubo, ogene music, igba, ndioma, odenji, to mention but few. all these groups have their musical out fit with their different instruments. but egwu-ekpili is highly cherished in the community and has brought more benefits to the community through their performances for the politicians. such politicians reciprocate the good music presentation by providing social amenities such as street lights, drinking water, tarring of some village roads and restructuring of some school buildings. this is because the folksongs become means of conveying the needs of the people to the politicians. they deliberate on the information and subsequently take action. egwu-ekpili group therefore plays very important role in anocha community because through their music presentation, their 76 messages to the people are passed onto the society and such messages influence the young and old through teaching them good morals, social ethos, etc. these influence and help them to live together in the community. their performance songs are determined by the musical context available for that moment. it would be recalled that fela anikulapo kuti also criticized the government and sang about their ills through his style of music called afro-jazz, afro-rock or afro-beat, but egwu-ekpili is quite different from the above mentioned though they also talk about societal issues and ills going on in the village or community for corrections. they also sing about anybody with bad character from the women and men in the community. egwu-ekpili is a very serious group of musicians that perform african traditional music to reform, transform and inform with their pure local instrument that are very unique when compared with other musical instruments. like elele – from bamboo is a talking flute, but is not common instrument. it is locally made and owned by the community. egwu-ekpili also functions as praise poetry to draw attention to particular matters in the community with the sense of musical rendition style that reflects the mood and manner of application. egwu-ekpili folk musicians are regarded as good, capable and can utilize compositional materials or devices in the environment. olaniyan states that african music, therefore, is the music treated, performed and enjoyed by africans. the music satisfies african idea and attributes of the philosophy of the people in their various cultures. such music fulfills the usages, role, functions and the artistic and aesthetic phenomena of the people who own the music (1999: 156). the above statement is not far from the cultural practice within the anocha community according to chernoff (1999: 30), african traditional music has been passed on from one generation to another. 77 the artistes are non-literate but highly imaginative, creative, skillful, resourceful and full of initiative. similarly, egwu-ekpili ensemble members are not literate but they are experts on their instruments and folksongs and are people called nwa egwu / umu egwu which mean son of music or children of music. it means that egwu-ekpili performers are quite knowledgeable and the masters of their instruments. though these folks performer are called egwu-ekpili, as the name indicates, egwu is musicwhile ekpili is rattle, locally made with udala seed or ukpa seed, and is stronger and bigger than udala seed (the local apple).there are other instruments used in the performance of the music such as udu (pot) with two holes on the upper side of the pot. the mouth and a hole by the top side of the neck of the pot with ogene mkpi na abo(twin bells), nkpo nkpo called (wood block). elele, made from bamboo tree is also used. amongst the instruments ekpili is the more sophisticated and plays variations in tone that brings out the aesthetic value of the music. though all the instruments blend together, the combination also brings out the beauty of the melody and rhythm of the folk music. folk music is a form of cultural indicator and transmits information to the society. lomax (1968) affirmed that music is an-all-embracing art within an african society. folk text has been described as culture agents that reveal a good measure of the people‟s life, cultural ethics, norms and general pattern of life (p. 41). the folk songs which the egwu-ekpili musicians perform are quite many. they are performed with their musical instruments. the folk tunes are either for encouragement, praise, talking about the ill of the community or information they can use. examples of the song texts are as follow: 78 song for a lazy man 1. ebulu jema je maje ebulu jema je ebulu je aha ebulu jema je ebulu je 2. emehalu bia je olu anaghi mu ejeooo (response) na chi mu fulu m n‟anya, iyo bia je nku anaghi mu eje na chi mu fulu m n‟anya iyo come and work no i will not work my god loves me come and go to fetch fire wood no i will not go my god loves me encouraging folksongs message of faith call response 3. nwa nne m, nwa nn m nwe nchekwube ebegbuna onwe gi nwe nchekwube chukwu kwu na azu nwe nchekwube english my son, my son have hope my son, my son have hope god is at your back have hope song for peace english call response 4. kwe nu udo, udo o – o shout peace peace udo ga-adi, ebe ifunanya di where there is peace ebe afu ka udo ga di that is where the peace will be 79 song for wealthy man call response 5. gbulu tufu gbulu, gbulu tufu gbulu tufu gbulu, gbulu tufu isi efi, gbulu tufu gbulu, gbulu tufu isi inyinya, gbulu-tufu gbulu, gbulu tufu kill-down, kill, kill-down kill-down, kill, kill-down head of cow kill-down, kill, kill-down head of horse kill-down, kill, kill-down factors that affect egwu-ekpili in contemporary times  lack of strong leadership. economic empowerment–people that hire them do not really pay what they deserve and this therefore hampers the maintenance of the instruments and hinders the scope of performance and rehearsals. because of the prevalence of performance, members are sometimes full of ego, pride and boasting affect proper functioning of the ensemble. life pattern/lifestyle of members also affects the attitude of members to group rehearsals and performances. every member seems to be a leader unto himself/herself, weakening the leadership structure.  lack of punctuality to the rehearsals and performance. disobedience to the rules and lack of punctuality to rehearsals affect the group. argument on folk song text selection causes misunderstanding and malice among the performers. egwu-ekpili performers are not the conventional trained musicians and this brings inferiority complex when it has to do with educated/elite musicians because they are mainly based in the community where they practice the cultures and term it to be primitive in nature. they feel inferior and try to avoid group 80 activities. egwu-ekpili ensemble as an autonomous group contributes to musical performances and musical knowledge in the community. recommendations because of lack of strong leadership the people that hire them take it to be an unserious group of performers and have no regard or take them seriously. so the group is required to reassess their attitude and leadership structure to enhance the group‟s reputation. awareness should be created about what music is conventionally, and the contributions it makes to the society. when awareness is created there would be renewed understanding of the relevance of the music. this would make so many youths in the society to embrace the music. it was said that charity begins at home. the love of music must begin within the life pattern of individuals. onwuekwe, (2015: 99) stressed that the music of people portrays the way of life of the individuals within the community. in short music is an expression of the people‟s culture. anocha community as a whole is endowed with very rich musical and cultural heritage and with such musical awareness the group will be recognized beyond their local community. when a knowledgeable person becomes the leader, there will be a strong group that will give the music a good name and it will remove inferiority complex from the group. conclusion since attention has been called to the neglect of the ensemble music‟s existence to the appropriate headquarters, it is expected that there will be a change-in approach in all ramifications of attitude, creativity and performance presentations of the group. understanding of musical ideas and knowledge will develop potentially interesting players to join the musical group. appropriate learning of the music will be done. members will be more serious with the music practice both in the song aspect and in playing the instruments. the 81 economic empowerment will be visible and directed, while maintenance of instruments will be achieved. egwu-ekpili therefore makes significant contributions in the communication of cultural, social and educative messages to the community of anocha, while contributing to youth empowerment and development in the place. it requires that the group takes their social responsibilities seriously and develop their creative talents for high-level musical performances. egwu-ekpili ensemble instruments udu (pot) ichaka wooden block 82 udala (rattle) ogene (metal bell) elele (indigenous flute) references akpabot, s. (1986). foundations of nigerian traditional music. ibadan: spectrum books. mans, m. (2006). centering on african practice in musical arts education. pan-african society of musical arts education: south africa: african minds publisher. nzewi, e. n. (2006). centering on african practice in musical arts education.. pan-african society of musical arts education: south african: african minds publisher. onwuekwe, a. i. (2006). a journal of the association of nigerian musicologists, vol. 1 & 2. okafor, r. c. (2005). music in nigerian society, new generation ventures limited, enugu. nketia, k. (1979). the music of africa, london. onyeji, c. (2006). centering on african practice in musical arts education. pan-african society of musical arts education: south african: african minds publisher. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 151 ogoro-ugwuoke: an explorative research composition on ikorodo music of nsukka rev. fr. dr. benedict agbo department of music university of nigeria, nsukka frbenagbon@yahoo.com & ikenna jonas eze department of music university of nigeria, nsukka ikennajonasme@gmail.com abstract music is an aspect of creative expression by which scholars try to capture and articulate their ideology, religious and socio cultural background through composition. in this era of post modernism and post structuralism, composers are bent on thinking in new ways and new perspectives. arguably, ikorodo traditional music has not been fully explored in both the area of vocal and instrumental composition. ogoro-ugwuoke is a piano composition that derived its compositional materials from the musical elements and idioms found in ikorodo traditional music of nsukka people. this article examines the possibilities of using these materials in a post structural compositional domain leveraging on the concept of african pianism as already highlighted in the works of akin euba, joshua uzoigwe, christian onyeji and others. using recordings from the field work, discussions/interviews, transcription and analysis of traditional music and library reviews, ogoro-ugwuoke provides both a theoretical and practical platform that aids the study of traditional music which could be adopted for other non-western traditions. it exposes selected musical elements and idioms of ikorodo traditional ensemble to the world of composers. the composition adds to the repertoire of art music and is therefore envisaged to foster creativity in not only students studying composition but art composers who use traditional elements in reconstructing their imaginative ideas in music creativity. keywords: ogoro-ugwuoke, african-pianism, research-composition, ikorodo traditional music introduction the contemporary era is an era of exploration when scholars (composers inclusive) are inclined irresistibly towards the novel; towards the unorthodox and unconventional. the movement is against traditional structures, rigid definitions, mental representations, and so on (straus, 1990). in musical theory, analysis and composition, this avant-garde movement has not been moribund. modern compositional techniques have since emerged such as pandiatonism, polyrythm, bitonality, minimalism and so on. post structuralist thought has placed a great emphasis on the disruptions and discontinuities in musical mailto:ikennajonasme@gmail.com awka journal of research in music and the arts (ajrma) vol. 16, september 2023 152 structuralism or musical essentialism especially in the areas of musical analysis, musical aesthetics and appreciation – a tendency towards developing an intellectual “resistance to totalizing explanations” (straus, 2009). this movement, albeit, has not been without oppositions. according to straus (1990), it is true that analytic studies during the past 30 years have been directed towards the demonstration of organic coherence. it is not true that it need be the case…i often describe the kind of musical coherence that is fraught with unresolvable tensions and is thus decidedly anti – organic in nature…traditional elements are incorporated and reinterpreted, but not effaced. rather, the past remains a living, forceful presence (pgs. 184 -85). straus (2009) argues that in the works of “new musicologists”, traditional analytical categories, such as the dominant/sub dominant harmonies, sonata form, and so on, continue to play essential roles despite the paradigm shift in theoretical/musicological freedom. analysis remains relevant. “one cannot talk about musical structure without analyzing them, without theoretical categories. whatever one’s ideology then, the question is not whether or not to analyze, but simply how and towards what end” (p.2). in as much as we borrow post – structuralist thinking in other fields like linguistics and anthropology, we must remain conscious about the peculiar nature of the musical endeavor and avoid what agawu calls “conceptual definitions of unrelatedness” (agawu, 1993: 96). we underscore music’s closeness to language, since both have a communicative system. developing post structuralist thoughts in linguistics naturally overlap into musicology (hongur, 2017). halle (2015) observes that “the most interesting result of this change in the field of music may be the development of a generative theory of tonal music by lerdahl and jackendoff. the demise of structuralism can be traced to the rise of generative grammar initiated by noam chomsky’s work of the early 1950s. the paths of generative linguistics and music theory have since crossed” (p.8). in this paper, we have chosen to carry out a compositional research experiment on ikorodo music. ikorodo is a maiden dance found among nsukka people of enugu state, nigeria “with men usually serving as instrumentalists and young maidens as dancers” (opara & agbo, 2022: 499). ikorodo is a piece of musical enigma full of explorative possibilities in poly rhythmic and poly melodic compositional elements. the hocket technique of the horns, the freelance master role of the membrane drum and the intricate artistery behind its dance and lyrics, all present a fecund medium for experimental research employing the tools of modern compositional techniques. we have chosen ogoro-ugwoke, the hit track of the typical ikorodo ensemble in nsukka metropolis for this explorative study for the following reasons: 1. its hot rhythmic and percussive dispositions and effects. 2. its bitonality features. 3. the possibilities of exploration inherent in this track. ogoro-ugwuoke is derived from the name given to one of the ikorodo traditional dance tracks. the paper provides an insight into the thought processes of creative ethnomusicology by offering a guide showing how twenty-first century composers can use african musical idioms in their creative works. the traditional idioms of ikorodo traditional ensemble were collected and analyzed through melodic, awka journal of research in music and the arts (ajrma) vol. 16, september 2023 153 rhythmic and harmonic content. the paper examines the bi-tonality which occurs at the horns sections and creatively applied it in the piano composition. ogoro-ugwuoke is a piano composition that draws its compositional materials and idioms from the ikorodo traditional dance of nsukka people of enugu state, nigeria. it adopted the concept of african-pianism and research-composition in realizing the compositional work. the music is in ternary form and this paper presents a panoramic view and an analysis of the piece. concept of african-pianism african pianism describes the approach of composition that combines african and western elements for the piano (boamah, 2012). this concept developed over a period of creative search for a new approach to modern african art music composition in general and for the piano in particular, by african art music composers of the later part of 20th century. the concept of african pianism was pioneered by akin euba and subsequently endorsed by other african composers. euba (1989: 151) further states that techniques used in the performance of african instrumental music in general would form a good basis for an african pianistic style. the ingredients of african pianism include (a) thematic repetition, (b) direct borrowings of thematic material (rhythm and tonal) from african traditional sources, and (c) percussive treatment of the piano. the idea of african pianism is to let the piano act like an african instrument. for composers to adopt the african pianistic styles, there is need to have deeper and clearer knowledge of african musical elements. kofi agawu (1999) argues that for musicians from africa to compose for the piano, they need to study very well, rhythm in african music. in affirmation to agawu’s opinion, onyeji (2013) argues that composers need to carry out an in-dept ethnomusicological research work on african indigenous music so as to acquire clear understanding of the african compositional idiom, principles, theory and logic that would guide their art composition. onyeji (2013) endorsed the adaptation of ethnomusicological procedure as a necessary route to the composition of african art music. this article endorses onyeji’s ethnomusicological procedures and tries to leverage on that for further exploits. african composers who intend to compose based on traditional idioms must carry out ethnographic and musicological studies on the traditional music of their choice. they must grasp and keep abreast with the creative theories, principles and practices of the music tradition they intend to explore (onyeji, 2013). a composition can only be uniquely african when it is rooted in the traditional idioms and in line with african theory and practice. still on ethnomusicological procedures, uzoigwe opines: “most of my works have been influenced by my analytical studies of the ethnography of musical performance in african societies; they therefore, involve the utilization of traditional elements and techniques, as well as a positive assimilation of qualitative and useful foreign ideas and creative methodologies”. re-echoing the views of euba, the pioneer of african pianism, “an intimate knowledge of the theory and practice of traditional music is a key to the discovery of existing new creative and performance techniques based on african models” (euba, 1987: 32). ethnomusicological procedure is the key to understanding the creative norms of african music (onyeji 2013). these concepts: african-pianism and the application of ethnomusicological procedure were greatly explored by the writers in the compositional work. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 154 research-composition research-composition is a term used to explain the applications of research materials gotten from the field work for compositional purposes. here, the motif used in the composition is not just a product of fantasy or imagination, but that gotten from the data from field work. the utilization of musical elements and idioms gotten from the traditional music, exploring the harmony, scale, rhythm and tonal organization in accordance with the african music theory and practice creates the uniqueness and identity which makes it african. in affirmation to that, onyeji (2013) asserts: for african composers to command worldwide attention, the advocacy is to systematically incorporate uniquely african musical elements in their works and adopt the african compositional theory and practice. ikorodo ikorodo is the name given to the ikorodo traditional dance of nsukka community. it is one of the most popular indigenous music of nsukka people. nsukka is a town and local government area in south-east nigeria of enugu state. it falls into the zoning system in nigeria known as enugu north senatorial zone. nsukka local government area has an area of 1,810km2 and a population of 309,633 at the 2006 census. ikorodo is a traditional dance virtually owned by every community in nsukka. ikorodo is one of the oldest indigenous music of nsukka community that is still in existence. according to ikete onyishi1, one of the oldest men (onyishi) of nguru nsukka community who happened to be among the first set of ikorodo group of odoru community: ikorodo is a maiden dance for the young girls who are not yet married, young girls ranging from the age of 15 years and above who have the ability to twist their waist while dancing to the rhythm of the music. once any of the girls gets married, she leaves the group. the instrumentalists are usually men who are very skilful in playing musical instruments both the married and unmarried men are allowed to the play the ikorodo musical instruments. (personal communication, february 15, 2021). ikorodo is one of the traditional dances which is performed on special occasions like ofala festivals, funeral ceremonies, burial ceremonies, chieftaincy ceremonies, to mention but a few. they have also performed on different occasions round the country through invitation. methodology traditional idioms of ikorodo ensemble were collected and analyzed through melodic, rhythmic and harmonic content. these are conventional methods of analysis that include macro analysis, extensional and intentional analyses. macro analysis involves transcription of recorded ikorodo traditional music. details such as musical structure and performance style in solo-response form were all noted. extensional analysis describes the music itself such as tempo, timbre, pitch and language, which made it easier for the classification of the ikorodo traditional music, while intentional analysis highlights the awka journal of research in music and the arts (ajrma) vol. 16, september 2023 155 qualities that make up the ikorodo traditional music. this includes melodic and rhythmic pattern of the ikorodo traditional music. these traditional elements were analyzed and used to create a piano piece, ogoro-ugwuoke. general findings harmonic principles harmonies in nigerian traditional music are usually in thirds, fourths, fifths and sixths apart. instrumental music, we know, borrows much from vocal music; but the instrumental musicians have more harmonic options open to them. the idea of harmony in fourths and fifths is used, but since no vocal inflections are involved, the musicians are free to vary their harmonic lines. the harmonic principles which are employed in the ikorodo instrumental music are seconds, thirds, fourths, fifths and sixths apart. melodic organization every melody in nigerian traditional music is generally controlled either by speech pattern or instrumental constraints. with very few exceptions, these melodies are usually short, repetitive and in unitary, binary or ternary forms with no modulations from one key center. hocket technique is mostly used in ikorodo music to produce melodies especially at the horn section whereby a horn is capable of producing only three notes, while some horns can produce only two notes and others only one note respectively. the oke opu (horn 1) plays the melody with ornamentations on different notes. una (horn 2) supplies the inner part of the harmony in a relatively hocket style. the tuu (horn 3) lends syncopation to the rhythm and produces just one note at strategic rhythmic moments. mgbe (horn 4) is the bass horn, and so supplies the lowest note of the harmony. (nwakaego & umezinwa, 2015: 130). this technique is prevalent in ikorodo music. the african is certainly conscious of a theory behind his/her musical practice; hence he/she may reject or accept certain tones as belonging to his/her musical style and does not recognize such thing as tonal center. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 156 rhythmic principles ikorodo traditional music has a mixture of both duple and triple time. ekwueme (2004) identifies such rhythmic patterns above as typical to the igbos and calls it the clap pattern, bell pattern or standard pattern. ikorodo music has a rhythmic pattern that is very prominent and peculiar to them. instrumentation african musical instruments are classified into four types namely: idiophones, membranophones, aerophones and chordophones. our traditional musical instruments are constructed based on the natural resources available in our environment. this reinforces the fact that the traditional-igbo understand that nature is musical. the ikorodo instruments are artistic and it includes wooden-slit (ekwe), drums (igba), local flute (oja), metal gong (ogene), maracas (oyo/osha), and horns (opi). the musical instrument used for ikorodo music involves series of horns as earlier mentioned: first horn known as oke opu is for melody and rhythm. second horn known as akpa or una is for harmony. third horn known as tuu is for leading the vocalist who is the leader. fourth horn known as mgbe is for bass and balancing the sound of the music. all these are for melody and it helps in curing high blood pressure and makes them happy in any given environment (ekwerou, 2003). in the primitive stage, the indigenous instruments were made; to find any of these musical instruments today is a major task, since it is not readily available. many of these musical instruments are now reproduced by the blacksmith in metal form. figure 1 below is a picture of the instruments used in ikorodu dance: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 157 performance techniques in african performance, the audience is actively involved. participatory observation is what africans are known for. through the use of hand clapping, ululations and body movements, igbos make their music performance quite lively and dramatic (nzewi, 2003). our traditional performance is always lively due to the active participations by the audience. ikorodo music has a unique way of dancing which involves waist movement, alternate stepping forward or backward and shaking of the body (agbo, 2015). their performance costume is artistically decorated to make their performance unique. ikorodo traditional music is lively, rhythmically challenging, melodically interesting and over all rich. fig. 2 above shows a picture of ikorodo dancers in action. scale/tonal organization of ikorodo traditional music the scale produced by the combinations of the four horns used in ikorodo traditional music is pentatonic scale. there is evidence of bi-tonality in the horns section, the horns were moving around keys namely: g minor and b flat minor. the music frequently falls on the sub-mediant. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 158 musical except from the piano piece “ogoro ugwuoke” awka journal of research in music and the arts (ajrma) vol. 16, september 2023 159 the music captured the essence of ikorodo traditional dance music of nsukka people, for the piano. the piece is structured in ternary form aba, utilizing the pentatonic scale produced from the polyphonic melodies by the horns. the piano simulates the harmonic and melodic style of the horns, as well the percussive instruments of the ikorodo ensemble. the reference pattern by the wooden block is one of the distinctive features of ikorodo ensemble that makes it unique from other traditional music of nsukka people. the right hand simulates the polyphonic melodies from the horns. at section a, the first four bars of the piece formed the theme of the composition, which was repeated with variations at bars 5-16. the left hand maintained the reference pattern which is captured from the wooden block instrument of ikorodo ensemble with little variations at bars 6-7, 9-11, 14-15, 17-19, 21-28 respectively. a conversation was established between the right hand (treble clef) and left hand (bass clef) at bars 21-24 in a form of call-and-response style which is one of the distinctive features of african music. there is a repetition of the theme at bars 29-32 which marked the end of section a. the developmental section b started at bar 33 with entirely different rhythmic movement by the left hand while the right hand maintained the reference pattern from bars 3446. the drum improvisation is captured at bars 37-46. from bars 47-54 is a conversation between the treble and bass clef in a call-and-response style. the b section end at bar 57 with a sign of fermata. there is recapitulation of a section at bar 58 which runs till the end of the piece. t here is evidence of bi-tonality at the ikorodo horns section which was captured in the composition. the music was moving in two keys namely; g minor and b flat minor respectively. the evidence of these two keys created some sort of atonal sense in the music. the harmony and texture of the song are conceptually linear but multilinear polyphony that characterizes the traditional music is dominantly used. harmonic style of 2nd, 4th, 5th and 6th were used in the composition. the scale used for the composition is pentatonic which is derived from the horns instrument. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 160 conclusion african pianism has become one of the unique ways by which composers explore the traditional music around us by harnessing the creative features and compositional materials that are embedded in our traditional music. for composers to utilize the traditional musical elements and idioms in their compositional works, there is need to embark on ethnomusicological research-composition. there is need for african composers to have a clear understanding of the theories of african music and its application so as to compose a music which can be authoritatively african in all ramifications. and beyond this, there is even more need today, from a post structuralist mind set, for a freelance reinterpretation of the essence, structure and medium of every musical genre or idiom and to project variant nuances of musicality beyond the traditional context. this allows a musical composition to go beyond its original purpose to serve other multiple unstructured purposes. this is the experimental task which this paper has tried to address, taking a track from an ikorodo ensemble away from its original home, so to speak, and its original structures, to create a new world of entertainment and contemplative appreciation. post structuralism, like other contemporary movements in music, the wider arts and humanities encourage the visit of many and much more vistas or domain. references agbo, b. n. (2015). inculturation of liturgical music in the roman catholic church of igbo land: a compositional study. a doctoral thesis submitted to the department of music, nnamdi azikiwe university awka. agawu, k. (1993). does music theory need musicology? current musicology, 53: 89 -98. ekwerou, b. c. (2003). traditional conservation methods as a way of life in igbo communities (international symposium harvesting and sharing indigenous knowledge in africa) owerri. 340-357. ekwueme, (2004). essay on the theory of african music. lagos: lenaus publishing ltd. boamah, e. (2012). the concept of african pianism. legon journal of the humanities vol. 23, (p.1-4). euba, a. (1969). music in traditional society, l. allogoa (ed), lagos: nigeria magazine, no 101, july/september. euba, a. (1987). the african guitar 3, knowledge of traditional music is key to performancve. african guardian, june 4. euba, a. (1989). essays on music in africa 2: intercultural perspectives. bayreuth: bayreuth african. hongur, g. (2017). structuralist paradigm and music. notes on structuralism, music generetivism, cognitive science and philosophy. signata, vol.6: 287 -311 morton, b. and collins, p. (1992). contemporary composers chicago: st. james press. nzewi, m. (2003). acquiring knowledge of the musical arts in traditional society. in anry herbst, kofi agawu, meki nzewi (eds.), musical arts in africa: theory, practice and education, 13-37. pretoria: unisa. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 161 olajunji, a. o. (1997). orin as a means of expressing world-views among the yoruba. journal of yoruba folklore vol. 1 ago-iwoye: ogun state university press. omojola, b. (1995). nigerian art music with an introductory study of ghanain art music onyeji, c. (2013). african art music composition as an ethnomusicological procedure: the nigerian experience. nsukka journal of musical arts research, vol. 2 opara, r & agbo, b. (2022). “music, seduction, and new beginnings: the ikorodo maiden dance of nsukka. ethnomusicology, fall, vol. 66. no. 3. 497 – 519. orajiaka, n & umezinwa, e. (2015). “african music and the search for a new musical paradigm: a study of ikorodo dance group of orba enugu state, nigeria”. open journal of political science, 5 (2), 128 – 137. uzoigwe, j. (1992) akin euba: an introduction to the life and music of a nigerian composer. bayreuth: african studies series. ibadan: institute francais de rechrech en afrique (ifra). straus, j. (2009). post -structuralism and music theory (a response to adam krims), vol. 1. no. 1, a journal of the society of music theory, pp.14. straus, j. (1990). remaking the past: musical modernism and the influence of the tonal tradition, cambridge, mass: harvard university press awka journal of research in music and the arts (ajrma) vol. 16, september 2023 321 applying operant conditioning in preparing students for music tests: a case study of zion secondary school, nnobi umeojiaka, david sopuluchukwu, ph.d. department of music, nnamdi azikiwe, university, awka email: sd.umeojiaka@unizik.edu.ng abstract the use of rewards in teaching and learning has been generally acclaimed to be of great impact in various disciplines, the study of music inclusive. scholarly, rewards as applied in teaching and learning has been debated to either be completely positive or negative. this paper however, discussed the positive impacts of operant conditioning in preparing students for music tests using zion secondary, school, nnobi as a case study. the study adopted a survey approach using ten selected students as a pilot study which was further divided into two different groups, (a) and (b) as experimental and control groups. the library, interviews and observations were used as sources of information. the findings of the study were reported on the analysis pages. the study established and concluded that the application of positive rewards motivates students in preparing for tests in music as well as in teaching and learning generally. it was recommended that material and verbal rewards be employed in teaching and learning to motivate students in performing positively in their academic pursuits. the study suggests that further researches be carried out by other interested scholars in other secondary schools to authenticate the outcome of this study. introduction the reliability of test is usually said to be a measure of the extent to which a test consistently measures what it intends to measure. operant conditioning as propounded by skinner in the context of this paper has been put to trial to ascertain its relevance towards goals in music studies. the attitude of teachers towards the use of positive rewards in teaching and learning is dwindling specially in the aspect of musical studies which this paper seeks to address. it is the hope of the researcher to remind teachers and educational stakeholders the need to emphasize and constantly use positive rewards in motivating students in the study of music especially in preparing students in classroom tests. it is the aim of the researcher to find out whether the use of reward in preparing music students for tests can actually be positive in influencing their academic performances. the researcher who had taught music for some years observed that students face difficulties in studying music. to find out how to motivate students in overcoming the challenge of studying music, he applied the operant conditioning method propounded by skinner and confirmed that students can do well in music when they are positively rewarded. this paper is a survey study which seeks to find out the extent the use of operant conditioning (rewards) has motivated the selected ten jss 1 students of zion awka journal of research in music and the arts (ajrma) vol. 16, september 2023 322 secondary school, nnobi in understanding the subject music and passing music tests. it was the intention of the researcher to find out if operant conditioning theory could be applied in all situations of teaching and learning with particular reference to the study of selected topics in music as shown in the analysis pages at the end of the study. the school studied was a mission secondary school owned by st. paul’s anglican church, nnobi. the researcher through random sampling selected ten jss 1 students of the abovenamed school as his population sample. after administering an on-the-spot performance based test to ascertain their entry behavior, he further sub-divided the students into two different groups a, (the experimental group) and b, (the control group). the white board, marker, music manuscripts and cardboard sheets were used as major instructional materials. the researcher personally taught the class for the period of 45 minutes on each contact two times a week for the period of one term. specifically with regards to this investigation, the researcher used verbal praises, exercise books and monetary gifts as the material rewards used in the study. methodology this study centers on the jss 1 students of st. paul’s anglican church, nnobi in idemili south local government area in anambra state, nigeria. to gather the required information necessary for this study was a problem because music has not been taught in the school as a subject since inception. again, bringing together the selected students for the essential information was also a problem hence the researcher was only allowed to carry out his research during the prep hours after school. the research adopted survey design method in carrying out this research. data collection was through interview, participant observation and the use of the library. the population sample comprised of ten selected students and the school principal from whom the brief history of the school was gathered. brief historical background of zion secondary school, nnobi. zion secondary school, nnobi is a mission secondary school owned by st. paul’s anglican church, nnobi in the diocese on the niger (anglican communion). the school was founded in 2014. the pioneer principal was mr. thompson oladimeji (a youth corps member). the second as well as the incumbent principal at the time of this research was mr. ifeanyichukwu nwosu. the rev. matthew chukwuneme was the school administrative manager as at the time of this research while the rt. rev. dr. owen c. nwokolo doubled as the diocesan bishop as well as the school proprietor. at the time of the study, the school has the total of 180 students with the jss1 students under study 42 in number. the numerical strength of the teaching staff was as follows: full time teachers =10 part time teachers = 5 teaching practice teachers =4 from inception to the period of this research, music was not taught as a subject in zion secondary school, nnobi. because of the shortness of time accrued to this research, the researcher decided to randomly select 10 students of jss 1 of the school to make for easy coordination and possible reliable outcome of the result findings. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 323 concept of operant conditioning operant conditioning simply put is the act of using positive reward in motivating students to learn. the use of reinforcement in arousing the interest of learners has been an age long tradition. however, educational psychologists have argued on various learning theories that can positively influence learning better than the other. struggling to find the most effective method of motivating students to learn, some educators turn to the system of punishment and rewards which up till date are not exhaustive in solving the problem. punishment can be seen as practical solution through which students are forced to learn, e.g. studying, doing their home works, behaving well in class, being prepared for class tests, among other desirable behaviors required for effective learning that can lead to positive academic performance. rewards on the other hand, can produce students who are only interested in the reward rather than the learning itself. nevertheless, with the use of positive reinforcement, a classroom can be well managed. ross (2009), explains: one kind of learning occurs when a child's actions are followed by a reward or punishment. a reward, also called reinforcement increases the probability that behavior will be repeated. for example, a young child may regularly draw pictures because she receives praise from her parents after completing each one. a punishment decreases the probability that behavior will be repeated. for example, a child who touches a hot stove and burns his fingertips is not likely to touch the stove again. (retrieved 8, august 2019, from https://doi.org/10.1177/014662168000400406 ) an american psychologist b.f. skinner devoted his career to clarifying how human behavior is affected by its consequences. he called this process “operant conditioning.” to him, students can be motivated to learn and do well in class tests when they are positively rewarded. this was against the past generations when it was acceptable for teachers to use corporal punishments on students who misbehaved or unprepared for class tests. despite the fact that the contemporary society and the government discourages corporal punishments in schools, hyman (1990) defines corporal punishment as “the infliction of pain or confinement as a penalty for an offense committed by a student” (p. 10). ellen (1998) opines “while there are many systems available to provide for a well-managed classroom, some are more effective than others…” (accesses 17/7/2021 from ematusov.see.udel.edu). based on the above assertion, the researcher investigated ten jss one students of zion secondary school nnobi through random sampling. it is his intention to discover whether the use of rewards (operant conditioning) will be very effective in preparing the experimental group in doing better than the control group at the end of the research. explaining the employment of operant conditioning in teaching and learning, mcleod (2018) explains: operant conditioning, also known as instrumental conditioning normally attributed to b. f. skinner, where the consequences of a response determine the probability of it being repeated. through operant conditioning behavior which is reinforced (rewarded) will likely be repeated, and behavior which is punished will occur less frequently.” https://doi.org/10.1177/014662168000400406 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 324 (accessed 20/7/2021 from https://www.simplypsychology.org/operantconditioning.html). since the study of music could be effectual with the use of positive rewards, the need to try its efficacy in this research becomes imperative. the researcher has therefore embarked on the study regarding the above subject matter and reports the results of his findings in the analysis pages. having the above definition in mind, the researcher has gone deep to find the educational implications of reward in relation to the academic performance of the music students in the aforementioned school. the effects of operant conditioning on music tests writing on educational implication of the operant conditioning, onwuekwe (2019) explains: generally, the learner must do or operate in order to learn. in a music classroom situation for instance, the learner must actually play the keyboard in order to learn. a trumpeter who is learning must handle the trumpet; a clarinetist must play the clarinet; a saxophonist must play the saxophone in order to learn. in the same vain, a dancer must dance, a singer must sing in order to learn. when the learner performs appropriately, she will be rewarded or reinforced positively; but if the learner behaves inappropriately, it will be reinforced negatively. in skinner’s experiment, the concept of reinforcement is illustrated and emphasized. it is also noteworthy that reinforcement depends upon the activity or the response of the learner. (p. 67). considering the above, it could be said expressively that reinforcement is dependent upon response. skinner’s experiment on reinforcement showed that positive rewards enhance learning. in music classroom, effective learning can take place when the students are motivated with both material and non-material rewards like verbal praises etc. concept of test okoye (1996) in onwuekwe (2017:1) defines test as “a process of exposing an individual to set of questions, tasks and statements in order to obtain scores.” in a broader sense, onwuekwe (2017) further said: a test can be defined as a set of questions, tasks or statements that can be presented to an individual, response to which would enable the tester establish how much of a desired characteristic is possessed by the teste. when defined as above, tests may include aptitude, achievement and personality tests. personality test here stands for all devices for assessing non-cognitive characteristic. these tests are referred to as achievement, aptitude and non-cognitive measures. (p. 9). schnitzer (2009) in his own contribution states “psychological testing is a measurement of some aspects of human behavior by procedures consisting of carefully prescribed content, methods of administration and interpretation… (retrieved 8th, august 2018 from https:www.ncbi.nih.gov.>books) bringing the above definitions to a narrower sense, the researcher views tests as those measures that comprise questions or tests, which can have literally correct or incorrect awka journal of research in music and the arts (ajrma) vol. 16, september 2023 325 answers. the history of testing as we have it nowadays is imbedded in the need for practical procedures for solving public problems. in 1905, the first useful intelligent test was developed by the french psychologist alfred binet and theodore simon. they developed a 3c item scale to ensure that no child was denied instruction in the paris school system without formal examination (tests). (retrieved 8th august 2018 from https:www.ncbi.nih.gov.>books). uses of tests tests are used by various bodies like the clinics or hospitals where tests are administered for purposes of diagnosis and treatment planning. the industrial and organizational settings use tests primarily for selection and classification. in the former, tests are used to specify the types of positions for which an individual seems best suited. for example, schnitzer (2009) explains: in educational setting however, various kinds of tests are administered to assess students’ accomplishment and to improve instruction and curriculum planning. for instance, achievement tests are designed to assess current performance in an academic area because it is viewed as an indicator of previous learning determinant which is often used to predict future academic success. aptitude tests predict future performance in area of interest in which an individual has not yet to be trained. intelligent tests in contrast to tests of specific proficiencies or aptitudes appraise the global capacity of an individual to cope with the environment; interest inventory tests offer a frame for narrowing career possibilities. objectivity personality tests measure social and emotional adjustment and are used to identify the need for psychological counselling while the projective techniques tests are based on the phenomenon of projection, a mental process described by sigmund freud as the tendency to attribute to other persons feelings or characteristics that are too painful too acknowledge. (retrieved 8th, august 2018 from https: www.ncbi.nih.gov.>books). in her own contribution, onwuekwe (2017) opines: tests serve different functions to those who use them, the teacher uses tests to know how much of the course content the student has learned… the student entry behavior to a new topic… grouping students according to their abilities for effectiveness of teaching… goal setting and achievement of goals as well as identification of curriculum areas to be revised… tests help to motivate students to learn, develop good study habits, identify their strength and weakness, make vocational choice as well as in subject selection (p. 6). it is important to note that “if for example, students of a particular teacher consistently do well, it could be inferred that such a teacher is an effective one. parents use test scores as a feed back to know their children’s academic performances. this will help them guide them academically as well as guide them properly in their future careers. remedial programs could be arranged for extra tutorial classes for their children in subjects awka journal of research in music and the arts (ajrma) vol. 16, september 2023 326 where they are weak. researchers can as well lay their hands-on ready-made tests as instrument for data collection. again, test scores are also relied upon in ex-post facto researches. for instance, if a teacher wishes to study the trend of performance in school certificate music, he does not start afresh to administer music tests over a period of time. what he rather does is to collect the scores of students in past music school certificate examinations and from the available results draws his conclusion. the music teacher and how he effectively impacts knowledge ekwueme (2001) in ajewele (2015) explains: a music teacher is a qualified person professionally trained, certified and well prepared to teach music in the school system. he is trained to equip students/learners with musical knowledge, skills, attitudes and values that will make the student good consumers and producers of music and also contribute to the development of his/her society (p. 15). okonkwo (2010) states “music educators face problems in adopting appropriate teaching techniques to impact music knowledge to many students of music in nigeria because of their untutored background from earlier age (p. 125). ojukwu, & onuora-oguno (2015) in their input observe: the teaching and learning of music in nigeria secondary schools has been through many problems. often times, music teachers complain of inattentiveness and warning interests of the students in music. one major cause of the problem pointed out by many researches is the poor teaching methods used by the teachers in transmitting musical knowledge. (p. 35). the researcher rightly took note of the points made by the above-named scholars that “storytelling, project, demonstration, lecture, discussion, dramatic and field methods are conventional methods of teaching in the educational system of nigeria.” these methods could be adopted by teachers to effectively enhance learning. he however, narrowed his points down to those activities that motivate students in preparing them for music tests in the classroom. it may be necessary to mention here that positive reinforcements (rewards) are keys to making students ready for music tests (examinations). the researcher being aware of both negative and positive rewards has pin-pointed positive reward as the major reinforcement that mostly motivates students in doing well during music tests. however, okafor (2005) says “the teacher had to be taught to teach and he had to know how to deliver the information and how to impart knowledge” (p. 305). learning talking about how to reinforce music students in other to do well during classroom tests will be incomplete without making mention of learning. a student can only do well in music class only when he learns. ezeanolue (1982) in onwuekwe (2017) has define learning as: an adaption to the environment… being able to adjust to the environmental desirable characteristics of learning… as a mental process, before an individual learns, he must first think… as an acquisition of knowledge, skills and attitude… the learner must have registered some facts, skills and attitudes in his/her term memory… as a modification of behavior… an undesirable behavior or idea can be regulated to suit life changing awka journal of research in music and the arts (ajrma) vol. 16, september 2023 327 pattern…, learning is an elimination of errors that may be encountered. with effective learning taking place, these errors gradually decrease. (pp. 2-5). however, many psychologists according to ezeanolue (1982) in onwuekwe (2017) explains that “learning is a relatively permanent change in behavior resulting from activity, training and experience.” (p. 3.). in furtherance of the above, mbanugo (2006) defines learning as “growth, development and experience”. (p. 41). researches carried out on human learning have led to theories about how individuals learn and how learning could be best achieved. the researcher recognizes various studies embarked upon by the early educational psychologists. these psychologists came up with learning processes such as “sensation” meaning that the learners should be stimulated through one or more of the senses of sight, taste, smell, hearing and touch. “perception” stimulations that lead to turning an individual’s attention to a particular situation of interest, aims, needs and aspirations. psychologists posit that learning begins at the point of perception hence a period of clearer attention and concentration. “association” means that, the learner relates present situations to past experiences in order to facilitate understanding of the new situation i.e. (from known to unknown). “generalization”’ at this point, the learner draws up some conclusions that serve purposes beyond a particular situation. “application” means a general statement which has been made on a particular situation which can be applied to a new but similar situation. nye and nye (1972) and leonard and house (1972) in mbanugo (2006) have developed principles of learning especially applicable to problems in music education, issues of planning and sequencing of musical learning have been well articulated by glenn and turretine (1968) in mbanugo (2006, p. 41). report of the findings it is not enough to assess students’ knowledge and skills at the end of the course or program. the teacher needs to find out what they know prior to the introduction of the course (entry behavior). this is to identify more specifically the knowledge and skills they have gained during the course or program. in this particular study, the researcher used the “performance-based prior knowledge assessment to determine the entry behavior of the selected 10 students” before embarking on his actual research. performance-based prior knowledge assessments are the most reliable way to assess students’ previous knowledge. it involves assigning a task (e.g., quiz to test their knowledge on a subject matter). those assessments are for diagnostic purposes only and they should not be graded. they can help you gain an overview of students’ preparedness, identify areas of weakness, and adjust the pace of the course. the table below shows the researcher’s performance-based assessment on the selected 10 jss. 1 students of zion secondary school, nnobi on his first visit. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 328 day 1: tuesday date: 10th september, 2019. table 1 number of students topic: musical notes and values number of minutes on the spot test scores (%) rewarded? 1. 45mins 0 no 2. 45mins 0 no 3. 45mins 0 no 4. 45mins 0 no 5. 45mins 0 no 6. 45mins 0 no 7. 45mins 0 no 8. 45mins 0 no 9. 45mins 0 no 10. 45mins 0 no the table above shows that the total number of 10 students who had not been exposed to music as a subject for the first time were given a “performance-based prior knowledge assessment to test their entry behavior on musical notes and their values. the test lasted for 45 minutes. the 10 students were not reinforced with any kind of motivation (reward). no student could spell out the note values correctly hence the 10 of them scored very poorly. reward had no effect on any student because none was rewarded. the findings from the above results show that none of the 10 students had prior knowledge of musical notes and their values, hence their poor performances. in furtherance of the study, the researcher divided the ten students into two groups comprising of 5 students in the group a, the experimental group, and 5 students in group b, the control group. after sharing the class into two through random selection, he taught them three topics two times a week to ascertain the extent the use of positive reward could improve the performance of the rewarded group. the following topics were taught: “musical notes and values, “simple rhythmic patterns” as well as “sight singing simple melodies.” these two groups were taught differently to avoid a particular group knowing what others were doing in their own class. to ascertain the effectiveness of positive reward in teaching and learning, the researcher administered on the spot class tests immediately after every lesson period that lasts for 45 minutes on each contact. to make for clarity, every class test was scored over 10 percent. the tables below clearly show the analysis of performances of the selected ten students shared into two groups. students of group a, (the experimental group) were reinforced with positive rewards while the students of group b otherwise known as the control group were not reinforced at all. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 329 day 2: thursday date: 12th september, 2019. group a. table 2. after the first day, the class of 10 was divided into two groups a and b. the choice was through random selection. on the first day of independent teaching in groups, the researcher taught the students musical notes and their values which was followed immediately with a class test. the table above shows the performances of the rewarded students (group a). group b. table 3. number of students topic: musical notes and values number of minutes on the spot test score (%) rewarded? 1. 45 mins 4 no 2. 45 mins 3 no 3. 45 mins 2 no 4. 45 mins 4 no 5. 45 mins 3 no the table above shows the performances of the students of the control group (b) performing poorer than the rewarded group as shown in table 2 above. they were taught the same topic within the same period of 45 minutes under the same school atmosphere. number of students topic: musical notes and values number of minutes on the spot test scores (%) rewarded? 1. 45mins 7 yes 2. 45 mins 6 yes 3. 45 mins 8 yes 4. 45 mins 8 yes 5. 45 mins 5 yes awka journal of research in music and the arts (ajrma) vol. 16, september 2023 330 day 3: monday date: 16th september, 2019. group a. table 4 number of students topic: simple rhythmic patterns number of minutes on the spot test scores (%) rewarded? 1. 45 mins 7 yes 2. 45 mins 7 yes 3. 45 mins 9 yes 4. 45 mins 9 yes 5. 45 mins 6 yes the table above shows improved performances of the students of group (a) having been rewarded for the second time after the class lesson. group b. table 5 number of students topic: simple rhythmic patterns number of minutes on the spot test score (%) rewarded? 1. 45 mins 4 no 2. 45 mins 4 no 3. 45 mins 5 no 4. 45 mins 5 no 5. 45 mins 4 no table 5 above shows the performances of the students of the control group (b). day 4: wednesday date: 18th september, 2019. group a. table 6 number of students topic: simple rhythmic pattern number of minutes on the spot test score (%) rewarded? 1. 45 mins 8 yes 2. 45 mins 7 yes 3. 45 mins 10 yes 4. 45 mins 10 yes 5. 45 mins 7 yes awka journal of research in music and the arts (ajrma) vol. 16, september 2023 331 the table above depicts the performances of the rewarded group (a) who were motivated for the 3rd time. the analysis shows much improved performances by the students because they were being reinforced with rewards. group b. table 7 number of pupils topic: simple rhythmic pattern number of minutes on the spot test scores under 5 (%) rewarded? 45 mins 5 no 45 mins 5 no 45 mins 4 no 45 mins 4 no 45 mins 5 no the table above shows the performances of the students of the control group (b) poorer than those in group (a) who were motivated with rewards. day 5: friday date: 20th september, 2019. group a. table 8 number of students topic: sight singing f simple melodies number of minutes on the spot test score (%) rewarded? 1. 45 mins 8 yes 2. 45 mins 8 yes 3. 45 mins 10 yes 4. 45 mins 9 yes 5. 45 mins 8 yes the scores above show the performances of the rewarded students of group (a) still outperforming the control group b which was not rewarded. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 332 group b. table 9 number of students topic: sight singing of simple melodies number of minutes on the spot test score (%) rewarded? 1. 45 mins 6 no 2. 45 mins 5 no 3. 45 mins 4 no 4. 45 mins 4 no 5. 45 mins 5 no the table above shows the non-reinforced group (b) still performing lesser than the rewarded group (a) as shown in table 8 above. day 6: monday date: 23rd september, 2019. group a grop a. table 10 number of students topic: sight singing of simple melodies number of minutes on the spot test score (%) rewarded? 1. 45 mins 9 yes 2. 45 mins 9 yes 3. 45 mins 10 yes 4. 45 mins 10 yes 5. 45 mins 9 yes the table above shows the performances of group (a) students who are rewarded still performing better than the non-rewarded group (b) students. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 333 group b. table 11 number of students topic: sight singing of simple melodies number of minutes on the spot test score (%) rewarded? 1. 45 mins 6 no 2. 45 mins 6 no 3. 45 mins 5 no 4. 45 mins 5 no 5. 45 mins 5 no the table above shows the poor performances of the non-rewarded group (b) as against the rewarded students of group (a). the above exercises continued within the period of seven weeks that make up a term. the results consistently showed improved performances by the rewarded group with the non-rewarded group steadily performing poorly. conclusion the researcher discovered that the 5 students in the reinforced group positively performed well in music tests. they showed interest in the study of music because they were regularly with the gift of money and other material items such as exercise books, music manuscripts and verbal praises. this shows that operant conditioning is a positive way of motivating students to learn especially as it concerned the selected jss 1 students of zion secondary school, nnobi. the result of this study vividly shows that almost all the 5 students in the experimental group improved in their learning of music following the rewards given to them by the researcher. this made them to continuously outperform their non-reinforced opponents in group b. on a general analysis therefore, the results of the finding in this study strongly agrees with the operant conditioning theory by skinner which states “learners perform better when they are positively rewarded”. the researcher discovers that in a situation where he used the use of positive rewards in teaching, the motivated students learned and performed academically well. based on the above finding, the researcher makes the following recommendations. recommendations 1. proper training to be given to music educators to develop the required potentials in imparting musical knowledge to their students especially in such subjects like music which many occasions, students meet for the first time in their jss 1 or even some times in their higher educational levels. 2. individual secondary school music teachers should be empowered by the government and school administrators especially in the privately owned secondary schools like zion secondary school, nnnobi. if this is done, the music teachers will not lack enough material rewards with which they will be motivating students in learning music. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 334 3. rewards in music education should be encouraged by education administrators of all levels to enable for improved academic performance especially in the study of music in nigerian secondary schools. references ajewole, j.o. (2010). the role of music teacher in the achievement of the universal basic education (ube). awka journal of research in music and the arts (ajrma) 7, 1521. ellen. c. (1998). classroom management and teachers: the effects of rewards and punishment on behavior and learning (accessed on 17/7/2021 from emutusov.soe.udel.edu). hyman, i. a. (1990). reading, writing, and the hickory stick: the appalling story of physical and psychological abuse in american schools. massachusetts: lexington books mbanugo, c. e. (2006). music learning principles for individual performance studies: the nnamdi azikiwe university, awka approach in interlink: awka journal of research in music and the arts (ajrma) 3, 12-21 mcleod, s. a. (2018, jan,21). skinner-operant conditioning simply psychology. https://www.simplypsychology.org/operant-conditioning.html ojukwu e.v. & onuora-oguno, n.c. (2015). methodological approaches to musical art education aimed at active learning, awka journal of research in musical and the arts (ajrma) 11, 35-51. okafor r. c. (2004). music in nigeria society, enugu: new generation books. okonkwo v.n. (2010). proffering a pedagogical model for incorporating popular music in music education. awka journal of research in music and the arts (ajrma) 7, 124-135. onwuekwe a.i. (2017). measurement and evaluation in music: nnamdi azikiwe university, awka. lecture note on music 912. onwuekwe, a. i. (2019). strategies for effective music education and nigerian musical practices: a pedagogical approach. journal of nigerian music education10, 57-71. schintzer, k. p. (2009). overview of psychological testing. (retrieved 8th, august 2018 from https:www.ncbi.nih.gov.>books). ross, e. t, glenn, l. r. (1980). r eliability of test scores and decisions. retrieved 25 august 2019, from https://doi.org/10.1177/014662168000400406 https://doi.org/10.1177/014662168000400406 227 forensic musicology for african musicology sunday s. udofia department of music, university of uyo akwa ibom state, nigeria abstract the paper attempts to use the scientific study of the systematic and historical components of the musical artifacts of a place in realising and illuminating the african musical elements as embedded in the various african musical genres within, among and across the various cultures in africa, as located in african art music compositions. the main methodologies used for this study were library and field methods. it was discovered that the musical elements embedded in the various musical genre have the potential of projecting african identity through the african art musical practices. in conclusion, the musical elements embedded in the various music types of the various cultures in africa should be carefully realised and utilised in the african art music composition for african identity. introduction african identity can be found in the various facets of life among the african people. it is clear that foreign ideologies and concepts have created a lot of influences on the various cultures in africa. music, which is an aspect of the various cultures in africa, had been found to have been influenced by such foreign ideologies and concepts. these influences have generated great impact on the various cultures of the african people causing the culture to be modified. it is the seeming modification process experienced by the culture of the african people and the african identity itself that are the centre of the stage of the maintenance, continuity and survival of the various cultures of the african people. it is the survival of the various cultures of the african people and the experiences of the various peoples from the various cultures in africa that would exhibit and/or portray the african identity. the community demands that man does what is acceptable by the people of any particular community, allowing man to be seen as a product of the culture. a people within a particular culture area that make the culture since the activities of people within that particular culture area have the potential to modify the culture. any culture has various components. the components of the culture differ significantly from other components. these varied components had since caused the culture to be complex. the complexity of each culture to the other is therefore german to the relative complexity among the various components of the awka journal of research in music and the arts (ajrma) vol. 9 2013 228 culture. culture is a product of the activity of the people within any particular culture area. the folk music, traditional music types of the various african people have the potential of contributing greatly in the survival, continuity and maintenance of african identity. concepts forensic musicology can be defined as the scientific study of the systematic and historical components of the musical artifacts of a place. this study considers forensic musicology as a new found discipline as it appears to have been missing in musical studies before now. it is hoped that its integration in the musical studies will expand the scope of scientific cum artistic cum technological knowledge and experiences in musical study. views in forensic musicology characteristically, every study has identity from which similarities and differences may be drawn. for this comparative analysis to be successful every study has peculiarities. forensic musicology can be identified by the peculiarities discussed under the views of forensic musicology. the views of forensic musicology therefore include nature nurture essence, historical stance, artistic ideals content ideals, cultural nuances, sociological attributes, and philosophical concern. nature nurture essence the nature factor holds that music is a phenomenon. this classifies music as ‘an aspect of creation’ that music is seen to have existed independently as component of creation. music can be located in the cosmos; therefore, the study of the cosmos (universe) should include musical studies. furthermore, music occupies space, moves, interacts and has rhythm. the impact of the presence of music in the community can be located in the varied behaviour patterns of music performers and composers living in any place at any given time. the nurture factor holds that music is a product of man. therefore, it is clear that the process of making or creating music is based on experience, knowledge and belief. considering the nature-nurture factor, music making or musical creation is seen to be influenced by individual’s perception. therefore, definition of music should include individual’s perception. music therefore, can be defined as the aesthetical organization of sound by an individual or a group of individuals based on experience, perception and belief. music grows and develops. as it moves, changes occur significantly. as it interacts, music strives, thrives considering its rhythmical melodic and harmonic implication essence. all these activities experienced in music have contributed in making it dynamic. and the degree of dynamic tendency of music at any particular time, and at any particular place equals the degree of change that music had witnessed at various times, at various occasions and at various places. historical evidence in forensic musicology the school of historical factor in forensic musicology emphasizes the clinical study of archival materials of a particular place for forensic musicological study, and the clinical study of archival materials of various places for comparative forensic musicological study. this view also emphasizes the study of musicians of a particular place for forensic musicological study, and the study of musicians of various places for comparative forensic 229 musicological study. interviews on community origin, growth and development as well as social interactions, social strata, social organizations and institutions of a particular place and various places are vital musicological fabrics for forensic musicological study. philosophical stance in forensic musicology the philosophical factor in forensic musicology emphasises the study of the distribution of the music of a people as resulting from the migration of a people of a particular culture and the distribution of the music of people resulting from the migration of the people of different culture areas. this view also emphasizes the study similarities and differences of a music type or music types resulting from the behaviours of the individuals within a culture area and various culture areas. content ideals in forensic musicology in leaps or scale wise movement of notes, harmony which as far as the musical fabrics whether closely knitted or loosely linked signifies communal effort in intra and interrelationship. these help in creating sense of unity and diversity as well as conflict and conflict resolution among individuals. these go a long way in generating tolerance and peaceful co-existence among individuals in a community. artistic ideals in forensic musicology the composer/performer captures the musical ingredients as embedded in the various culture areas in africa and uses same in his musical compositions to depict the particular culture area, from which the musical ingredients are drawn. critical listening to the music, documenting such music, realising the musical elements of any musical genre of that particular culture area helps in continuity. the origin, existence of the musical types as well as the changes experienced in the music types are based on the level of adaptability of the music, and the acceptability of such music by a people. cultural nuance in forensic musicology culture, which has been defined as the way of life of a people including the way of dressing, eating and construction of musical instruments are basic ingredients in the cultural life and musical practices in africa. more precisely put, culture has asserted enormous influence on the various musical fences and practices within and among the various cultures in africa. therefore understanding the culture from which a particular musical genre is drawn is very essential. sociological attributes in forensic musicology individual lives, community involvement among individuals in social strata, group differences and similarities with the community assert a lot of impact on the musical practices within culture and among cultures significantly. the impact of interaction among groups cannot be overemphasized since this helps in no small way in enhancing the performance practices among the various groups. philosophical concern in forensic musicology 230 the concepts of the musicality of the various music types among and within cultures in africa differ in various ways. the differences appear to have resulted in the nature of musical format among and within cultures in africa. despite, the differences in the various music types among and within cultures in africa the standard at which any music type within a particular culture and among the various cultures can be identified. this standard continues to thrive relatively. hence african musical genres can easily be noticed significantly. clinical method of realising african identity for the african art music composition  collation of the various indigenous african music;  critical listening to the african indigenous music; transcribing the various indigenous african music;  studying the structural, textural and the textural components of the various indigenous african music;  analysing the structural textural and the textural components of the various indigenous african music;  applying the musical ingredients in the various indigenous african music into the african art music composition;  learning to play in the african indigenous musical ensembles. practically performing african musical instruments in the african indigenous musical ensembles is necessary. this active participation is hoped to equip the music composer 'with the artistic methods of assembling the rhythmic patterns, melodic contour, harmonic organization, textural concepts, forms and the textual arrangement available in the indigenous african musical ensembles, which will be utilized in realizing the authentic indigenous african art music composition that will depict a true african identity;  documenting the various musical types in africa for future use;  retrieving the various musical types in africa for study and learning. the core challenge in realizing the african identity in the african art music composition, the core challenge for standard and value in african art music composition as opined by udofia (2007) appear vital. the challenge involves the following:  unconscious adherence to african musical ingredients, where the composer unconsciously assembles his or her compositional ingredients such as african tunes, harmony and why thus;  realising and usage of the african compositional devices and techniques;  consideration of the african music performance advices and techniques;  conceptualization and realization of the textual, textural, structural and contextual characteristics of traditional (local) african music;  clinical examination and utilization of the functionality of african musical instrument;  explicit understanding, analysis and usage of african dance rhythms in the african art music composition; 231  audience participation in african art music composition; and  inclusion and implementation of african musical studies in the curriculum of schools in africa (udofia, 2007).  in addition to the above statements, the core challenge evolves for standard and value of african art music composition in realizing the african identity. therefore, african music methods should also be included and implemented in the music curriculum of schools in africa. individual's perception and african art music composition the concept of perception is extremely important in understanding human behaviour. a key feature of every human being is his/her unique way of looking at things, based on their physical abilities in their intelligence and personal repertoire of values and attitudes. it is not so much what people see happening around them that is important, but rather, what they think they see happening. in other words, it is how people interpret the event going on around them that is important. they may interpret things quite wrongly according to an objective standpoint, but their reactions have to be dealt with as they are. it is useless, for example, if managers say that employees should not overreact. when employees are angry about some apparently reasonable and logical change in procedures, what the managers have to address is the feeling of the employees as well as their possible misunderstanding of the new situation. thus the individuals we are dealing with at work operate at the feeling level as well as at rational and action levels. people feel, think and do. perception can be defined as: ‘the process of organizing, interpreting and integrating external stimuli received through the senses.’ it involves the individual's mental process used in identifying and subjectively interpreting objectives, concepts and behaviours. thus, the concept of perception appears to encapsulate a mental or cognitive activity that receives, process and interprets (rightly or wrongly) the host of external stimuli that impinge on individuals' lives. this process usually takes place instantly we see something and jump to same immediate conclusions about it. phrases such as 'first impressions are often misleading! do not jump to conclusion! this statement suggests that what we 'see' (or more correctly what we understand to have seen) is often not the truth, not the reality before us. in other words, it is not so much a question of misunderstanding reality, but merely seeing a different truth in it! so, for example, man looks out over the countryside towards the sunset, and says 'just look at that view!', and his comparison says: 'yes, it's amazing how dark it gets in the early evening at this time of the year!' or, take two people listening to a brass band playing in the park, one restless and wanting to move on. same stimulus, but different perceptions and different responses (cole, 2005: 103-104). udofia (2009) asserted that human beings respond to musical stimuli differently. and that the differences are as a result of the significant differences in perception ' among individuals. he further expressed that individuals tend to prefer the music from the place where they are natives to the music of other people's culture. the ways people appreciate music differ from one individual to the other significantly. and the knowledge, experience and understanding of an individual facilitate that individual's 232 musical appreciation. what the music composer understands to have seen or perceived as the african musical ingredients embedded in the various cultures invariably the various music types drawn from the various african culture areas have the potential of influencing his or her musical composition. thus, the individual traits and creative ability of the music composer tend to have a huge impact on his or her musical composition. summary  human beings are found to be greatly influenced by the culture. so, human behaviour can be said to be a product of the culture.  culture is a product of the activities of human beings within a particular culture area;  music, which is an aspect of the culture of a people, has been influenced by both the activities of the people that own and/or make or create it.  in africa, there is cross cultural musical studies and practices as well as bimusicality, and there is also multi-musicality;  despite the internal and external influences on african music, the african musical identity is not totally eroded;  nationalism is a strong motivation for the composition of authentic african art music;  inclusion of african music methods in the curriculum of schools will help in creating the awareness and sustaining interest of the african musical study and practices among people especially inculcating in them the african ideals embedded in african music types;  african music is based on the culture of a people of a particular culture area.  african music is also based on the activities of a people of a particular culture area. conclusion there is a growing need for the conceptualisation and realisation of african idioms in the african art music composition for the purpose of african music identity (udofia, 2007). in clearer terms, the art and practices of composing african art music should be conceived and realized by the composer with african musical idioms as tools in creating the african art music composition that will depict the true african identity. there is need for the inclusion and adequate implementation of the study of african music methods in the curricular of schools, at least for its documentation and interest among students studying african music, and for the extension into the nuances of the creation and or making of the various african folk music types, traditional music types and the african ensemble music types. thus, it is hoped that the cross-cultural musical studies and practices, bi-musicality as well as the african cum western music or multi-musicality for example as in african/asian cum western music or african/american cum western for distinguishable characteristics from the pure african music(s) as well as the pure african art music composition. 233 references adegbite, a. t. (1978). oriki: a study in yoruba musical and social perception. unpublished ph.d. dissertstion. university of pittsburg. agu, d. c. c. (1999). form and analysis of african music. enugu: new generation books. akpabot, s. e. (1986). foundation of traditional music. ibadan: spectrum books limited. cole, g. a. (1995). organizational behaviour: theory and practice. london: thomson learning. nzewi, m. (1978). some social perspectives of igbo traditional theatre. the black perspectives in music, 113-142. olaniyan, c. o. (2000). yoruba dun dun musical practice. nigerian music review, 2 (special ed.), 68 – 80. omojola, b. (1995). nigerian art music. ibadan: institute of african studies. university of ibadan. scholes, p. (1970). the music of africa. london. victor gollanz. sowande, f. (1965). language in african music. music in nigeria, 1(2), 4 – 36. udofia, s. s. (2007). idealism and racism: the challenge for standard and value in african art music composition. international journal of african culture, politics and development, 2 (2), 1 – 9. udofia, s. s. (2009a) the gestalt stance of music composition: aesthetics concern in music media in nigeria: journal of media and aesthetics. 2 (3), 74 – 82. udofia, s. s. (2009b) human response to musical stimuli and noise: the case for the african art music composition. awka journal of research in music and the arts (ajrma), 6, 117 – 127. vidal, t. (1971). oriki: praise chants of the yoruba. an unpublished m. a. thesis. university of california, los angeles. 27 form in nigerian art music: a contemporary approach agatha ijeoma onwuekwe department of music nnamdi azikiwe university, awka, anambra state abstract form is an important aspect of any musical composition that tells the composer where to go and how to get there. the plan of a building is an outline drawing of a building or structure, showing the position and size of the various parts in relation to each other. a building plan is to a house what form is to music. the form of any particular music helps the composer to stay focused in the course of the composition since he is prevented from unnecessary rigmarole. in fact, form serves as a guide to any musical composition. just as a house without a building plan is bound to have a problem so also is music without a form. the importance of form to musical composition cannot be overemphasized. when the elements of music are organized into a musical composition, the overall design of the entire composition is called its form. an understanding of the concept of form helps in no small way in music appreciation. in other words form directs or organizes the music. the paper looked at some contemporary art musicians in nigeria highlighting the forms they used in their various musical compositions. introduction planning is a very important aspect of any endeavour in life. without adequate planning one is bound to make mistakes that could be easily avoided with proper planning. form is an important aspect of any musical composition. it gives the composer the over-all plan of the music; it gives the composer the direction of his music and how to get there. it prevents him from unnecessary deviation from where he is going. in the concise oxford dictionary of music, kennedy (2004: 261) defines form as “the structure and design of a composition.” he also emphasized the fact that it is important to understand the principles of form and the mastery of the application of those principles. in general, however, despite continuous experimentation, the musical form so far devised can be classified into about six categories all of them exploiting the idea of contrast and variety both in the domain of content in terms of thematic material and that of key in terms of modulations. randel in onwuekwe (2008) defines form as: the shape of a musical composition as defined by all of its pitches, rhythms, dynamics and timbres. in this sense, there can be no distinction between musical form and specifically musical content, since to change even a single pitch or rhythm that might be regarded as part of the content of a composition necessarily also changes the shape of that composition, even if only in detail. (p. 167) awka journal of research in music and the arts (ajrma) vol. 9 2013 28 emphasizing the importance of form in any musical composition, schumann in otto (1982: 95) says: “only when the form is quite clear to you will the spirit become clear to you”. in his own opinion on form, ferris (1995) writes: form in art is based upon the principles of repetition and contrast. repetition lends unity, symmetry, and balance to a composition, contrast provides variety. listening to a composition, one ideally memorizes certain sounds in order to differentiate between the repetition of material and the introduction of new musical ideas. these signposts remind us where we have been and imply what lies ahead, helping to establish our musical beatings. (p. 66) stressing the above point, schoenberg in machlis and forney (1999: 23) observes that: “the principal function of form is to advance our understanding. it is the organization of a piece that helps the listener to keep the idea in mind, to follow its development, its growth, its elaboration.” upholding the above view, machlis and forney (1999) explain that in all the arts, a balance is required between symmetry and asymmetry, activity and repose. nature too has embodied this balance in the forms of plant and animal life and in what is perhaps the supreme achievement – the human form. in music, form gives us the impression of conscious choice and rational arrangement. in other words, it is a work‟s structure or shape, the way the element of a composition have been combined or balanced, to make it understandable to the listener. nigerian art musicians employ one form or the other in their musical compositions. writing on nigerian art musicians omojola (1995) opines: although it was through the church that the concept of music as a contemplative art received widespread popularity in nigeria, it was left to the effort of formally trained composers and musicologists to forge new idioms and styles in their works to develop a modern tradition of nigerian art music. (p. 39) a popular adage says „no condition is permanent‟ but change has defied this adage. this has been expressed by omojola (1995) when he emphasized the fact that the emergence of new musical idioms in nigeria should not be seen as a novel phenomenon as change has either through internal processes or the influence of a foreign culture always affected nigerian music. music is an important aspect of a people‟s culture and since culture is dynamic, it can be assumed that nigerian traditional music as we know it today is different from what it was several hundred years ago. other aspects of culture like houses, food, clothing and even language cannot undergo changes while music stands aloof. the culture of a people is strongly expressed in their music. it is not possible or rather it will look absurd for a cultural igba enyi male dancing group in igbo culture to put on french suits during their performances, nor is it natural for yoruba dun dun drummers to put on english suits during performance. the language, the costume, the beliefs, the norms and values of a people are all expressed in their music. 29 forms used in music compositions: generally, there are about five to six forms used for musical compositions. the form a composer applies in his composition depends on the message he wishes to put across to his audience. these forms include: binary forms, ternary forms, strophic forms, through composed forms and rondo forms. the call and response and call and refrain forms which are characteristic features of some african music are also among the forms adopted by some nigeria art musicians in their musical compositions. binary form: a movement in binary form consists of two parts, (ab) each usually repeated. the two sections are clearly related, but differ in such important respects as key, mood, texture, tempo, thematic materials, or dynamic level. the effect is sometimes that of question and answer. one section may be longer than the other, each may have several subsections, and often each section is repeated. sometimes, the first section generally modulates from the tonic to a related key, ordinarily the dominant of the tonic is major, and the relative major if the tonic is minor. in short binary movements there is often no modulation, the first part merely ending with a half cadence. the second part reverses this motion, progressing back to the tonic either directly or through one or more additional keys. a closer look at the nigerian national anthem below reveals that the a section starts from the beginning of the music to the dotted minim note in bar 4. the repeated a section starts from the crotchet note (middle c) in bar 4 to the dotted minim note (f tonic) in bar 8. the second section starts on the crotchet note g in bar 8 and ends on the last bar of the music thus the form is aa+b, the second section being longer by just 2 bars of music. (2) ternary form: another important form used for music composition is the ternary form. this is symbolized by the letters aba, or aaba. it consists of a statement (a), a departure from it (b), and its 30 return (a). the degree to which the second section contrasts with the first may be mild or extreme. the return of the original material may be literal (aba) or modified (aba 1 ). each section may contain subsections, and various repetition schemes of sections and subsections are used. the ternary differs from the binary form in that b is in complete contrast to a, although in some way relevant. in his views on ternary form randel (2001) points out the fact that: movements in ternary form consist of three parts, the first and third identical or closely related, the second contrasting to a greater or lesser degree. the form may therefore be symbolized aba. both a parts end in the tonic key, usually after a central modulation to a related key or keys. the b part generally begins in a related key and cadences in the same or another related key before the reentry of the a part. (p. 96) explaing further, he says that in contrast to binary form, ternary form is closed in structure, the two a parts, and often the b part, are complete within themselves, not interdependent or complementary like the parts of a binary movement. it should be noted that the return of the a part in ternary form is often indicated by placing a da capo or dal segno marking at the end of the b part rather than writing it out in full. summarizing the general shape of the ternary form, otto (1982) says: we can call it a musical sandwich, consisting of a first section starting in the tonic and ending either in the tonic or a related key, an episode (the filling) which is contrasted with both the first and third section which is either the exact or slightly varied repetition of the first, starting and ending in the tonic. sometimes, a coda is added (p. 100). (3) strophic form: a song consisting of two or more verses, each sung to the same music is strophic in form. in strophic form, the same melody is repeated with every stanza, or strophe, of the poemhymns, carols, and many folk and popular songs are strophic. although the form permits no real closeness between words and music, it sets up a general atmosphere that accommodates itself equally well to all the stanzas. the first may tell of a lover‟s expectancy, the second of his joy at seeing his beloved, the third of her father‟s harshness in separating them, and the fourth of her sad death, all sung to the same tune (machlis and forney 1999, p. 77). (4) through composed: a through – composed piece presents new music throughout, with no repetition of themes. the form is often used by song composers who wish to emphasize the text of a composition. there is no prescribed number of phrases in a through-composed song, so the form is represented as a b c d e. in the analysis of form, capital letters generally represent large sections of a piece, and lower case letters represent phrases or smaller sections. since the emphasis is on the text, the length of the music depends on the length of the text and the extent of the message the composer wants to put across to his/her audience. (5) rondo form: in his opinion on rondo as a musical form ferris (1995) states: 31 the rondo form may be used for any movement of a multi movement work but often seems particularly appropriate for the last movement. a rondo, derived from an early french instrumental piece, the rondeau is usually fast in tempo and merry in mood, rendering it ideal to bring a large work to a happy close (p. 226). he went on to explain the fact that though generally represented by the letters a b a c a, a rondo contains any number of sections or “episodes,” which alternate with the material of the opening section a. like the sonata-allegro, the rondo is a versatile form that may be handled in many ways. the episodes interspersed between a sections may be the same as each other (a b a b a), or different (a b a c a). the composer may also choose to include other material not part of the basic rondo form. although the rondo is often easy to recognize because of the recurrence of a and the bustling mood characteristic of the form, it may nevertheless be quite complex in the hands of a sophisticated composer. the plan of the rondo therefore looks like the following. a 1 = theme in the tonic b = first episode in another key a 2 = theme is tonic c = second episode in another key a 3 = theme in tonic, frequently leading to a coda these sections are smoothly joined together when necessary by little linking or bridge passages. the rondo form because of its strong resemblance to the ternary principle (aba) is sometimes described as an extended ternary form. however the episodes could extend to d in which case we have a b a c a d a depending on the style of the composer. (6) call and response call and response form of musical rendition is found in many parts of africa and the world in general. this to a great extent involves the principle of repetition and contrast. upholding the above view machlis and forney (1999) write: whatever the length or style of a composition, it will show the principles of repetition and contrast, of unity and variety. one formal practice linked to repetition that can be found throughout much of the world is call and response, or responsorial music. heard in many african, native american and african-american musics, this style of performance is based on a social structure that recognizes a singing leader who is imitated by a chorus of followers. (p. 27) writing on the call and response style of music rendition, ekwueme (2001) says: it is an acknowledged fact that traditional african music is largely antiphonal, with a leader or ripieno announcing an antecedent to which a (larger) chorus responds. two major types of what is generally called the call and response antiphony have been differentiated: (a) call and response proper – in which an antecedent musical phrase 32 is repeated by the larger group; and (b) call and refrain – in which a regularly recurring refrain is the response by the larger group. (p. 19) the works of three contemporary art musicians in nigeria are here presented to highlight the forms they employ in their musical compositions. these contemporary composers include dan c. c. agu, laz ekwueme and bode omojola. their works are titled n’ihi na taa n’ obodo devid (for today in the land of david), elimeli (festive ball) and baba olorun wa (heavenly father our creator) respectively. (a) n’ihi na taa n’ obodo devid (for today in the land of david). the music is of the christmas festival. in this composition agu (1998) adopted the call and response form of musical rendition. after the traditional ensemble prelude, the tenor call comes in announcing n’ihi na taa n’ obodo devid k’ amuru nye unu onye nzoputa (for today in the land of david, to you a saviour is born). there follows a form of dialogue between tenor and alto soli which continues until the instrumental interlude comes in bringing in the voices again. (b) elimeli (festive ball). elimeli is a festive music calling on people to come and join the dancing ball. it was composed by laz ekwueme in 1980. in fact, it is an igbo glee song which starts with a solo call, bringing in the chorus. the solo first appears with ọbụlụ n’anyị g’eje, ọbụlụ n’ anyị g’ana, (come and join the dancing ball) the drummers respond with the popular bum budum, budu dum! the chorus comes in after every verse with varied dynamics and urges on participants to hurry lest their food gets cold (kwado, eye, mee ọsịsọ elimeli anyị ajụsịa oyi. in verse two of the music, the solo voice says i bute n’ anyị g’eli, i pata n’ anyị ga-aṅụ (for the banquet, spread the food, let the liquor well berewed). this continues until the climax on the fifth verse where the participants are urged to “clap with us a loud tattoo, stamp the feet in rhythm too.” (ekwueme 2001, p. 30) (c) baba olurun wa (heavely father, our creator). omojola (2003) compiled three of his compositions in a work titled three yoruba sacred choral works one of which was baba olurun wa (heavenly father, our creator). the first stanza of the work runs thus: baba olurun eleda wa oun lo da wa, baba olodumare oun lo dawa ni awaran ara re aye at’orun ise oluwa ni adamu, efa, won je awon obi i wa awon i’olorun koko da, baba nla a wa nipa see won l’ esu fi wa si aye ise olorun ni awa omo eniyan english translation heavenly father, our creator our lord god, who created us in his own image heaven and earth are god‟s own creation 33 he created adam and eve: our ancestors through whom satan came in his work in key e flat major the composer started with a short instrumental prelude by the piano. the solo voice comes in shortly after and continues until the chorus enters in full in bar 46. the form adopted here appears to be that of solo and chorus. summary and conclusion from the discussions above it is obvious that form is a sine qua non in any musical composition. even if the life history of an individual is set to music in form of a dirge for the deceased or an eulogy in praise of the living, the through-composed form is most likely to be adopted since the life history of the one concerned is sung from the beginning to the end. however a composer may choose to use the strophic form where the chorus comes in from time to time. all the forms discussed above are used by the composers of ancient and modern times in one way of the other. the form adopted depends on the ingenuity of the composer and the message he wants to put across. even when the same form is being used for musical compositions by different composers, no two musical compositions are alike. each composer sets his music based on his own life experiences and the audience for whom the music is being composed. references agu, d. c. c. (1998). let the choirs sing: choral music for diverse occasions. enugu: new generation books. ekwueme, l. e. n. (2001). composing contemporary african choral music: problems and prospects. in m. a. omibiyi-obidike (ed.), african art music in nigeria, 16-57. ibadan: stirling-horden publishers. ferris, j. (1995). music: the art of listening. london: brown & benchmark. glennon, j. (1980). understanding music. london: macmillan. kennedy, m. (2004). the concise oxford dictionary of music. (4 th ed.). manchester: oxford university press. machlis, j. & forney, k. (1999). the enjoyment of music. london: w.w. norton & co. omojola, b. (2003). three yoruba sacred choral works. bayreuth germany: eckhard breitinger. omojola, b. (1995). nigerian art music. ibadan: institute of african studies, university of ibadan. onwuekwe, a. i. (2003). form in music and the numbering systems of musical compositions. awka journal of research in music and the arts (ajrma), 5, 168175. otto, k. (1982). introducing music. bungay: penguin books ltd. randel, d. m. (2001). the new harvard dictionary of music. harvard: the belknap press of harvard university. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 91 compositional techniques of yoruba islamised gospel music dr adedayo ezekiel babatope department of music, babcock university, ilishan-remo, ogun state email: adedayoe@babcock.edu.ng.com abstract yoruba islamised gospel music (yigm) is a genre that is situated within three main world cultures of western europe, arab and africa. the multicultural uniqueness and the inherent adventured/ creativity that characterise twenty first century have to an appreciable degree influenced the compositional and performance practice of yoruba islamised gospel music (yigm). with a particular attention to wákà àpàlà and fújì gospel, this study was designed to examine couples of compositional techniques/devices encapsulated by this brand of gospel music, with a bid to ascertain the degree of cultural nuances/ postmodernism traits it embodies, as well as the implications of such features in nigerian gospel music (ngm) scene. within ethno –musicological approach, this study explored cultural pluralism and social evolution as its theoretical frame works. relevant data were sourced from text books/journals alongside informant/in depth interviews and documentations of the musicians’ performances on audio tapes. inferences from the study unfolded diverse compositional techniques contrived by the artists which spanned repetition, variation, hocket, appoggiatura, mellismatic note setting, recitative (heightened speech), harmony, slogan, overlapping and interjection. it was also evident that the compositional techniques harnessed by the artists of yigm resonate african, judo-christian and arabianislamic cultural landscapes. furthermore, it was deduced from the study that the inherent multicultural nature of yigm is gratifying in term of its general and musical roles. this paper concluded that yoruba islamised gospel music is potential for cultural synergy and dynamism, a stance attested by its compositional techniques and acceptability within the mainstream of nigerian gospel music. keywords: yoruba islamised gospel music, multiculturalism, mellismatic introduction in the pre-colonial, islamic and christian eras, the yoruba music was distinct in instrumentation, vocal types, performance contexts, to mention a few. this stance was evident in a vast number of vocal forms that were engaged for religious and secular ceremonies. for instance, ìjálá, a vocal music, is presented by the hunters, ìyẹ̀rẹ́ ifá by ifá priests, while ẹkún ìyàwó is usually performed to accompany a bride during her wedding ceremony. the premium placed on text informed the massive textual expressions, spanning figurative, proverbial and philosophical declarations among others (adedayo, 2021). the advent of colonization, christian missionary movement, both from western europe and arabian islamic tradition profoundly reshaped yoruba music. the european influence culminated in the emergence of diverse christian musical forms, namely church music including hymnody and gospel brand. meanwhile, the islamic awka journal of research in music and the arts (ajrma) vol. 16, september 2023 92 movement evoked two musical practices designated ‘islamic’ and ‘islamised’ music. while islamic as elucidated by omibiyi (1979) and daramola (2007) depicts musical practice entrenched in islamic tradition, the latter delineates yoruba musical practice that has been influenced by islamic culture. construed as a reaction from the liberal to indignation launched against the profane appropriation of music by the islamic religious leaders, islamised music which emerged as a semi-religious miniature, metamorphosed to socioreligious and socio-cultural status of popular form. omibiyi (1979)’s allusion to yoruba popular music of islamic origin is insightful. the scholar designates this subgenre with its variants; wákà àpàlà and fuji that are aptly composed and performed essentially by musicians of islamic religious background as ‘yoruba islamised popular music’. as a corollary to quest for creativity and adventure, corroborated by allegiance to primordial religion, a vast number of artistes have emerged in recent times, who integrate yoruba islamised popular styles with the conventional gospel music. the synergy between yoruba gospel music and the popular music of islamic derivatives is consummated in a musical synthesis deciphered by this researcher as yoruba islamised gospel music (yigm). the aftermaths of this amalgamation, underpinned by post-modernism are apparent in textual content, compositional/performance contexts, instrumentation, aesthetic, and compositional techniques. this study interrogated compositional techniques ascribed to yigm, with a bid to ascertain its inherent cultural nuances, reminiscences of post modernism and the efficacy portrayed by such a musical trend within the mainstream of nigerian gospel music. in ensuring brevity, simplicity and also abate monotony of usage, the acronym "yigm" has been abstracted for yorùbá islamised gospel music in this study. compositional techniques the present styles are significantly defined by a myriad of compositional devices. enlisted are, repetition, variation, hocket, appoggiatura, mellismatic note setting, recitative (heightened speech), harmony, slogan, overlapping and interjection, repetition the concept of repetition and its modifications is extensively engaged within the framework of musical form. in a bid to combat the challenge of monotony that often emanates from the usage of this device, a scheme is appropriated by the artistes in which case, melodically synonymous stanzas and verses are stocked with varied textual messages. the second stanzas and chorus of modupe ore mi (i am appreciative of god’s benevolence) deducted from wákà gospel append to this design. on the other hand, occasions have been sighted in which textually analogous phrases appropriate contrasting melodic lines. this scenario is depicted by song from fújì gospel. excerpt on technique of repetition, wákà gospel (melodically analogous) the same melodic line laden with the contrasting texts. iba fun baba loke a seba re o verse one moni jésù loba ota ma pofo verse two awka journal of research in music and the arts (ajrma) vol. 16, september 2023 93 musical example: excerpt on technique of repetition from fújì gospel (textually analogous), abstracting phrases with textual repetition and melodic variation' musical example: variation the technique of variation is intensified by a host of compositions appropriated. contrasting melodic phrases, verses and sentences have been observed to advance the course of aesthetic in african music. besides stemming the tide of monotony, variation arouses innate interest and propensity in the subconscious faculty of the audience. the solo and the chorus of àpàlà gospel present absolute textual and melodic variations as follows awka journal of research in music and the arts (ajrma) vol. 16, september 2023 94 excerpt on variation form in àpàlà gospel musical example in a bid to consolidate variation, the device of textual phrasal contradiction showcased in the ending words or notes (suffix) has been sighted in this research. such a feature characterises fújì gospel in the excerpt below awka journal of research in music and the arts (ajrma) vol. 16, september 2023 95 hocket technique a rhythmic linear technique exercising alternation notes, voices, pitches, or chords, hocket is maximally adopted in the creation of music including styles presently engaged. in the semblance of medieval practice, a verse number of songs interrogated is structured, in which case, a single melodic line is shared usually between two (sets of) voices. a voice or set of voices sings while the second voice or set of voices observes a respite. a technique of this attribute is embodied by the responsorial format of wákà gospel (olúwa pàṣẹ ìyàwò). excerpt of hocket technique from wákà gospel appoggiatura a musical ornamentation harnessing a note or notes of embellishment preceding and delaying the next note (principal), appoggiatura in a sense arouses excitement in an audience whose affinity and aesthetic reside in vocal displays. though this technique parallels slurring, neumatic, mellismatic melodic setting and other devices as vocal techniques, a line of distinction is established among them in principle and practice. while the integral notes of slur and melodic setting are numerically germane, appoggiatura is effectual, solely from qualitative perspective of tone coloration. besides the characteristic sound effect evolved from this scheme, the variation device engendered is desirable. appoggiatura: excerpt from fújì gospel-ekaleluya (shout alleluia) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 96 excerpt on mellistmatic note setting, àpàlà gospel recitative (heightened speech); fújì gospel awka journal of research in music and the arts (ajrma) vol. 16, september 2023 97 harmony chord progression evinced in hymn tune, where a melodic line and accompaniment part proceed step wise with one another is at variance with traditional african harmonic concept in music. a list of harmonic textures that codify african music has been advanced by nketia (1974) namely; monotony, polarity, homophonic parallelism, occasional heterophony, contrapuntal polyphony, ostinato/ overlapping, cadential homophony and homophony polyphony. adedeji (2004) corroborates this insight. the harmonic features that delineate the compositions amassed particularly, the textural designs and artistic creativity/intricacy showcasing them, contrast the conceptual principles of monophony at inception. polyphony in its variants constitutes a prominent texture of the compositions harnessed. at least, two parts are vivid including the melodic line. it should be reiterated that this design, in which independent parts comprising the melody and the accompaniments (alto, tenor, baritone) are contrapuntally aligned, is anomalous to the homophonic sensitivity of vertical harmony. the textual outfit that mediates between the conventional vertical chord progression of hymnody and the parallelism denoting the music of yorùbá, situate compositions amassed within the harmonic framework of polyphonic/ homophonic texture. to be succinct, homophonic parallelism has been interchangeably appropriated in this study. two parts harmonic texture that contradicts the device of vocal unison defines an ample of compositions collated. the design of this nature coopt one other part in homophonic parallel motion to the melody. such an arrangement is exemplified by the following excerpts; two part harmonic texture wákà gospel iba fun baba loke (adoration to the almighty) compositions are sighted in which case, rather than one, two distinct notes that assume or stimulate alto and tenor of the western harmonic concept are added to the melodic line. polyphony in this nature is portended as follows in àpàlà gospel. (reali àpàlà) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 98 excerpt on three part harmonic tecture, of àpàlà gospel music (reali àpàlà) yet, a seemingly four part harmony is vivid in a wákà composition. in this device, the melodic notes are echoed an octave down by the baritone to improvise the bass notes. an example bellow justifies this feature; excerpt on four part harmonic texture in wákà gospel wákà jesu (jesus’ wákà) slogans/vogues (ijasa) songs collated. are characterised by skillful appropriation of slogans. àpàlà and fújì gospel are particularly laden with such non intelligible syllables/words. the following statements/phrases from àpàlà gospel by bois ọlọ́run are elucidative. solo: mo lè ṣe báyìí dọ̀la solo: i can maintain this statuoquo till tomorrow chorus: nítorí jésù kí síbẹ̀ chorus: christ is awesome awka journal of research in music and the arts (ajrma) vol. 16, september 2023 99 contextually, the personality of christ is extolled in the above musical passage extracted from song (ix) of bois ọlọ́run's àpàlà gospel style. the artists allude to the awesomeness and overwhelming benevolent nature of jesus by contriving the phrase “ki síbẹ̀”, "ó ṣemí jọ̀lìjọ̀lì" a state of appeasement is acknowledged by the same artistes in another statement, in the same track; "ó ṣemí jọ̀lìjọ̀lì". in the context of usage, the adjective “jọ̀lìjọ̀lì” connotes the enliven spirit in which the artistes revel. other slogans displayed by bois ọlọ́run include the following: “ẹ̀mi mímọ́ ni pàdí wa". a word also drawn from àpàlà gospel "padi" delineates intimacy between or among personalities. solo: ọjọ́ ọjọ́ ńlá n lọjọ́ yẹn ọjọ́ tí jésù "rẹmisi" the word ‘remisi’ suggests an approval/accreditation of a proposal in that context of abstraction. it bespeaks an endorsement by god of the style of music which the artistes appropriate. nevertheless, it is non intelligible. solo: ìyàwó, àwọn tó ń jàn ẹ́ mọ́lẹ̀ ní gboro solo: woman, men that defile you wọn á di kálámú fún ẹ will soon despise you the word “kálámú”, a coinage of a yorùbá vogue, “kálá”, contrived in àpàlà gospel by pastor olawale taiwo, implies a purposeful and predetermined rejection or "showdown" hauled at an individual. the conglomeration of such words evokes a scenario that contrasts with yorùbá musical aesthetic, which resides essentially in textual meaningfulness within the ambit of explicit and implicit cultural association, guarded by the society and individuals. these words spurs the course of compositional techniques/creativity in the domain of music, thereby, enable listening pleasure in the prospective audience. overlapping overlapping is a structural arrangement in which two or more vocal or instrumental parts in a musical composition or performance overlap each other or one another. an identifiable western and african musical cultural trait, overlapping establishes somewhat, sociability in composition and performance organisation between the solo and chorus. however, rather than alternation, both the solo and chorus simultaneously engage distinctive textual or melodic lines. this technical design is portended by àpàlà gospel excerpt of overlapping from àpàlà gospel music awka journal of research in music and the arts (ajrma) vol. 16, september 2023 100 interjection another innate trait germane to the composition and performance of the yorùbá islamised popular music that has been infiltrated in to yigm, is the phenomenon construed as interjection. this technique, often contained in a number of speech or song texts disseminated from a source (voice) sometimes other than the solo and the chorus, is prominently resonated in quite a number of pieces. interjection on one hand, and in part, attests creativity within the ambit of composition. on the other hand, it delineates a trend towards secularism in the world of gospel music. this reality justifies the non liturgical adaptability and contextualization of gospel music. diverse mechanisms have been explored for the delivery of interjection by the artistes in this study. in a device, the design is positioned in between the solo and the chorus. an excerpt extracted from àpàlà gospel music replicates such placement. excerpt of interjection (between solo and chorus), àpàlà gospel music excerpt of interjection: textual (between solo and chorus), àpàlà gospel (text) solo: tọ̀tún tòsì màá fi kóre wálé solo: from left and right i will amass fortune awka journal of research in music and the arts (ajrma) vol. 16, september 2023 101 chorus ha, ire ire ni yóò ma tẹ̀lé wa ire ire chorus ho fortune, fortune shall pursue me solo: gbogbo ìṣòwò ẹlẹgbẹ́ mi solo: my entire band members interjection: ẹ sàmí o (speech texts) interjection ẹ sàmi o (speech text) chorus: ire ire ni yó ma tẹ̀lé wa chorus fortune, fortune shall pursue us, ire ire fortune, fortune. in another format, interjection is aroused by the solo presenting a bridge between two chorus lines. the specimen below deducted from wákà gospel exemplifies such applications. excerpt of interjection: textual (between two choruses by a solo bridge), wákà gospel (textual) chorus olúwa yó ṣe tèmi fún mi o chorus the lord will advance my course olúwa yó ṣe tèmi fún mi the lord will advance my course interjection (solo): ta ló bá ọ ṣé? interjection who advanced your course chorus olúwa ló ṣe tèmi fún mi o chorus the lord advanced my course olúwa ló ṣe tèmi fún mi the lord advanced my course mo gbolúwa gbọ́ lolúwa i believe in god and lord advanced fi bámi ṣé my course ọmọ ọlọ́run ló sọ̀rọ̀ mi dayọ̀ the son of god advanced my god olúwa ló ṣe tèmi fún mi the lord advanced my course awka journal of research in music and the arts (ajrma) vol. 16, september 2023 102 the efficacy of compositional techniques of islamised gospel music from perspective of compositional technique, multiculturalism and postmodernism that characterise yoruba islamised gospel music are consequential in certain respects. general efficacy popularisation of yigm the exit of this brand of music from the confinement of the church liturgical service of divine worship, a development that affords extensive adaptation of devices namely, slogans/vogues, overlapping, interjection, nonsensical syllables among others, to a high degree implies secular treatments of gospel music. the urge for musical compositions and performances that could evoke emotional sensitivity in the twenty first century is gratifying at the instance of youth audience, whose quest essentially resides in fantasy, adventure and sometimes illusion. it is needful to reiterate that popular music of islamic variants emerged as a reaction to resentment launched towards liturgical appropriation of music by the religious leaders in the nineteenth century. expounded audience scope compositional techniques which define yoruba islamised gospel music are culturally multidimensional in scope. repetition, variation and hocket devices that are severally ingrained within the musical /structural format of responsorial and antiphonal are indigenous to africa. on the other hand, arabian vocal styles are delineated by recitative modes, mellismatic note setting and appoggiatura/slurring. averse to the monophonic harmonic texture that characterise the popular islamised music, yigm contrives polyphonic/homophonic texture that delineate western/ european harmony, ranging from two to four parts. in addition, twenty first century devices that are contained in slogans and nonsensical syllables, interjection and overlapping are apparently showcased in the styles of this study. such multifarious techniques engendered by àpàlà, wákà and fújì music have been effectual in engendering diverse audience in their distinctive tastes. expounded performance contexts the popularization and wider audience scope aroused by yigm styles are aptly implicating in the pastiche of the observable compositional and performance contexts. contrary to the foundational concept of gospel music within the ambience of church liturgy, its contemporary exhibition portended by yigm compositional techniques has transcended religious adaptation to incorporate socioreligious, socio-cultural and even, entertainment contexts. the boundary line between the liturgical and non liturgical usage of yigm is to a large extent, a factor of permissiveness, extensively manifested in a much heavier instrumentation, body articulation by the musicians and the audience (adedayo, 2021). however, the outdoor adaptation of àpàlà, wákà and fújì gospel music is not solely evident in instrumentation and body articulation; it is also embodied by an array of compositional techniques spanning interjection, overlapping, slogan and nonsensical syllables socio-cultural integration in a heterogeneous society of nigeria, nuanced with contrasting religious and cultural ideologies, a unifying factor is imperative. in the domain of music, yoruba islamised gospel music underpinned by its compositional devices is succinct to afford the needed community of oneness, stemming from its inherent cultural diversity. this stance is awka journal of research in music and the arts (ajrma) vol. 16, september 2023 103 attested by the arabian vocal styles of slurring, appoggiatura and mellismatic note setting, western harmonic textures as well as african techniques of repetition and variation. musical/aesthetic efficacy artistic proficiency of all musical elements, compositional technique is the most exerting influence to convey artistic dexterity on board. citing devices interrogated in this study as templates, the intricate adoption of the contracted techniques by the respective musicians is a full proof of artistic virtuosity. the alternation of repetitive mode with variation, responsorial with strophic responsorial, buttressed by hocket technique is gratifying. the massive adoption of overlapping, interjection, mellismatic note setting alongside slurring and appoggiatura, all attest this discourse. structural and functional roles broadly, mention should be made of two cogent obligations at the instance of repetition and interjection harnessed; structural and nonstructural. the discourse so far has presented both devices (repetition and variation) as integral parts of internal structure of musical composition. besides the structural usage, however, these techniques are quite appealing in the functional role of intensification and message memorisation/ retention. they are apt to engrave the image of the subject matter of the musical passage in the memory of the audience. justification for the repetitive nature of nigerian gospel music, particularly the yorùbá derivative is evident in adedeji’s (2004) depiction; “philosophy of intensification". the scholar advances that the use of much repetition in nigerian gospel music is essentially premised on a yorùbá adage which says “iṣu atẹnumọ́ràn kì í jóná” (communication to an impaired ear is made repeatedly). unity and variety in micro and macro spheres of life, the ambivalent concept of unity and variety is imperative for ensuring balance and stability. within the ambit of music, the foregoing has been addressed by hickok (1993: 26) who postulates that unity gratifies the listener's quest for ‘coherence’ and ‘familiarity’. contrastingly, the scholar portrays variety as appealing to the human enjoyment of the ‘new’, ‘different’ and ‘unexpected’. such a scenario that engenders dynamism, severally enlivens audience prospective utility and affinity towards music. respectively, repetition and variation as templates of unity and variety in this study do not only invigorate artistic dexterity, but have also been contrived to obviate monotony and boredom in the music making and music usage. vocal aesthetic the inherent vocal style harnessed by the yigm artists is largely vested in arabian vocal techniques of voice ornamentation, spanning shaky, slur, vibrato, appoggiatura, mellismatic, to mention few. conglomeration of these devices profoundly fortifies vocal aesthetic imbued in yoruba islamised gospel music, which eventually animates listening pleasure in the prospective audience, a response to the desirable textual and sound effect. asserted by a cleric (alfa quadry), vocal technique is supremely esteemed by arabian-islamic religion/culture, which entails formal training. conclusion awka journal of research in music and the arts (ajrma) vol. 16, september 2023 104 yigm is a multicultural subgenre of yoruba gospel music, a reality encapsulated by its multifarious compositional techniques, namely; repetition, variation, hocket, appoggiatura, mellismatic note setting, recitative (heightened speech), western harmonic texture, slogan, overlapping and interjection. the inherent cultural nuances of yoruba islamised gospel music is consequential at the instances of its popularization, expounded audience scope and audience performance contexts as well as its efficacy in socio cultural integration. as part of conclusion, the compositional devices embodied by yigm exert a vast number of musical effects which are evident in artistic proficiency, terse structural and functional roles, unity and variety, coupled with vocal aesthetic, a stance that is credible for expounding aesthetic scope and acceptability of gospel music in a contemporary and changing society of nigeria. references adedayo, e.b.(2021) african identities in yoruba islamised gospel music in christian music musicology. 1: 91-120. adedeji, s.o. (2004). “nigerian gospel music: a study of its styles” an unpublished phd thesis. university of ibadan. daramola, o. (2007). 2007. islamic and islamised musical cultures among the yorùbá: the contact, the concept and the concord. african musicology on –line. 1. 2: 4658. hickok, r. (1993). exploring music(5th ed. ). oxford: w. m. c brown communication inc keesing, r. m. & keesing, f. m. 1971. new perspective in cultural anthropology, holt, rinehart and winston, inc. nketia, j. h. k. 1974. the music of africa. london: new york: w. w. norton. omibiyi, m. a. 1979. islamic influence on yorùbá music. african notes 8. 2: 37-52. internet sources https://www.dictionary.com/browse/cultural-pluralism https://scholarworks.wmich.edu> kuhl-cher-uhlphor-uh-liz-uhm title of the articlecompositional techniques of yorùbá islamised gospel music (yigm) name of the authordr adedayo ezekiel babatope institution-department of music babcock university ilishan-remo ogun state, nigeria phone no08066436445 email – adedayoezekiel37@gmail.com adedayoe@babcock.edu.ng https://scholarworks.wmich.edu/ mailto:adedayoezekiel37@gmail.com tonemic substitution 78 awka journal of research in music and the arts vol.15 (2021) 78 five igbo art music composers: an abridged historical documentation of their lives and works adaobi blessing okoye & alvan-ikoku o. nwamara ph.d. abstract gbo art music refers to literary/written igbo musical compositions which trained musicians produce under the influence of their western music training. it is a product of igbo african’s contact with western education and religion. the composers are mainly of igbo extraction and have excelled in the art in various ways. they have equally made effort to document their works in form of sheet music, however, lack of improved documentation strategies (online), led to the loss of many of their works and hence the need for this research. the research method adopted for this study includes observation, oral interview and review of related literature. this work tends to document five igbo art music composers selected each from the five south-eastern states of nigeria which are; abia, anambra, enugu, ebonyi and imo states. these choice is basically on their level of popularity, academic achievements and contributions to igbo art music, compared to their peers in their states. the outcome of the study is hoped to provide a platform for related works and set the ball rolling for further studies or similar works to be extended to all known igbo art musician. i awka journal of research in music and the arts (arma) vol. 15 2021 okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 79 introduction the arrival of the european missionaries in nigeria in the middle of the nineteenth century brought new changes both in the scope and content of igbo music which led to the emergence of art music. semi-formal art music making and training in igbo land can be traced to have started many years ago with the church through the missionaries (cms) that brought christianity into the igbo land around 1857. in those days, church music was the only form of art music that was in existence with the church as the only patron of the newly introduced music genre. other forms of art music were not known to have been in existence and if at all, must have been sparsely performed and patronized. in yoruba land (western nigeria), lagos to be precise, where the missionaries arrived before coming to the east (igbo land), lynn in nwamara (2009) informed that the year 1860 marked the first performance of western music (art music) in lagos with the audience consisting of merchants, churchmen, civil servants, students and artisans, while the performers were mostly black immigrants. in igbo land no specific date is known to the authors to have been given as when such a performance took place for the first time, though having stated earlier that church music started with the church in igbo land, it is still not known of the period when such was experienced. according to nwamara (2009), these composers began by direct translation of english songs to igbo language, creating religious words for existing folk tunes and creating new melodies for new texts, some of which are derived from the bible. okafor in agu (2002) observes that: “they had no musical training as such apart from what they learnt in schools and teacher training colleges. their success depended to a very large extent on their interest in music” one of the greatest feats they eventually achieved with their strong spirit of nationalism was eradication of the belief that igbo native airs, traditional rhythms and instruments had pagan connotation. some of these composers include daniel ojukwu, nelson okoli, rev. ofili kelly, ishmael nwangene, okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 80 uzoma asiji, godson opara, ben okagbue and ikoli, harcourt whyte of the methodist church etc. they are referred to as early generation. however, with the establishment of the department of music, university of nigeria, nsukka, in 1961 which brought about a new phase in the composition of church music, igbo people began to receive formal and structured music education. they were taught by european musicologists and western trained africans based on western music concept. they improved on the short comings of their predecessors in their compositions and blended both western and african music idioms. “this cross fertilization of african and western musical elements has resulted in a type of musical synthesis called african art music” (adegbite, 2001, p. 77), which igbo art music is one of its several branches found in nigeria, west africa. some of the composers that fall under this category include david okongwu, sam ojukwu, felix nwuba, humphrey nwokolobia agu, dan c. c. agu, ugochukwu onwuka, chuma chukwuka, alvan-ikoku nwamara, chukwudi ezeokoli and many others. in recent times, some other higher institutions in south eastern nigeria have followed suit to establish departments of music like nnamdi azikiwe university, awka (anambra state), chukwuemeka odumegwu ojukwu university, igbariam (anambra state), alex ekwueme federal university ndufu alike ikwo (ebonyi state) and alvan ikoku federal college of education owerri (imo state). these institutions have aided in very significant ways to produce more art music composers of igbo extraction as they are found within reach. the five composers selected for this study are drawn from five igbo states; abia, anambra, ebonyi, enugu and imo states as follows; prof alvan-ikoku o. nwamara from abia, prof dan c.c agu from anambra, mr emmanuel eze urom from ebonyi, dr jude chika nnam from enugu, prof christain uzoma onyeji from imo states. as mentioned earlier, okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 81 they are selected from their states, based on their level of popularity, academic achievements and contributions to igbo art music, in comparison with their peers in their states. this does not in any way suggest any form of superiority or supremacy to other composers. the igbo of nigeria the igbo tribe are located in the south-eastern part of nigeria which consists of abia, anambra, ebonyi, enugu and imo states. a sizeable igbo population is also found in northern delta and rivers states. geographically, the igbo homeland is divided into two unequal sections by the niger river—an eastern (which is the larger of the two) and a western section. the igbo people are one of the largest ethnic group in africa with more than 30 million people and with a population density ranging from 140-390 inhabitants per square kilometer. altogether, igboland has an area of some 40,900 to 41,400km. until the arrival of the british colonialists, the igbos practice decentralized systems of government where leaders of this system are chosen on the basis of age; the older an individual is the more likely they will be chosen as community leaders who are typically referred to as elders. the supreme leader known as igwe has the final say on all issues. the igbos were known to be very hardworking and talented people. agu (1992) notes that: the igbos are mainly farmers, traders, and tradesmen. they have always appreciated that through sacrifices and religious songs they appease their gods into benevolence, since they depended and look upon them for rich harvest and steady progress in their trade and social life. the igbo worship their gods regularly and no matter how many times this was done; music accompanies most stages of it. (p. 13). the igbo of nigeria are very religious people and music, whether vocal, instrumental or a combination of both, also plays significant roles in okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 82 their religious ceremonies, periodic festivals and ritual sacrifices. music is the pivot on which all cultural, religious and social activities rotate. onwuka (2001) affirms that, “it does not only accompany many events of the life cycle but also helps to preserve and transmit societal norms, values and much of its cultural aspirations. (p.1). igbo art music art music is a term that refers to a musical tradition implying advanced structural and theoretical considerations and a written musical tradition. ekwueme (2008) describes art music as “music of serious intent, composed and performed in the idiom of european classical music by formally trained musicians in conservatories, music institutions and universities as opposed to folk and popular music” (p. 118). the term “igbo art music” was coined and used mostly by scholars typically to describe the works of igbo composers that exhibit the influence of western classical music. igbo art music can be seen as a genre of music created and developed by nigerian-igbo musicians who had training in techniques of western art music; which exists in various forms like solos, duets, trios, choruses, anthems etc. semi-formal art music making and training in igbo land can be traced to have started many years ago with the church through the missionaries (cms) that brought christianity into the igbo land around 1857. in those days, church music was the only form of art music that was in existence with the church as the only patron of the newly introduced music genre. igbo art-music compositions, despite their deep roots in igbo tradition, are performed by music specialists in front of an audience that cannot participate. such musical presentations did not exist in igbo traditional music practice. for instance, music, especially singing, existed in everyday igbo land as part of culture, religion, vocation, and drama. participation typically involves the whole community, where one group sings a call, and another okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 83 sings the response. however, the fusion of african and western music idioms in a manner that gives particular prominence to the strong features of igbo music was a strategy for reinstating igbo cultural identity in music in church and school. development of art music in igbo land in recent times, with the establishment of departments of music in some of nigerian institutions of higher learning, art music making and composition have undergone various stages of improvement and attained a certain level of recognition in igbo land. one unique quality of most igbo art-music composers is that they have a thorough understanding of the igbo traditions, which gives them more flexibility when they combine african and western classical idioms. according to nwamara (2009), the development of art music in igbo can be categorized into two periods or rather, generations of igbo composers as follows: (a) first generation composers and (b) second generation composers each of these generations has its peculiarities in form, techniques and style of composition which distinguish it from the other although the latter did not immediately deviate completely and entirely from the practice of its predecessor; instead it started by developing new ways, means and approaches to igbo art music compositions and later graduated to making efforts towards possibly creating and achieving art compositions of complete igbo identity. as this paper intends to look into the history of the five selected igbo art music composers including their lives and works, the two classifications will be looked into but with more emphasis and focus on the second classification since it is the generation that the five selected igbo art composers represent. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 84 (a) the first generation composers these are the composers who according to okafor (1976:63), “had no musical training as such apart from what they learnt in school and in the teacher training colleges with their success depending to a very large extent on their interest in music.” they were talented, committed and hardworking having exhibited all these qualities in their compositions. nwamara (2009) noted that the fact notwithstanding that they inherited art music making and composition directly from the missionaries and were indoctrinated to follow the western music concepts, idioms and ideologies strictly and sheepishly, they were able to create their own works especially through translating the texts of english songs to igbo texts, creating new texts for existing folk tunes, creating new tunes for new texts or new tunes for existing hymn lyrics and in some cases, rearranging existing tunes. according to omibiyi (1979), the growth of nationalism led to the development of nigerian creative music which was as a result of the revolt against european culture between 1890 and 1920 in nigeria. indigenous art music actually started with the determination of the early christians to restructure christianity to suit african customs and institution where the use of native music would flourish. one of the greatest feats they eventually achieved with their strong spirit of nationalism was eradication of the belief that igbo native airs, traditional rhythms and instruments had pagan connotations. some of the igbo art composers that fall within this group include nelson okoli, daniel ojukwu, ishmael nwangene, rev. ofili kerry, ikoli harcourt whyte, ben okagbue, very rev msgr. cyril ezenduka, uzoma asiji, godson opara, rev david okongwu and others. (b)the second generation this generation of composers emerged as a result of the establishment of the department of music in some nigerian institutions of higher learning, starting with that of the university of nigeria, nsukka, enugu okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 85 state 1961; alvan ikoku federal college of education 1974; nnamdi azikiwe university, awka, anambra state 1992; chukwuemeka odumegwu ojukwu university, igbariam, anambra state 2012; alex ekwueme-federal university ndufu alike, ikwo, ebonyi state 2015; godfrey okoye university, enugu state 2015. with this high level of formal music training and education, they did not only improve on what their predecessors did, they developed original igbo art music compositions that derived immensely from both the igbo compositional idioms and the western harmonic principles and techniques. these composers took care of the shortcomings of the music of the first generation composers in the process of creating their own music and consequently, took igbo art music and art music generally to a higher level that is near perfection. nwamara (2009) informs that these composers have so far made indelible marks in the world of music nationally and internationally. some of their works have received much acceptance and patronage both by the igbo and non-igbo audiences and many of these composers have achieved beauty in form and style. their works have made much impact and have conveyed much feeling to their various audiences. among many of these contemporary igbo composers include: prof. meki nzewi, late dr. joshua uzoigwe, felix nwuba, okechukwu ndubisi, sir sam ojukwu, prof. dan agu, prof. laz ekwueme, nwokolobia agu, lawrence emeka, alphonso okosa, prof. christian onyeji, humphrey nwafor, dorathy ipere, chuma chukwuka, anozie ubani, ugo onwuka, joe onyekwelu,, chudi ezeokoli, dr..jude nnam, prof. alvan-ikoku nwamara, rev. fr. ben agbo and tochukwu moneke, jude nwankwo, urom eze emmanuel and many others. the five composers under study here are all selected from this second generation composers; prof. alvan-ikoku o. nwamara from abia state, prof. dan c.c agu from anambra state, mr emmanuel eze urom from okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 86 ebonyi state, dr. jude chika nnam from enugu state, and prof. christain uzoma onyeji from imo state. the composers this is arranged alphabetically according to their state of origin -abia, anambra, ebonyi, enugu and imo. composer no. 1: alvan-ikoku okwudiri nwamara (abia state) alvan-ikoku nwamara, a professor of african musical arts composition, theory and performance is a prodigiously talented composer, performer, music producer, prolific writer and researcher was born on the 30th day of july 1975 at uzuakoli, to the family of chief christian iheanyichukwu nwamara (the ebubedike 1 of umumba-nsirimo) and lolo emily uloma nwamara of umumba-nsirimo, umuahia l.g.a. of abia state. he is popularly called de music oracle. plate 1: alvan-ikoku okwudiri nwamara in the course of his training and work experiences, he had the rare privilege of getting in contact and working with many big names in nigerian musicological scene such as the late felix nwuba, late okechukwu ndubisi, and the living sir sam ojukwu, prof. meki nzewi, okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 87 prof. dan agu, prof. christian onyeji, prof. richard okafor, prof. laz ekwueme and so on. nwamara’s contact with these great masters and his love for pop music has a great influence on his style of choral compositions. some of his sacred choral compositions include mụ onwe m bụ mbiliten’ọnwụ, ịhe adịwomma, tonụ ja, yoke nke m, akwụkwọ iwu, nwunye gị ga-adị ka osisi vine (composed for his wedding), ka m si yọọ nna (dedicated to his son, kamsiyonna), jagajaga, ezinwa, annah, ajo di and numerous others. as a composer, he has many compositions and music publications to his credit. (a) books: 1. nwamara, a. o. (2019). the voyage of doremi: an opera. awka: printscape publishers ltd. 2. nwamara, a. o. (2018). kamsiyonna dramatic chorus book. awka: printscape publishers ltd. 3. nwamara, a. o. (2017). the saints triumphant vol. i. awka: soleks publications ltd. 4. nwamara, a. o. (2016). contemporary african art music for christian worship in igbo liturgy. lap lambert academic publishing. https://www.lap-publishing.com/ 5. nwamara, a. o. (2016). sacred igbo contemporary youth songs series vol. ii. awka: soleks publications ltd. 6. nwamara, a. o. (2015). sacred igbo contemporary youth songs series vol. i. awka: soleks publications ltd. 7. nwamara, a. o. (2010).the soloist’s companion vol. ii. awka: mount carmel publishers ltd. 8. nwamara, a. o. (2007). the soloist’s companion vol. i. awka: mount carmel publishers ltd. https://www.lap-publishing.com/ okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 88 (b) discography: 1. 2022: onwu bu uzo ndu: tribute to late ma joy nwakego okonkwo. original composition performed by vocomotion chorale. composed, directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. 2. 2022: onye nso anaa: tribute to late ma joy nwakego okonkwo. original composition performed by vocomotion chorale. composed, directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. 3. 2021: unu ebela akwa: late engr. chuba ogbutor. original composition performed by vocomotion chorale. composed, directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. 4. 2020: ezinna cyril laa n’udo: late dr. cyril belonwu umeh (umeononiruaku). original composition performed by vocomotion chorale. composed, directedand produced by alvanikoku nwamara for alvikon concepts. youtube publication. 5. 2019: lord heal our country, nigeria. vocomotion chorale directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. 6. 2019: olisa biko zite udo. vocomotion chorale directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. 7. 2019: gini kayi geme. vocomotion chorale directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. 8. 2018: aga m n’eto jizos kraist vocomotion chorale directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. 9. 2018: aka ngozi: vocomotion chorale directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 89 10. 2017: mu onwem bu nbilite n’onwu na ndu: vocomotion chorale directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube 11. 2017: nwunye gi g’adi ka osisi vine: vocomotion chorale directed and produced by alvan-ikoku nwamara for alvikon concepts. youtube publication 12. 2016: nwanyi akiti department of music choir, nnamdi azikiwe university, awka youtube publication. 13. 2016: ladon sings a compact disc recording of ten songs by a soloist: izuuezeme. directed and produced by alvan-ikoku nwamara for alvikon concepts. 14. 2011: welcome to unizik: a collection of four songs (nigeria national anthem, anambra state song, unizik anthem and unizik welcome song). produced in collaboration with prof. dan c. c. agu. 15. 2008a: unizik water. original jingle composition in video compact disc. youtube. 16. 2008b: akajiani n’ogbunike: a tribute to prof. ilochi okafor (san) vice chancellor, nnamdi azikiwe university, awka (2005 2008). original composition in video compact disc (vcd). also in youtube. 17. 2007: jesus lives. published live performance of an easter cantata by harold de cou’s in audiotape. okumedia’s studio, onitsha 18. 2003: shine in me. compact disc recording by bro moses obiorah edeh arranged, directed and produced by alvan-ikoku nwamara for alvikon concepts. a.p. 002. fogosonics studios, onitsha. 19. 1997: sweet jesus. published original choruses in audiotape. ap. 001. rogers all stars studios, awka. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 90 some of his commissioned compositions include; 1. 2022: birthday song for the archbishop of province of the niger and bishop of awka diocese, anglican communion, most rev. dr. alexander c. ibezim 2. 2019: nnukwu ajuju for campus classicalsall nigerian universities contest (unizik contingent) 3. 2018: faculty of arts anthem (nnamdi azikiwe univ. awka) 4. 2017: association of nigerian musicologists (anim) anthem 2017 5. 2016: funai anthem (collaborative composition of fed. univ. ndufu-alike ikwo anthem) 6. 2013: akwukwo iwu a (diocese on the niger). onitsha. 7. 2012: ndokwa diocesan anthem (edited) 8. 2012: examine yourself (asaba diocese) synod anthem 9. 2012: k’ayi jee na bethlehem (xmas africana) (vocomotion chorale 10. 2009: yoke nkem adighi egbu ngbu. (asaba diocesan music festival.) jan 11. 2008: democracy in anambra (for the commissioning of the stock exchange) onitsha 12. 2008: o dim ka m nabu mgbe nile – an arrangement (diocese on the niger). onitsha. 13. 2007: seat of wisdom anthem (school anthem). enugu. july 14. 2005: mu onwem bu nbilite n’onwu na ndu. (diocese on the niger). onitsha. march 15. 2005: that we may be one (wowican national singing competition). march 16. 2005: sharon house (diocese on the niger). onitsha.via master voice chorale 17. 2004: anambra enwerewo onwe ha (anambra broadcasting service (abs)). awka. july 18. 2003: late chief mrs mokelu’s biographical anthem (master voice choral group). may okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 91 19. 2003: lawyers and nation building (for nba bar national conference in enugu). july 20. 2003: water is life (based on fgn and unicef lyrics). july 21. 2003: trinity model secondary school (school anthem). nnobi. sept. 22. 2003: press cds anthem nysc, yola adamawa state. 23. 2002: n. n. p. c. is twenty-five years (master voice choral group at abuja). nov. 24. 2002: jerry and cee school (school anthem) obosi. dec 25. 2000: arts for living (university of nigeria faculty of arts song) nsukka 26. 1999: musan anthem (music students’ association of nigeria) nsukka 27. 1993: a. s. a. anthem (anglican students’ association) onitsha: january 6 other sheet compositions include; 28. 2014 gini kayi geme? 29. 2013 he’s coming back – satb arrangement 30. 2012 anah nwa nma. jan. 31. 2011 ndi nwuru anwu nwe ngozi 32. 2010 iya (a solo composition). march 33. 2010 ko wa fin iyin fo ni ise nla (a solo composition).july 34. 2007 mi khe shigwe (a solo composition). july 35. 2006 stage band arrangement of unizik anthem 36. 2006 ekeresimeesi 37. 2006 amuru ya n’ulo anu 38. 2005 ekworo (in collaboration with lady n. okonkwo) 39. 2003 chukwu nna di nso (satb) feb 40. 2001 atula egwu and so many others, including biographies and other spontaneous compositions; too numerous to mention. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 92 samples are below: okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 93 composer no 2: daniel chikpezie agu (anambra state) daniel chikpezie christian agu is a professor of ethnomusicology and composition, music director, conductor, performer and organist. he was born on 18th january, 1949, at iyienu hospital, ogidi, anambra state, to the family of mr. and mrs. samuel agu. he is a native of obosi in idemili north local government area of anambra state, nigeria. plate 2: daniel chikpezie christian agu. his compositions: some of dan agu’s sacred and secular works/musical contributions; 1. welcome to nike diocese (2016)-contains (6 tracks) in a cd 2. selected choral works of dan c.c agu (2015)-contains (10 tracks) in a cd 3. ekelem gi nnam , chinekem (2011)-contains (7 tracks) in a c.d 4. welcome to unizik -contains (4 tracks) -2 by dan agu; 1 by alvanikoku nwamara; and 1 by ben odiase. 5. abu oma devid (2018)-contains (12 tracks) in a cd 6. ihunanya (1985)-contains (12 tracks) in a plate 7. women, the pivot of the nation (1980)-contains (8 tracks) in a plate. 8. udo di nma (1976)-contains (8 tracks) in a plate. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 94 9. let the choirs sing. vol 1(1988)-contains 10 anthems. 10. let the choirs sing vol. 2 (2001)-contains 13 anthems. 11. let the choir sing vol.3 (2001)-contains 10 anthems. 12. art songs for contemporary nigerians choirs (2002) -contains 7 anthems 13. contemporary classical anthems (2002)-contains 5 anthems 14. the african church anthem book-(2003)-contains 20 anthems. 15. ten songs arranged for children-(2023)-contains 10 songs 16. anthems and chants for worship vol.1 (2023)contains 4 anthems and 35 chants 17. songs of life (2017)-contains 48 anthems. samples: okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 95 composer no 3: emmanuel urom eze (ebonyi state) mr. emmanuel eze urom is one of the youngest music composers, an educator, choral director, and singer. he is a native of orrah, ozziza in afikpo north local governement, ebonyi state. he studied at government secondary school afikpo where he obtained his neco in 2008 and also attended nnamdi azikiwe university, awka where he obtained his bachelor of art degree in music in 2017. his first composition was a short prayer of the faithful ‘zam chukwu” in 2009 followed by his major full blown art composition tiltled “chukwu agozigom” same year. he informs that his composition did not fly because it was difficult to learn because he knew so little about chord progression. later he gained admission into the department of music, nnamdi azikiwe university awka where he obtained bachelors of art in music from 2013-2017. there at the university, he came in contact with other great composers like prof. dan agu and prof. alvanikoku okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 96 nwamara and because of his passion to be a lead composer, he began to acquire vital knowledge related to composition. plate 3: emmanuel urom eze mr. urom eze composes mostly when he is inspired especially after listening to good music. he has about a hundred compositions and counting to his credits which includes 82 choral works both sacred and secular, one (1) instrumental work for the recorder, fifteen (15) solo works samples: okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 97 composer no 4: jude chika nnam (enugu state) dr. (sir) jude chika nnam also known as ancestor is a prolific composer, a multi-instrumentalist and a choral conductor. he holds a ph.d in music from nnamdi azikiwe university, awka. a liturgical composer with over 2000 catholic songs to his credit. he was born on november 10, 1965 into the family of chief patrick chukwu nnam and mrs felicia nnam of umunnnaugwu, amechi, uwani autonomous community in enugu south local government area of enugu state. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 98 plate 4: jude chika nnam dr. nnam has written many commissioned compositions. they are numerous and their names can be found at the footage of the compositions dedicated to them. they include the art and culture department, fct, abuja, abuja contigent during the national festivals of arts and culture (nafest), central bank of nigeria (cbn), abuja, and other anthems for some parishes in abuja, lagos, enugu, onitsha, asaba and port harcourt. since his works are generally in choral structure, choirs around the world find them useful during masses and church services. he has also done several projects for the yamaha keyboard including a show in dubai. in may 2017, dr. nnam was endorsed as a yamaha brand ambassador for nigeria for their keyboard products with some of his songs sold as a standard in yamaha keyboards. dr nnam has published an e-book that can be found online titled ‘the ancestor’s opium’, it is a collection of a hundred composition written by him. among over 2000 songs he has composed are songs like ‘take and sanctify’, ‘in thanksgiving and love’, ‘in love with jesus’, ‘naranu rie’, chineke gbaghara’, ‘kosisochukwu’, ‘olisa’, ‘uche chukwu’, ‘agam eje n’altar’, ‘abum achicha’, ‘thanksgiving of amazing grace’ etc. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 99 samples are below: okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 100 composer no 5: christian uzoma onyeji (imo state) prof. christian uzoma onyeji hails from attah in ikeduru local government area of imo state, nigeria. he was born on the 15th august, 1967. he had his diploma in music education in 1988, ba (hons) in 1990, ma in music in 1995, all from university of nigeria nsukka. doctor of music in 2002 from university of pretoria, south africa. first, second and third degrees are all in composition. he is inclined to all types of music but with more interest in art music, vocal and instrumental. plate 5: christian uzoma onyeji works and achievements prof. onyeji stated that his compositions have contributed to the development of the arts (african art music) in different genres. he developed new creative processes (research composition, drummistic piano composition, africa vocalism, and nsukka choral school (nsc). these are frequently performed by professional performers and use in teaching and learning in schools especially syllables for secondary school. his compositions in highest demand includes ufie (igbo dance) for piano and oga (maiden game) for piano. these are frequently performed by pianists. his best interesting composition includes “ufie” (igbo dance). this was his breakthrough composition in africa art okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 101 music for piano in the drummistic style. his most fulfilling and best rewarding composition is “ufie” (igbo dance). selected creative works these include some of the symphony, piano works, solo songs, choral works, and experimental instrumental works. to mention but a few: title of the work kind medium year of composition 1 eze nno nu vocal solo soprano/piano 2nd october, 1989 2 love’s desire for sop, ten and chorus. “ serenade 1989 3 dim le abum oyoyo " three part song 1989 4 ele dim’oma “ solo sop./piano 1989 5 nemi amambo “ mixed voices 1989 6 ina za muje “ ” “ 7 kra kum ko “ “ “ 8 ezigbo nnameze nno “ “ 1990 9 ziwalele “ “ 1991 10 soi soi “ “ “ 11 so pi “ “ 1992 12 ko no “ “ “ 13 onye turu gi ime ” solo sop./piano “ 14 mambu zule “ “ 1993 15 dakkada anthem vocals satb 2020 some of his instrumental works include: 1 afro trombone instrumental trombone/band 1993 2 ufie (igbo dance) for piano (three movements) “ piano solo 1993 okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 102 3 afro trombone11 “ trombone/band 1996 4 ufie thematic 1 “ oja and ekwe (experimental) 1996 5 ufie thematic 11 “ oja and ekwe (experimental) 1996 6 mmuo (spirit) “ piano 1998 7 ije (motion) “ “ ” 8 okike (creation) “ “ “ 9 afo naga (the passing year) “ “ ” 10 ikwe (mortar) “ “ “ 11 hi yom (a quartet) “ flute, soprano,piano, cello 2003 12 oga (maiden’s game) for piano “ piano 2003 13 jazz duet “ ten sax. /piano 2003 14 opi akuko “ clarinet 2012 15 iya “ piano duet 2019 okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 103 okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 104 summary/conclusion the usefulness of documentation cannot be overemphasized especially for musicians, audiences who believe in originality or who might be exposed to misrepresentation. from the study, it was discovered that a lot has been written on nigerian art music composers from the early generation to the present contemporary music art composers but not much has been written on igbo art music composers. most of the composers from the early generations are long forgotten and only few knew about them because there is no compiled documentation that really discuss about them and their achievements. it is worth noting and exciting when a generation can access their last generation achievements which were properly preserved for the future, hence the sole aim of documentation is accessibility. as euba (1976) demonstrate, the early generations of nigerian music scholars valorized preservation of nigerian music as a crucial aspect of their scholarly framework, their noble and novel approaches could not be sustained after them because they lack sustainable and documentation framework. this study shows that some of the selected composers such as prof. alvanikoku nwamara, prof. dan c. c. agu, prof. christian u. onyeji, dr. jude c. nnam and many other igbo art composers from the second generation have larger part of their works though not all, recorded in audio and visual form, and are available on online (via website, youtube, facebook etc.), yet there is need to collate and notate works of other igbo art music composers both alive and dead in all the eastern states to avoid loss of their works and from going into extinction this work will no doubt provide an access to historical resources from the past to this generation and the other ones to come on igbo music art composers. this can also serve as instructional materials to educational institutions and also, the research works has made available some historical account of some notable igbo art music composers to other researchers, composers and analysts for further okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 105 study. that we are in the 21st century and performing works by old western composers is a testament of the effort made towards the preservation of their musical creativity. recommendations world civilizations are in part defined by their authentic cultural materials and historical documentations preserved or stored for posterity. the selected composers have made remarkable impact on both the academically trained composers and have in no small measure influenced the church art music composers that came after them, both the academically trained and non-literate composers and the new generation composers. therefore, government, private sector and academic sector have to investigate into the documentation and archiving of life and works of notable igbo art composers, their authentic performance practice and to promote global presence and relevance. also, having the compilation of igbo art music composers will encourage the young scholars to value and compose igbo art music knowing that their works will be documented for posterity. documentation of igbo art compositions should be encouraged to ease research problems and finally encourage the introduction and application of information and communication (computer) technology in igbo art music composition and development for easy global accessibility and acceptability. on a last note, the author wishes to stress here that this research work has not really covered all. the researcher thereby suggests that further research on it or related topics be conducted subsequently for update and currency, and more igbo art music composers both from the ancient and modern generations especially in the eastern region be brought to limelight to enable the younger generation to study them both in secondary and university level. okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 106 references adegbite, a. (2001). the present state of development of african art music in nigeria. in m. omibiyi-obidike (ed.), african art music in nigeria (pp. 77-82). ibadan: stirling-horden publishers (nig.) ltd. agu, d. c. c. (2002). “igbo literary choral music in contemporary nigeria: the journey so far” in music in africa: facts and illusions, emuroborne idolor (ed). pp. 82-98. agu, d. c. c. (2012). acceptability of contemporary choral music in christian worship: the igbo experience. nsukka journal of musical arts research, 1, 29-36. ekwueme, l. u. (2008). a basic guide to music appreciation. lagos: apex books limited. lobamijoko, j. (2001). art singing in nigeria: the composers and the performers in omibiyi-obidike’s (ed.) african art music in nigeria. ibadan: stirling-horden publishers (nig.) ltd. pages 70 – 76. nketia, j.h.k. (2004). african art music. accra: international institute of african music okafor, r. c. (1976). “the impact of christianity on igbo religious music”. b. a. thesis, university of nigeria, nsukka onyeji, c. (2011). some thoughts on meki nzewi’s philosophy of african art music composition. in y. onyiuke, i. idamoyibo& d. agu (eds.), mekism and knowledge sharing of the musical arts of africa: a book of general reading in honour of professor meki nzewi (pp. 8-22). nimo: rex charles & patrick ltd and dance. nwamara, a. o. (2009b). igbo art music composers and globalization. journal of the association of nigerian musicologists, 3, 144151. omojola, o. (1995). nigeria art music. ibadan ifra okoye, a. b. & nwamara, a. o.: five igbo arts music composers: an abridged ... awka journal of research in music and the arts vol.15 (2021) 107 omibiyi m. (1979). nigerian musicians and composers. nigeria magazine nos. 128 and 129 pp 75-88. onwuekwe, a. i. (2006). the composer’s commitment to social changes in nigeria: the case of the national anthems. journal of association of nigerian musicologists, 2, 226-245 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 299 socio-cultural functions of ibibio traditional musical instruments mrs. mary j. akpakpan email: maryakpakpan44@gmail.com mrs. peremodoere ayebatonye-fatayi email: perebeulah@gmail.com prof. eunice ukamaka ibekwe email: eu.ibekwe@unizik.edu.ng department of music, nnamdi azikiwe university, awka abstract this work focused on four selected traditional musical instruments: the xylophone (ikon eto), drums (ibid), lute (ndidu) and horn (oduk) from the different classes of african musical instruments under curt sachs’ and hornbostel’s criteria. it is worthy of note that ibibios are endowed with varieties of musical instruments, constructed, tuned and performed by them. but despite the numerous functions entrenched in ibibio traditional musical instruments, most of them have been abandoned, in preference to western musical instruments. it is also obvious that ibibio has lost so much values attached to its traditional musical instruments. on this note, this paper would bring to light the sociocultural functions of these instruments in order to restore the lost values and also change the perception toward its full utilization. the paper would also discuss these instruments in relation to the following areas; physical features/construction, techniques of performance, maintenance, musical functions and extra musical functions, performance norms and cultural implications. the method of data collection for this study involved interviews and field observation. books, journal articles and other relevant materials were consulted and utilized for this study. this research has shown that ibibio are gifted with variations of musical instruments of which their use is not limited to purely musical functions. also, the study has encouraged all and sundry to take full advantage of the rich content of african/ibibio indigenous music, by giving equal attentions to the learning of both traditional and western musical instruments in the various institutions of higher learning. this is in order to achieve a balanced musical art that will be profitable to both africans and the western world. keyword: socio-cultural, function, traditional, musical instrument. introduction african musical instruments refer to those instruments that are originated in africa south, of the sahara. africans are endowed with many foliage zones such as savannah, forest, desert and river. they make use of various materials gotten from these zones in production of their diverse musical instruments. in the same vein, ibibios are gifted with varieties of musical instruments, constructed, tuned and performed by them. and these musical instruments are made from different resources such as wood, clay, hides and skins, gut, gourds, bamboo, bush ropes, stone, iron and animal horns. similarly, they are mailto:maryakpakpan44@gmail.com mailto:eu.ibekwe@unizik.edu.ng awka journal of research in music and the arts (ajrma) vol. 16, september 2023 300 many factors responsible for the multifarious musical instruments in ibibio in particular and africa in general. according to akpabot (1998), environment and occupation are factors responsible for the diversity of these instrument. environmentally, these are the savannah, desert, forest and riverine areas, where the occupation of the people match their environment climate. desert people are usually nomads and cattle rearers; savannah dwellers are herdsmen, forest people, hunters and farmers, while those in riverine areas are fishermen. the occupation of a society reflects on materials used for making instrument and the type of musical instrument and music produced. for example, herdsmen use horns of animals to make horns while forest dwellers, surrounded by wood, produce flutes and xylophones. string instruments are most prominent in savannah areas and people in riverine areas, like forest dwellers, produce xylophone (p.17). in ibibio society, no activity goes without the presence traditional musical instrument, be it music or dance. traditional musical instruments play a key role in providing the rhythmic motivation for the singers and dancers as well as for the spectators and participating audience. some ibibio traditional musical instruments have been found useful for communication purposes i.e. they can be used to send messages to people far away from the place the instrument is being played or people present at the place and time of a performance, instructing them on what to do. consequently, despite these important roles played by ibibio musical instruments, a good number of them have been abandoned for their western counterparts. based on the above position, akpakpan (2002) said that: “this development is unhealthy and should be frowned at, and if nothing serious is done to revert this ugly trend, it is envisaged that in less that no time our rich cultural heritage will be eroded. to forestall this extinction, both the government and concerned individuals should work painstakingly to educate the masses on the implications of this repulsive trend” (p.1) indeed, the above explains why it is apt to carry out this research. it is also obvious that ibibio has lost so much values attached to its traditional musical instruments. consequently, much credence is placed on the study of western musical instruments in various higher institutions to the total relegation of the study of traditional musical instruments. seldom, do we see students taking traditional musical instruments as their major or minor instruments. it is from this perceptive motif that onyeji (2015) said that, the study of africa’s musical heritage that offers deeper analytical/theoretical insight into the musical and sociological interests of the various musical traditions is imperative to the african art music composer that does not aspire to merely copy the western approach to composition (p. 33). awka journal of research in music and the arts (ajrma) vol. 16, september 2023 301 the above submission calls attention to the need to maximize the rich content of african indigenous music, integrating it with western musical genres. this will achieve a balanced musical art profitable to both africans and the western world. furthermore, delusion ascribed to traditional musical instruments in some of the religious spheres during missionary era which saw these instruments as being satanic equipment, hence, their unfitness for god’s worship should be properly cleared and done away with. in response to this, nnamani (2002) aptly remarked that “in fact, during harvest and thanksgiving services, hearing our traditional musical instruments in the church creates an irresistible atmosphere for dancing (p.82). furthermore, echezona corroborates nnamani’s position in nnamani (2002) thus: the various rhythmic patterns of the musical instruments used direct the movements of the dancers (during such worship occasions) and excite them to frenzy. this state of ecstacy leads to prophesy while the dance and its mime actions keep the worshippers in physio-therapeutic (sic) top form by the exercise of the limbs and the respiratory organs. (p.83) the importance of indigenous musical instrument in the religious and social life cannot be overemphasized. it is evident that we can now perceive singing in the church with varieties of traditional musical instrument accompaniment such as nsak (rattle), ntakrok (woodblock), ikon eto (xylophone) and abang (pot drum). statement of the problem it is worthy of note that despite the numerous functions engrained in ibibio traditional musical instruments, most traditional musical instruments have been relegated, in preference to western musical instruments. in view of this, the paper would spell out the socio-cultural functions of these instruments in order to restore the lost values and also change the perception of the ibibios toward its full utilization. aims and objectives 1. to examine the socio-cultural functions of ibibio musical instruments. 2. to take into cognizance the physical features/construction, techniques of performance, maintenance, musical functions and extra musical functions, performance norms and cultural implications of ibibio musical instruments. significance of the study 1. the study will provide a framework for further research on socio cultural functions of ibibio musical instruments in order to enhance its wider usages. 2. it is hoped that this research will be of great significance in african scholarship. it may also be relevant to scholars that are interested in history, organology, musical technology and archiving. methodology the method of data collection involved interviews and field observation. books, journal articles and other relevant materials were consulted and utilized for this study. classification of african musical instrument awka journal of research in music and the arts (ajrma) vol. 16, september 2023 302 african musical instruments are categorized into four kinds, according to the mode of sound production. in line with this oikelome (2001) states that “the standard classification of musical instrument was derived by curt sachs and e.m. von hornbostel in 1914.this was based on the catalogue of a large instrumental collection compiled by the belgian, victor mahillon (1893) (p.59). these four classifications are: idiophones, membranophones, chordophones, and aerophones idiophones are those musical instruments that depend on the vibration of the entire body for sound production. examples include xylophone, gongs, thumb piano, bell, woodblocks and rattles. they are the most prevalent musical instruments in africa. in ibibio society, there is no hardandfast rule on who to play the xylophone, nowadays, it can also be played by children who are skillful in the act of playing. idiophones are subdivided into three types: (i) the struck idiophone (ii) the shaken idiophone (iii) the plucked idiophone. according to okafor (2005) (a) one of the most widespread of them is the log xylophone igbo: mgbeleke/mgbe,ngedegwu; igenyi (ohafia);ubo maa (ngwo,nkanu,mgboishielu);akwari (afikpo); ikwilikwo (nenwe) agogo (isele-uku); ikwe-mgbo (idemmili); mbarimba (ngwa); ngelenge (owerri); oge (maku); ikiri (mgbowo); ekere-mgba (ekwulobia) .ibibio/efik: ikon eto (p.161). xylophone physical features/construction xylophone as a struck idiophone which depend on the vibration of the entire body for the production of sounds appear on many forms; 1. the log xylophone formed by employing tuned slabs of wood across two banana stems. 2. xylophone which keys are placed over a wooden frame, with suspended resonators. according to nzewi (2007) “the xylophone is an arrangement of graded slabs of wood each of which is a graded melodic note or key. the range of keys is used for playing melodies as well as harmonies in two or more parts…. the keys are made from various types of resonant wood available in a culture’s ecology. the natural sound produced by a xylophone key is soft, depending on the type of wood preferred by a music culture area (p.88)” he also went further to state how the instrument is tuned thus: “xylophones are permanently tuned according to the scale/s of a music culture area during construction. dry and seasoned wooden slabs are used in order to ensure a fixed pitch. the pitch of a wet slab of wood rises as it loses water” (p.89). techniques of performance xylophone is a musical instrument that made up of wooden bars struck by mallets, each bar is tuned to a pitch of a musical scale, the xylophone can produce pentatonic, hexatonic and heptatonic melodies, depending on how it is tuned. the sound production depends profoundly on the skill of the player. the player positions his or herself at the centre of the instrument to play the xylophone. he or she must also awka journal of research in music and the arts (ajrma) vol. 16, september 2023 303 stand erect, while holding the mallets between the thumb and first joint of the first finger with one mallet per hand. the wrists help in the smooth movement of the mallet in upward and downward trend. the xylophonist plays the lower register by taking one step to the left and the upper register by making one step to the right. flats and sharps are struck along the boundaries of the bars but not on the part of the bar that rests directly on the frame. musical function of the xylophone it is generally used for music accompaniment. xylophone is a melodic and harmonic musical instrument. itembe, ekombi, abang and mbopo dances are accompanied by xylophone in ibibio society. socio-cultural function of xylophone (idiophone) xylophone as a speech surrogate instrument is capable of imitating phrases and proverbs of the ibibios. it also help in conveying specific information that are decoded by the indigenes like the specific activities or the prevalent cultural activities in session . according to nketia (1975) their use is not confined to purely musical functions. some are used where appropriate as signals for attracting attention, assembling people, or creating an atmosphere (especially during religious rites and ceremonies). they may also be used for transmitting verbal messages or for reinforcing verbal communication, for marking the movement of special personalities such as priests and persons undergoing sacred initiation (p.69). maintenance of the xylophone xylophone should not be left in extreme temperature as this could distort the timbre (sound quality). also, never keep any object on top of the xylophone. aa xylophone membranophone membranophones are musical instruments that depend on the vibration of the stretched membrane or animal skin as a source of sound production. membranophone consists of the single and double headed drums. they are made from various materials including logs of wood, gourd or calabash, strips of wood bound together by iron hoops, with a skin membrane etc. they are classified according to their playing techniques (e.g. struck, plucked, friction) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 304 drums appear in a wide variety of shapes & sizes. these include: single-headed, open at one end and closed at the other end, others are double-headed drums with resounding skins at the both ends. construction/ acoustical properties: in designing or constructing drums, the pitch and quality of tones are usually put into consideration and this calls for the choice of different shapes and sizes of drums as well as the choice of drumheads and method of holding the drum head. sometimes other devices such as seeds or rattling metals could be attached to get some certain qualities of sound. according to nzewi, m. & nzewi, o. (2007) african musical instrument, including most drums, are carefully tuned during construction, and fine-tuned before a performance. in the case of drum types, tuning pegs are fixed in a variety of techniques. tensioning strings could also serve as a tuning device, depending on how the skins is laced to the frame of the drum. using a turning mallet, for trapping the area of the skin where it is in constant with the wooden frame, raises the tone level during fine-turning, especially for mortar-shell drums (p.2). heating the drum in the sun or by the side of a fire is another technique for raising the tone level of drums with or without tuning pegs. rubbing water or spittle on the skins of a high-tuned drum lowers the tone to the desired level. maintenance of drums drums needs to be properly stored after use. atmospheric conditions also affect the pitch and voice quality of the drums that have not been in constant use. therefore, an open-ended membrane should be kept lying on its side for proper air circulation within the body so as to retain its sound quality and material strength. drums should also be stored on a raft built above the fireplace to ensure its sonic health. avoid placing objects on the membrane as this could lead to its damage. musical function of the drums drums are used as a surrogate speech instrument. it can transmit instruction or message to a set of people within the context of a performance. the african drum is a highly skilled melodic instrument. in ibibio society, dances accompanied by drums are abang, ebre, mbopo, and ndok ufok ebe . socio-cultural values or function of the drum large slit wooden drums in ibibio society emblematize community authority. when sounded, everyone is obligated to conform to its summons and instructions. they are also used in maintaining of law and order in ibibio society.in support of the above, antai (2005) said that “a drum beaten in a special manner on the chief’s order banned domestic animals from straying and authorized the instant killing of such strayed animals. such animals were described as being slaughtered by ‘ekpe’ (lion or leopard) (p.98). specific drums are endowed with religious or healing symbolism in ibibio cultures. confirming this, nzewi (2007) said that : “the african drum produces healing sonic awka journal of research in music and the arts (ajrma) vol. 16, september 2023 305 energy and also imbues and enriches benign spirituality. hence it is used in various ways and situations in rituals as a healing musical instrument, for both mass and personal psychical health management” (p.3). it is noteworthy that some drums signal the presence of important personalities like priests or kings. also, specific drums are funerary instruments that give obituary announcement in ibibio society. techniques of performance a drum, depending on the species and size, could be played standing, sitting on the ground or on top of the drum, with the drum positioned between the legs/thighs or between the armpit and body. the following drums are commonly used: skin drum, wooden slit drum, pot drum, calabash drum, and water drum wooden slit drum ekwe (igbo), obodom (efik/ibibio) pot drums udu (igbo) abang (efik/ibibio) slit wooden drum skin drum chordophones chordophones are musical instrument that produce sounds with the aid of vibration of the stretched strings. they include the following: lutes, bow, lyres, harps and zither. according to akpabot (1975) “stringed instruments among the ibibios have become extinct, if ever they were present.…stringed musical instruments among the yorubas and ibos are also rare; and there is the possibility that stringed instruments, which are common among the hausas of northern nigeria, got into the country through the advent of islam”. (p.17). based on the above, it is evident that stringed instruments were not originated from the ibibio, they were probably brought in through the process of acculturation and urbanization. that is why the rareness of it, is still prevalent among the ibibio land. sociocultural values of lute. in the ancient ibibio, lute and harp had played prominent roles in the spiritual warfare. to this effect, akpabot (1986 ) asserts that “it is played as an instrument for ‘going into fits’. this means that a listener, usually a woman, requests a tune on the instrument and dances so wildly to the music that she collapses on to the ground in a faint and is carried away to be revived”(p.13). in ibibio society, evil spirits are driven and awka journal of research in music and the arts (ajrma) vol. 16, september 2023 306 consciousness regained via the playing of lute and harp.as this is synonymous with the biblical harp. lutes construction according to nzewi, m & nzewi, o (2007), the lute is plucked string instrument that has two or more stings strung parallel to a fretted or unfretted straight neck. the distance between any two frets is a note, while the value of the interval between adjacent notes is determined by a culture’s scale system as well as the tone order on the instrument. the body of a lute is in two sections. the neck carries the fret to which the free ends of the strings are attached. the other section is the sound chamber that could have the shape of an egg split lengthwise or could be hemispherical. sound holes are cut on the deck of the sound chamber. the neck is usually spiked into the tapered end of the sound box. strings are of horsehair, gut, vegetable rope or palm fiber. the fixed ends of the strings terminate on a bridge mounted on the flat deck of the sound chamber. (p.109). technique of performance to produce sound, the strings of lutes are plucked with fingers or a plectrum. tuning is achieved by adjusting the tension of the string using pegs, tuning pads or by re-tightening the strings. ibibio/ efik: ndido-uruk, lute maintenance of lute 1. it is vital to note that the instrument should not be left in direct sunlight, where the heat can really penetrate, because of the flexibility nature of the animal glues used. 2. a reasonable humidity level storage should be encouraged. 3. a small amount of free string behind the knot at the bridge is advisable. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 307 aerophones characteristics vibration of the air column. examples of aerophones are horn, flute and indigenous trumpet. the commonly used aerophones among the ibibios is the horn (oduk). it is usually made from the horn of a deer or an elephant tusk, with a conical shape. they rarely have finger holes unlike indigenous trumpets. according to nzewi, m.& nzewi, o. (2007) “a horn or trumpet is an instrument on which sound is produced when the vibration of the lips in the mouthpiece or embouchure excites the sympathetic vibration of the air column inside the tube” (p.102). it is always side-blown with one opening. a skillful player can produce three to four tunes by overblowing. horn is a solo instrument and can also be used as a symbol of power. socio-cultural functions of horns horn is used by noblemen as a symbol for conflict resolution or to negotiate for war and peace. in line with the above, antia writes that: horn was used to call for or effect cease fire where and when a war raged between two or more communities.in this case chiefs from neutral villages within the clan or group sent an emissary to blow the “nnuk enin” and gave “ayei”specially tied warning each group against further bickerings. this was an injuction placed on the war and any violation of the injuction by any faction or group attracted heavy fines paid by the defaulter(p.97). musical functions of african musical instrument (1) they serve as melodic instruments examples are flutes, horns, xylophone, musical bow, zither and algaita. (2) some instruments keep time and play ostinato during performance, e.g. the percussion pot. (3) rhythmic instruments play accompaniment, e.g. wooden clappers, flutes and beaded gourds. (4) melo-rhythmic instruments: they are instruments that are melody-borne and play rhythms, e.g. xylophone, slit wooden drum, horns, flutes and talking drums. they serve melodic and improvisatory roles. they also play rhythm of dances, gives cues, and signal dancers at where to stop. extra musical functions of african musical instrument writing on the extra musical functions of the african musical instruments, onwuekwe, (2011) said “apart from music making, nigerian musical instruments perform other awka journal of research in music and the arts (ajrma) vol. 16, september 2023 308 functions, these include:(i) solo instruments, (ii) communication, (iii) therapy, (iv) sorrowing and mourning, (v) symbolism, (vi) and court instruments” (p.141). general maintenance a clean and well-maintained instrument sounds better and the timbre will not be distorted. proper maintenance leads to durability of the instrument. african musical instruments should also be kept in museums for historical records and posterity. performance norms and cultural implications of traditional musical instruments in ibibio land musical instruments in ibibio society serves a variety of roles. some instruments may be narrowed to religious or cultic rituals or to social occasions. among some peoples there may also be restrictions as to the age, sex, or social status of the player. besides recreational use, or as accompaniment for dancing, instruments may serve many other roles. according to nzewi (2007), a musical instrument could also be a symbolic object. it could be regarded as a symbol of certain communal, religious or societal authority. as such, its physical presence or significant sound or both in a given location or occasion becomes a manifestation of the extramusical authority ascribed to it. for instance, in the indigenous legal system of an african society, a particular clapper less iron bell could be symbolic, ascribed neutral juridical authority to be administered by a juridical organ or agency in a society. a significant sound pattern played on the bell over a piece of land that is in dispute invokes meta physical intervention in the issue of ownership until arbitration is completed by the known juridical body/agency. the disputants become forbidden, thereby, to exercise any ownership rights or action on the piece of land until the agency has finished arbitration on the matter of ownership. a breach of the metaphysical injunction of the significant bellsound is liable to severe customary penalty. (p.77) in ibibio society, the same is also applicable. apart from bell, slit wooden drum or a membrane drum could also be used to enforce practical order or as a sign of consensual seal to a decision that has been reached through appropriate deliberation. in order to explore the importance, performance norms and cultural implications of traditional musical instruments in ibibio society. we conducted two interviews with two men within different villages in itu local government area. these people were between the ages of 70 and 80. this section will give a brief outline and background of these informants’ responses. obong okon akpan udoh is a 78-year-old man from ikot ebom itam in itu local government area of akwa ibom state. in the interview session with him on the performance norms, cultural implication and importance of some traditional instrument in ibibio society. he said that ibibio has a wide variety of musical instruments which has served in a number of different roles, some of them not primarily musical. according to awka journal of research in music and the arts (ajrma) vol. 16, september 2023 309 him, he said “in strict ibibio culture there were usually rules regulating or designating an instrument to men and women. being a male instrument, it may not be touched or played by a female. similarly, an instrument designated for female can only be used by women. but, this with time has changed. there are no set rules anymore due to a high level of civilization, acculturation and religion. ete timothy silas is a man now in his mid-seventies who grew up with his grandfather who was a master craftsman who works with wood in producing musical instrument. he said some drums were believed to carry a supernatural spirit, on that ground, they were to be handled by a certain class of people. but in a time of vast social change like this, drums have now been incorporated for praise and worship in many churches like catholic. drums are now used to accompany singing, dancing, healing, mourning etc. there are no such restrictions, it could be played by anyone at any gathering. findings having taking a holistic look at the ibibio traditional musical instruments with specific attentions to their functions. this research has shown that ibibio are gifted with varieties of musical instruments of which their use is not narrowed to purely musical functions. also, traditional musical instruments play a key role in providing the rhythmic motivation for the singers and dancers as well as for the spectators and participating audience. some ibibio traditional musical instruments have been found useful for communication, symbolism and therapy purposes. furthermore, the study has encouraged all and sundry to take full advantage of the rich content of african/ibibio indigenous music, by giving equal attentions to the learning of both traditional and western musical instruments in the various institutions of higher learning. this is in order to achieve a balanced musical art that will be gainful to both africans and the western world. recommendations 1. concerted efforts should be made by individuals and various agencies towards documentation, preservation, promotion and utilization of ibibio indigenous musical instruments for posterity. 2. strategies should be formulated by governments, institutions and curriculum planners to encourage more focus on the learning of traditional instruments. 3. misconception ascribed to traditional musical instruments in the liturgy of the churches during missionary era which saw these instruments as being satanic equipment, hence, their unworthiness for god’s worship should be properly cleared or eroded. conclusion from the above discussion, it can be deduced that the values embedded in the use of ibibio traditional musical instruments transcend mere music making as they serve as veritable tools for sustaining, internalizing and immortalizing the ibibio culture. therefore, africans/ibibios are encouraged to explore the rich contents of indigenous awka journal of research in music and the arts (ajrma) vol. 16, september 2023 310 music by learning both traditional and western musical instruments to achieve a well balanced art knowledge to be able to stand out from the musical worlds. notably, the study has also revealed that restrictions and taboos formerly associated with age and sex in playing some special instruments in ibibio society are no more, due to some factors like acculturation and urbanization. consequently, the restrictions have no positive or negative implications on the gender. furthermore,the paper also encourages the use of various traditional musical instruments in the ecclesiastical settings. references akpabot, s. e. (1975). ibibio music in nigerian culture. michigan: michigan university press. akpabot, s. e. (1986). foundation of nigerian traditional music. ibadan: spectrum books limited. akpabot, s. e. (1998). form, function and style in african music. macmillan nigeria publishers limited. akpakpan, j.j. (2002). promoting the culture of annang people through music,in “anaan cultural development” . ikot ekpene:ati ananng, pp.55-60. antia, o. r. (2005). akwa ibom state cultural heritage, its invasion by western culture and its renaissance. uyo: abney publishers. nketia, kwabena j.h. (1975). musical instrument. the music of africa. london: mgbo publication limited. pp.65-107 nnamani, n.e.i. (2002). the use of local musical instruments in christian liturgy. interlink journal of research in music, 1 (1), 77-91. nzewi, m. and nzewi, o. (2007). a contemporary study of musical arts informed by african indigenous knowledge systems volume one the root: foundation. south africa: centre for indigenous instrumental african music and dance (ciimda). nzewi, m. and nzewi, o. (2007). a contemporary study of musical arts informed by african indigenous knowledge systems volume five: theory and practice of modern african classical drum music. south africa: centre for indigenous knowledge african music and dance (ciimda) oikelome, a. (2001). let's talk about african music. lagos: glorious hope. okafor, r.c. (2005). music in nigerian society. enugu, new generation ventures ltd. onwuekwe, a. i. (2011). nigerian musical instruments. (i. ukpanah, ed.) obodom journal of music and aesthetics, vol.1.number2, 134-142 onyeyi, c. u. (2015). composing art music based on african indigenous musical paradigms. inaugural lecture, university of nigeria, nsukka,1-94. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 71 the preservation of seven selected musical instruments of bari bii music group in ogoni communities, rivers state, nigeria ezebube, augustina chizoba, phd 08037438142 tinaezebube1969@gmail.com department of music ignatius ajuru university of education, port harcourt abstract this paper focused on the seven choices of musical instruments selected by bari bii music group of ogoni communities. musical instruments are the engine room of any music group. the bari bii music group makes use of seven musical instruments namely two small size slit wooden drums (akira), one big slit wooden drum (kio), one single membrane drum (kere), one big size metal gong (gira) and one small size metal gong (gira). these instruments play rhythmic, melo-rhythmic, timely important roles during performances, the instruments are classified under idiophone and membranophone families. the seven musical instruments are as old as the group and attention has not been paid on the selection of these instruments in ogoni communities while their performances are enjoyed by the people. most music groups preserve their musical instruments among themselves but the seven musical instruments of the bari bii music group are preserved in their spiritual father’s shrine (amachree) for protection by the gods of the land. information sources were based on observation, participation and print media such as books, journals and conference papers. findings reveal that all the members of the group during rehearsals and their six months training learn how to play the seven musical instruments that is why they do not feel the absence of any member in their performances. conclusion and recommendations were made for the improvement and preservation of bari bii seven musical instruments in ogoni community. key words: preservation, selected, instruments, communities, spiritual father, shrine introduction musical instruments in any cultural music group in ogoni communities play important roles, without musical instruments in any performance to accompany the performers the performance will not be complete and without any bearing. therefore, musical instruments are the main stream of any performance in the communities, it is used to create and enrich every musical activity in ogoni communities. in a situation where there are no constructed musical instruments from local materials within the immediate environment, people improvise to form musical instruments like hand clapping, stamping of feet and the use of voice to form part or on the spot musical instruments. music making is a part of every ethnic society and music making is experienced from birth to awka journal of research in music and the arts (ajrma) vol. 16, september 2023 72 death. in ogoni community, as soon as a child is born, the new born baby is welcomed with music, women gather to sing and dance with or without traditional musical instruments; they improvise with their mouths, hands, legs even spatter to express their joy for the new born baby. agu (2000) observes that: nigerians are great lovers of music, who create and perform music to enrich every activity, ranging from birth to death. all musical creations serve specific purposes and all performances are carefully chosen to suit specified functions and activities appropriately (p. 79). virtually all activities in ogoni communities are accompanied with music and musical instruments ranging from birth, marriage, festivals, coronations, funerals, religious worship and cultural activities. music performances in ogoni communities start from infancy to adulthood, in the communities, children are involved in music making; through the construction of miniature instruments with materials found around them. during festive periods, they gather themselves and move from one community to another to make music with their musical instruments for cash reward. agu (2017) supports that “children are initiated into active involvement in musical activities right from infancy within the ambit of the socio-cultural boundaries of each ethnic society.” (p. 20) in ogoni communities, children come together to make music and this music makes them happy, sharpen and develop their sense of creativity and they see their instruments as a means of fun and relaxation and they also use their musical instruments as a medium of expression and communication. when these children make their own music sometimes, the adults hijack this music and form adult music cultural group for the entertainment of the community, the bari bii music group members started from childhood to play musical instruments in the community and this has contributed to their dexterity on the seven musical instruments at their adulthood. odunuga (2009) asserts that “music is functional to all human beings, animals too produce and enjoy music. birds and snakes make music in one way or the other; music is seen as an integral part of human life” (p. 8). music is synonymous with human beings, as soon as music is heard, it affects the psyche and emotions of any human and these are responded through nodding of the head, stamping of the feet, singing and dancing. the bari bii traditional musical instruments play unique roles both in the bari bii musical groups social performance and in other aspects that assist in the cultural performances of ogoni communities. the instruments are used to draw attention and to perform other necessary functions that may not be connected to musical events, like public announcements, warning signals, communications, metaphoric instruments, scary instruments and also sensational instruments. okafor (2005) confirms that: musical instruments are the tools of a musician. african musical instruments are used primarily for making music but they also perform some special (extra musical) functions in the society. they are in daily use for rituals, spirit manifest dance, maiden’s dance, war dance, acrobatic awka journal of research in music and the arts (ajrma) vol. 16, september 2023 73 displays, vocational dance, cult dance, recreational and ceremonial dance, for social entertainment and vocal accompaniment (p. 178). the bari bii musical instruments are the essential tools of their performances, they are the internal part of the musical traditions of the community, playing their musical roles and other important specific roles that showcase the cultural heritage of the ogoni people. the preservation of bari bii seven musical instruments the survival of any group lies in the preservation of their musical instrument. the bari bii music group is one of the best cultural music group in ogoni, this group through their music has brought peace, unity, love and progress in communities. bari bii in ogoni means god’s play. the group is as old as their forefathers and it is still in existence till date. the bari bii honours invitation both within and outside the community, their music has taken them to places both within and outside the state, also, religion is not a barrier. they have composed many songs performed with the musical instruments which are recorded in audio cd and has volume one and volume two, also their music are documented in rivers state television (rstv). the beauty of their music lies in their instrumentation, all the members of the group sing, dance and play the seven musical instruments of the group they don’t feel the absence of any member. the bari bii music group makes use of seven traditional musical instruments and the materials used in the construction of these instruments are found in ogoni communities. onwuekwe (2011) affirms that: in any vegetation are found trees and other plants. these plants are endowments from nature. people from various climate/vegetation zones make use of these gifts of nature to produce their musical instruments (p. 140). the bari bii traditional musical instruments are made from woods, metals, clays, animal skins and these materials are found within ogoni locality and also constructed within the locality. the people that construct these instruments are members of the community and the seven musical instruments are preserved in the community. the seven musical instruments are preserved in their spiritual father’s shrine for protection by the gods of the land. their musical instruments are not more or less than seven in number. the seven musical instruments are: no. folk instruments english translations 2 akiri slit wooden drum 1 kere membrane drum 1 gira(big size) big metal gong 1 gira(small size) small metal gong 1 kana musical pot 1 koo big slit wooden drum the two akira (two small slit wooden drums) are the lead instruments. during performance the akira plays first followed by the kana (musical pot) then the koo (big slit wooden drum) joins and then the big and small gira (big and small metal gong) joins awka journal of research in music and the arts (ajrma) vol. 16, september 2023 74 last. the big and small metal gong during performance plays communication roles. one of the instruments, the kere (drum) has special features. agu (2005) posits that “geometrical designs, carved animal and (at times) human figures are found on some instruments. this practice explains further the desire of the people to relate their musical instruments to things around them.” (p. 90) the kere(drum) is decorated with mirror round the body for beautification and dark in colour because it is always kept close to fire by their spiritual father in his shrine to avoid ants or rodents tampering with the membrane of the drum and also for longevity, the drum instrument is as old as the group, only the membrane that has been changed. picture 1: the seven musical instruments of the bari bii music group picture 2: the bari bii instrumentalists performing with the seven musical instruments picture 3: their spiritual father’s shrine(amakiri) where the seven musical instruments are preserved before and after performances awka journal of research in music and the arts (ajrma) vol. 16, september 2023 75 classification of bari bii traditional musical instruments in 1933 eric von hornbostel and curt sachs came up with four classifications of african musical instruments, their method of classification was based on the cause of sound generated by the instruments. the four main categories are: (a) idiophones (b) membranophones (c) aerophones (d) chordophones out of the four categories, the bari bii music group musical instruments are classified under two main categories which are: (a) idiophones and (b) membranophones. idiophones agordoh (1985) informs that idiophones are instruments whose bodies vibrate to produce sound when beaten, shaken or struck, idiophones are most common instruments in nigeria since they could be found among all tribes. among the idophones musical instruments found in bari bii music group are two slit wooden drums (akira), one big and one small metal gong (gira), one percussion pot (kana) and one big slit wooden drum (koo). the two slit wooden drums (akira) are the most valuable instruments of the group, they are popular and widespread idiophone instruments found in ogoni. in various parts of ogoni tribe, it has different names, the name this instrument answers in one tribe or ethnic society depends on its size and shape. for example, the small size among the ogoni is called akira while the medium and biggest sizes are called koo, the slit wooden drum is under struck idiophone family. the metal gongs (gira) both the big and small sizes are referred to as clapperless bells. the clapperless bells are of various sizes; long, small and double. it has many names depending on the tribe where it is found, used, and also on its sizes, shapes and roles. the biggest and smallest size of the instruments in bari bii music is called gira and it is one of the most important musical instruments of the group, this instrument is also under struck idiophone family. picture 4: gira(metal gong small size) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 76 picture 5: the two akira (two slit wooden drums) lead instruments picture 6: koo (slit wooden drum big size) picture 7: gira (metal gong big size) the musical pot (kana) is an idiophone instrument performed in bari bii dance music group, it is an instrument made with clay usually designed in two different ways. the small size of the instrument is oval in shape with extended neck wich terminates in an opening through which it is played. a second opening or hole is located on one side of this pot near the neck. a handle is fixed at the opposite side of this second hole. the player is usually seated with the instrument on his or her laps as he beats the two openings with his two palms in alternating rhythm. the second design is normally used by the bari bii music group which has one hole which is on top of the neck. this design is usually big in size and it is not carried by the players on their bodies, it is kept on the ground and it is played with a special pad and not with bare hands. the percussion drum (kana) is under beat idiophone. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 77 picture 8: kana (percussion pot) membranophone kofoworola, and lateef, (1987) asserts that “drum is the generic name for instruments consisting of skin stretched over a frame or vessel and struck with the hands or a stick (or sticks). drums therefore are practically identical with the category ‘membranphones’.” (p.216) drums are classified under membranophone family. they appear in wide variety of shapes and sizes; some have membranes on both ends while others have on only one side, with the other end open. the membranophone instruments are instruments in which sound is produced with animal skin fixed on the wooden or metal frames. they are played with bare hands, leather thongs or twigs, wooden or metal beaters. vidal (2012) affirms that “drumming and singing constitute the main forms of musical expression.” (p. 43) the bari bii music group in their performance use one single membrane drum called kere, the drum is small in size and the animal skin fastened on it and this drum has a special feature of mirror decorated around it. it is dark in colour due to its preservation close to the fire for preservation. the player displays dexterity on the instrument, he drummer sings, plays and dance at the same time. picture 9:kere(single membrane drum with mirrors decorated round the body of the instrument importance of bari bii musical instruments the seven musical instruments of the bari bii music group are the result of their good performances in the communities, both within and outside the communities. onwukwe awka journal of research in music and the arts (ajrma) vol. 16, september 2023 78 (2011) posit that musical instruments play the following roles: rhythmic, melo-rhythmic and timing (p. 135). the bari bii music group attached importance to their musical instruments and that is the reason why they don’t use more or less than seven musical instruments because of the cultural roles these instruments play. the instruments play rhythmic, melo-rhythmic and timing roles. the importance of the musical instruments to the group are: (a) rhythmic importance the metal gongs (gira) and slit wooden drums (akira) effectively and beautifully play rhythmic roles in the bari bii music group performance, the instruments give very strong percussive effects on the music. during their performance, the small slit wooden drum plays first and other instruments join and serve as an accompaniment to the instrument. the metal gong performs and alerts the dancers when to start the performance and when to end the performance. (b) melo-rhythmic importance these are the musical instruments that play both melodic and rhythmic roles in a traditional ensemble. in the bari bii music group, the slit wooden drum (akira), the single membrane drum (kere) and the metal gong (gira) play both melodic and rhythmic roles in the group, as these instruments are played in a performance, it spurs the members of the group and the audience into action. (c) timing importance the musical pot (kana) and the small metal gong (gira) keep time during the performance of the dance, they give ostinato effects to the music. the instruments play the musical patterns that are repeated persistently throughout the performance by the bari bii music group and other instruments rely on their timing roles. d. to entertain the entire ogoni communities, rivers state and nigeria at large e. advertise the bari bii music group f. preserve the traditional cultures of the ogoni communities g. educate the communities on the importance and maintenance of their cultural heritage h. perform as representative of their culture on special public occasions i. energize the music group and the people of the community at large. findings traditional musical instruments are very important in any traditional music group, the bari bii traditional musical instruments are seven in number, they are two small wooden drums (akira), one big size metal gong (gira), one small size metal gong (gira), one percussion pot (kana) and one big slit wooden drum (koo). the seven musical instruments are preserved in their spiritual father’s shrine (amachree) before and after performances. the members of this group are trained for six months to learn how to play all the musical instruments and that is why the absence of any instrumentalist are not felt during their performances. among the seven musical instruments, the small slit wooden drum (akira) are the most important instruments. it plays both rhythmic and melo-rhythmic roles in their performances, other instruments play timing and melodic roles. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 79 the materials used in the construction of the instruments are found within ogoni localities and members of the communities’ construct and sale these instruments for a living. the musical instruments are classified under idiophone and membranophone families and these musical instruments are passed on from one generation to another to preserve their cultural heritage. conclusion in conclusion, the bari bii group musical instruments are as old as the group, the musical instruments used by their forefathers are still in use and preserved by the community to maintain, entertain, advertise, preserve, educate and perform their traditional roles. the bari bii music group are well known for their music performances through dance and playing of musical instruments. the importance of musical instruments in their performances cannot be overemphasized and the music performed with these musical instruments has taken them to places both within and outside rivers state. the bari bii musical instruments form part of the musical traditions of the people, playing their musical roles and other identifiable specific roles that showcase the cultural traditions of the community, they enhance the musical and the socio-cultural activities that go on in the community. their traditional musical instruments play symbolic roles both in the musical arts tradition of the ogoni people and there are no age/sex limitations on the use of bari bii musical instruments, it is therefore concluded that the seven musical instruments are the heartbeat of the bari bii music group of ogoni communities. preserved for with their spiritual father for the future generations. recommendations 1. the federal, state and local governments should encourage the preservation of bari bii music group so that the musical instruments will be preserved for posterity. 2. the bari bii spiritual father, amachree where the instruments are preserved should be turned to a tourist centre where cultural heritage will be preserved. 3. the materials used in the construction of the musical instruments should be planted in the community to make the instruments accessible to the people. 4. the xylophone which is a melodic instrument should be added to the instruments to increase the number of the bari bii melodic instruments. 5. the bari bii musical instruments should represent the identity of the music group. references agordoh, a.a. (1985). topic in african music with 100 objectives questions and answers. abraka agu. d.c.c. (2017). utilizing the power of music in contemporary nigeria an inaugural lecture of nnamdi azikiweuniversity, awka. agu, d.c.c. (2000). classification of nigerian musical instruments and their roles in nigerian cultures. in ojiakor, n.e. and unachukwu, g.c. challenges of national development in nigeria. enugu. agu, d.c.c. (2000). music in the nigerian cultures: types and practices. in ojiakor, e.n. and unachukwu, g.c., challenges of national growth and development in nigeria. enugu. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 80 kofoworola, z. & lateef, y. (1987).hausa performing arts and music. lagos. odunuga, a.f. (2009). introduction to the study of musi. okafor, r.c. (2005). music in nigerian society. enugu. onwuekwe, a.i. (2011). nigerian musical instruments. a journal of music and aesthetics (joma), university of uyo, 1 & 2, 134-148. 36 investigating musical behaviour test at upper basic schools in south-east nigeria calista a. n. ugwu ph.d. abstract est or assessment is inseparable from human endaviour as a bedrock for attaining success. it is a core component of the curriculum. musical behaviour is not without test in indigenous tradition nor in the western perspective as we have in the school. the slight difference is that in the indigenous tradition no failure is produced unlike what happens in the classroom. this qualitative study gathered data from literature and interview from the pre-service music teachers at the upper basic schools at the south-eastern part of nigeria. the study revealed among others that paper pencil type of test focusing on multiple choice and essay are the most widely used test type adopted by the interviewed teachers. the result also concurred with literature on the lopsided nature of test that upheld majorly the cognitive domain at the neglect of the psychomotor and affective domains. the study concludes by recommending that the teacher should test both for the subjective and objective musical learning of the students. furthermore, the researcher through the study recommends organization of workshop or training for the teachers on test construction. key words: musical behaviour, test, measurement, evaluation, upper basic schools. introduction musical behaviors have always been judged by music teachers, performers, and critics; however, the application of systematic testing, measurement, and/or evaluative procedures is crucial for educational decisions. decisions from test influence learner’s t awka journal of research in music and the arts (ajrma) vol. 13 2019 investigating the musical behaviour..... calista a. n. ugwu 37 instructional opportunities and experiences. these decisions have consequence for the musical development of the learners that is vital and long-ranged. not only do instructional and curricular decisions affect individuals, but they also affect broad school, community, and societal goals for music education. it is therefore pertinent that decisions be made from a strong information base. an information base from two realms of knowledge: subjective and objective should be complementary for better decision making. music as an art form impact as recognized by many philosophers and psychologists, and educators. as upheld by dewey (1934) and merriam (1964) in their writings that music is, at an intellectual and emotional level, a construct of culture, and as such, a product of society. it is most potent when testing response to music to involve a strong feeling component as well as the cognitive. the worrisome state is whether all evaluation of musical behavior and music programmes is undertaken to strengthen the information base for instruction and programmatic decisions. it has been reported that individual teachers and music directors in schools and conservatories occasionally use test for spurious reasons while other test for “window dressing” because it is expected of them, whereas others may use test as punishment (boyle & radocy, 1987). an objective music teacher should test for the musical behaviour of the student to enable him/her develop the expected musical understanding and not to victimize nor to fulfil all righteousness. the teacher ought to have a strong philosophical base for testing the students’ musical knowledge else s/he will be toted about with any school objectives though might not cover all the crucial components of musical behaviour that ought to be tested. the upper basic also known as junior secondary is very crucial to any subject in the curriculum. it is a base on which the student develops and decides which carrier to pursue. hence both instruction and medium of assessment is very crucial. the students’ instruction as well as test should more importantly focus on the musical development of the students’ creativity, listening and observing, performing music investigating the musical behaviour..... calista a. n. ugwu 38 and not on music facts only. the curriculum is made for the teacher and not the teacher for the curriculum hence the facts about music as we have in the curriculum should be taught within real music (performing, creating, listening, analyzing), and so is the test. if the students develop positive attitude to music at the upper basic, there is every tendency they will choose writing it at the basic education certificate examination (bece) and national examinations council (neco) and sequel might decide to study music at the senior secondary. theoretical base the cardinal objective of education is learning. every school subject in the curriculum contributes to the total development of the child via the cognitive, psychomotor and affective as an agent of behavioural change. music educators are concerned with the musical learning towards understanding and changing musical behavior of the learner. an understanding of the attainment of these behaviours can only be achieved through test. the test has to be measured so that judgement can be passed on else the test is useless. the test as well has to be encompassing so that different musical behaviours has to be tested towards learning in the three main educational domains. hence to understand the discourse better some concepts like musical behavior, test, measurement and evaluation will be defined. musical behaviour “musical behaviour is an integral and important part of human existence” (boyle & radocy, 1987, p.3); that facet of human psychological behaviour through which people, either individually or collectively, interact with musical phenomena. these behaviours includes: musical performance (singing or playing an instrument), reading or writing music, improvising or composing music, listening to music, moving to music, reading about music, having a feeling response (affective/aesthetic) to music, or analyzing music. any of these and/or any observable human activity related to music is termed musical behaviour. these overt manifestations of a myriad of investigating the musical behaviour..... calista a. n. ugwu 39 psychological, physiological, and neurological processes that an individual has in relation to music sound and/or other music-related events or phenomena are determined through test. it is therefore hoped that a summative test for upper basic should have exercises or questions that will test for the music performance ability, perception, and conceptual. changing musical behaviour is the essence of music teaching and the study of musical behaviour is the subject matter of the psychology of music (boyle et al). musical behaviours can be understood by both subjective and objective information. test test is an application of systematic method for gathering data that indicate the extent to which an individual or group of individuals demonstrate a specific behaviour or sets of behaviours. cronbach (1970) stated that test “is a systematic procedure for observing a person’s behaviour and describing it with the aid of numerical scale or a category system (p.5). test includes a series of questions, exercises, or other tasks designed for a specific function.some common functions of test include assessment of knowledge, achievement, skills, ability, aptitude, attitude etc. every test must be purpose driven and systematic. its intention primarily is towards obtaining objective information about individual’s behaviour relevant to specific purposes, and a test’s real value is dependent upon the extent to which it serves the purpose for which it was administered. technical criteria for evaluating music test include validity and reliability. in designing a test therefore, the test designer should systematically include items, questions, exercises that require the test taker to perform or demonstrate bevaiours reflecting the knowledge, skill, ability, attitude, or whatever is being assessed. the form, format, and general characteristics of educational or psychological tests, may vary greatly as these characteristics are dependent on many variables. these includes the function of the test, the nature of what is to be measured, the characteristics of the individuals, time, costs and so forth. regardless of whatever characteristics format and function, a basic principle of measurement and evaluation is that the testing investigating the musical behaviour..... calista a. n. ugwu 40 procedure involve a systematic method for assessing the test takers’ behaviour relevant to the questions and exercises specified in the test. some test types include: multiple choice, matching, true-false, completion, short answer, and easy. music tests techniques include instrument playing, paper-pencil, response etc; whichever test type or technique is determined by the purpose of the test, subject matter and the learner. measurement this deals with quantification of test data. just as test involves a systematic method for assessing musical behaviour, procedures for quantifying behavioural responses to test must also be systematic. payne (1982) defined measurement as the “comparison of something with a unit or standard or quantity of that same thing, in order to represent the magnitude of the variable being measured” (p.1182). measurement attempts to improve precision and objectivity and as well a base for subsequent objective, statistical treatment of test data. measurement in music teaching is quite challenging because of the subjectivity of musical behaviours and this has endangered music test as the educational authorities are after quantifiable scores. in order to meet the demand, the test has majorly focused on the factual information about music at the neglect of the affective. the onus is on the test maker to design evaluative tools to test for the affective experience and assign values to them. evaluation evaluation is the use of test and measurement towards making some judgment or decision regarding the worth, quality or value of experiences, procedures, et cetera, as they relate to educational endeavor. it ought to be an ongoing, systematic process that is an integral part, of any educational endeavor. evaluation in music has majorly focused on the cognitive and psychomotor at the neglect of the affective, humanistic qualities of the students’ educational investigating the musical behaviour..... calista a. n. ugwu 41 experiences which are very crucial. these authors contend that evaluation in music education will approach their best when decision makers (a) have a strong, relevant information base, including both subjective and objective information, (b) consider affective and, where appropriate, aesthetic reasons of (or to) the individual, group, or endeavor being evaluated, and (c) be made with primary goal of improving quality of the learner’s educational experiences (boyle & radocy, 1978, p.8). evaluation is broader than test and measurement, as it makes judgement based on the test measurement. however, all of them are systematic. crucial from the above views, all the three concepts discussed must be purpose driven and more importantly for music education is a more focus on the test, measurement, and evaluation of the affective experience of the music student. testing musical behaviour focusing on the psychomotor and cognitive domains is more objective than the affective domain that is subjective notwithstanding efforts should be made towards testing the affective experience of the students. the subjective experience of the learner can be inferred from the overt behaviour of the learner towards its testing. criticism of music testing testing generally has been critiqued in literature on the following points: (a) lehman (1968) noted two points which are test inadequacy and test misuse; ebel (1979), spotted out test validity and overdependence on objective test because they are easily scored regardless of serious shortcomings of triviality, ambiguity, and guessing; labelling students as a result of test scores and that may cause teachers to abandon sound, long-rang instruction in order to teach for the test; harmful stress and unnecessary experiences of failure to which students are exposed, thus destroying selfconfidence and undermining of joy of learning (boyle et al, 1978,p.23). music testing is not exempted from the above mentioned criticisms of testing. but very peculiar to music testing are the global versus the specific approaches to music testing. two of them may be investigating the musical behaviour..... calista a. n. ugwu 42 complementary however the function for which the test is being used should serve as the determinant. further is that the purpose of the assessment and the use to be made of the data as well as the degree of inference to be made from the behavioural assessment. tests generally assess behaviours, but the extent to which test makers and users infer that the behaviour reflect covert cognitive or affective constructs varies greatly. behaviour versus cognition or affect inference issue is some worth related to the global versus specific issue. users of music tests must understand and define clearly what they are attempting to assess and select and develop tests or other evaluative procedures appropriate to obtaining the desired information. responsible test use demands a strong theoretical basis for inferring covert cognitive or affective constructs; otherwise a test user should be cautious in making such inference. purpose of the study the purpose of this study is to investigate the perception of music teachers at the upper basic about how they have been conducting music tests generally. what challenges they have been encountering that informed their test types and procedures. objectives of the study the objective is mainly to ascertain the test types used and their reasons for the choice. test construction is both philosophically and psychologically based hence the interest to ascertain what informs the test makers’ objectives in constructing their tests. two objectives guided the study. 1. to ascertain the most widely used music test type at the basic schools. 2. to explore the rationale for the choice of the used music test type. research questions two research questions guided the studies. they are: investigating the musical behaviour..... calista a. n. ugwu 43 1. what is the most used music test type at the upper basic schools? 2. what informed the choice of the used music test adopted? methodology the research design adopted for this study is qualitative. the area of study is the south-eastern nigeria. the population of the study comprised all the 2016/2017 music students on sandwich programme. the study adopted purposive sampling techniques and sampled 12 music teachers teaching music at upper basic.these respondents were music teachers at the upper basic schools. these respondents passed through the national certificate in education (nce). they attended colleges of education and are now in the university in pursuit of their bachelor’s degree in music education at the university of nigeria nsukka under sandwich programme. the method of data collection was interview. the interview was conducted in 2017 from september to october at the university of nigeria nsukka during the sandwich programme in the university. presentation of result the result to research question one which sought to know the music test type mostly applied by the music teachers at the upper basic schools shows that multiple choice test type and assay were the mostly used. out of the twelve music teachers interviewed there was a unanimous answer of the choice of these test types. the research question two sought to explore the rationale for the choice of the test type used. they had so many reasons for their choice. some of them adopted multiple choice test and essay test type because that is what the school authority requires them to use. some said they chose the multiple choice music test type because they don’t want their student to fail. they want all the students to pass their subject as multiple choice test will help the students who do not know the correct answer to select correct answer by chance. others chose multiple choice because it is easier tomark. investigating the musical behaviour..... calista a. n. ugwu 44 the followings are some of their responses for the rationale for the choice of the music test type adopted in their assessment. a respondent stated thus: “multiple choice is frequently used because i don’t want my students to fail”. another respondent said that “assay and multiple choice is what the school encourage”. a respondent concurred thus: “assay and multiple choice gives the students more room to pass their exams so that even when they don’t know the correct answer they can by chance pick the correct option to the question”. discussion of findings the findings of the study revealed that music tests at the upper basic schools at the south-eastern states of nigeria are lopsided. this finding agrees with the test criticism spotted by ebel (1979) on the overdependence on objective tests. the subjective information that need complement the objective information for quality information base is sacrificed. more crucial to music teachers’ understanding of the students’ attainment of musical behaviour was not tested. judging the degree of the students’ attainment of some musical behaviour only on the objective statistical score is a disservice to the subject as well as the students. boyle and radocy (1987) listed the taxonomy of musical behaviours which out of the four musical behaviours they listed in their taxonomy was the least which is “other cognitive behaviours” was the teachers focus at the upper basic schools in the five states that make up the south-eastern states in nigeria. worst still, this focused test type deals with “knowing about” only. other aspects of musical behaviours which are crucial to attaining music behavioural change were neglected. these neglected musical behaviours which in the words of reimer (2003) “knowing within” are the core of musical behavioural change which teachers are supposed to focus on while testing. these musical behaviours include performance, reading and writing, and listening behaviours. this omission in test is deleterious to the subject as well as students investigating the musical behaviour..... calista a. n. ugwu 45 because we will have certified students that can talk about music but will not be able to perform music as highlighted by adeogun, (2006). the teachers’ rationale for the choice of the music test type is bias; basing the choice of their music test type on wanting their students to pass and also for easy marking of multiple choice test, lack strong philosophical base. another worrisome state was the conscripting of the teachers including music teachers to adopt only two test types – multiple choice and assay by the school authority. these two music test types adopted were too narrow compared to test varieties like typical versus maximum performance, item type, norm-versus criterion-referenced, nature of the behvaiour required in the testing tasks, taxonomic domains of educational objectives, and specific versus global behvaiours (boyle, & radocy, 1978, p.103). summary this study investigated the music test type and the rationale from the perspective of the music teachers at the southeastern states in nigeria. crucial concepts like musical behaviour, test, measurement and evaluation were reviewed. the findings of the study revealed two major types of test which are multiple choice and assay type test. the teachers tended to focus more on the paper and pencil at the neglect of the observation on the performance that would have taken care of the subject nature of the music tests. the study revealed that majority of the musical behaviour is not tested by the teachers. more so, the lowest in the hierarchical order of musical behaviour which is the cognitive was the most measured. upholding the theoretical base of this study therefore, the psychomotor and the affective domain of the students’ musical learning were least examined. conclusion this study concludes by stating that the music test types at the upper basic of the southeastern states are too narrow. the lowest level of musical behaviour was being assessed which were facts about music whereas the core musical behaviours that occurs with interaction with musical stimulus were not tested. if really the investigating the musical behaviour..... calista a. n. ugwu 46 instructional objectives inform test type it implies that the musical performance, reading and writing music, and listening to music were not emphasized in class instruction. the teachers’ rationale for the choice of the music test type lack strong philosophical base hence their rationale is bias. recommendations the following recommendations are proffered towards having more strong information base of music instruction evaluation at the basic levels. the music test type should involve objective and subjective test, more importantly, that the subjective nature of music that accrues from the affective should be tested. this test is best done through observation on how they students respond to music. music tests should focus more on the core musical behaviours and less on the musical facts. there is a need for workshop or retraining of the music teachers on imports of music tests and test construction so that they can construct music test that will test for the core musical behaviour and as well have strong philosophical bases for the choice of the test type they are adopting so they can stand their ground and convince the school authority why they should adopt a particular test type. the school authority should not enforce a test type on the teacher so that they can adopt the appropriate test type that can measure what they are set to measure. references adeogun, o. a. (2006). music education 1842 – 2001, content and policy evaluation towards a new dispensation. unpublished phd thesis. university of pretoria, south africa. boyle, j. d. & radocy, r. e. (1978). measurement and evaluation of musical experiences. london: collier macmillan publishers. cronbach, l. j. (1970). essentials of psychological testing (3rd ed.). new york: harper and row. ebel, r. l. (1979). essentials of educational measurement (3rd ed.). englewood cliffs, n. j: prentice hall. dewey, j. (1934). art as experience. new york: minton balch. investigating the musical behaviour..... calista a. n. ugwu 47 lehman, p. r. (1968). test and measurement in music. englewood cliffs, n.j: prentice hall. merriam, a. (1964). the anthropology of music. evanston: north western university press. payne, d. a. (1982). measurement in education. in h.e. mitzel (ed.), encyclopedia of educational research (5th ed.) (vol. 3). new york: free press. reimer, b. (2003). a philosophy of music education, advancing the vision. (3rd ed.) prince hall: new jerssry. 73 transforming nigerian hip-hop music and dance for educational, moral and socio-cultural relevance prisca o. ajaero, emmanuel c. umezinwa ph.d. & alvan-ikoku o. nwamara ph.d. abstract ip-hop music and dance came into existence in the 1970‟s and believed to have sprung from the south bronx of new york city, although, with a root traceable back to africa. this genre of music and dance became popular in nigeria especially among the youths around the late eighties and early nineties but was associated with so much profanity and vulgarity, thus creating for a disinterest and irrelevance as an area of academic pursuit and a possible avenue for curbing societal and moral decadence as well as boost the economy of the country. through library research, interviews and observations, this work seeks to expose ways in which hip-hop music and dance can be re-organized, restructured and transformed to fit more into the moral, academic standards and socio-cultural interests of the nigerian society. introduction hip-hop has evolved from being just a type of music and dance, into being a lifestyle especially among the youths. the word „hip‟ is believed to be used in referring to someone believed to be in „the know or current‟ while the latter „hop‟ is just used as the word implies, a hopping movement which was coined from a rapper with grandmaster flash named keith cowboy, and the furious five who teased a friend who had just joined the u.s army, by scat singing the words „hip/hop/hip/hop‟ in a way that mimicked the rhythmic cadence of marching soldiers as stated by nwamara (2011). hip-hop music and h awka journal of research in music and the arts (ajrma) vol. 13 2019 transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 74 dance can be said to have sprung up in the 1970‟s in the south bronx of new york city, united states of america, although, with a traceable root back to africa. by means of globalization and acculturation, hip-hop has found its way into many countries and has been incorporated into the lifestyle of the people without significantly losing its qualities and essence. this lifestyle crept into nigeria around the late eighties and early nineties and was “nigerianized” and nicknamed naija hip-hop with its essential hip-hop qualities still intact, bringing about so much negative criticism as regards the constant and unapologetic usage and showcase of obscenity and vulgarity that accompanies this genre of music and dance, causing for a high rate of disapproval and disregard for it from the older ones in society and also a disinterest in its academic teaching and learning process. nevertheless, irrespective of all these criticisms, hip-hop music and dance has kept on igniting interest among the youths and has proven to be employment generating for them by indulging their minds in some unique level of creativity and sense of self-reliability. so, there is a need for the recontextualization and restructuralization of our hip-hop music and dance for more acceptability and societal relevance as suggested by adedeji (2010) in his transformative musicology theory which states that: …in order to meet contemporary social challenges there is the need to redefine the direction of art music in terms of functionality. this would imply recontextualizing it to address socio-political problems and serve as a vehicle for transformation while still retaining its artistic qualities. this is totally realistic since in its original aesthetic focus, art music carries textual or philosophical themes and contents which portray cultural norms, values, religious messages, nature, love. (p. 3-4). igwe (2014) also examined contemporary popular music and dance as tools for social transformation, presenting the dance as important as the music. transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 75 concept of nigerian hip-hop music and dance hip-hop music is believed to have come into nigeria between the late 80‟s and early 90‟s but there seems to have been no precise or definite documentation about the advent of this genre of music. buchi steve (2009) in real hip-hop naija blog spot (realhiphopngblogspot.com) gave a brief history of the evolution of hip-hop in nigeria to have taken place around the 1990s. amos (2012) in his work entitled „history of nigerian hip-hop: a tale of three decades,‟ he opined that in the last thirty years, hip-hop music has come to thrive and informed most of the developments in the nigerian music. hip-hop music first gained so much popularity and precedence in lagos as afro hip-hop among the youths as a safe haven for them away from the crisis, corruption and continuous outburst of problems and difficulties emanating in the country by ways of unemployment, currency depreciation, corruption and so on. this genre of music started being used by the youths to call out and express their disdain and disapproval to the high rate of corruption displayed by the leaders. so many groups and solo artistes like junior &pretty, daniel 'danny' wilson, plantashun boiz, remedies with members eedris abdulkareem, eddy remedy & tony tetula started taking recognitions during that period. then the late 90s and the early years of the new millennial era saw an outpour from artists and groups, many returning home from the western diaspora, like eldee da don of trybesmen, madarocka and the s.o.u.r.c.e. clik, naeto c of w.f.a, and from europe, jjc and the 419 squad; and p-square (the duo of peter & paul okoye) and most recently, the likes of flavour, davido, phino, olamide, tiwa savage, wizkid, teni, burna boy etc, all becoming a part of the mainstream of nigerian music after the collapse of pop trends like yo-pop. these nigerian artistes started to localize hip hop and make songs in english and any other nigerian language as a way of expressing themselves more, making nigerian hiphop multilingual. transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 76 hip-hop music as a genre cannot be talked about completely without the addition of rap music. according to akwaowo (2010), rap is one of the most prominent features, a major part and an inseparable element of hip-hop. the type of hip-hop is determined by the kind of rap style. there are 3 major types of rap style which are: the conscious rap type which deals with the creation of awareness and imparting knowledge. it discourages the act of violence, discrimination, and other societal ailments and contains positive uplifting messages, the battle rap type which stems from the quest to be competitive within the culture. although, it is sometimes directed to an anonymous rival or used as a forum to sharpen one‟s lyrical swords, boastful lines and self-glorifying rhymes about one‟s proficiency or level of success, accompanied by verbal insults (beef lyrics) hulled at the other party directly or indirectly is mostly the underlying factor here and lastly, the gangster rap type which reflects the violent lifestyles of innercity youths and revolves around aggressive lyrics and trunk heavy beats. these are the three rap styles found in hip-hop music. hip-hop dance and its music are quite inseparable as they share a common history that dates back to the 1960‟s and 1970‟s. dance being a great complement to music, is used to express the feeling of the singer/ artiste as it transcends beyond just bodily movements, but could be used to pass across information, tell a story and convey emotions as opined by onwuekwe (2009), who stated that: dance goes beyond the merely function movement of work or sport to become an experience that is pleasurable, exciting or aesthetically valuable. in doing so, it can also express emotions, moods, ideas, tell a story or portray political and social needs. (p.178) dance can also be said to be a reflection of the society that owns it as people tend to explore their cultures using even artistic and sociohistorical materials in its creation and performance which gave rise to the statement made by ojo (2003) that: transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 77 dance is the language that expresses religious beliefs, political and historical experiences, social practices and economic peculiarities as well as the geographical location and biological temperament of the people that gives its birth. (p.1) the notion of dance being more than just a movement of the body but also a means of expression and more may have also prompted ogene (2007) to state that: dance is about the only art form that punctuates the cultural continuum of human diversity. it is the hyphen of experience, the comma of victory, the colon of defeat, the parenthesis of the family and the full stop of pain... yet it is an art form most ephemeral of all. (p. 195) in the bid to express themselves more, artistes started creating accompanying dances, sometimes derived from their culture and relatable to society to further interprete the messages conveyed in their music and also entertain their listeners. hip-hop dance is acknowledgeably, a quite stressful type of dance style and requires the utmost level of commitment, practice and undeniably, a great deal of strength for a proper execution and performance. it became popular in the 1970‟s in the usa after it was performed by the first professional street-based dance crews. hiphop dance styles includes the popping and locking, the break dance (whose dancers were known as b-boys and b-girls and which spread was made possible by rock steady crew, new york city breakers, the lockers, and the electric boogaloos respectively as they were the most influential hip-hop groups at that point in time), reject and jerking, hammer dance, hip-hop ballet, twerking, cripwalk and so on. while in nigeria, in addition to the existence of the known and adapted hip-hop dance styles, some other “nigerianized” dance styles/steps were formulated, creating for a fuller and more culturally balanced and interesting repertoire of dance styles. these indigenous dance styles include the makossa, alanta, etighi, dab dance, transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 78 alingo, suo dance, skelewu, sekem, shakiti bobo and more recently, the zanku (leg-work) dance style. hip-hop dance in nigeria just as its music, has also engaged people in creativity and as a money-generating venture. it has received a great height of recognition in this era and as so, requires scholarly and academic attention. hip-hop music/dance and moral didactics morality could be said to be a code or set of conducting principles set by a group, society, an organization or even an individual that concerns itself with the separation between what is right and wrong or what is good and bad. it can also be said to be the day to day practice of a group or an individual‟s view of what is perceived to be „good‟. the philosophy of what is „good‟ is quite different among people and the society at large due to religious, gender, cultural and even generational influences which most times, functions as a reality filter. microsoft encarta dictionary (2007ed.) defined the word didactic as a means of teaching or having a moral message which tends to give advice or instructions, even as at when and when not needed. the word is derived from the greek word “didaktus,” which means to „teach‟. a morally didactic song is one which messages tend to pass across information that teaches its listeners the distinction between good and bad and encourages them to always be upright and desist from the bad and evil things. this type of music is contained in our african repertoire of folk and didactic songs which are used in informing, instructing and educating an african child. this notion is supported by agu (2011) who observed that the igbo child “learns everything around him, the culture, history of the land, general knowledge, and moral instructions through songs. he also stated that, “one of the basic functions of igbo folk music is that of moral education which concentrates on the moral obligations of the child to society”. the norms, ethics and values of a society are basically transmitted to members of the society through the texts of the songs used by them (okunade 2011). nwamara (2015) also stated that, folk music is transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 79 “indigenous and on its own part performs to an appreciable extent some educative (moral and cultural) roles, culture preservation roles as well as entertainment roles” (p.266). unfortunately, hip-hop music in nigeria has been predominantly profane and immoral in its lyrics, its dress sense and to the nature of most of its dance style as against the moral inclination of the society and its original purpose of creation which was basically to educate, inform and advocate for the common man against the ills of the society and corruption of our leaders through its themes and messages as seen in the songs of eedris abdulkareem and tony tettula. this notion was supported and emphasized by nwamara (2011) who stated that, “one of the most important features of hip-hop which distinguishes the musical genre and puts it in a class of its own as different from other genres is the song text.” he further stated that: hip-hop singers are characteristically “praise singers of themselves”. they sing about their love, sex, affluence, beauty, class, outstanding performance, god‟s intervention and “upliftment”, hope for a promising future, good recording deal, popularity, attractiveness, etc. others in wanting to be heard by other artistes (especially those considered as outstanding), sing songs to criticize them, known in the nigerian hip-hop parlance as “biff song”. some sing to criticize the government, and the rich class who segregate while others sing to praise outstanding artistes in the field and their djs. (p. 147148) although, some hip-hop musicians in nigeria have tried and succeeded in keeping their music free from profane words and sexual inclinations, so many others today, thrive in making themselves and their music a brand for the advocacy of gangsterism, violence, indecency and sexual immorality. the hip-hop dances are now created to be erotic in nature, with the female vixens/dancers dressed in so transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 80 little and very revealing attires because it is believed to be more marketable and in trend. ekwueme (2001) is of the opinion that nigerian composers should produce works to meet the nigerian audience; to which i add that the songs need to be those that would be educative as well as morally sensitive and acceptable. hence, there is the need for the adaptation of adedeji”s (2010) transformative musicology theory in the creation and composition of hip-hop music. hip-hop musicians need to start creating songs that are more educative and morally balanced in nature by recontextualizing their themes and making them free from profane languages and sexual attributes. this can also be achieved by employing the use of our indigenous didactic songs which are basically used for educating, correcting, teaching and informing the people. educational and socio-cultural relevance culture could be said to be the values, customs and beliefs, arts and social organization that makes up the way of a life of a particular society, group or country. the sum up of these ways of life of a people, are most times passed from one generation to another as cultural heritage. it is believed that people are often times as indigenous as their culture, meaning that a person when brought up from childhood in the ways and dictates of his/her culture; finds it quite difficult to deviate from it. music has always been an important aspect of our nigerian culture which most times play an integral role in the inculcation of moral values in the early life and developmental stages of a child. the indigenous music of a people tends to bring them together in oneness and create a sort of inter-personal relationship amongst them. in a socio-cultural setting, music, especially when lacking some form of cultural inclinations and unwanted religious influences, creates the opportunity for nigerians to communicate and interact freely within themselves at a particular point in time. transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 81 hip-hop music and dance in its regard, has metamorphosed into being a culture of its own and has mostly affected the nigerian youths in their craze and yearning for modernity and globalization. the effect of this could be seen in the dress sense (with sagging, wearing of torn trousers and rugged jeans, and the ladies putting on very little and revealing dresses all in the name of trend and fashion), cultural preferences (this could be seen in the cultural choices of the nigerian youth, who consider their own indigenous cultural practices as archaic but would rather go for the western cultural practices alternatively as could be seen mostly in their dress sense) dance style (especially in our cultural dances, as they have been greatly adulterated in such a way that the influence of hip-hop could be seen in the dance style, steps and even mannerism when being performed by a youth) and language of those that are hip-hop compliant (with slangs, rap words and pidgin being the order of the day, thus, robbing some the ability of proper english speaking and even language mastery). nevertheless, culturally speaking, hip-hop culture has proven not to be rigid or static as it tends to encourage cultural hybridity; where the foreign culture and even our indigenous culture assimilate each other thereby creating an existence for a modern culture that goes with the contemporary trends and also creating inter-social relationships between the different societies and states in the country. educationally, hip-hop music and dance is not recognized as a necessary area of research or learning in higher institutions and as so, does not receive much academic attention or relevance, and this could possibly be due to its attribution to immoral and obscene characteristics today after drastically deviating from its main purpose of creation being to inform, educate and advocate for the masses. music is perceived as educational, when it possesses the ability to give positively formative effect on the character, mind and physical ability of the listener. nketia (1966) informed that music was a basis for educating the members of community and it serves as a transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 82 means of teaching the norms and values of society. the need for educational grounding in the art of hip-hop music and dance in nigeria cannot be over-emphasized as education is the gateway to logical reasoning and sustainable provision to social and economic needs. akumah (2004:202) also defined education “the process of discipline through training and study in the acquisition of skills and knowledge”. education is also “the sum total of processes by means of which a social group or community, small or large transmits its acquired power and aims with a view to securing its continuous existence or growth” (eya 2000:143), all of these qualities, our nigerian hip-hop music today has proven to be devoid of and causing an abnormality in the system. however, with the inclusion and incorporation of hip-hop music and dance as an area of specialty and relevant research area in music studies, the output production of this genre of music would be manageable, curbing most of its obscene, vulgar and immoral tendencies or at least reducing it to its minimal, creating for a more educative and societally acceptable hip-hop works due to its high rate consumption, thus, giving this genre of music, the value it deserves. conclusion and recommendations hip-hop music which was believed to have been originally created to educate, inform and advocate for the common man, has drastically deviated from that intention and has since then faced so much negative criticisms as to the immoral way of life it now champions and encourages today. the exhibition of violence, nudity, drug addiction and vulgar language has become the order of the day among its compliants (comprising mostly of youths), with the hip-hop dancers, especially the females, regarded as prostitutes due to their high level of nudity display and erotic dance styles. this genre of music and dance in its present state is believed to be of no good moral impact on nigerian youths and society at large, causing it to receive little or no educational interest/relevance whatsoever. transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 83 however, despite its attribution to immoral values, hip-hop music and dance has been the most recognized and lucrative genre of music in nigeria today, commanding a high rate of consumption and influence on nigerian youths. so, it is imperative for this genre of music and dance to be given indepth educational study and relevance by music scholars, promoting the restructuring of the dance styles as well as recontextualizing its theme and message as suggested in adedeji‟s (2010) transformative musicology agenda that champions the need for the recontextualization of musical compositions for societal transformation in nigeria; and also nwamara‟s (2011) support for the inclusion of more educative texts in hip-hop music in nigeria. with music scholars delving more into the production of this genre of music, this would help in regulating the composition and production of hip-hop music, hence, curbing/ reducing to its very minimal the use of vulgarity and exhibition of immoral and profane lifestyle. this would create for a more meaningful, morally inclined, educative and societally acceptable hip-hop music production. it is also recommended that the censors‟ boards in nigeria should do more in their duties of checkmating the hip-hop music works before disseminating to the public. works with vulgar languages and nudity should be banned from being displayed or listened to, thus, bringing it to its barest minimum. the government should also sponsor, encourage and promote cultural revival and export through hip-hop music and dance. lastly, the nigerian parents should give serious and adequate attention to the sort of training their children are given at home because the home is the most delicate formation ground and determining foundation for the future of a child. references adedeji, „f. (2010). transformative musicology: recontextualizing art music composition for societal transformation in nigeria‟, in revista electronica de musicologia, vol. xiv, http://www.rem.ufpr.br/_rem/remv14/09/transformative_mu sicology.html http://www.rem.ufpr.br/_rem/remv14/09/transformative_musicology.html http://www.rem.ufpr.br/_rem/remv14/09/transformative_musicology.html transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 84 agu, d. c. c. (2011). use of igbo folk music as an instructional material for moral and musical arts education in igbo culture, nigeria, awka journal of research in music and the arts (ajrma) 8, p.8-18. akwaowo, n. (2010). hip-hop music in nigeria: the music and its musicians. a composition seminar laboratory paper presented at the department of music, nnamdi azikiwe university, awka. akumah, e. (2004). concept of functional education. in r. c. okafor and l. n. emeka (eds.) nigerian peoples and culture. enugu: new generation ventures. (p. 200-216) alex amos (2012). 360 nobs.<www.360nobs.com> accessed16/05/2019 buchi, steve (2009). real hip-hop naija blog spot.<realhiphopngblogspot.com> accessed 18/05/2017 ekwueme, l. (2001). composing contemporary african choral music: problems and prospects. in m. a. omibiyi-obidike (ed.). african music in nigeria. ibadan: stirling-horden. (p. 16-29) eya, l. o. (2000). achieving national unity and development through the national educational philosophy. in sostan: 3(1) (p.142146) igwe, c. a. (2014). contemporary popular music and dance as tools for societal transformation in nigeria.b. a. project submitted to the department of music, nnamdiazikiwe university, awka. nketia, j. h. k. (1966). music education in african school: a review of position in ghana. british journal of education.vol i. 10-25 nwamara, a. o. (2011). naija hip-hop song texts and their implications to sustainable development in nigeria in a. b. c. chiegboka, t. c. utoh-ezeajugh and m. s. ogene (eds.) the humanities and sustainable development. p 147-152. nimo: rex charles & patrick ltd. nwamara, a. o. (2015). igbo folk songs: towards reviving and preserving the igbo musical culture. in a. o. nwauwa and c. j. korieh (eds.) perspectives on the igbo: multidisciplinary approach. pp. 263 – 275. glassboro – new jersey: goldline and jacobs publishing. http://www.360nobs.com/ transforming nigerian hip-hop... p. o. ajaero, e. c. umezinwa & a. o. nwamara 85 ogene, j. (2007). nigerian dance as visual data resource. in c. ugolo (ed.) perspectives in nigerian dance studies. ibadan: caltop publications nigeria ltd. ojo, b. (2003). „singing old tunes: critical comments on welsh ashante‟s african dance.‟ the theatre experience: journal of contemporary theatre practice. 3 (2). (p. 70-72) onwuekwe, a. i. (2009). the socio-cultural implication of african music and dance.the creative artiste: a journal of the theatre and media studies. asigbo, a., uto-ezeajughi, t., and abone, c. (eds.) 171-185. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 195 an exploration of the use of music to alleviate stakeholder experience in the banking sector adebanjo, paul obayomi ba(ed) music – eksu, ma(ed) music –unilag email:pobymusicconcept@gmail.com mobile number: 08038600558 abstract 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. keywords: skye bank, polaris bank, banking, music, stakeholders, bankers. introduction music music is a universal language, connecting people to their environment and each other. its complex nature and diverse interpretations across cultures make its definition unrestricted to any particular tribe, culture or class. music evokes emotions, stimulates physical responses, and fosters a deep psychological connection. music serves as means of entertainment and relaxation among tribes and cultures. in essence, music can be used as tool to cushion stress and boredom across various professions such as banking. eyiuche (2014), posits that “music, particularly the ones pleasant and soothing, provides the tonic for the optimal existence and it is the perfect tool to help one realize the emotional tension“. may (2022), explains that music is a consequence of the interaction between people and sounds. may’s comment, reveals connection between persons and their social-cultural environments characterized with diverse musical sounds such as religious processional sounds, office background music, party music, ritual music among others .music is the logical arrangement of sounds. according to afolabi (2012), “music deals with sounds of various heights and depths such as fine artists use colors of various types: green, yellow, white among others to create artistic impressions. these sounds are arranged in logical manner to form what is called music.” in essence, afolabi’s study explains that music is produced when sounds are arranged in reasonable order. music application in various industries, such as marketing, healthcare, and education, has shown promising results. music can also be used to create a sense of drama or excitement, increasing consumer arousal and engagement (areni & kim, 1993). the cultural associations of music can impact consumer perceptions, with different genres, styles and evoke distinct cultural meanings (lamont, 2013). bank and banking a bank is a financial institution and a financial intermediary that accepts deposits and channels those deposits into lending activities either directly by loaning activities or indirectly through capital markets. a bank is a connection between customers that have capital deficits and customers with a capital surplus. a bank is also a financial institution licensed as a receiver of deposits. two types of banks are mostly regulated by the national government or central, they are commercial/retail banks and investment banks. banking refers to “the business or practice of operating a bank, or the provision of financial services, such as accepting deposits, making loans, and facilitating transactions” (american heritage dictionary, 2018) banking is a fundamental sector in the global economy, providing essential financial services to individuals, businesses, and governments. banking’s rich history dates back to ancient civilizations, and thus it has evolved over awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 196 time to meet the changing needs of society. banking plays a critical role in facilitating economic growth, stability, and development. despite its significance, the banking industry has traditionally been associated with formalities, professionalism, and seriousness. however, recent studies have highlighted the importance of exploring unconventional approaches to enhance customer experience, employee engagement, and overall performance. one such approach to consider is the integration of music in banking. . music in banking music is an important factor to build an impressive in-store experience in a given time and environment. music in banking environments can significantly impact the ambiance, customer experience, and employee productivity. listening to music can improve mood, reduce stress, and increase focus. in the context of banking, music can create a welcoming atmosphere, making customers feel more at ease while waiting in line or discussing financial matters with bankers. moreover, music can influence the emotional state of bankers, leading to improved job satisfaction and reduced burnout. a study by adeniyi and lawal (2019) found that music exposure can enhance cognitive skills, creativity, and memory among learners. in essence, the use of music in the banking sector can potentially lead to better performance and decision-making among bankers. however, it is crucial to consider the type of music played, as it may impact stakeholders differently. for instance, upbeat music might appeal to younger customers, while more soft music might be preferred by older patrons. additionally, music volume and personal taste can affect individual experiences. music's impact on consumer behavior in retail settings has been extensively studied by many scholars. yalch (1991) asserts that music can influence consumer mood, perception, and purchasing decisions. similarly, milliman (1982) found that music's tempo and volume can significantly impact consumer behavior, with faster tempos and louder volumes increasing arousal and stimulating purchases. the atmospheric effects of music on consumer emotions and perceptions have been explored by various researchers. for instance, alpert (1990) discovered that the genre of music played in retail settings can influence consumer demographics, with different genres appealing to various age and gender groups. in essence, the type of music played in the banking sector, determines its effect on the consumer. thus, music can be used to create a sense of nostalgia, evoking positive emotions and increasing consumer loyalty. statement of problems the banking sector faces significant stress challenges during downtime, affecting both staff and stakeholders. specifically, bank employees experience heightened stress levels when attending to large crowds amidst slow network and after network restoration. additionally, downtime events strain customer relationships, making it challenging for banks to regain customers trust in specific products or services. hence, the study explores music’s use in alleviating these stress challenges. aims and objectives this study aims to investigate the use of music in banking, exploring its potential to enhance customer satisfaction, employee productivity, and overall bank performance. hence the aims and objectives are stated: ● to find out music’s role as means of communication and advertisement in the banking sector ● to find out the emotional and psychological impacts of music on the bankers, customers and stakeholders ● to explore how music in banking advertisements can create an emotional connection with consumers, influencing their interest and patronage, rather than solely relying on logical appeals, thereby highlighting the strategic use of music in shaping consumer responses and decisions in the banking sector research questions 1. how does music influence customer behavior and emotions in banking environments, particularly during system downtime or long queues? 2. what is the impact of music on the emotional and spiritual experiences of banking stakeholders, including customers and bankers? 3. does music have a significant effect on the banking sector, including customer satisfaction, banker performance, and overall stakeholder engagement? scope and delimitation this study explores music's use in alleviating customer behavior, banker performance, and stakeholder engagement in the banking sector. it is delimited to two branches of skye bank plc (now polarise bank) in oyo state, southwest nigeria. the branches include, skye bank plc oyo branch, and skye bank plc bodija branch in ibadan. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 197 definition of terms a. consumers: as used in this study refers to bank customers and stakeholders b. stakeholders: as used in this study, includes customers, bankers, investors, and employees who are impacted by music in the banking sector and have a vested interest in the bank's performance and success. theoretical framework this study is grounded in the atmospheric theory (kotler, 1974), which posits that the physical environment (music as a stimulus) influences consumer emotions, perceptions, and behaviors in commercial settings. specifically, this research draws on bruner's (1990) extension of the theory, emphasizing the critical role of music in shaping the atmospheric mix and its impact on consumer experience. history of skye bank skye bank plc. was established in 2006, with roots tracing back to 1989 when prudent bank plc. was incorporated as a limited liability company. in 1990, it obtained a merchant bank license and rebranded as prudent merchant bank limited. in 2006, prudent merchant bank limited merged with another bank to form skye bank. however, polaris bank was established by the central bank of nigeria (cbn) on september 21, 2018, to provide commercial banking services to the nigerian public. on the same day, polaris bank commenced operations, acquiring the assets and assuming certain liabilities of the defunct skye bank. with over 350 branches nationwide, polaris bank delivers exceptional customer experience through cutting-edge information communication technology (ict). by focusing on ict solutions across multiple service channels (mobile banking, atms, pos, and online platforms), polaris bank maintains a vital role in nigeria's banking industry, offering customers simple, convenient, and secure banking services. use of music in skye bank plc's advertising (polaris bank plc.) skye bank plc. leverages music in various advertising channels, including atms, tv, and radio ads. music plays a crucial role in captivating audiences and encouraging patronage of their bank and products. at automated teller machines, customers can operate instant withdrawals and deposits, accompanied by the song "hakuna matata" by cobhams. skye bank also utilizes other songs, such as "i wish i had a friend,"in their advertising campaigns. in one advert, cobhams is featured playing the piano with island. additionally, the song "skye bank always saying yes to your dreams" is used as a festive tune in 31 branches since september 2011 and has been featured in atm, tv, and radio advertisements. effect of music on bank, bankers, and customers music is vital to bankers, serving as a source of motivation and stress relief. it helps bankers stay focused and energized throughout the day. music also plays a crucial role in shaping customers' perceptions of the bank through advertising. it creates a welcoming atmosphere, making customers feel at ease in the bank hall, even during slow service periods. overall, music has a profound impact on both bankers and customers, fostering a positive experience and encouraging loyalty to skye bank. methodology this study adopts a tripartite approach, comprising pre-field preparations, actual fieldwork, and post-field analysis. pre-field preparation prior to fieldwork, an extensive literature review was conducted to explore relevant studies and publications. this involved searching libraries, national archives, and the internet for relevant materials, including books, journals, newspapers, and magazines. research assistants were also employed to establish contacts with key informants and facilitate data collection. actual field work this study employed ethnographic techniques, including in-depth interviews with key informants from skye bank plc and participant observation methods. a questionnaire was administered to bankers and bank stakeholders to collect relevant data on the roles and effects of music in the bank sector. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 198 post field the collected data was collated, codified, and analyzed using simple percentage analysis. tables of descriptions were computed to reveal the outcomes of this study. this methodology ensured a comprehensive and rigorous approach to investigating the impact of music on skye bank's advertising and customer experience. sources of data the design used in the paper were gathered from two main sources which are primary and secondary sources. primary source refers to the basic means of obtaining and collecting information from archive such as library, textbooks, articles, some journals were also used. secondary source is the case study method of setting desired information that is needed for the research. this includes the questionnaires given to the participants. . findings the results made by the researcher meet the research purpose. a table of a description showing the responses and opinions of respondents was computed for items in the questionnaire. these are analyzed using the simple percentage of the bankers sampled. tables 1-12 reveal the outcome of this paper. table 1 s/n bank branches p r p% total 1. agbowo branch 9 9 100 9 2. oyo branch 10 10 10 10 nb: p -participants r – returned questionnaire p% participants percentage agbagbowo branch oyboyo branch table 2: respondent opinion on the question “in what way do your bank make use of music as one of the staff?” s/n number of items agb oyb 1. it is used in the advertisement of skye bank to mesmerize customers and introduce them to new product 100% 100% table 3: respondent opinion to the question “where do you love to listen to music as a banker? s/n number of items agb oyb 1 at home only 7 8 2 at office 2 2 3 both 9 10 table 4:respondent opinion on the question “what is the effect of music on you as a banker?” s/n number of items agb % oyb % 1. stress relief 9 90 10 100 2. distraction table 5: respondent opinion to the question “justify the use of music in the advertisement of skye bank plc. in nigeria?” s/n number of items agb % oyb % 1 strongly agreed 9 100 10 100 2 strongly disagreed nil o nil 0 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 199 table 6: respondent opinion to the question ‘do you like to listen to music while at work?’ s/n number of items agb % oyb % 1. yes 9 100 8 80 2. no 2 20 table 7: respondent opinion to the question ‘justify the fact that soul songs are emotional and spiritual and can mesmerize customer to the bank products’ s/n number of items agb % oyb % 1. yes 9 100 8 80 2. no 2 20 table 8: respondent opinion to the question ‘is it true that music makes customers to be tolerant when systems are down?’ s/n number of items agb % oyb % 1. strongly agreed 3 33.34 4 40.00 2. agreed 2 22.22 3 30.00 3. strongly disagreed 2 22.22 3 30.00 4. disagreed 2 22.22 1 10.00 table 9: respondent opinion to the question ‘is it true that music makes customer have a good time in the bank?’ s/n number of items agb % oyb % 1. yes 8 88.89 7 70.00 2. no 1 11.11 3 30.00 total 9 100.00 10 100.00 table 10: respondent opinion to the question’ is it true that music makes customers less boring, calm and patient when on long queue?’ s/n number of items agb % oyb % 1. yes 6 88.89 6 60.00 2. no 3 33.33 4 40.00 total 9 100.00 10 100.00 conclusion the effects of music in the banking sectors are internally and externally felt by both bank and its stakeholders. it is an indisputable fact that music has gone beyond its use during religious rites only but, also has great influence in every sphere of life. by carefully selecting music, banks can create a positive ambiance, enhance employee performance, and foster a welcoming atmosphere during banking period. in summary , the strategic integration of music in banking settings profoundly impacts the industry’s ecosystem , significantly enhancing employee productivity , customer satisfaction, and product awareness, ultimately contributing to a more favorable and effective banking environment. recommendation the banking sector should adopt and integrate music-based strategies into their operations, by incorporating calming music in customer areas, uplifting music for employees, and music-themed branding to enhance customers experience, boost employee morale and productivity, and foster a relaxing banking activities. by examining the intersection of music and banking, this research seeks to contribute to the growing body of knowledge on innovative approaches to banking and finance. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 200 references adeniyi, s.o & lawal , k.k (2019). parental concern, self-efficiency and school environment predictors of academic achievement of adolescents with hearing impairment in lagos state, international journal of educational research, 6(1), 60-68 afolabi, s. (2012). foundation of music theory. ebony book & kcreations. alpert, j. i., & alpert, m. i. (1990). music influences on mood and purchase intentions. psychology & marketing, 7(2), 109-133. america heritage dictionary. (2018). banking. in american heritage dictionary (5th ed., pp. 186-187). houghton mifflin harcourt. areni, c. s., & kim, d. (1993). the influence of background music on shopping behavior: classical versus top-forty music in a wine store. advances in consumer research, 20(1), 336-340. bruner, g. c. (1990). music, mood, and marketing. journal of marketing, 54(4), 94-104. eyiuche, r.m. (2014) music performance as a therapy for managing stress amongst the academics in nigerian federal universities, international journal of arts and humanities, vol.3(3) kotler, p. & bitner (1973). atmosphere as a marketing tool. journal of retailing, 49(4), 48-64. lamont, a. (2013). the social psychology of music. in m. a. gernsbacher (ed.), psychology of music (pp. 651-666). springer. may, k. (2022). music definition and music education: many perspectives, many voices, many questions. greek society for music education. milliman, r. e. (1982). using background music to affect the behavior of restaurant patrons. journal of consumer research, 8(3), 286-289. yalch, r. (1991). memory in jingle jungle: music as a mnemonic device in communicating advertising slogans. journal of applied psychology, 76(2), 268-275. 86 ovum dance and the challenges to cultural stability of elele-alimini in emohua local government area of rivers state augustina c. ezebube & dan c. c. agu ph.d. abstract his study which focuses on the ovum dance and the challenges to cultural stability of elele-alimini in emohua local government area of rivers state, explored the historical background of the ovum dance, its origin, musical instruments, as well as its membership. primary data were gathered through observation and oral interviews, while bibliographical evidences served as secondary data. this study revealed that christianity, education and urbanization played a strong role in the sustainability of the group. the ovum dance group instead of increasing in number, decreased due to its traditional belief of using ancestral figures during their dance display which was condemned by the church, finally, as a way forward, the authors presented some recommendations. background of the study music is a cultural expression; every culture has its own music. musical activity is an integral and functional part of the ikwerre people. music is very essential in all human activities and practices, as it expreses their emotions and feelings. each music has its own cultural content such that one man’s sound could be another person’s noise. all through the life of the ikwerre people, public performances take place during social occasions, festivals, coronations, cultural dance groups, burial ceremonies; all these are marked with music. akpabot (1986) asserts that “one of the chief characteristics of african traditional music is associated with social and ritual ceremonies” (p. 1). agu (2007) agrees that “each ethnic group has provided adequate musical activities and t awka journal of research in music and the arts (ajrma) vol. 13 2019 ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 87 training for its community; consequently, the lives of the people are surrounded with music and music making” (p. 20). traditional music can be described as songs and sounds which represent the cultural heritage, aspiration, norms and values of a group of people. there is no culture without music, they work together to make the society a better place and this make up the society. agu (1990) affirms that “traditional festival anywhere is celebrations of the continuity of culture” (p. 17). anolobi, et al (2015) confirms that: no community, society, ethnic group that does not practice one type of music or the other. music is so common that it is part of human life. as an important part of culture (a way of people’s life), it features in many activities of man from birth till death (p. 103). music is used for religious activities, festivals, ceremonies, teaching and learning and in other activities of man. music serves not only as a medium for entertainment and social relationship but as an intricate part of development of the mind, body and soul. it is assumed that the laws of the land, history of a tribe and accepted behavioural pattern in the society are assimilated through music and dance. historical background of elelealimini elelealimini is currently located in emohua local government area of rivers state of nigeria. this can be seen in the diagram below. ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 88 map of emohua showing elelealimini community the town share common boundaries with many towns and villages. in the east elele-alimini, in the west ekpeye tribe in the north with akpavu people and in the south the rundele people. their major languages are ikwerre language and are professional farmers. they have many cultural heritages which includes ozurumba cultural dance, new yam festival, wrestling festival and ovum dance group etc. a legendary story claims that the founder of the town was a warrior and great hunter named anyiawobeme who conquered other communities and settled in elele-alimini. the ovum dance group of elelealimini the group is made up of both male and female from the community. in elele-alimini, culture is popularly known as omenaliand that is why they usually host the ovumdance group every year in order to unite the community because this is a culture that involves and practiced by both christians and traditional religion worshippers. the people of elele-alimini cannot forsake their culture because of the love, peace and socialization it has brought to the community. ibekwe (2011) confirms that “music is a product of human activities, behaviours and ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 89 experiences, that music provides an enabling ground for the transmission of formidable cultural traits” (p. 36). ovum dance is one of the cultural dances of elelealiminicommunity; there is a legendary story about the advent of ovum cultural dance in elelealimini. according to wakirika (2016), ovum dance originated from rundele community in the year 1964. historically, ovum dance originated through a mad-man who hailed from rundele community. this madman was an orphan who usually hit his hand on his chest like a musical instrument. one day he was moving along the community he began to beat his hand in the usual manner (beating his hand on his chest like a musical instrument). he began to sing a melodious song ovum mawele-weh aye (my heart is passing). this draws the attention of the people within the scene. this mad-man usually consoles his self with this music. after a while some youth who witnessed the event began to practice the song of the mad-man. laterthey formed a cultural group in rundele community and also one of the most famous cultural groups in the clan. the inhabitants of elelealimini usually visit the rundele community during the display of this culture which normally takes place on 31st december of every year. in one of the visit from the elelealimini to rundele community, they saw the gymnastic display by the dancers and drummers, the people of elelealimini saw the importance of the culture, so they have to copy this dance and brought it to their kinsmen and it was unanimously accepted by the people of elelealimini in general. the cultural dance was first performed in elelealimini on 5th of march 1964 at mr. mbar’s compound in mgbu –anyem village. onuorah-oguno and nwamara (2014) affirm that: the present generation can learn a lot about the past life and values of his community by listening to and taking part in folklores. through folklores, proverbs could be taught and better appreciated in schools because ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 90 examples are drawn from the child’s immediate environment (p. 116). membership at the formation of the group in 1964, membership was open to young men and women of the community who are of marriage age and represent their family’s ancestral beliefs. libations are poured for these idols in their family shrines before using them for any performance. admission into this group was free, only a bottle of hot drink was required of the intending members. rehearsals take place once a month at mr. mbar’s compound in mgbu-anyem village of elelealimini but the performance proper takes place on 31st of december every year at the market square. in the organizational structure, they have the president, secretary and treasurer. the appointed executives take care of the affairs of the group in order to maintain law and order and for the growth of the group. musical instruments of the ovum dance group before the introduction of african musical instruments in the groups, empty containers were used as musical instruments. the most vital part of this culture is the musical performance which includes the instrumentalist and the singers. ovum dance does not have particular singers both the instrumentalists and the dancers sing while performing. the sound of the musical instrument motivates the spectators to dance. the musical instruments used include rattle (oyo), xylophone (ngelege), bass drum (nkwa), and slit wooden drum (okwo). vidal (2012) emphasizes that: musical instruments are used to make music, to recite people’s praises, to signal danger, to warn people of curfew and to announce the arrival, departure or death of important personalities and the commencement or conclusion of important events including festivals (p. 51). ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 91 musical instruments of ovum cultural dance of elelealimini two bass drum (ikenkwa/eseni) they are single headed membrane drums made from coconut tree hallowed at the centre and closed at one end by a membrane stretched across its rim and fastened with pieces of wood in nail-like form. they are two in number big bass drum (ikenkwa) and small bass drum (eseni) it has a cylindrical shape. it plays alongside the leading instrument in ovum cultural dance of the elele-alimini people. the drums are played with bare hands. chukwu (2011) states that “the membrane drum plays both melodic and rhythmic roles, hence, the membrane drum play is a melo-rythmic instrument. african membrane drum is normally used as a singing or talking musical instrument” (p. 1).l two bass drums (ikenkwa/eseni) of ovum cultural dance kept on a plantain stem xylophone (ngelenge) it is classified under idiophone family made frompalm tree which is shaped into different sizes and placed on top of two log of plantain sucker to produce different sound or tone. it is the lead instrument in ovum cultural dance. it cues in other instruments during performance and also guides every other instrument to produce a harmonious sound. the slabs of the xylophone are kept on the stems of plantain which serves as a resonator in order to produce a better sound when the ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 92 instrument is played. a long stick was also used to clip the slabs to the plantain stems so that the slabs would not shift from its position. xylophone (ngelenge) of ovum cultural dance slit wooden drum (ikwirikwe) it belongs to idiophone family. it is also carved from palm tree to produce sound. it is played along with the bass drum in accompanying the xylophone which is the lead instrument. the instrument is also placed on plantain stem to produce a melodious sound. slit wooden drum (ikwirikwe) of ovum dance ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 93 ichaka (usara) baskets rattle it also belongs to idiophone family, a basket made rattle which contains pieces of concrete. they are two in number tied together like twins. they are held by a player which is usually shaken to produce musical sound. the rattles are usually played together with the bass drum, slit wooden drum and the xylophone. the rhythm produced by these musical instruments spurs the ovum dance group into action. the dancers bend forward, thrust their buttocks and shake their waist region and the buttock vibrates. kansese and abray (2013) supports that: a skillful dancer accomplishes these movements with so much ease as if the waist and buttocks are moving on their own accord without the dancer’s effort. while these movements are going on, other parts of the anatomy like the shoulders, hands, face are seen executing other contrasting movements (p. 327). the rhythm of the music also attracts people from neighbouring communities to visit the community, watch their performance and also participate in the dance. ovum dance performance ovum dance is performed once a year on the 31st december of every year. dances are displayed or performed when a song that is connected to the spirit they represent are sung. the dynamic style of ovum cultural dance is what makes it unique among the cultural dances in elele-alimini. formalized dance is the main dance pattern of the ovumdance group. the ovumdancers usually display their dance one after the other by holding an ancestral figure (gods they represent) while dancing. the carved figures represent gods and goddess this include, nwababyneh-riakara (a maiden eating akara), odah-chaneluh (rapped fruit) womami (rivers godess), ogechinukwe (worn bead), niri-nwerelagos (city lady), asor-durawhu –gbakuru, (run for your ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 94 life), ogba-ochinukwe (bare foot dancer the rapper) these carved objects is usually held by the dancers on their hands to perform one after the other. the ogbaochinukwe is the lead dancer who usually performs last. before his arrival, pieces of clothes are usually spread on the path way with his bare foot he performs to entertain the audience. ovum ancestral figures ovum is a tool of consoling sorrows though one major significant of music is to console sorrow. if one is depressed, by listening to music can help in to remedy such depression. dance implies movement of the body more than the feet. one of the most important aspects of dance is that it is a form of communication between dancers and musicians, between singers and drummers, instrumentalist between performers and audience and between communities and ancestors, the supernatural beings upon whom their human welfare and survival depends. challenges ofovum dance christianity the ovum dance is purely an african traditional culture, their dancing styles and singing pattern is similar with other cultures in african ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 95 society. although before introduction of ovum dance majority of elelealimini people worship ancestral figures,gods/goddess such as amadi-oha, ojuku, igwekala respectively.during the days of their forefathers, sacrifices of animal/human are usually made to thank the gods/goddess of the land for their protections and long life especially during ovum display period. this is the main reason why they accepted the ovum cultural dance because it is in line with their faith, the ovum cultural dance has ancestral figures which represent gods and goddess of different family in elelealimini. sacrifices of animal such as fowl, goat and dog are performed in the bush to appease the gods of the land for peace among the members of the ovum cultural dance. after which all the members both old and young cook and eat the remains from thesacrifices, this exercise was enjoyed by the people of elelealimini in those days. founding members of theovum cultural dance on 31st of december 1964and each member holding the ancestral figure which represents the gods of each family when the christian religion began to expand in elelealimini, they preached against ovum ancestral figure. according to the holy bible, (leviticus: 26:1) you shall make for yourselves no idols and erect no graven image or pillar and you shall not set up a figured stone in your land, to bow down to them, for i am the lord your god.because of ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 96 this verse in the bible which the preachers emphasized onovum cultural dance lost most of their members, spectators, ovum dance and its significance and popularity reduced. the remaining members abolished the ancestral figure because everyone has joined the christian religion and people no longer value ovum cultural dance only the old members who are alive still value the culture. the youths and children no longer have interest in the cultural dance. those who embraced christianity conceiveovum cultural dance negatively and regard the dance as performance performed by pagans. the teaching of the scripture by the indigenous ministers in the community has sunk deep into the people that many cultural practices and beliefs of the people are now abandoned for the sake of the gospel. gberegbara (2005) confirms that “as christianity spread, the converts continued to receive spiritual teaching that really affect various traditional beliefs and custom of the people” (p. 142). at this juncture, there is need to look at some of the basic christian teachings that affect the ovum cultural dance. education/urbanization education enlightened them in many fields of endeavor and many moved from rural area to urban area. today in the community many have grown up to occupy high positions in both public and private sector. onuorah-oguno (2011) posits that: today, there is a shift of people to the cities, those that still reside in the rural areas no more engage in the moonlight activities as a result of what we term civilization, television and cable networks have taken over (p. 203). many sons and daughters of elele-alimini are now educated and occupy different positions in government parastatals. education is the bedrock of every society. christianity and education came together. during the missionary era, they used secular education as a strategy for conversion. many sons and daughters of elele-alimini availed themselves of the opportunity offered by the christian ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 97 churches to attend school and this exposure assisted them to be educated and confident to read and write also, to read and interpret the bible. fafunwa (1974) in gberegbara (2005) supports this fact that: the primary objectives of the early christian missionaries was to convert the “heathen” or the benighted african to christianity via education, knowledge of the bible, the ability to sing hymns and recite catechism as well as the ability to communicate both oral and in writing were considered essential for a good christian (p. 167). ovum dance group songs 1. ovum ma folk song english translation ovum-ma ovum-ma-whelewey a-eh my heart is passing my heart is passing ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 98 2. nwaamami folk song english translation nwamami lee biawawey (3x) nwamammyna-ta-akara lee biabiawa wee marine spirit is coming (3x) marine spirit that eats akara is coming. ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 99 3. oyo nwa folk song english translation oyo nwanwa mama lee oyo nwanwa mama lee stephenbu-wanamuoowee(2x) wanalusiwananiyah saw lum wee. wanalusiwayaniyah saw lum wee (4x) handsome boy of the mother (2x) brother cannot marry the sister, he would have marry me. brother cannot marry the sister he would have marry me. summary ovum dance past and present can be compared with, the spectator, drummers, members population has been reduced drastically. when ovum dance was introduced, people from neighboring communities (rundele and rumuekpe) usually visit elelealimini to watch the ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 100 performance, but with the introduction of christianity; people have lostinterest in ovumdance group. in the present day, to host ovum cultural dance has become a problem, the founding members are aged both men and women, young men/women (youth) are not interested to join the cultural group for continuity. modern civilization has seriously brought about some social changes in ovum cultural dance. more so the coming of western civilization has brought some changes in the society in which ovum cultural dance is found just as every other part of the society is affected. the society and ovum dance in particular has been so affected because the society is dynamic rather than static and so changes become inevitable. as of today, the response of people to this great cultural dance is no longer the same as it used to be in the past. some parents no longer attach any value to this unique festival. as a result they find it very difficult to allow their sons and daughters to participate in the festival. this is so because of the intrusion of “western civilization” and its religion, which has robbed us of our cultural heritage. conclusion ovum cultural dance benefit the people of elelealimini in so many ways such as entertainment, religion worship, exercise and recreation. it also helps to transmit the norms and value of the land from one generation to another. during this festive period, the members usually meet at the chairman’s house to discuss the welfare of the dance group. also, refreshments are shared to the members according to seniority ranging from the oldest member to the youngest member.this current tradition has been transmitted to the younger generation of the elele-alimini community. this cultural dance and the music has contributed immensely to the development of the elelealimini as such should adequately be ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 101 recognized in other to maintain its standard. the culture should remain the pride of elelealimini people. recommendations in view of the above findings, the authors recommend that ovum cultural dance should be revived in order not to go into extinction. the youths should take up the challenge to join the few members that are alive and the musical instruments used in the cultural performances should be well preserved. we further recommend that the emohua local government chairman should support the group and help to ensure that the advent of christianity through education should not be allowed to destabilize the group and also that the ancestral figures representing different families should be accommodated in some way, rather than their total rejection. references agu, d. c .c. (1990). traditional african music contributions to contemporary music creation and performance techniques, humanities and all of us. onitsha: watch word publications. agu, d. c. c. (2017). utilizing the power of music in contemporary nigeria. onitsha: noben press ltd. akpabot, s. a. (1986). foundations of nigeria traditional music. ibadan: spectrum book ltd. anulobi, udechukwu, ukachi, amole, sheu (2015). new basic cultural and creative arts for junior secondary schools, book two. portharcourt: meybriks publishers. chukwu, s. k. i. (2011). african membrane drum and notation. enugu: prize publishers. fafunwa, b. a. (1974). a history of education in nigeria. london: allen and co. gberegbara, s. s. (2005). the impact of christianity on gbeagbe (not to be married) custom of ogoni. unpublished ph.d dissertation, department of religious and cultural studies, university of port harcourt. ovum dance and the challenges.... a. c. ezebube & d. c. c. agu 102 ibekwe, e. c. (2011). music and language: two dominant factors of cultural identity. obodom: journal of music and aesthetics (joma), vol. 2, 35-39. kansese, r. and abray, s. d. (2013). dance as a means of communication: the owigiriexperience. the dawn journal, vol. 2, 1, 325-335. okafor, r. c. (2005). music in nigerian society.enugu: new generation books. onuorah-oguno, n. (2011). globalizing the moonlight play (egwu-onwa) culture among the igbo’s of nigeria – an antidote to the extinction of a greater tradition. obodom journal of music and aesthetics (joma), vol. 1, 2, 202-206. onuorah-oguno, n. c. and nwamara, a. o. (2014). sustainable development and folklore in the traditional igbo society: prospects, challenges and solutions. awka journal of research in music and the arts, vol. 10, 114-121. onwuka, a. u. (2012). a basic text for dance education in nigeria. onitsha: jenison publishing company nigeria. vidal, a. o. (2012). selected topics on nigerian music. ile-ife: obafemiawolowo university press. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 335 influence, styles and ways of choral music in nigeria: the case of ibibio music precious kufre udoh email: preciouskudoh@gmail.com abstract music in nigeria is a very significant aspect of life of any group of people. it is embedded in the cultural life of the people as expressed in their norms and values in terms of their culture, social, and moral values. choral music amongst the ibibio is socially controlled and normally associated with important social, religious or political events. the music is unique in styles ranging from the voice texture, traditional make-up of the attire, musical instruments, dance and also themes. this styles and moods bring about communication link between the singers and the listeners (audience). the writer in this paper discusses some styles and ways of choral music, its influence on different eras, and nigeria; as well as some elements and patterns in ibibio choral music. introduction choral music is one of the several musical genres subject to misunderstanding because of false historical perspectives and misinterpretation cause by the confusion endangered by unresolved semantics problems. choral, chorale, choir, and chorus are all related to one another and are in some aspects used interchangeably; and also written with two or more different parts. the parts, though equally important are usually independent from one another, and mesh together during performance. choral music comprises basically four parts and they are: the soprano, alto, tenor, and bass. these parts are often written in either open or close score during composition. some of the types of choral music are – anthems, oratorio, motet, cantata, and a capella to mention a few. choral music the origin of choral music which can be traced back over a thousand years, has its popularity soared during the renaissance period of the 1500s, and has remained a popular style of music ever since. it is one of the forms that have promoted the use of tonic solfa notation more than staff notation among black composers of african descendants. several western educated african composers have shared their compositions with millions of people through annual competitions and festivals which has become an important facet in the musical life of several african countries like – south africa, kenya, ghana, nigeria, tanzania and so on. the music has interested a number of african musicians trained in western classical music institutions. some celebrated composers of choral music based on the principles of four part singing common in hymns are ayo bankole, rueben caluza, lazarus ekwueme, akin euba, alfred assegai kumalo, joseph kyagambididwa, gideon mdelgella, john mgandu, okechukwu ndubuisi, j. h kwabena nketia, mbeki nzewi and fela showande (groves dictionary of music and musician, 2001). choral music is a popular traditional form that has interested a number of young african student to study music formally at colleges and universities. it has also awka journal of research in music and the arts (ajrma) vol. 16, september 2023 336 made it easier for africans to relate to western art music, especially compositions of the baroque and the romantic periods; with choral parts. choral works of foreign composers such as: handel, mandelson, braham and schumann’s, just to mention a few, are the most commonly sung works by african choirs; as a number of choral composers have also learned staff notation too. many still continue to write in tonic solfa as most individuals who participate in church and communal choirs are school children and uneducated parents who have not mastered staff notation. while debate on the suitability of staff notation for musical idioms continues, tonic solfa remains the most widely used and understood notational medium for many africans who are music enthusiasts. traditional music and dance in africa are the media that have remained immunized to the western notational debates, they are largely taught and transmitted from one person to the other orally. influence of choral music of the different eras antiquity the origin of choral music is found in traditional music, as singing in the big groups is extremely widely spread in traditional cultures (both singing in one part or in unison, like in ancient greece, as well as singing in parts, or in harmony, like in contemporary european choral music). the oldest unambiguously choral repertory that survives is that of ancient greece of which the 2nd century bc delphic hymns and the 2nd century ad hymns of mesomedes are the most complete. the original greek chorus sang its part in greek drama and fragments of work by euripides (orestes) and sophocles (ajax) are known from papyri. the sei kilos epitaph (2nd century bc) is a complete song (although possibly for solo voices). one of the latest examples oxyrhynchus hymn (3rd century) is also of interest as the earliest christian music of the roman drama’s music a single line of terence surfaced in the 18th century. however, musicologist thomas j. mathieson comments that it is no longer believed to be authenticated. medieval era the earliest notated music of western europe is gregorian chant, along with a few other types of chants which were later subsumed by the catholic church. this tradition of unison choir singing lasted from sometime between the times of st. ambrose (4th century) and gregory the great (6th century) up to the present. during the later middleages, a new type of singing involving multiple melodic parts called organum became predominant for certain functions, but initially polyphony was only sung by soloist. further developments of this technique included clausulae, conductus and motet (most notably the isorhythmic motet, which unlike the renaissance motet describes a composition with different texts sung simultaneously in different voices. the first evidence of polyphony, with more than one singer per part, comes in the old hall manuscript (1420, though containing music from the late 14th century) in which there are apparent divisi, one part dividing into two simultaneously sounding notes. renaissance era during the renaissance, sacred choral music was the principal type of formally notated music in western europe. throughout the era, hundreds of masses and motets (as well awka journal of research in music and the arts (ajrma) vol. 16, september 2023 337 as various other forms) were composed for a cappella choir, though there were some disputes over the role of instruments during certain periods and certain areas. some of the better-known composers of this time include guillaume dufay, josquin des prez, giovanni pierluigi da palestrina and william byrd; the glories of renaissance polyphony were choral, sung by choirs of great skill and distinction all over europe. choral music from this period continues to be popular with many choirs throughout the world today. the madrigal, a part of song conceived for amateurs to sing in a chamber setting originated at this period. although madrigals were initially dramatic settings of unrequited love poetry or mythological stories in italy, they were imported into england and merged with the more dancelike balletto, celebrating carefree songs of the seasons or eating and drinking. to most english speakers, the word madrigal now refers to the latter, rather than madrigals proper which refers to a poetic form of lines consisting of seven and eleven syllables each. the interaction of sung voices in renaissance polyphony influenced western music for centuries. composers are routinely trained in the ‘palestrina style’ to this day, especially as codified by the 18th century music theorist joseph fux. composers of the early 20th century also wrote in renaissance style and inspires styles. herbert howells wrote a mass in dorian mode, entirely in strict renaissance style and ralph vaughan williams’s mass in g minor is an extension of this style. anton von webern wrote his dissertation on the choralis constantinus of heinrich issac and the contrapuntal techniques of his serial music may be informed by his study. baroque era around 1600 of the figures bass was said to be associated with the baroque period in music, it came with the dramatic implications in the realm of solo vocal music such as the monodies of the florentine camerata and opera. this innovation was in fact an extension of established practice of accompanying choral music on the organ either from a skeletal reduced score (from which otherwise lost pieces can sometimes be reconstructed) or from a basso seguente, a part on a single staff containing the lowest sounding part. a new genre was the vocal concertato, combining voices and instruments; its origins may be sought in the polychoral music of the venetian school. claudio monteverdi (1567-1643) brought it to perfection with his vespers and his english book of madrigals, which calls for great virtuosity on the part of singers and instrument alike. his pupil heinrich schutz (1585-1672), who had earlier studied with giovanni gabrieli, introduced the new style to germany alongside the new music of the seconda pratica. contrapuntal motets in the stile antico or old style continued to be written well into the 19th century. it should be remembered that choirs at this time were usually quite small that singers could be classified as suited to church or to chamber singing. monteverdi himself, a singer, is documented as taking part in performances of his magnificat with one voice per part. independent instrumental accompaniment opened up new possibilities for choral music. verse anthems alternated accompanies solos with choral sections; the best-known composers of this genre were orlando gibbons and henry purcell. grand motets (such as those of lully and delalande) separated these sections into separate movements. oratorio, pioneered by giacomo carissimi, extended this concept into concert length work, usually loosely based on biblical stories. the pinnacle of the oratorio is found in george fredrick handel’s works, notably messiah and israel in egypt. while the modern awka journal of research in music and the arts (ajrma) vol. 16, september 2023 338 chorus, hundreds had to await the growth of choral societies and his centennial commemoration concert; handel was found already using a variety of performing forces, from the soloist of the chandos anthems to larger groups (whose proportion are still different from modern orchestra choruses). more accessible styles of choral music include benjamin britten, his war requiem, five flower songs and rejoice in the lamb; francis pauline’s motets pour te temps de noel, gloria and mass in g are often performed. a primitive approach is exemplified by carl orff’s widely performed carmina burana. in the united states aaron copland, samuel barber and randall thompson wrote signature american pieces; in eastern europe bela bartok and zoltan kodaly wrote a small amount of music for choirs. frank martin’s mass for double choir combines modality and allusion to medieval and renaissance forms with a distinctly modern harmonic language and has become the composer’s most performed work. classical era at the turn of the 21th century, choral music has received a resurgence of interest partly due to a renewed interest in accessible choral idioms. multi-cultural influences were found in osvaldo golijov’s st. mark passion, which melds the bach’s style passion form with latin american street music, and chen yi’s chinese myths cantata melds atonal idioms with traditional chinese melodies played on traditional chinese instruments. some composers began to earn their reputation based foremost, on their choral output including the highly popular john rutter and eric whitacre. the large-scale dramatic works of karl jenkins seem to hearken back to the theatricality of orff, and the music of james macmillan continues the tradition of boundary-pushing choral works form the united kingdom begun by britten, walton and leighton. meanwhile, primarily media music composers such as john williams and kentaro sato and prominent concert orchestra composers such as augusta read thomas, sofia gubaidulina, aaron jay kernis and thomas ades also contribute vital addition to the choral repertoire. a number of traditions originating outside of classical concert music have enriched the choral repertoire as well as provided new outlets to composers: at the end of the 19th century, male voice choir became popular with the coal miners of the south wales and numerous choirs were established including the treorchy male choir, morriston orpheus choir and cor meibion pontoporiid male voice choirs. although, the mining communities which gave rise to these choirs largely died out in the 1970s and 1980s with the decline of the welsh coal industry, many of these choirs continue and are seen as a traditional part of welsh culture and performed worldwide. not all of these choirs were based on coal, some started in the rugby clubs such as cardiff arms park male choir and morriston rugby choir, while others such as pantagruelian male choir were formed out of a youth choir. black spirituals entered the concert repertoire with the tours of the fisk college jubilee singers and arrangements of such spirituals are now part of the standard choral repertoire. notable composers and arrangers of choral music in this tradition include: william dawson, jester hairston and moses hogan. during the mid-20th century, barbershop quarters began experimenting with combining larger ensembles together into choruses which sung barbershop music in four awka journal of research in music and the arts (ajrma) vol. 16, september 2023 339 (4) parts, often with staging, choreography and costumes. the first international barbershop chorus contest was held in 1953 and continues to this day. african and african american choirs have a distinct and passionate sound. they incorporate their culture into the music with a more upbeat tempo and make use of traditional instruments. they are also very good at singing slow and soulful renditions. styles and ways of choral music hymn style hymn style is a type of song that is usually religious, specifically written for the purpose of praise, adoration and prayer. the word ‘hymn’ is derives from greek, which means – a song of praise. one definition of hymn is, ‘a lyric poem, reverently and devotionally conceived, which is designed to be sung and which expresses the worshipper’s attitude toward god or god’s purpose in human life’. it is usually simple and metrical in form, genuinely emotional, poetic and literary in style, spiritual in quality and in its ideas so direct and so immediately apparent as to unify a congregation while singing it. the collections of hymns are known as hymnals. its origin includes ancient hymns composed by pharaoh akhenaten. the western tradition of hymnody began with the homeric hymns, a collection of ancient greek hymns, the oldest of which were written in the 17th century bc, praising deities of the ancient greek religion. surviving from the 3rd century bc is a collection of six literary hymns by the alexandrian poet callimachus. the meter indicate the number of syllables for the lines of each stanza of a hymn. this provides a means of marring the hymn’s text with an appropriate hymn tune for singing. in practice, many hymns conform to one of a relatively small number of meters (syllable count and stress pattern). care must be taken, however, to ensure that not only the meter of words are tune match, but also the stresses on the words in each line. technically speaking an iambic tune for instance, cannot be used with words of, say, trochaic meter. the meter is often denoted by a row of figures besides the name of the tune, such as “87.87.87”, which would inform the reader that each verse has six lines, and that the first line has eight syllables, the second has seven, the third line eight, etc. the meter can also be described by initials; l.m., which indicates – long meter, which is 88.88 (four lines, each eight syllables long); s.m., which indicate a – short meter (66.86); c.m. which indicates – common meter (86.86); while d.l.m., d.s.m., and d.c.m., (the d, stands for ‘double’), are all similar to their respective single meters except that they have eight lines in a verse instead of four. today, except for choirs, more musically inclined congregation hymns are typically sung in unison. while in some cases, complementary full settings for organ are also published, hence organists and other accompanists are expected to transcribe the four-part vocal score for their instrument of choice. some of the composers of hymn style were: thomas aquinas, isaac watts, martin luther, charles wesley just to mention a few. anthem style the word – ‘anthem’, is commonly used to describe a celebratory song or composition for a distinct group, as in the term ‘nation anthem’. generally, composition of celebration is usually acting as a symbol for a distinct group of people. it is often refers to any short sacred choral work presented during the course of a worship service. many anthems have awka journal of research in music and the arts (ajrma) vol. 16, september 2023 340 been composed since this time, generally by organist rather than professional composes and often in a conservative style. major composers have usually compose anthems in response to commissions and for special occasions. an example of such composition is – edward elgar’s ‘great is the lord (1922) and ‘give unto the lord’ (1914), both with orchestra accompaniment; benjamin’s ‘rejoice in the lamb’ (1943), a modern example of a multi-movement anthem but today, it is heard mainly as a concert piece. and ralph vaughan william’s ‘o taste and see’ (1952), written for the coronation of queen elizabeth ii. neo-palestinian style palestrina came of age as a musician under the influence of the northern european style of polyphony, which owed its dominance in italy primarily to two influential nertherlandish composers; which are – guillaume dufay and josquin des prez, who had spent significant portions of their careers there. italy itself had yet to produce anyone of comparable fame or skill in polyphony. palestrina’s style arises from several technical sources. his music was vocal, no parts are written specifically for instruments. all the voice parts have a similar character, producing a homogeneous sound. the music is almost always contrapuntal, with simultaneously sounding equally important melodic lines. although palestrina used only a few chords in any one composition, he altered the manner in which the individual tones of each chord were spaced among the various voice parts. he thus achieved subtle changes while maintaining a general feeling of constancy. in rhythm, he avoided the feeling of a strong pulse by allowing each voice part to have its own accent patterns independent of the other parts. he created a subtle pulse by confining dissonant, or unstable tones to weak beats within a measure and always placing consonant, or stable tones on strong beats. finally, his melodic lines unfold in long, subtly curve in which any large leaps upward or downward are balanced by a return to the center of the curve. neo-madrigalism style madrigalism was the common renaissance practice of using ‘word painting’ (that is, altering mood and tone). in madrigals, a musical form where the accompaniment is design to highlight the poetic verses. madrigal is a secular vocal music composition, usually a part song of the renaissance and early baroque eras. traditionally, polyphonic madrigals are unaccompanied, and the number of voices varies from two to eight and most frequently from three to six. it originated in italy during the 1520s. unlike many strophic forms of the time, most madrigals were through-composed. in madrigal, the composer attempts to express the emotion contained in each line, and sometimes individual words of a celebrated poem. it also originated in part from the frottola, and in part from the resurgence in interest in vernacular italian poetry; and also from the influence of the french chanson and polyphonic style of the motet as written by the franco-flemish composers who had naturalized in italy during the period. a frottola generally would consist of music set to stanzas of text, while madrigal, while madrigals were through-composed. however, some of the same poems were used for both frottola and madrigals. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 341 neo-folklorism style folk music are traditional songs passed from one generation to another. it is the music of a people within a particular ethnic group with common language sharing the same dialect and cultural norms and values. these songs are usually learnt by hearing and through performance, considering the simplicity involved which is embebed in their spoken dialect. folk music is majorly influenced by language, dressing, culture, and geographical location of the group. it is generally simpler and much more compact and distinct in style compared to classical or art music because it exist in different forms and under a variety of social and cultural conditions. they are invariably cast in verserepeating forms, in which a single melody is used again and again as the setting for each of a number of stanzas of verse. influence of choral music in nigerian choral music being a popular traditional form of music has remained the pedestal of nigerian cultural identification. the music has been in existence from the emergence of the nation and is still upheld by its practitioners as well as the chief custodian and conduit of nigerian cultural heritage. in a nutshell, traditional music encapsulates the worldview, philosophy, aspiration, religion, history, lineage, social, economic and political systems of the nation. music in nigeria has never been static, but has consistently been undergoing a process of metamorphosis through a continued exposure to diverse musical styles from foreign cultures. this process of assimilation and integration has left a long trail of musical synthesis between nigeria and musical idioms from countries such as america, brazil, cuba, europe and other african nations. the root of the new idiomatic expressions could be traced back to the mid-nineteenth century with the arrival of american and european missionaries, and the centenary reign of the colonial administration. these two imperial forces were responsible for the introduction of western classical music to nigerian indigenes through churches, mission and colonial schools established during this era. nigerians were exposed to western musical instrument such as – the piano, harmonium and organ. they were also taught how to read and notate music, while in addition, indigenous composers/performers received private lessons in music theory, piano and organ at homes of european musicians and from the organists and choirmasters at their local churches. these efforts eventually led to the emergence of “neo-african school of music” that ultimately produced some of the finest modern nigerian composers. prominent ibibio composer of such is samuel akpabot. some elements and patterns in ibibio choral music structure the way ibibio songs are organized is dependent on the context performers and also, the interpretation given to it by the same performers. it allows individual composer to share different methods other than the given musical constructions. the music just as other african music is flexible and not rigid as it is passed down orally. it is arranged so as to afford a focus on the expression of individual composer within the context of a given tradition. in ibibio music, a call and response organization are one of the most awka journal of research in music and the arts (ajrma) vol. 16, september 2023 342 common in the music structures, a form which is typically designed for a lead singer or a group of lead singers, and a chorus (response). in african music there are three standard processes used in responsorial singing: the first and simplest method is one in which the lead singer sings the entire verse and the chorus, repeats the same material immediately and exactly. the second call and response structure has clearly defined sections for the lead singer and the chorus. for example, each portion of the songs consist of a single phrase sung by the lead singer and answered by the chorus with a set of response. the choral responses may be similar to the lead phrase in melodic and rhythmic form or it may be a continuation of it. either section of the song, the call and response, may be sung in parts, often using simple chordal harmonies. the lead singer may sometimes overlap with the choral response. the overlapping allows the lead singer to select a convenient point before the end of response phrase on order to introduce a new call, while the chorus will then respond in the correct phrase. the call and response are usually rounded off by a concluding section or a refrain sung by both the lead and the chorus. the third arrangement of call and response singing incorporates a third element for a slightly more elaborate form. often times, in ibibio music ostinato is employed in addition to or as a substitute for drumming. the ostinato element, coupled with the call and response form magnifies the response the structural shifts pattern; and the addition of vocal repetition is used to reveal rhythmic complexity in the musical structure. each note making up the scales of the melody are not of equal temperament, as correlation of speech tone and melodic leap in tonal languages retains as much as possible, the linguistic implication or meaning of the text. similarly, in african music, especially in singing, the formal structure may really not be the property of any individual though the process of individual expression within a communal activity is important. forms the forms are usually antiphonal (music sung in alternating parts) in structure which often times it is in aba with the elements of repetition, variations, and contrast or in through-compose; which is simply emphasized in patterns. ibibio music usually features solo, duet, and chorus with the lengths of phrase varying from one song to another. the form of vocal music in ibibio music is in consonance with pathogenic and melogenic concepts which are the melodies common with a non-ritualistic music, and it is also emotion-borne. the style and concepts are influenced by ibibio folklore. abraham and foss (1976) defined folklore as being: orientated more strongly towards the continuity of a tradition. in the same vein, amos (1971) posits that: folklore is a ‘communicative process’. given all the aforementioned definitions, the oral tradition of ibibio music is a custom, opinion or belief handed down for posterity hence, its oral poetry is found in the song text, as language and music are interrelated. tonality ibibio music is tonal, meaning that the language and text are interrelated. they influence the pitch and rhythmic elements of the songs to a large extent. agu (1999) states that: a word can mean more than one meaning depending on its intonation and of course, its function in a sentence. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 343 just like other ethnic music, there are three primary levels of tone in ibibio language low; medium; and high. hugh (1963) observed that: measuring the incidence of and the distance between pitches of african scales without prematurely attempting to generalize, is difficult. this is especially the case when compared to western measuring criteria. within any african scale, typically having from 4 to 7 pitches. one may find a greater tolerance of pitch variation for specific steps of the step, let alone equal temperament. it is believed that any assertion that african melodies are exclusively pentatonic is in-accurate. a more accurate description of most african melodic structure is that they are based on the controlled used of selected interval sequences. thus, it is more effective to think of ibibio music in terms of reoccurring sequences of interval as opposed to scales when examining the melodic constructs. the ibibio music maintains a distinct tonal system and it is often constructed on heptatonic scale (7tones). the inflectionary nature of african language and the presence of percussive instruments have been found to be more effective in the formation of melodic and rhythmic pattern in african music. the rhythm of a song is governed by the inflection of the words whose rise and fall results to melodic and speech rhythm. the standard pattern played by instruments in a hocket or ostinato manner which is most times imitated by the voice parts give rise to the percussive rhythm. melody the melodic and rhythmic components of the lead singer’s call and the chorus response sometimes include variations, especially if there are significant changes in text. for example, the lead singer may alter the call but the choral response remains the same, resulting in an a-b-c-b form. other songs have a different response to each call, resulting from a-b-c-d, where a and c are sung by the lead singer, and b and d by the chorus. the lead singer may even improvise above the choral responses. variations on the call and response structure most times generate uneven phrase structures providing long sections for either the lead singer or the chorus. the melodies are sometimes, also short and repetitive; and not rigidly structured on one syllable like other ethnic music. ibibio melodic form also make use of the dynamic qualities from the rhythmic framework already used to organize their sound materials as their melodic lines are guided by words (lyrics). it be noted here that in ibibio music changing the pitch of a syllable to fit a melodic contour will alter the meaning of the word. this also have a great effect on percussion section of ibibio rhythmic patterns. most importantly, on the eka ibid isong (drum), and this cannot be over emphasized. the melodic patterns are also restricted to phrases because the ibibio music, in a general phenomenal are controlled either by speech pattern or by their traditional instruments because of the limited ranges of the instruments, and is often combined (that is the melody and instruments), so as to allow for a portion of the entire melody be felt. the process is known as hocket technique. all these processes are in no way different from what is generally obtained in african music as a whole, except for the melodic patterns and also ibibio contours embedded within its song texts; it can also be compared to the western music in terms of the use of basso-ostinato, which controls the harmonic shape of western music. but in african music, it creates alternative harmonies along its contrapuntal movements despite the series of changes. the harmonies are basically in seconds, thirds, sometimes in fourths awka journal of research in music and the arts (ajrma) vol. 16, september 2023 344 and fifths because the music is a speech pattern inflection. the style which is often a call and response between the cantor and the chorus is sometimes without accompaniment. speech-tone ibibio music is naturally phrased from the spoken ibibio language with emphasis placed on words; so also, the music of africa. speech and register relationship are of ibibio native language which influences the musical form of ibibio songs. the interrelation of melody and language is further complicated by the function of speech-tones within native african languages. ibibio speech-tones also known as tone language, assign each syllable to its own pitch, intensity and duration beyond the vowel and consonant. in ibibio music, attention is usually given to the intonation of the text and not sound. this is because when texts in tone languages are sung, the relationship between higher and lower intonations is maintained in the contour of the melody. the relationship between music and language facilitates composition and performance appropriate to the community context. the manner in which a specific text is treated evolves not only from the phonemic features of the language, but is inspired by the importance of the song as an avenue to for verbal communication. african rhythms are generally governed by the syllable length and stress placement of the text in much the same way melodic intervals are influenced by speech-tones. song-text in ibibio music, the voice parts maintain the meaning of each word of the song text by imitating the melodic leaps of the first voice strictly, as a derivation; and other parts singing two different things. it always employs the use of counterpoints, a style of singing which is most common among the ibibio, igbo and ijaw ethnics of nigeria. each voice part is conceive to have independent existence and also, it is conceptually linear but supports the vertical unity and intervallic concords of the parts. some of these attributes are intuitively acquired. in essence, the harmonic texture of ibibio music is a combination of heterophonic, polyphonic and homophonic, and it sometimes uses unison for variation purposes with strictly ibibio idioms. the song text is a medium for creative verbal expressions that reflects both personal and social experiences. akpabot (1998), in looking at style and content of yoruba and hausa music states that: ibibio oral poetry is most commonly found in song texts and invocations during ritual or non-ritual ceremonies. furthermore, he also highlighted 14 categories of song texts easily recognizable in african music, and they are historical, communication, social, insult, obsessed, praise, children, funeral, work, war, humorous, women, philosophical, and ritual. all which he said can be grouped under three main headings: praise songs; songs of insult; and songs for entertainment. rhythmic structure generally, the rhythmic structure of ibibio music is often slow and danceable reflecting their culture, idioms, and concepts. the rhythm of the ibibio music is a natural rhythm phrased from the spoken ibibio language with emphasis placed on some words like /ͻŋ/ as ‘orng’, as in (isͻŋ) as (isong). this simply means that ibibio music is built on speech awka journal of research in music and the arts (ajrma) vol. 16, september 2023 345 rhythm of a compound time. the distortions of syllabic length and offbeat, which is described as a form of syncopation, placement characterizes much of africa’s songs including that of the ibibio. this offbeat phrasing of melodic and textual accents is used to give the impression of a natural speech rhythms. other voices enter independently with contrasting rhythmic phrases thus, creating cross-rhythmic relationships. the rhythmic interest of african songs lies in the cross-rhythms created by vocal offbeat phrasing and any repetitive, underlying pulse. usually, slight changes in the rhythmic repetition typically coincide with changes in the text of ibibio music. the complexity of the rhythmic structures is reaffirmed through repetition because the participants and audience are encouraged to listen to and respond to each layer of the rhythmic relationship. the tension of african cross-rhythms is not only captured by repetition, it is magnified. a careful selection of rhythm by controlling the duration of a rhythm, and by timing the introduction of discontinuity, the musicians are in command of the tension and the resolution. indeed, it is the quality of these rhythmic relationships and the tensions they generate that represent stylistic african cross-rhythms. creative and unique progressions of rhythmic relationships are considered pleasing and serve to enhance the occasion. akpabot (1975) observed that: the drum is the foundation of most african music ensemble and it fits into both the percussive and the melodic rhythm. the rhythm of a song is governed by the inflection of the words whose rise and fall results into melodic and speech rhythm. while the standard patterns played by traditional instruments in a hocket or ostinato manner sometimes, imitated by the voice, gives rise to the percussive rhythm. the percussive and rhythmic instruments also contribute extensively to the song as they function collectively as member of an ensemble providing a standard rhythm in the music, as the rhythm generally is free. akpabot (1967) affirms this statement when he said: all the rhythmic patterns found in african music can be classified primarily under three headings percussive rhythm; melodic rhythm, and speech rhythm. the percussive rhythm is provided by idiophone (self-struck) instruments and membranophone (hand-stricken) instruments the melodic rhythm is provided by aerophone (air-blown) instruments, chordophone (stringed) instruments and tuned idiophones. the speech rhythm is provided by the syllabic cadences of human speech like the rhythm from the words of a song conclusion this paper has literarily discussed some related styles and ways starting from the origin in relation to its influence of the different eras which are inexhaustible. ranging from the non-africans to the africans, and then nigeria and of course ibibio, whose culture and idioms have influenced the styles and ways of ibibio music. choral music in ibibio is essentially built on their language and speech-pattern, and it is often reflected in their tonal inflections during composition. the traditional make-up of the ibibio music compared to other tribes in africa are similar in terms of styles and ways, which consist of song-text, melody, structure, rhythm, form, tonality and all the various style available in choral music especially as peculiar to the ibibio. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 346 references abraham and foss. (1976). anglo american folk song style, p.4 (quoted by r. p.) elbourne in yearbook of the international folk music council. vol. 7, p. 18. agu, d.c. (1999). forms and analysis of african music. new generation books enugu. nigeria. p. 194. akpabot, s.e. (1998). forms, function, and style in african music. ibadan: macmillan nigeria. __________. (1975). foundations of nigerian traditional music. ibadan: spectrum books; channnel islands, uk: compendium house. __________. (1967). ibibio music in nigeria culture (michigan state university press), pp. 25-36. amos, b. d. (1971). towards a definition of folklore in context. journal of american folklore, 84, p. 63. groves dictionary of music and musician, (2001) hugh, t. (1963). the development of music. (african music, 111/2), p. 36. udoh, p.k. (2014). a study of the styles of contemporary choral art music in ibibio land. an unpublished ma thesis. university of lagos, akoka. lagos. nigeria. ________. (2021). an appraisal of three selected composers/arrangers of ibibio vocal music. ogirisi: a new journal of african studies vol. 17. doi:10.11648/j.ijla.20190701.11. ________. (2022). emem ke nigeria: a didactic ibibio choral music composition. festchrift in honour of the music maestra professor young-sook onyiuke, chapter forty-six. http://ojadilipublishing.com.ng/onyiuke/. all right reserved. profile udoh, precious kufre: udoh, p.k. holds a bachelor of arts degree in music (ba in music) from lagos state university, ojo, lagos state in 2011; he further bagged a master of arts degree in music (ma in music) from university of lagos, akoka, lagos state in 2014. he is currently a phd student of music in the department of music of nnamdi azikiwe university, awka. anambra state. http://ojadilipublishing.com.ng/onyiuke/ 1 awka journal of research in music and the arts (ajrma) vol 17 june 2024 blockchain technology: a veritable tool for combating music piracy in the nigerian music industry charles m. asenye the department of music university of uyo, uyo charlesasenye@uniuyo.edu.ng & isaac e. udoh the department of music university of uyo, uyo isaacudoh@uniuyo.edu.ng & florence c. mandor the department of music university of uyo, uyo florencemandor2@gmail.com abstract disruptive technologies have always been the result of human growth and development, because development brings new challenges, thus needing new solutions. the nigerian commercial music arena is fraught with numerous challenges requiring new approaches for seeking solutions. among these many challenges is the nagging problem of music piracy. musicians within the industry should be able to get commensurate reward in terms of revenue accrued to them. this is however not the case due to the dangerous activities of pirates and other middle men within system. the obvious solution lies in finding ways to eliminate these middle men and all forms of third-party interferences, thereby bridging the gap between the artistes and the music consumer. one effective way of doing this is by engaging the use of the blockchain technology, an advanced database mechanism that allows transparent information sharing within a decentralized network. the objectives of this paper therefore is to highlight the problem of music piracy and other negative activities within the nigerian music industry, explain and advocate for the adoption of blockchain technology as a solution to these problems, and also highlight other applications of the new technology. the paper adopts the descriptive method of research. sources of data include books, journals, and the internet. findings show that blockchain technology, which is based on a decentralized system, is an excellent solution to many problems associated with the nigerian commercial music ecosystem. keywords: blockchain; music piracy; technology; decentralized systems; artistes introduction new technologies are discovered for solving problems. in the nigerian music industry, piracy has constantly been a thorn in the flesh for artistes. musicians struggle to make their music, going through the various stages of music production, marketing and distribution. negative practices by some industry players range from production and multiplication of fake copies of music, to outright theft of intellectual properties, and charging exorbitant marketing and distribution fees. these individuals end up fleecing music artistes who end up with little or nothing to show for their intense 2 awka journal of research in music and the arts (ajrma) vol 17 june 2024 labour. it is the position of this paper that blockchain technology can be used to mitigate these problems, and turn the tide in favour of musicians and even the final consumer. a blockchain is a data structure that makes it possible to create a digital ledger of data and share it among a network of independent parties (laurence, 2017). due to its immutability, when data is recorded in a blockchain, it is extremely difficult to change or remove it. when someone wants to add a record to a blockchain, also called a transaction or an entry, users in the network who have validation control verify the proposed transaction. these are called nodes, and every node on the blockchain must agree to validate. every blockchain has a slightly different method on how this works and who can validate a transaction. the boldness of the blockchain system lies in implementing a shared database that everyone has access to their information (zheng, xie, dai, chen, & wang, 2017). the level of security and trust built around blockchains is only possible because of the use of encryption and the consensus protocol, which in bitcoin’s blockchain implementation is called proofof-work (pow). from the foregoing, it is clear that among the many amazing and developed high-level technologies of the current revolutionary era, blockchain technology can easily qualify as one of the most complicated and advanced. this can be regarded as the ultimate level of the fourth industrial revolution as a testament to human historical advancement and development. it is the possibility of harnessing this technology in such a way as to bring in some level of stability and sanity into the nigerian music industry that this paper seeks to discourse in details. theoretical framework the token economy theory, initially proposed by b.f. skinner in the 1950s within the context of behavioral psychology, has evolved significantly with advancements in digital technology. skinner (1953) posits that behavior is shaped by its consequences; rewarding certain behaviors encourages their continuation. this principle led skinner to develop token economy systems, initially tested on lab rats and pigeons and later applied to humans. the strategy involves giving tokens instead of immediate rewards. these tokens can be accumulated and exchanged for larger rewards later. this shift enhanced the versatility of using rewards to condition behaviors effectively. in the realm of blockchain and decentralized systems, this theory now plays a pivotal role in understanding how digital tokens can create and manage decentralized economies. this theory applies directly to the music industry, particularly in addressing the persistent issue of piracy within the nigerian commercial music arena. token economy theory, as adapted for blockchain technology, emphasizes the use of digital tokens to incentivize and govern behaviors within a decentralized network. the theory implies that by using blockchain-based tokens, the music industry can create a transparent and secure environment where artists, producers, and consumers interact directly, eliminating the need for intermediaries. this process involves converting music tracks into nonfungible tokens (nfts), which are unique digital assets stored on a blockchain (laurence, 2017). blockchain's decentralized nature ensures that music assets are securely recorded and verifiable, making it extremely difficult for unauthorized parties to duplicate or distribute pirated copies. each transaction involving these tokens is recorded on an immutable ledger, providing a transparent and tamper-proof record of ownership and distribution (zheng, xie, dai, chen, & wang, 2017). this transparency not only deters piracy but also ensures that artists receive fair compensation for their work. token economy theory also highlights the potential for direct monetization through blockchain 3 awka journal of research in music and the arts (ajrma) vol 17 june 2024 platforms. artists can sell their music directly to consumers as nfts, receiving payments instantly and without intermediary fees. this direct interaction fosters a closer relationship between artists and fans, while also ensuring that a larger share of the revenue goes to the creators. additionally, smart contracts—self-executing contracts with the terms directly written into code—ensure that royalty payments are automatically and accurately distributed. an overview of the nigerian music business industry the nigerian commercial music industry is a burgeoning market with investments running into billions of naira. sunday-kanu (2021) defines the music business as a segment of the entertainment industry where performers, producers, composers, analysts, and publishers earn a living. it involves producing music for economic gain, encompassing services like concerts and recitals and goods like cds, mp3s, and music scores. emielu (2014) supports this, noting the industry includes tangible products like sound carriers and intangible ones like intellectual property rights. nigerian music is one of the most vibrant and rapidly growing music ecosystems globally, with a rich history and diverse genres like afro-pop, hip-hop, afrobeat, fuji, afro-fusion, and traditional folk music (forchu, 2009). according to a february 16, 2023, report in the premium times, the industry generates over $2 billion annually, driven largely by digital streaming and downloads. this growth has made it a significant contributor to nigeria's economy, providing jobs and income to thousands. nigerian musicians have gained global recognition, winning awards and collaborating with international artists. the unfortunate aspect of this seemingly wonderful story of the nigerian music industry is the distribution model of the huge revenue that the industry generates. the artistes who are the owners of the music only gain access to a portion of this revenue which is not commensurate with what they put in. this is a major challenge. pirates and other middle men in the business of music making and selling have, through their activities, constituted themselves into major drain holes sapping up major chunks of generated revenue. this is done through fake copies of albums, illegal streaming and downloading platforms, and exorbitant management and distribution fees. adedji (2010) puts it this way: the major challenge that the industry is facing stemmed from the exit of the major labels, which marked the collapse of the structure for artists. this collapse can be linked to the decline in the economy which also created piracy and abuse of intellectual property. piracy has not allowed those that remained to be properly remunerated and it is stifling the artists as well (p.264). on the menace of music piracy and its history, okoroji (2009) traces the roots to the 1980s with the introduction of cassette technology: the cassette tape was quietly taking over as the major carrier of music, [but] the music industry in nigeria was slow to notice this development. there was virtually no established facility for the production of legitimate music cassettes. yet there was a huge demand for them. while the industry ultimately reacted, the pirates had moved in long before… [and a] pirated version of every successful release on vinyl appeared in the market sometimes even before the official release of a record (p. 23). 4 awka journal of research in music and the arts (ajrma) vol 17 june 2024 however, a closer look into the music industry yields the surprising discovery that there exist some kind of symbiotic relationship between music pirates and music artistes whose works are being pirated. tade & akinleye (2012) remark that, owing to the cost of production, pirates provide upcoming artistes with publicity and reduce the cost of production. as a result, pirates see themselves as legitimate marketers and promoters. although music artistes perceive pirates as criminals, they certainly agree to have enjoyed their ‘support’ and assistance at some point in their career, especially the early stages. pirates use their network, which includes disc jockeys (djs), and radio and television presenters to promote budding and high profile artistes. they, as self-styled promoters have made themselves vital if, not indispensable in the music industry. despite the negative effects of theft of intellectual properties and drain on finances, both upcoming and popular artistes accepts that music pirates provide fame for a large number of artistes (tade & akinleye, 2012). blockchain technology having detailed some of the challenges in the nigerian music industry, this paper proposes a solution based on a decentralised technology which brings the artiste and the end-user together, eliminating most of the middle men. laurence (2017) views blockchain as a data structure that makes it possible to create a digital ledger of data and share it among a network of independent parties. it can be thought of as distributed databases controlled by a group of individuals where information can be stored and shared. the central feature of this networked technology is that central control of data flow is absent. three main types of blockchains have been identified: public, permissioned and private blockchains. all three types of blockchains use cryptography to allow each participant on any given network to manage the ledger in a secure way without the need for a central authority to enforce the rules. laurence (2017) states: “the removal of central authority from database structure is one of the most important and powerful aspects of blockchains” (p. 8). blockchain technology epitomises an advanced database mechanism with powerful and transparent information sharing capabilities within a business network. data are stored in blocks within the database, and these data are linked together in a chain, hence the name blockchain. since there is no central authority controlling access or use of data, data is chronologically consistent and stable as the chain cannot be deleted or modified without consensus from the decentralized nodes. this attribute of decentralized control, where all have to come into an agreement for any modification to take place within the chain, is the central reason why blockchain technology offers an unalterable or immutable ledger for tracking payments, transactions, orders, accounts, and other transfers. there are in-built mechanisms within the blockchain which prevent unauthorized or malicious transaction entries and create consistency in the way these transactions appear and are seen. the blockchain employs a peer-to-peer method of data sharing and integrity. drescher (2017) opines that the blockchain can be considered a tool for achieving and maintaining integrity in distributed systems. purely distributed peer-to-peer systems may use the blockchain in order to achieve and to maintain system integrity. 5 awka journal of research in music and the arts (ajrma) vol 17 june 2024 euromoney learning 2020’s model showing a blockchain process path history of blockchain blockchain technology, a peer-to-peer network, operates without a central authority or trusted intermediaries to authenticate or settle transactions. there are two generations of blockchain. the first generation, introduced by satoshi nakamoto in the 2008 paper "bitcoin: a peer-to-peer electronic cash system," proposed a decentralized digital currency that eliminates intermediaries and the need for trust between parties. nakamoto's solution to the double-spending problem and the development of the proof-of-work (pow) consensus protocol were key innovations supporting a decentralized network (silva et al., 2020). bitcoin, the first cryptocurrency, was designed to handle various transaction types, but faced challenges in supporting diverse transaction requirements (nakamoto, 2008). the second generation of blockchain was introduced with ethereum in 2013, which enabled the use of smart contracts. smart contracts, a concept introduced by nick szabo in 1997, allow for the formalization of relationships and provide a secure model for transactions (szabo, 1997). ethereum's platform supports various applications beyond cryptocurrency, such as trading intellectual property, through transparent and irreversible smart contracts. this ensures that all parties are aware of contract terms before committing, enhancing security and trust in the network. non-fungible tokens (nfts) one of the many possible items embedded in blockchains apart from cryptocurrencies and smart contracts are non-fungible tokens (nfts). these are unique cryptographic tokens. they are digital watermarks that can be used to establish provenance and ownership of many types of assets, from tweets to artwork, real estate, and music (tamplin, 2023). a basic characteristic of physical money is its fungibility. it means money can be exchanged for something else worth it. physical money can be exchanged at parity. that means one unit of physical currency is always equal to another unit. it is this characteristic of fungibility that makes money an ideal medium for daily transactions. nfts are items whose monetary value is quite difficult to place or ascertain. for example, it is difficult to establish the price for a valuable painting. non-fungible tokens cannot be exchanged at parity with each other. rather, they are used for unique artefacts with unequal valuations. blockchain and the nigerian music industry https://www.financestrategists.com/accounting/operating-assets/assets/types-of-assets/ https://www.financestrategists.com/wealth-management/valuation/ 6 awka journal of research in music and the arts (ajrma) vol 17 june 2024 blockchain – music production interaction model the nigerian music industry faces significant challenges, including piracy, exploitative intermediaries, copyright infringements, concert ticketing issues, and high production costs. blockchain technology can effectively address these problems. robert kviby, chairman of staccs entertainment agency, views piracy as a result of an imbalance between traction (exclusivity, quality, availability) and friction (cost, packaging, commitment, data integrity, checkout process). piracy occurs when friction outweighs traction, indicating a need to enhance user value and streamline service processes (tuck, 2022). musicians, who are the core of the music production ecosystem, often earn the least due to profitsharing with crew members, producers, and record companies. in nigeria, piracy further reduces artists' earnings. adopting blockchain technology can transform the industry by using blockchainbased platforms and smart contracts. these tools promote inclusion, integrity, transparency, privacy, security, rights respect, and fair value exchange. this shift could create a pro-artist music ecosystem, minimizing the role of intermediaries. this paper explores the potential applications of blockchain in nigerian music production and the benefits of securing musical intellectual property on the blockchain. some of these applications include: 1. elimination of middle men the nigerian music industry faces numerous challenges, with marketers and distributors significantly cutting into musicians' earnings. even with online streaming, artists receive minimal returns, stifling their creative freedom. this paper advocates for nigerian musicians to utilize blockchain technology and release their music as nfts. this approach can eliminate the high fees imposed by intermediaries, streamline distribution, and ensure more revenue goes directly to the artists. 2. establishment of origins toki anifowose, in the guardian on september 19, 2022, highlighted the pervasive issue of intellectual property infringement in the nigerian music industry. he noted that many top nigerian artists, as well as emerging ones, have been accused of copying songs without proper attribution. this paper suggests that victimized artists themselves may contribute to this issue due to a lack of understanding of nigerian copyright laws, which are outdated. blockchain technology can be a game changer. by releasing their music as nfts, nigerian musicians can assign unique codes and addresses to their songs, ensuring protection against intellectual theft and fraud. the immutable nature of blockchain technology guarantees that data cannot be altered, providing transparency and giving artists full control over their works. this makes illegal downloads and wrongful ownership claims impossible. 3. elimination of pirated copies of music 7 awka journal of research in music and the arts (ajrma) vol 17 june 2024 by the end of 2022, global losses to music piracy were estimated at us$51.6 billion (tuck, 2022). in nigeria, a 2016 study revealed that copyright piracy alone caused losses exceeding n100 billion annually (nnamani, 2016). by 2021, pretty okafor, president of the performing musicians association of nigeria (pman), estimated these losses, including unclaimed royalties and non-payment for nigerian creative works, at n10.5 trillion annually (kenechi, 2021). the us department of commerce identified nigeria as the largest african market for goods infringing intellectual property rights, with about 80% of international music cds and 40% of local music cds copied, counterfeited, and sold illegally. blockchain technology can transform this situation by placing music on a decentralized, peer-to-peer (p2p) network, thus eliminating central sources of piracy (tuck, 2022). blockchain-based platforms offer effective anti-piracy measures by providing central storage and sharing services with integrated monitoring against infringements. each user receives a unique digital fingerprint for content, allowing original pirated material to be quickly identified and removed (de león & gupta, 2017).ongoing projects using blockchain to combat piracy include cinezen, a decentralized video-on-demand service, and moviecoin, a blockchain-based content distribution service. 4. reduction in cost of music creation in nigeria, the cost of creating, producing, and distributing music is high due to expenses from studio engineers, producers, distributors, marketers, and online streaming companies. if musicians could reach their audience directly, they could save significantly on these costs. blockchain technology facilitates this direct connection. by releasing music as nfts on the blockchain, artists can sell directly to listeners, with payments going straight to the artists' accounts. this eliminates the need for third-party marketers and distributors, reducing overall production costs. 5. crowd-funding blockchain technology offers a win-win arrangement for music creation, allowing people worldwide to license, buy, stream, collaborate, and invest in music projects with full transparency via smart contracts on second-generation blockchains. traditionally, fans support artists by buying records or attending concerts, but intermediaries often take a large share of the revenue. beyond concerts, there is little engagement between artists and fans, and most revenue goes to companies, with only a small percentage reaching the artists. blockchain-based crowd-funding platforms address these issues by enabling direct value transfer between fans and artists using cryptocurrency. nfts and smart contracts ensure accurate transaction records and enforce rules. different platforms offer varying benefits. for instance, on audius, users earn tokens by interacting with artists and sharing playlists, allowing both artists and fans to share in the value created (mattias, 2022). regardless of the platform, artists receive direct payments, and fans gain benefits. 6. authenticity of tickets and ticketing in nigeria, concert ticketing faces issues like fake tickets, racketeering, hoarding, and theft. fraud schemes often target concert-goers, and even large platforms struggle with verification. incorporating nft technology into ticketing can solve these problems by reducing system vulnerabilities. digital tickets become unique, valuable assets, as seen when coachella partnered with ftx to offer fans lifetime passes and other benefits. middlemen often buy tickets in bulk and resell them at exorbitant prices, making it difficult for fans to purchase tickets. placing tickets on the blockchain ensures they go directly to fans, eliminating middlemen and reducing costs. this makes tickets more affordable and accessible. 8 awka journal of research in music and the arts (ajrma) vol 17 june 2024 engaging the blockchain technology there are many companies and platforms that render specifically music-based blockchain services. some of these companies offer watertight copyrights protection services, others create opportunities for fan engagements and reward systems. a few are highlighted below: 1. sound this fully remote platform operates by creating a more interactive relationship between artistes and fans through its web3-based nft platform. this process bridges the gap between the musicians and their fan base. when an artiste releases a song as an nft, specific numbers are attached to these copies which are purchased directly by the fans. owners of early copies use these numbers to authenticate their bragging rights which, in turn, allow them sell their nfts for more value. the discord hangout component of the platform allows artiste engagements with their fans. 2. digimarc digimarc is located in beaverton, oregon. the company develops solutions for licensing intellectual property for audio, visual and image content using integrated blockchain technology in licensing music. digimarc uses its special barcode system as music fingerprinting technology that links to metadata in order to track music sources, measure usage and estimate payments. the digital watermarking technology works with most music files and gives a more holistic insight for music rights holders. 3. mediachain mediachain, which is now a part of spotify, is located in brooklyn, new york. mediachain deals majorly on issues of fair revenues and payment of royalties to music and content owners within the music industry. it is a peer-to-peer, blockchain database for sharing information across different applications and organizations. mediachain offers open-source information by issuing unique identifiers for each piece of information, thereby leaving no one in doubt. they also work with artists to ensure they are paid fairly. smart contracts are facilitated with musicians that directly state their royalty stipulations without the nagging problems of middle men, third parties or contingencies. 4. royal royal turns music fans into invested partners, providing a platform where listeners can purchase a percentage of a song’s royalties directly from an artiste. once an artiste determines the number of royalties to put up for sale, a royal user can buy these royalties as tokens and hold on to them or sell them on an nft exchange. users can facilitate transactions with a credit card or crypto, and royal even creates crypto wallets for those who don’t have accounts yet. conclusion this paper considers the blockchain a veritable tool for arresting many of the ills within the nigerian music industry. challenges of piracy, depletion of accrued revenue, intellectual property theft and other copyright infringements, distribution and streaming, ticketing for concerts and elimination of false tickets, funding for music production, and fan base interactions can all be managed with the alignment of the industry to modern technology, specifically the blockchain. history is replete with lots of lessons. one of such lessons is that early adopters of disruptive technologies tend to benefit the most from them. as it is currently, the world has become a global market place, many entities and individuals are already at the fore front of this revolutionizing https://www.digimarc.com/ https://www.digimarc.com/blog/fixing-music-industrys-royalty-payment-problem http://www.mediachain.io/ https://techcrunch.com/2017/04/26/spotify-acquires-blockchain-startup-mediachain-to-solve-musics-attribution-problem/ https://royal.io/ https://builtin.com/blockchain/best-crypto-wallets 9 awka journal of research in music and the arts (ajrma) vol 17 june 2024 technology, nigeria is already trailing behind. nigerian music artists and industry leaders are hereby urged to embrace blockchain technologies and start thinking about new ways to leverage their possibilities. ideas are inexhaustive and more ways of application of technology are always discovered in continuum. an additional idea may just change everything! recommendations the paper makes the following recommendations: 1. nigerian music artists who desire to break free of the status quo in the industry should embrace the blockchain technology by placing their songs and music materials on the platforms, thereby owning full control of their works. 2. hooking unto the blockchain technology will create a win-win relationship for both the artiste and the fan base, and brings them into a closer, clearer and more beneficial relationship. it is therefore highly recommended for adoption by the music industry. 3. government, through relevant agencies, should make copyright laws more potent and at par with current realities. this will help reduce the menace of music and intellectual piracy within the music industry. 4. the blockchain and its technical aspects should have a place within the nigerian education system. this will help open the horizon for wider experiences and application of the technology in solving our many problems. 5. rather than complete stifling, government should make policies that help in regulating activities within the cyber-tech environment with the aim at exploring these technologies for national growth. references adedeji, a. 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(2014). the music business in africa in view of global trend. african musicology; past, present and future, a festschrift for mosunmolaayinkaomobiyi-obidike.timade ventures, forchu, i. (2009). nigerian popular music: its problems and prospects in development. unizik journal of arts and humanities (ujah). 10 (2). pp. 103 – 116. kenechi s. (2021). insight: piracy hurting nigeria’s music industry but is it a necessary evil? the cable lifestyle. https://lifestyle.thecable.ng/insight-piracy-hurting-nigeria-musicindustry/ https://builtin.com/authors/sam-daley https://publications.iadb.org/en/publication/17327/impact-digital-innovation-and-blockchain-music-industry https://publications.iadb/ https://lifestyle.thecable.ng/insight-piracy-hurting-nigeria-music-industry/ https://lifestyle.thecable.ng/insight-piracy-hurting-nigeria-music-industry/ 10 awka journal of research in music and the arts (ajrma) vol 17 june 2024 laurence t. (2017). blockchain for dummies. john wiley & son mattias t. (2022). how blockchain could transform the music industry. forbes. https://www.forbes.com/sites/forbesbusinesscouncil/2022/09/07/how-blockchaincould-transform-the-music-industry/?sh=2b45de5a6192. nakamoto,s. (2008) bitcoin: a peer-to-peer electronic cash system. https://bitcoin.org/bitcoin.pdf nnamani s. (2016). effects of music piracy on the nigerian public: a case study of enugu urban.research & reviews: journal of educational studies. https://dac.digital/how-canblockchain-be-used-in-different-industries/. okoroji, t. (2009). copyright, neighbourhood rights and the new millionaires. tops publishers press release (2023, february 16). how big is the nigerian music industry?.premium times. https://www.premiumtimesng.com/promoted/582338-how-big-is-the-nigerian-musicindustry.html. rawlings p. (2023). deontology. cambridge university press scheffler, s. (1988). consequentialism and its critics. oxford university press. silva t. b., morais e. s., almeida, l. f., righi, r. r., &alberti, a. m. (2020). blockchain and industry 4.0: overview, convergence, and analysis. in r. s. righi, a. m. alberti, & m. singh (eds.), blockchain technology for industry 4.0 secure, decentralized, distributed and trusted industry environment. (pp. 27 – 58). springer. skinner, b.f. (1953). science and human behavior. macmillan. sunday-kanu r. a. (2021). musical arts and copyright law in nigeria: ethical issues in the protection of intellectual properties. journal of nigerian music education (13), pp 235 – 249. szabo, n. (1997) formalizing and securing relationships on public networks. first monday, 2, (9). http://firstmonday.org/ojs/index.php/fm/article/view/548/469 tade, o., akinleye, b. (2012). ‘we are promoters not pirates’: a qualitative analysis of artistes and pirates on music piracy in nigeria. international journal of cyber criminology (ijcc) vol 6 (2): 1014–1029 tamplin t. (2023). what are non-fungible tokens? finance strategists. https://www.financestrategists. com/wealthmanagement/cryptocurrency/nonfungibletokens/ ?gclid=cjw kcajwov 6hbhbseiwavrvn6euistprrr5difvaof5bhyjbs1q-nb5vrvtixlrd0bb_cy38v3t9bocw2wqavd_bwe. tuck a. (2022). how blockchain can tackle piracy in entertainment, technology. https://technology magazine.com/articles/how-blockchain-can-tackle-piracy zheng z., xie s., dai h., chen x., wang h. (2017). an overview of blockchain technology: architecture, consensus, and future trends. 2017 ieee international congress on big data (bigdata congress), pp 557 – 564. https://www.forbes.com/sites/forbesbusinesscouncil/people/mattiastengblad/ https://bitcoin.org/bitcoin.pdf https://dac.digital/how-can-blockchain-be-used-in-different-industries/ https://dac.digital/how-can-blockchain-be-used-in-different-industries/ https://www.premiumtimesng.com/promoted/582338-how-big-is-the-nigerian-music-industry.html https://www.premiumtimesng.com/promoted/582338-how-big-is-the-nigerian-music-industry.html https://archive.org/details/consequentia_xxxx_1988_000_9240564 https://www.financestrategists.com/about/true-tamplin/ https://technologymagazine.com/author/alex-tuck 168 awka journal of research in music and the arts (ajrma) vol 17 june 2024 trends in contemporary compositional techniques: an overview davou bali iliya department of music university of jos davoub@unijos.edu.ng +2348065342919 & rev. sis. prof. achikeh c. m. +2348120448282 cmachikeh@gmail.com abstract nigeria is known for its vibrant and diverse cultural heritage and its rich musical history that continues to evolve. consequently, compositional techniques in music have experienced significant advancements by integrating deep learning and artificial intelligence (ai) methods. these advancements require some level of research interest and attention. through consultation of related literature and participation, this paper tries to explore some of the various contemporary composition techniques used in nigeria. these techniques are characterized by a fusion of traditional nigerian elements with modern western influences, experimentation with electronic music production, and interdisciplinary collaborations. the use of synthesizers, drum machines, and digital effects has allowed for the exploration of new sonic landscapes and the incorporation of electronic elements into traditional music. as a result, contemporary music composition techniques in nigeria have become increasingly popular and have experienced a significant evolution in recent years. findings show that there are some challenges related to maintaining human creativity and the evaluation the artistic quality of ai-generated music. future research should focus on addressing these challenges and finding a balance between the potentials of ai in music composition. introduction nigeria is a country located in west africa and is the most populous country in africa. it is a country with a rich cultural heritage and a vibrant music scene. music in nigeria is an important part of the culture and is used to express emotions, tell stories, and celebrate special occasions. nigerian music has evolved over the years and has been influenced by many different genres, including traditional african music, african art music, hip-hop, blues, r&b, reggae, afro beats, and other numerous genres of music. in recent years, there has been a growing interest in contemporary composition techniques in nigeria. as a result, contemporary composition techniques in nigeria has become increasingly popular and has seen a significant evolution in recent years. it encompasses a wide range of approaches that have emerged in the past century. one advantage of these techniques is their ability to break free from traditional constraints and explore new sonic possibilities. composers can experiment with unconventional harmonies, extended techniques, and unique timbres, resulting in fresh and innovative musical experiences. in recent times there has been a growing exploration of blending indigenous elements with modern western influences. this fusion has resulted in a unique sound that reflects the diversity and vibrancy of nigeria’s cultural landscape. mailto:davoub@unijos.edu.ng mailto:cmachikeh@gmail.com 169 awka journal of research in music and the arts (ajrma) vol 17 june 2024 composers of the 21st century have carefully explored new mediums and sources of materials to enrich their compositions. this has resulted in composers taking different paths as they combine different creative idioms and tools while also showcasing diverse creative limits and endowments of different composers in oral and written forms (onyeji, 2016). nigerian composers have overtime created master pieces of their work exploring the use of different forms, idioms and resources at their disposal. this paper will explore some of the various contemporary composition techniques used in nigeria. some of these mediums include: i. technological techniques ii. sampling techniques iii. aleatory/improvisation technique iv. composition using pre-existing idioms techniques technological techniques a. ai methods modern compositional techniques in music have seen significant advancements with the integration of deep learning and artificial intelligence (ai) methods. according to burns (2023) artificial intelligence (ai) is the simulation of human intelligence processes by machines, especially computer systems. while deep learning models according to sejnowski (2020) are “networks that have been programmed to recognize speech, caption photographs, and translate text between languages at high level performance.” these techniques have revolutionized the process of music generation, offering new possibilities and challenges. one of the key advantages of modern compositional techniques is the ability to generate music at different level of complexity. deep learning models can generate music scores, add performance characteristics to the scores, and even convert them into audio formats (ji, 2020). this multi-level approach allows for more nuanced and expressive compositions. additionally, deep learning models can learn from vast amounts of musical data, enabling them to capture complex patterns and generate music that is both innovative and coherent (ji, 2020). another way that ai is in the frontline of modern compositional techniques is the integration of information retrieval and music information seeking. online search tools, music search engines such as mp3juice.com, beemp3.com, mp3skull.com etc. and internet based reference services provide composers with a wealth of information and resources for their creative process (lavranos et al., 2015). these tools leverage modern information technology to facilitate the exploration of different musical styles, genres, and techniques. composers can access music libraries, organizations, and stores, as well as connect with their social settings to gather inspiration and knowledge (lavranos et al., 2015). b. electronic techniques a few centuries ago, in the times of mozart, bach, beethoven etc., the tools for composers were pretty simple: a pen, a manuscript, and perhaps an instrument like the piano or any other one at their disposal. technology beyond these simple tools didn’t exist at that time. many great masterworks of the pre-historic times in western music history were written under the candle light or lamps. today the story is different. nigerian composers have been experimenting with electronic music productions techniques to create a more contemporary sound. the use of synthesizers, drum machines, and digital effects has allowed for the exploration of new sonic landscapes and the incorporation of electronic elements into traditional nigerian music. these experimentations have resulted in a fresh and innovative approach to composition. 170 awka journal of research in music and the arts (ajrma) vol 17 june 2024 technology for composing music has progressed a great deal in recent years and is more accessible to music makers than ever before. many software providers even create free or budget versions of their composition programs so that as users grow and improve, they can progress to the more advanced software. (sciarrotta, 2023) here in nigeria technology has had a major impact on the music industry in nigeria. in the past, most nigerian music was recorded on analog equipment, such as reel-to-reel tape machines. however, with the advent of digital technology, recording and production have become much easier and more affordable. as a result, many nigerian musicians have embraced digital technology and are now using it to create their music. depending on what they prefer for the composition process and recording requirements, composers today often use either music notation software or digital audio workstations (daws). music notation software is frequently used in art music composition and other notation-intensive genres such as jazz and soul music where precise and thorough score preparation is necessary. however, in recent times, popular music composers and other genres have begun to explore the use of these notating software for composition. some of the notating software include: i. sibelius ultimate ii. musescore iii. notion 6 iv. steinberg dorico 4 v. apple logic pro x vi. finale vii. forte notation forte 12 viii. neuratron photoscore ultimate ix. neuratron audioscore ultimate etc. the afore mentioned software are some notable software used in music notation in the 21st century here in nigeria and the world at large. the second form of computer software is a daw (digital audio workstation), which is used to capture live performances, create midi-based synthetic instrument parts, mix audio, and master it. a digital audio workstation (daw) is an electronic device or application software used to record, edit, and produce audio files. daw comes in a variety of configurations from a single software program on a laptop or computer, to an integrated standalone unit, to highly complex configurations of various components controlled by the central computer. (fajar, 2020) there are now music applications that offer the functions of both categories fairly well, despite the fact that the majority of daws contain some rudimentary music notation functionality. in nigeria, both music notation software and daws have become popular amongst composers. they are often used to create complex arrangements and to add effects to the music. in the words of adams (2015) who states that “the digital audio workstation (daw) has undoubtedly been a massive advancement in the field of music composition. whilst it is perhaps best known for expanding and creating numerous genres of electronic music, its impact upon composing for orchestra is lesser documented”. however, film composers are gradually moving away from using notating softwares to using daws. this allows them to utilize all the plugins in the daws. with the daws, the composer can use live sample libraries, to compose and there’s no need for the music to be performed by an orchestra nor any other group as the music composed in daws are already made and ready for consumption. many https://www.musicradar.com/reviews/steinberg-dorico-for-ipad 171 awka journal of research in music and the arts (ajrma) vol 17 june 2024 nigerian musicians use daws to create their music, as they are easy to use and allow for a great deal of creativity without any rudimentary knowledge in music theory. sampling technique there was this day i went to meet up with a composer friend and i met him parking his mobile recording equipment. he told me he was working on a film score which requires him to have live samples of the noises in the market square and motor parks. we drove out to one of the biggest market and set up in the middle of the market, recording all the sound that the market could give. same was done for the motor park. when he finished working on the project, the results were astounding. this whole process is what is regarded as voice sampling. sampling is another popular contemporary composition technique used in nigeria. sampling is the process of taking a portion of a sound recording and using it in a new composition. youngblood (2019) defines music sampling as “a nearly ubiquitous practice among hip-hop and electronic producers.” the usage of drum breaks, or percussion-heavy sequences, ripped from soul and funk records has played a particularly critical role in the development of certain subgenres. sampling is often used to create a unique sound or to add texture to a track. sampling technique has become a very popular technique in nigeria, as it allows musicians to create new music from existing recordings. many nigerian composers use samples from traditional african music, as well as from other genres, such as hip-hop and reggae. in the words of onyeji (2008), who states that “in their compositions, contemporary nigerian composers have tried to combine traditional ensemble techniques from their country with european styles. this synthesis has appeared in pieces that encapsulate the spirit and soul of numerous types of music.” we can therefore say that composers have resorted in using other idioms to enrich their works in which sampling has been often used to create a unique sound or to add texture to their compositions and it can also be used to create a bridge between different genres, allowing musicians to create a unique sound that is a blend of different styles. it is as a result of these sampling techniques that new genres of music are born. it can be argued that technical developments in popular music since the advent of sampling as a mainstream activity have altered production practices in such a fashion as to shape the broader aesthetic of popular music and its creators’ sensibilities. recording using sampled libraries sample libraries are pre-recorded sounds that are used in recorded sounds that can be used in music composition. it is a collection of sound instruments, vocals, synths, sound effects, and field recordings for use in music and video production. these sampled sounds are typically royalty-free and can be freely used by artists and producers in any way they see fit. (lavoie, a. 2023) these libraries offer diverse sounds from various genres. sample libraries have become an important tool in the 21stcentury composer’s toolkit. the beauty of sample libraries lies in their versatility. they cater to virtually every genre of music and offer an extensive range of instruments like complete orchestral instruments, guitars, vocals, sound effects, and atmospheric sounds (hariharan, s. 2023). some composers of the 21st century prefer working with sound libraries than actual musicians because the samples in a sound effects library often contain many imaginative and diverse sounds, allowing content creators and editors to offer a more immersive experience when creating a piece of content. 172 awka journal of research in music and the arts (ajrma) vol 17 june 2024 aleatory/improvisation technique in his doctoral thesis, stephen coyle (2019) states that “improvisation keeps a reference to every variety, including improvisation based on pre-existing materials, notated or not, improvisation controlled by specific rules, and entirely unrestricted free improvisation”. improvisation forms a core component of the compositional processes composers used when writing music. it is a theme that concerns everyone who is active in music – be it as a performer, a teacher, a musicologist or an administrator. every music practitioner is an actor when it comes to improvisation. improvisation is the process of creating music spontaneously, without any prior preparation. it is often used to perform spontaneously without any prior knowledge of what the composer wants to perform. improvisation is largely done by well experienced performers. in a recent research which states thus: it suggested that an early music performer and a professional pianist with a specialization in improvisation were given a variation task in their respective styles. the question under investigation was the extent to which improvisers repeat themselves after several trials. performances were tape recorded, transcribed and analyzed. and the findings suggest that the early music performer, who could be called a novice improviser, was less inventive and more repetitive after fewer trials while the pianist improviser was able to generate many more non-redundant consecutive variations. we concluded that experienced improvisers have a large repertory of methods for varying material that allows them non-redundant playing. this facility corresponds to the training activities the individuals had engaged in. (lehmann & hoffmann, 2002). musical improvisation is often seen as specific to jazz popular music, african traditional music. many ‘classical’ musicians never came across improvisation during their professional training. sometimes improvisation is considered as ‘nonsense’ and as loss of time. but in fact, it trains skills that are crucial for every musician, be it in western classical music, in jazz, pop or rock music or in any other musical style of the large range of ‘world music’. improvisation demands not only creativity, but also the knowledge and application of a given set of rules, carefully listening to other musicians and the ability to take over leadership at a given moment as well as to leave it to someone else. turkenburg (2004) in a document titled “improvisation in music” opined that “improvisation is not only a tool to learn playing without sheet-music or to acquire social skills. it is also an art form of its own.” therefore, when a performer acquires the technicality and virtuosity of their instrument or voice in competence and emotional artistic expression, it makes improvisation become an art form that needs to be respected and acknowledged. one prominent musician who often improvises not only on his instrument but with the audience as well is five time grammy award winner jacob collier. collier often conducts his audience and assigning different notes to be sang by different parts of the audience spontaneously and the result is incredible. composition using pre-existing idioms techniques one prominent technique utilized by nigerian composers is the incorporation of traditional rhythms and melodies into contemporary compositions. according to onyeji (2016), who affirms that “the abundance of different types of indigenous music in africa makes it imperative for art music composers to draw relevant material from such music types, if they intend to give their works cultural identity.” 173 awka journal of research in music and the arts (ajrma) vol 17 june 2024 these traditional elements, such as the polyrhythms of afro-beat or the call and response patterns of yoruba music, add a distinct flavor to the music and create a sense of rootedness in nigerian culture. these techniques allow composers to pay homage to their heritage while also pushing the boundaries of musical expression and giving their compositions an identity. some african composers have gone as far as integrating of traditional folk instruments alongside western instruments. instruments such as the talking drum, the shekere, the kakaki, molo, and the kalimba are often included in contemporary compositions to add a unique timbre and texture to the composition. this blending of traditional and modern instruments creates a rich sonic tapestry that reflects the fusion of old and new nigerian music. advantages of contemporary compositional techniques the language and aesthetics of music have advanced at an unprecedented pace throughout the twentieth and twenty-first centuries. it may be argued that compositional development has seen more innovation in the last 50 years than it has in the previous 400 years. contemporary art music has been in the forefront of many facets of this musical revolution, including the development of new compositional methods, the expansion of instrumental techniques, and the adoption of computer technology. unquestionably, this era has seen significant advances in both music and thought, and the music been composed as a result of these innovations is groundbreaking. some of the advantages of contemporary compositional techniques are: 1. composers are beginning to adopt the use of technology in their compositions as it gives the composer access to modern composition/production/recording technology. composers don’t need to write their music using a pencil and a manuscript as it used to be but rather the 21st century composers have adopted the use of computers to write their music 2. using of sound libraries saves resources for composition saves a lot of resources. some few decades ago, film composers or orchestral composers will have to painstakingly compose for the whole orchestra and invite a lot of musicians to perform the music while it is being recorded. but today, a composer will compose using digital audio workstation (daw) which contains live samples of sounds from the complete orchestra. there is little or no difference in the end result as to playing with the live orchestra vs recording with daws. using sound libraries for composition saves time and resources. 3. it gives room for innovation and creativity as this will ultimately result in creation of new sub-genres in music. udo in his master’s thesis writes that: in this century and in africa, for instance, new musical genres have emerged. notably, we have had new forms of music. this include: those using western instrumental resources while employing african music idioms as much as possible, and those that are an encompassment of both african and western resources as well as their idiomatic context. (udo, 2017) disadvantages of contemporary compositional techniques 1. one major challenge of contemporary compositional technique is the lack of tonal center. modern compositional techniques often challenge traditional tonal structures, leading to the absences of a clear tonal center or melody. there is that potential for the music to become difficult for audiences to understand. the use of complex rhythms, dissonant harmonies, and unconventional structures can make it challenging for listeners to connect with the music on 174 awka journal of research in music and the arts (ajrma) vol 17 june 2024 an emotional or intellectual level. this can limit the potential for widespread appreciation and popularity of contemporary compositions. 2. another disadvantage is the risk of losing the sense of traditional and cultural heritage that is often associated with western art music. some argue that contemporary techniques prioritize novelty over preservation of established musical conventions, leading to a disconnect with historical musical styles. this can be perceived as a loss of continuity ad a departure from the rich musical heritage that has shaped our indigenous music community in previous generations. 3. another concern about modern compositional techniques is the potential loss of human creativity and artistic expression. critics argue that relying too heavily on ai-generated music may result in a lack of originality and emotional depth (lavranos et al., 2015). while deep learning models can generate music that adheres to certain stylistic conventions, they may struggle to capture the subtleties and nuances that make human compositions unique. furthermore, the evaluation and assessment of ai-generated music pose challenges. traditional criteria for evaluating music, such as emotional impact and artistic merit, may not be easily quantifiable or measurable in the context of ai-generated compositions (ji, 2020). developing appropriately evaluation metrics and methodologies that capture the aesthetic. 4. another concern is that even those who are not knowledgeable in the act of composition can decide to become composers especially those that don’t have any form of musical training. they can just ask ai to write them a symphony in g minor and ai will generate it. this makes genuine composers look like failures as the former can create more elaborate compositions than some genuine composers will do. summary/conclusion overall, contemporary music compositional techniques in nigeria are characterized by a fusion of traditional nigerian elements with modern western influences, experimentation with electronic music production and interdisciplinary collaborations. these techniques have contributed to the vibrant and diverse music scene in nigeria, showcasing the country’s rich cultural heritage while pushing the boundaries of musical expression. contemporary music compositional techniques offer advantages such as the exploration of new sonic possibilities and interdisciplinary collaborations. however, they also present challenges, including potential inaccessibility to audiences and a departure from traditional musical styles, lack of tonal structure, and have limited commercial viability. however, a composer can choose to employ these techniques depending on the results the composer wants to achieve. balancing innovation with a connection to tradition is a crucial consideration for composers utilizing contemporary techniques. as discussed in this paper, modern compositional techniques in music, driven by deep learning and ai methods, offer numerous advantages in terms of multi-level music generation and access to vast information resources. however, there are also challenges related to maintaining human creativity and evaluation the artistic quality of ai-generated music. future research should focus on addressing these challenges and finding a balance between human creativity and the potentials of ai in music composition. although contemporary music composition techniques have its drawbacks and benefits, todays composers can use a variety of techniques to achieve different results and to ease the process of their compositions. 175 awka journal of research in music and the arts (ajrma) vol 17 june 2024 references adams, a. 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(2020) the unreasonable effectiveness of deep learning in artificial intelligence https://www.pnas.org/doi/abs/10.1073/pnas.1907373117 turkenburg w., (2004) improvisation in music: documentation of the conference 22 24 october 2004 royal conservatoire the hague, the netherlands https://www.emcimc.org/fileadmin/user_upload/publications/dokuam04.pdf udo, a. (2017). a contemporary compositional approach based on selected ibibio folk songs. youngblood m. 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https://www.emerald.com/insight/content/doi/10.1108/jd-10-2014-0139/full/html https://journals.sagepub.com/doi/10.1177/0255761407088491 https://journals.sagepub.com/doi/10.1177/0255761407088491 https://journals.sagepub.com/doi/10.1177/0255761407088491 https://www.pnas.org/doi/abs/10.1073/pnas.1907373117#con https://www.pnas.org/doi/abs/10.1073/pnas.1907373117 https://www.emc-imc.org/fileadmin/user_upload/publications/dokuam04.pdf https://www.emc-imc.org/fileadmin/user_upload/publications/dokuam04.pdf https://doi.org/10.1371/journal.pone.0211860 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 115 the òsàrá enigma: an in-depth analysis of musical structure of ile-ife’s immaterial heritage ademola gbenga eluwole deparment of performing arts, bamidele olumiluauniversity of education, science and technoogy ikere-ekiti, ekiti state gbengaeluwole@gmail.com eluwole.gbenga@bouesti.edu.ng ocid:0001-5350-4649 08068995832 abstract 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. keyword: analysis, melody, òsàrà, structure, scale introduction the term "the òsàrá enigma" implies that the musical patterns and cultural importance of òsàrá music are captivating, intricate, and potentially not entirely comprehended, prompting investigation and examination. immaterial heritage is a heritage that is passed down through generations, influencing communal identity and cultural variety. immaterial heritage, also known as intangible cultural heritage (ich), refers to non-physical aspects of culture that are inherited from past generations and passed on to future generations. these elements are essential to a community's identity, social practices, and cultural continuity. immaterial heritage includes traditions such as: proverbs, epic poems and storytelling. social practices such as: festivals and celebrations, rituals and ceremonies and traditional medicine practices. knowledge skills such as: traditional craftsmanship and ancient knowledge systems and representations that communities recognise as part of their cultural heritage this study explores the composition of yoruba festival music, focusing on rhythmic patterns, melodies, and harmonic structures, in order to document and preserve this cultural transmission. melodies in african music is evidence of artistic and aesthetic creativity, varying in rhythm, range, or note choice. the basic scale patterns in òsàrà songs include ditonic, tritonic, tetratonic, pentatonic, hexatonic, and heptatonic. these scales are constructed by the ear and not mechanically well-tempered. the melodic structure of music in africa is based on scales and selected interval sequences, with different musical elements contributing to this structure. the tempo of òsàrà festival music is slow and graceful but gradually rises to a moderately fast sequence that is danceable and then fast. the music rarely stops for a change of tempo during the performance. the asaaju among the abebe player uses a rhythmic pattern depending on the type of song alu sings to bring other abebe players into the fast tempo. rhythm is an important factor in african music, as it has attracted the attention of scholars more than melody, harmony, and form. african tradition is more uniform in the choice and use of rhythms and rhythmic structures than in selecting a pitch system. music notes are beats of different durations, and the arrangement of these beats in a piece of music takes a rhythmic pattern. mailto:gbengaeluwole@gmail.com mailto:eluwole.gbenga@bouesti.edu.ng awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 116 different kinds of rhythms are found in both instrumental and vocal music, organized in both linear and multilinear forms. the rhythm of a song is determined by its poetic context and divided into long and short corresponding to the six generally accepted rhythmic modes of eleventh and twelfth period in greek music: trochaic, iambic, dactylic, anapest, spondee, and tribrach. these rhythms are represented in òsàrà festival music. the specific objectives of this study are to identify and categorize òsàrà's rhythmic patterns and time cycles. analyze melodic motifs with their variations and, examine harmonic structures and their cultural significance.this study enhances our comprehension of òsàrà music, illuminating its distinctive musical lexicon and cultural significance. the results will guide music education, cultural preservation, and multidisciplinary research. discussion of theory lerdahl and jackendoff (1983, p. 12) point out that when we listen to a passage of music we automatically segment or chunk the sound we hear into units of widely varying sizes such as motives, themes, phrases, theme groups, sections, and so on. lerdahl and jackendoff (1983) use the term group to refer to such structural units. lerdahl and jackendoff (1983) highlight the importance of grouping sound into units like motives, themes, phrases, and sections in african music. melodies in african music is influenced by rhythm, range, and note choice. the basic scale patterns in òsàrà songs include ditonic, tritonic, tetratonic, pentatonic, hexatonic, and heptatonic. the tempo of òsàrà festival music is slow and graceful, gradually rising to a moderately fast sequence. rhythm is a key factor in òsàrà music, with rhythmic structures and notes being organized in linear and multilinear forms. the rhythm of a song is determined by its poetic context and represented in òsàrà festival music. melodic structure (ogli, 2010)1 notes that melodies are evidence of the artistic and aesthetic creative prowess of composers that vary in rhythm, range, or choice of notes. the basic scale patterns of melodies in african songs are based on vocal and instrumental music such as include: ditonic, tritonic, tetratonic, pentatonic, hexatonic and heptatonic. (akpabot, 1998)2explains that there are three ways in which african melodies can be examined: the movement of melodies, whether upwards or downwards, how the melody is constructed conjunctly or disjunct, narrow or expanded, and the range of melodies. (agu, 1999) agrees to this by observes that, most african songs are characterized by short melodic motifs which serves as a basis for repetition variation and extemporization. especially in music of òsàrà festival short melodies often occours and longer melodies occasionally occour, but with motifs reappearing repeatedly in different forms. melodic contour in òsàrà music (adedeji, 1991), citing ologunde refers to sach’s three classification of melody, and points to terms like: logogenic (word-born), pathogenic (emotionborn), and melogenic (music-born). the above classification in a sense, form the resources of melody. the melody of òsàrà music is word-born. melodies on which texts are based obey tonal inflection of the people’s dialect. the term contour is used to refer to shape of a melody over time whether the notes rise to higher pitches, fall to lower ones, remain at the same pitch, or a combination of these. there is close relationship between the scale of a piece and its melodic contour. in music, a step, or conjunct motion, shows the difference in pitch between two consecutive notes of a musical scale. in other words, it is the interval between two consecutive scale degrees. any larger interval is called a skip (also called a leap), or disjunct motion. the concept of melodic contour (shape, configuration, outline) is frequently encountered, but its precise meaning and significance in musical analysis is elusive. good melodies have a strong sense of balance between aspects of contour: rise versus fall and conjunct motion versus disjunct motion. below are the examples of different melodic contour in music of òsàrà festival 1 ogli, g.e. 2001. idoma funeral rite an ethnomusicological study. unpublished ph.d thesis, university of ibadan. 2 akpabot, samuel. form, function, and style in african music: macmillian nigeria publishers limited, lagos, 1998 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 117 the first bar in treble stave started with solo’s call with the lowest note in the passage and rose gradually to the highest note (disjunct ascending and conjunct descending), while chorus on bass stave response is mainly in conjunct and disjucnt and eneded with undulating movement. in singing a song that has only three notes scale, there will be a lot of gapped notes and leap in the melody. an example is the song below as the melody opens with a leap up and a leap down. scale in òsàrà music these scales are constructed by ear and are not mechanically well-tempered. (akpabot, 1998, p. 27) states that it is obvious that if african scales are measured by a western mechanical contraption like tonometer it will reveal than we need to know because that instrument is constructed with western scale pattern in mind. the melodic structure of music in africa is based on and controlled by scales and the use of selected interval sequences. different musical elements constitute melodic structure in african music these include scales, contour, continuity, and melodic framework. several factors also contribute in forming certain contour pattern melodies and can be differentiated according to how each contour is used. the contour variables include shape direction change and range. the shape is the overall pattern of the contour. direction change deal with changes in general movements of notes where leap and stepwise movement are involved while range is the distance between the highest and lowest points, rate of pitch change, any variation in the rate of pitch change, distribution of low, middle and high notes. continuity is the general flow of effects caused by melodic intervals, rhythm, values, articulation. differences between melodies depend on how these factors are coordinated with contour features. melodic structure of music in òsàrà festival consists of contour with the use of shape, direction change, and range. the term contour3 is used to connote the shape of melody over time, whether the notes rise to higher pitches, fall to lower ones, remain at the same pitch, or a combination of these. additionally, contour is used in discussing the movement of melody by adjacent notes (known as conjunct motion or motion by step) or by larger intervals (known as disjunct motion or motion by leap). the scales of the melodies often employed in african music are based on diatonic (2 notes), tritonic (3-notes), tetratonic (4-notes), pentatonic (5-notes), hexatonic (6notes) and heptatonic (7-notes). music in òsàrà festival often employs the use of tritonic (3-notes), tetratonic (4-notes) and pentatonic (5-notes) scale. the lead singer may make his melodic call (lile orin) from any degree of the scale used for a particular song and the chorus may also respond (gbigbe orin) and end the song on any note (mostly second) degree of the scale. the structure of the melodies built out of these scales is based on the controlled use of selected interval sequences. 3www.ableton.html awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 118 the first song used for this analysis and was sung in modal pentatonic of the dorian mode as the song started on the 5th degree of the scale (l) and ended on the second (r). according to hood (1971:324), basic features of mode seem to include the following; a gapped scale which is a scale that comprises both large and small intervals, a hierarchy of principal pitches, the usage of vocal and ornamental pitches and extra musical associations with the season, hours of the day and nights. considering the gapped scale is more applicable to music in òsàrà festival where the melodies consist of songs with tritonic, tetratonic, and pentatonic scales mostly. the major and minor modes of western music are made up of whole steps and half steps (tone and semitone) or chromatic scale the tempered tuning system equidistance intervals. major and minor modes may consist of large and small intervals following the model of hood (1971) in which (s) representing small interval and (l) representing large intervals with the following arrangements: l l s l ll s major mode: c d e f g a b c` l s l l s l l minor mode: a b c d e f g a but tritonic, tetratonic, pentatonic and hexatonic are not tempered tuning system, their theoretical scale structure is gapped in such a way that tone and semitone formation are not fully important. the song above is another example of a song on the five-tone pentatonic scale (d r m s l) with the omission of fourth and seventh note of the scale together with song ten. the omission of 4th and 7th notes creates a gap between 3rd, 5th, 6th and 1st degrees of the scale. there is also a variation of the pentatonic scale in most cases. the structure used to be on (d r m s l) but other types were used in the music of òsàrà festival. pentatonic scales are found in both equidistance and nonequidistance forms nketia (1974). the pentatonic without a half step (the anhemitonicpentonic) and pentatonic with one or two half steps (the hemitonic pentatonic). the commonest type of pentatonic is the scale without of the fourth (f) and the seventh degree (t) in a musical composition. but there are various types of pentatonic scale as nketia (1974) highlighted which consists of anhemitonic and hemitonic pentatonic. the type of pentatonic scale peculiar to this study is anhemitonic pentatonic shown above. another example below: song four employed the use of pentatonic substituting the third note (m) for the fourth note (f). the above song is another variation of anhemitonic pentatonic scale, same as song number below. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 119 the type of pentatonic scale used in òsàrà festival music is the anhemitonic type of pentatonic scale which is based on the dorian mode where the second degree of the scale is the dominant sound because the music end on the (r) note. in the western church modes, a particular gapped structure seems to be the hallmark of mode ionian (major) mode hood (1971). but functionally in african music, any five notes, regardless of their arrangement and intervallic relationships, comprise a pentatonic scale. it is wrong to always view the first note of this scale as tonic. from previous examples, anhemitonic pentatonic scale were used while in the following example another type of scale used in òsàrà festival music is tetratonic (four tone scale). unlike songs that employs pentatonic scale, a group of notes were used as tetratonic in òsàrà festival songs eight showcased songs written in tetratonic scale. the above example is a song on tetratonic with the notes (d r s l). it is a typical example of gapped scale. hood (1971) observed that: the theoretical might be based on tempered tuning system like the equidistant intervals of the twelve white and black keys of the piano octave but the practical scale on which mode is based must be whole non-equidistant. (p.235). the scale of four-tone is not tempered tuning systems because their scale structure is gapped. song above uses d r s l where the omission of pitches between second and fifth degree of the scale is more than four semitones that explain why african scale cannot be view from the western perspective because the scale is not well tempered. another type of tetratonic scale used in òsàrà festival is in song the example above showed another song with tetratonic scale. unlike song number 13, the note in the song is different. the notes are (d m f s) which is a typical example of hamitonictetratonic in which despite the gapped kind of scale a semitone is found in the music. the above excerpt indicates what is between bar one and two, and bar three and four in order to show hemitonicteratonic. the above example has shown songs in tritonic scale. there are a number of songs in the festival with three tone scale, songs five six and seven showed songs with tritonic scale. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 120 tempo tempo is the speed of a musical performance. the tempo of òsàrà music is slow and graceful beat but gradually rises to a moderately fast sequence that is danceable and then fast. the tempo does not slow down till the end of the musical performance. the music rarely stops for a change of tempo during the performance in òsàrà festival. the asaaju among the abebe player uses a clearly rhythmic pattern depending on the type of song alu sings to bring other abebe player into the fast tempo. harmony multipart singing and harmonic concepts are basic traits of many african musical traditions. harmony in african music is as old as in the being music of african. harmony is not a result of acculturation, but rather indigenous to the african music. it is commonly found in two parts: a second, third, fourth and five apart harmonies. nketia (1974) stated thus: songs conceived of as single lines of music may break here and there into two voices and then return to the basic linear form when a choice of melodic direction is possible. thus, in some form of pentatonic music, some singers may sing a second, third, or fourth above or below a note in the main melody and return quickly to the main part…this organization however, is essentially linear rather than multilinear, and we may regard the incidence of occasional heterophony as purely decorative. (p. 160). occasional harmony is used in indigenous african music. it could be in unison (where the melody will be repeated in octave), seconds, thirds fourths and fifths. the solo distinctive and role of accompanying music voices is more defined. some communities use fourths and fifths while others deploy the thirds but in most communities these intervals are used. akpabot (1998) posits that: consecutive seconds are discordant in african music but acceptable when used at cadential points as in the music of yoruba of nigeria, where two-part singing in fifths is brought to a close by the second voice part moving up to harmonize the last note of a solo voice at the interval of a second. akpabot, 1998, p. 23). however, two-part singing is more prominent in yoruba indigenous singing and highly significantly realised in òsàrà festival music. harmony is not strictly homophonic as it is in western music because words in african music are inflationary in nature. it is therefore necessary to limit harmony to two parts or occasional harmony. concept of group singing and harmony western music point of view is different from their african counterpart. on this, adedeji (2006)4 writes: the term “indigenous choral” as used here differs from the western interpretation of the same word. it is not the satb tradition. what is obtained is “group singing”. also, although choir as an exclusive aesthetic singing group (egbeakorin) exists, it is not commonly practiced by the yoruba. (adedeji, 2006, p. 5). musical concept is not scientifically based in africa where harmony is scientifically constructed unlike in western music. in african music, harmony in songs is spontaneously a part of the musical performance. below is an example of occasional heterophony in second (2nd) in the performance of òsàrà festival music; 4 adedeji centering on african practice in musical arts education edited by minette mans the pan-african society of musical arts education. african minds 2006. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 121 there are some notes in the response of the chorus towards the end of the lines of the chorus. an example is in bar six of the above melody where two –part singing in seconds is brought to a close by the second voice part moving up to harmonize the last note of the chorus. the most prominent form of harmony in of òsàrà festival music is unison and two-part singing. another form of harmony òsàrà festival music is in song below: the above excerpt showed occasional harmony moves in third in sharp contrast to song 8. the call was made by the leader of the group and the harmony does not follow western style of harmony in various motions such as; similar, contrary and oblique motion. the call and response are a form of music composition where a vocalist or instrumentalist sings or plays a phrase and another vocalist or instrumentalist answers with another phrase, thereby creating a lively exchange. akpabot (1998) noted that: among some ethnic groups in africa, the chorus response to a solo’s call sometimes breaks into two-part singing in thirds, fourths and fifths, in what is an entirely spontaneous phenomenon (p. 39). the call and response pattern used in of òsàrà festival music have been based on the leader is (alubiagba) call and the group response. from the above example, we can see that the chorus is often occasionally harmonized like in the previous excerpt of òsàrà festival music. another voice sometimes accompanying the lead singer in two-part singing. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 122 rhythm according to word web english dictionary rhythm is the variation of strong weak elements (such as duration accent) of sound notably in speech or music, over time, beat or meter. rhythm can also be defined as the flow, repetition or regularity of notes. it can also be seen as a strong regular in repeated pattern of sound. rhythm is an important factor of african music; such that even melodic patterns often serve rhythmic proposes as well. in african music, the element of rhythm has attracted the attention of scholars more than melody, harmony and form. african tradition is more uniform in the choice and use of rhythms and rhythmic structures than in selection of pitch system. music notes are beats of different durations, and the arrangement of these beats in a piece of music takes a rhythmic pattern. in oriental music, the rhythmic conception is generally free, weather in vocal or instrumental music. rhythm in òsàrà festival music is orderly arranged by the inflection of words. movement in òsàrà festival music through time happens in patterns of lengths of tunes in a group of notes of various durational values. basically, the meter is composed in groupings of simple quadruple equivalent, and in compound duple. simple triple time is rare in òsàrà festival music. there are different ways in which rhythm appears in the music of òsàrà festival music. different kinds of rhythms are found in both instrumental music of òsàrà and vocal music. instrumental rhythms are organized in both linear and multilinear forms, and are generally conceived of either as syllabic rhythms reflecting those of songs, or as abstract rhythmic patterns (nketia, 1974). the rhythm of song stated by akpabot (1998) is determined by its poetic context, and divided into long and short corresponding to the six generally accepted rhythmic modes of eleventh and twelfth period in the greek music are: trochaic, iambic, dactylic, anapest, spondee and tribrach. in medieval music, rhythmic modes were set patterns of long and short rhythms. these rhythms are being represented in òsàrà festival music, each of the modes will be seen in the following song. mode 1 is called trochaic, short-long and is found in song alasi is the tittle mode 2 is called iambic, long-short it is found in song baba omo is the tittle mode 3 is called dactylic, long-short-long, found in song olomo lo laye. mode 4 is called anapest, short-long-long, found in song yeye o mode 5 is called spondee, long long long and found in song iba o is the tittle. mode 6 is called tribrach, short-short-short, found in song laye adeyeye a particular type of rhythm common to african music is bell rhythm and is made up of the three rhythmic modes; the trochaic, the iambic and the spondee. the study has shown that there is no instrumental ensemble in africa that does not deploy this rhythmic pattern (akpabot, 1998). rhythm in òsàrà festival music is simple and complex. simple when the instrument play in isolation and complex when all instrumental components play together. idamoyibo (2004:99)5 stated that: 5 idamoyibo a. the primacy of rhythm in indigenous yoruba music. janim 2014 vol. 8 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 123 yoruba traditional music exhibits two distinctive characteristics: the dominant of the two is the reflection of the tone of the language in their vocal music (the melody) and the other focuses on the rhythmic sensibility of the instruments that serves as the accompaniment. the instrumental accompaniment for music in òsàrà festival is abebe. generally, abebe is built to function as rhythmic instrument in the performance of the music. conclusion òsàrà music showcases artistic creativity through melodies, rhythm, range, and note choice. scale patterns in songs include ditonic, tritonic, tetratonic, pentatonic, hexatonic, and heptatonic. the melodic structure is based on scales and interval sequences, with different musical elements contributing to it. rhythm is a crucial factor in òsàrà music, with a more uniform choice than the pitch system. different rhythms are found in instrumental and vocal music, organized in linear and multilinear forms. the rhythm of òsàrà song is determined by its poetic context and divided into long and short corresponding to greek rhythmic modes. òsàrà music emphasizes yoruba traditional values, community, and spirituality, and serves as a medium for cultural transmission and identity formation. the research aids in documenting and preserving one of the most intangible cultural heritages of yoruba people. references akpabot, s. e. 1(998). form, function, and style in african music: macmillian nigeria publishers limited, lagos, 1998 agu, d.c.c (1999) form and analysis of african music. new generation books, 1999. abiodun, f. (2012) oral musical tradition in ilorin culture: performance analysis of baalu music. african musicology online, vol. 6 (2012). ackerman, j.s. (1962): „a theory of style‟ journal of aesthetics. volume 20 no.7 (spring, 1962) p. 37. adebisis a. s. and adebisi a. i. (2012) the functions and musical forms of osun osogbo festival. nigerian music review 2010-2011, nos 11/12. adedeji, f. s. (1998) change in societal values: “virginity” and its music among african societies as a case study‟. journal of nigerian languages and literatures. burbank, u.s.a, no. 6 (1998): 7-11 ___________ (2008). new trends in global music research: the implication for nigerian art music. african musicology online’ vol. 2 no. (1), pg. 8-17 ____________ (2008)compositional techniques in african art music: the metamusical dimension. african musicology online’ vol. 2 no. (2), 2008. pg. 60-80 idamoyibo. i. o. (2008). let a woman beat the drums: gender concepts in african musical. african musicology online’ vol. 2 no. (1), (2008). pg. 18-27 nketia, k. j. h. (1963) african music in ghana: northwestern university press,1963 _______________ (1975) the music of africa, london: victor gollancz limited, 1975. _______________fela sowande’s world of music. stirling-horden publishers (nig) ltd. gaaf building, 110-112 orogun oyo road 2001 lerdahl, f. and jackendoff, r. (1983). a generative theory of tonal music. mit press, cambridge, ma ogli, g. e. 2010. “idoma funeral rite an ethnomusicological study.” ph.d diss., university of ìbàdàn, xvii+263 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 136 the prospects and challenges of bicultural and bimusical elements in nigeria art music karawusa, okechukwu nonye & rev. sr. c. m. achikeh (phd) abstract 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. introduction nigeria, with it’s over 250 ethnic groups, is a nation of immense cultural and musical diversity. traditional music forms an essential part of the nigerian cultural landscape, with each ethnic group possessing unique musical styles. years, there has been a growing interest in integrating these traditional elements with western art music to create a unique genre known as nigerian art music. this fusion often referred to as bicultural or bimusical integration, presents both exciting prospects and significant changes. the challenges faced during music performance among the audience who are from different ethnic background, creating momentary division in ethnicity has been the concern of the writer, seeking to bridge that gap by introducing bicultural and bimusical music composition as a tool for unity among ethnics. some of the primary tools are discussed below which includes language, instruments and so on. language integration many nigerian art music composers who compose in particular language and style are most times limited in conveying the message in the music to the audience who are likely to be mixed with people of diverse musical culture and practices. message in the lyric of composed music, as far as it is a vocal composition is the centre and primary focus of that composition. according to ekwueme (2001:17), opine “of what use is the african composer’s effort if it is limited to the african audience – indeed to a specific ethnic group, since other ethnic groups even within his own country and those outside his country may not understand the language or idiom of expression?” music editors and lyricist has translated most of african indigenous music to english language for the audience benefit to understand the message in the music. most prominent nigerian art music composers who are known for their compositions across the world, such as laz ekwueme, dan agu, alvan-ikoku nwamara and so on, have composed many works both in igbo, yoruba, hausa, including in pidgin (broken english), and in other local languages. some lyricist has transcribed some composed music lyrics into english language for the benefit of wider audience. such is seen in “obi dimkpa (brotherhood of youth)” by laz ekwueme. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 137 example: according to agu (2002:85) who wrote that “he has broken the barrier of writing only in the igbo language by writing and arranging pieces in the english language.” however, ofuani (2016:59) affirms that “a composer can alternatively provide an english translation version option of the local language and aligning the english text accordingly under their specific notes in the score. laz ekwueme’s obi dimkpa” (brotherhood of youth) review the example of translating an igbo composition to english version to aid the audience understand the meaning and aligning the text under the notes accordingly. using creole language as a communication tool wikipedia explained creole language as a “stable natural language that develops from the process of different languages simplifying and mixing into a new form, and then that form expanding and elaborating into a full-fledged language with native speakers, all within a fairly brief period. language according to nwamara (2010) reviewed that it is a “system of sounds and words used by humans to express their thoughts and feelings”. well understood language in a composed music, aid the composer to speak to the audience in a manner that drives their soul and mind out to a distant places at the cost of reflection. however, language use in a particular piece often controls’ human emotions and thoughts at the moment. sunday (2015:56) wrote “first, nigerian composers must decide to be realistically objective and creative enough in tapping from the concept of lingual inter-culturalism”. composers however, uses language to communicate to both educated and half educated through their artistry creativity in music lyrics arrangement. ofuani (2011) wrote that “while song entertains, and educates, it intrinsically informs.” many awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 138 nigerian composers have used language in different forms, such as fusing double languages just to send message across to their audience. a popular saying “wazobia” which is practically derived from three major tribes in nigeria meaning “come” has been used in a song, calling the three tribes for unity. function of language could be entertaining, as well as educating and more. ajewole (2011) emphasized that “music offers entertainment and it is concerned with the development of a complete being”. however, most nigerian composers have made use of nigerian popular language known as ‘pidgin’. ‘naija’ or pidgin language is known to be nigerian secondly lingua franca, which every average nigerian citizen can easily identify with. it is an english-based creole language spoken as a lingua franca across nigeria, and music composed with it makes nigerians feel and see each other as brothers from one tribe. more so, it earned them to share a momentary cultural value and language communication flows out velvety, while message is sent. composing music in ‘pidgin’ gives composer and listener sense of belonging, then passes message in the composed music to every nigerian including educated and half-educated audience. most nigerian composers have composed many pieces using ‘pidgin’ vernacular such as lilian ekwem who has one of her compositions in ‘pidgin’, titled “something don happen”. the composition was a christmas carol, narrates about christ birth and the season christmas. eg. this piece of music, though a sacred music was aimed to entertain the audience, amuses them and gives them a moment to share biculturalism through language. language has the ability to unite two clan in conflict, bring peace, heal broken relationships and more. according to nzewi (2003:pg13), “in a situation of severe mental stress, such as occasioned by trauma of death or despair, music provides therapeutic remedy”. furthermore, okunade (2011:p139) stated that “musical presentations in most cases are used to disseminate information to the public”. therefore, it could be in an informal phrasing or poetic form of arrangement. furthermore, onwuekwe (2023:29) added thus: language is a very important icon of the identity of a people. it is a body of words, and set of methods of combining them, understood by a community and used as a form of communication. language is the principal method of human communication consisting of words used in a structured and conventional way and conveyed by speech, writing and gesture. agu (2008) opines: “music is more appreciated when it truly communicates and dose that most effectively through language influences one’s creativity and expressions of musical terms”. (p. 7). onwuekwe (2023:29) continued, “language is a very important icon of the identity of a people”. a popular classical music composition by a german composer gorge frederic handel titled “hallelujah chorus”, from the book “the messiah” has been transcribed into igbo language and other local african languages. many choral ensembles have performed it in indifferent languages, including in nigerian local languages, also has been accompanied with african instruments along in other to bring the music down to the african cultural vibes. randel (2001: 18) opines: “music and language are closely associated in the vocal music of all cultures, yet in africa, the connection is particularly significant”. effect of bicultural music to the audience nigeria as a nation has approximately 371 tribes across the nation, and over 250 ethnic groups. the tribes include igbo, yoruba and housa-fulani which has its most prominent minor ethnic groups such as the ija, kanuri, ibibio, and tiv. according to okunade (2011) stated that “one of the means of transmitting the norms, ethics, and values to the members of the society is through the text of the songs used within the community” (pg.139). music is owned and cherished by the people. it defines people and gives them sense of belonging. according to ofuani (2011:49), wrote that “songs have been people’s watchdog, disciplinarian and objects of caution and ridicule that challenge some addressed individuals to re-examine and redirect their objectionable life styles.” in a contemporary society where there is people of diverse culture and believes, composer is expected to be diverse in compositional style, learn to compose in other peoples’ language and as well use their rhythmic pattern. when the audience sensed a familiarity of their own music in the music of other world culture, they are likely to give it a kin attention, because of the shared value in bicultural music sensation. omojola (1995) stated that “music is an important aspect of a people’s culture and since culture is dynamic, it can be assumed that nigeria traditional music as we know it today is different from what it was several hundred years ago. (p. 1). nigerian early composers who were trained by the westerners, learnt to compose in their style of music. however, nigerian music has gained stand in the world music due to the development in their musical idioms. ekwueme (2001; 19) in his view, suggested that “being aware of the limitations of nigerian language in terms of “global users’ population” it is my view that nigerian composers should begin to adapt english language in their vocal music compositions against many other world languages including nigeria local languages awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 139 bi-rhythm / instrument as means to relate to diverse audience nigerian art music shares a significant rhythmic pattern in their various indigenous music and dance practices, which was influenced by their distinct traditional creative arts. however, some of the indigenous musical rhythm practices in nigeria are purely owned by the people. transition from one indigenous traditional rhythm to another is mostly depends on their musical heritage and rhythmic pattern used in their style of music and their instruments. generally, africa music structure most times has danceable rhythm, likewise the music of the nigeria, which in most occasions requires body movement. involving a specific traditional instrument in a music composition creates a bi-cultural fusion of peoples’ traditional music; it reviews an identity of a music that belongs to another clan. example of such is when yoruba music is performing on stage using yoruba musical instruments, and oja (flute from igbo clan) is played in the middle of the music, it suddenly reviews an identity of igbo music. likewise the other tribes’ music has a distinct instrument that reviews the identity of their owned music once the instrument is being played in between a performance. the major tribes in nigeria which includes hausa, yoruba and igbo prominent instruments are discussed thus: hausa music and instruments music of the northern part of nigeria is known for its complex percussion instrumentation. the music of the hausa tribe was influenced under muslim insurgence since the 14th century their music uses free rhythmic improvisation and the pentatonic scale, similar to other muslim sahelian tribes throughout west africa; such as bambara, kanuri, fulani and songhai. the rhythmic pattern in hausa music is shown in their drumming which differentiate their rhythm from other tribes’ traditional music rhythm. hausa music is known with some of their peculiar percussion instruments which includes talking drum, kakaki, goje, kukkuma, kintigi, algaita etc. i. the algaita is a double reed wind instrument from sahelian region of west-central africa that is used by the bamum, hausa and kanuri peoples in cameroon and nigeria. it has similar construction with oboe.algaita plays a prominent role in hausa traditional music and create a bicultural music when used in other nigeria tribe music. air is brown through the small opening at the tail just as clarinet instrument, the note pitches are controlled with fingers by covering and opening the three holes by the side of the instrument. ii. goje is tied to various pre-islamic sahelian rituals around jinn possession, between the bori, hausa, zarma, borori,. and songhay. it is held high esteem and are linked to the spirit world, or as a carrier for voices aimed at or from the spirit world. goje is played with a bowstring. iii. kakaki instrument is about four metre long metal trumpet usually found in hausa and yoruba music. its sound is associated with royalty and it is only played at events at the palace of the king or sultan in hausa societies. kakaki which is also called malakat in ethiopia is exclusively played by men. iv. kukkuma instrument is a small spike lute or spike fiddle used in hausa music. it is made from calabash gourd covered with skin, with the neck (a stick) that impales the gourd, the bottom poking out one side to form a spike. it is played with a horsehair bow and strung with horsehair. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 140 igbo music and instruments a tribe located at the south-eastern part of nigeria natively called “ndi igbo”, are gifted in music making by creating their own music and invented by themselves a wide range of musical instruments. the music of the igbo people is very vast and complex in instrumentation, which can be identified through their owned instruments. one of the most prominent instrument of the igbo society is called “ogene (gong)”, others includes igba (cylinder drum), oja (flute), udu (pot drum), ekwe (slit drum) etc. i. ogene (gong) is viewed as one of the most prominent metal instruments in igbo instrumental music orchestration; it has its own instrument family and own a music popularly known as “egwu ogene”. ogene plays an important role in in igbo tradition and music and folk music as the lead instrument. in igbo land, ogene is used locally to call for attention for important information for the community. ii. oja (flute) igbo music popular igbo instrument which plays a vital role in igbo music and culture. oja plays a significant role in the music of the igbo people which its role is to high the spirit both in the dancers and the instrumentalists. oja is used in the igbo land to usher in the great men in the community, such as the king, the brave (warrior) and so on. it is also believed that it is used to communicate with the spirits. oja crerates a bicultural music when introduced in a music composition, which reviews another culture and igbo music traditional iii. ekwe (slit drum) is one of the prominent igbo traditional instrument use by the people to create music at different cultural music events. it is carved from wood, hallow and has different shapes. it is two pitch instrument which is played with two sticks. ekwe is found in every igbo traditional music because of its prominent role in bring out the igbo cultural vibes and identity. yoruba music and instruments the yoruba is an ethnic group from west africa who many of them inhabit parts of nigeria, benin, and togo. they are considered the largest ethnic group all over africa. yoruba music is distinguished by its extremely advanced drumming tradition and techniques, especially using the gongon hourglass shape tension drums. their music became the most prominent in west african music in afro-latin and caribbean musical styles. music of the yoruba awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 141 became popular and gain wide range of accomplishment in arts and entertainment industry. through yoruba music, many popular music genres were established such as juju, fuji, apala and, sakara music. this paper review some of the instruments used in the making of yoruba music that can be used to create an identity of a yoruba music in other society traditional music. some of the prominent yoruba instruments include ashiko drum, bata drum, talking drum, agbe (shaker), etc. i. ashiko drum is one of the prominent yoruba instruments that review yoruba identity when used in music performance. the instrument can be traced from west africa, also in some part of america, while its origin is traced in yoruba culture. it is made of hardwood and generally has a goatskin hide. ashiko drum is shaped like a tapered cylinder, and has a long tradition in the culture of yoruba people. ii. bata drum is a prominent instrument in yoruba music and playued wide range of functions their tradition. it is a double-headed drum with one end bigger than the other. bata drum is used for an entertainment and plays a vital role in conveying messges to the people. iii. talking drum is traced from west african, it plays a vital role in yoruba traditional music and culture. it has an hourglass-shape and has two drum head connected by leather tension cords, which allow the player to modulate the pitch of the drum by squeezing the cords between their arm and body. it is used by skillful player to mimic ones speech by hitting the drum and squeezing the cords. due to its vast functions in yoruba music, bata drum has retained its traditional role. summary bicultural music is determined through the artistry of the composer, by using available tools to create a fusion of cultural music identity. using mother tongue, traditional instrument or compositional style are tools to make a fusion of traditional music composition. conclusion this paper concludes that while there are significant challenges in integrating bicultural and bi-musical elements in nigerian art music, the prospects are equally promising. with the right strategies and support, it is possible to create a unique and globally appealing genre that preserves nigeria’s rich cultural heritage while embracing contemporary musical innovations. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 142 references giami, b., & achikeh, c. 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(2023) appreciation igbo art music of old as a guide or new generation compositions. retrieve from https://www.igwebuikeresearchinstitute.org vendrova, t. (2021) introduction in music. retrieve from https://www.usr.rider.edu/~vrme/ https://musichouseschool.com/how-music-and-culture-work-together-science-%20%20%20%20%20%20%09behind-music https://musichouseschool.com/how-music-and-culture-work-together-science-%20%20%20%20%20%20%09behind-music https://www.frontiersin.org/ https://thevenusbushfires.com/ https://www.sciencenews.org/ https://study.com-academy-nig/ https://www.ajol.info/ https://www.tandfonline.com/ https://www.journalquality.info/jpps-%20%20%20%20%20%20%09criteria/no-stars/ https://www.journalquality.info/jpps-%20%20%20%20%20%20%09criteria/no-stars/ http://www.book.openedition.org/iofra/6103lng=en https://www.igwebuikeresearchinstitute.org/ https://www.usr.rider.edu/~vrme/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 104 art activism and police brutality in nigeria: lemi gariogwu’s artistic portrayal of fela anikulapo kuti’s album jacket oluwasegun olawale quadri (ph.d) department of fine and applied arts, federal college of education (technical) akoka, lagos, nigeria. e-mail address: drquadrioluwasegun@gmail.com, oluwasegun.quadri@fcetakoka.edu.ng, https://orcid.org/0000-0001-8589-2965 & oyenike oluwayemisi eseagwu (ph.d) department of creative arts, university of lagos, akoka e-mail address: oeseagwu@unilag.edu.ng, abstract 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 sociopolitical 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. keywords: art, activism, police brutality, nigeria, and album jacket introduction the conversation on police brutality has gained public attention in nigeria. in a democratic state, the fundamental human rights of citizens needed to be protected for such a state to experience peaceful co-existence. in october 2020, protesters clustered across the street at the lekki toll gate in lagos to agitate for police reform and point the government’s attention to reoccurring police brutality. the vociferation emanated due to false accusations and consistent harassment of the youth by the police on the streets of lagos and by extension to other states of the federation as well as the lingered anger over police excesses and accusations of illicit torture, harassment, unjustified arrests, shootings, rape, extortion among other incriminating offense leveled against the sars, a nigerian police unit in nigeria. the protest ballooned into grievances against the government with agitation for police reform due to the nonchalance attitude to put up a proactive action by the government to permanently curtail these abnormalities spreading like an inferno. beek and göpfert (2013) argue that police officers and gendarmes occasionally beat civilians to assert their authority. they torture suspects to get information or shoot dead armed robbers to deliver instant justice. they are supposed to act as the violence specialists of the state, yet their use of violence is highly controversial. civilians often fight back when they encounter police, but otherwise demand even harsher methods in the fight against crime, while ngos complain about police brutality (p.477). this resonates with the provocations of afro-beat maestro fela anikulapo kuti, who used his lyrics to expose the ills of mal-administration, police brutality, embezzlement, misappropriation of public funds, unconstitutional power abuse, and governmental torment using police and soldiers since 1976. the general function of the police force is to prevent and detect crime, preserve law and order, apprehend offenders, protect the life and properties of citizens and enforce laws and regulations. groenewald and peake in chukwu et al. (2020) aver that the police institutions were created to provide the requisite enabling environment for citizens to live and work towards the social, economic, and political development of the society. it is, however, disheartening that the citizen’s right to a fair hearing and access to the rulings of the constitution’s benefits is just a mirage due to the ferocious deeds of the police. mailto:drquadrioluwasegun@gmail.com mailto:drquadrioluwasegun@gmail.com mailto:oluwasegun.quadri@fcetakoka.edu.ng https://orcid.org/0000-0001-8589-2965 mailto:oeseagwu@unilag.edu.ng awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 105 since the advent of democracy in nigeria in 1999, the police's vicious and hostile attitude towards the members of the public has resulted in the loss of lives and property, dehumanization, breakdown of law and order, massive corruption, socio-political ills, and economic crisis taking example of end sars scenario of 8 october 2020 to 20 october, 2020. chukwu et al (2020) argue that going by their unrepentant disposition, the sight of police officers anywhere, irrespective of the circumstances, sends fears down the spines of people as arbitrary arrest, unlawful detention, and other forms of threats until family members negotiate payment for the release of their loved ones. there is an adage amongst the yoruba of nigeria that runs thus: ‘‘when the forward movement becomes impossible, returning to where you are coming from becomes the alternative’’. this corroborates the statement of beek and göpfert (2013) above that the masses fight back when they can no longer condone the nuisance exhibited by the police. the forgoing further substantiates the agitations and the clamour for better policing through a thorough reform. in this light, this study focuses on art activism as a visual representation of engaging police brutality, exposing the culture of human torture and torment as portrayed in selected album jacket paintings by lemi ghariokwu. these resonate with fela anikulapo kuti’s lyrical themes of alagbon close, kalakuta show, zombie, the beast of no nation, confusion break bone, upside down, fear not for man, and ‘sorrow, tears and blood .’ the study adopts a deconstructionist theory to engage polysemous visual representation rooted in textual connotative interpretations. deconstruction played a major role in the animation and transformation of literary studies by literary theory (often referred to simply as “theory”), which was concerned with questions about the nature of language, meaning and the intertwining connection between literature and diverse discourses that framed human experiences and histories. deconstructionist theory treated works of art not as the fusion of literary and figurative meanings but as instances of the intractable conflict between meanings of diverse types. individual’s work is examined not as a self-contained artifact but as a product of relations with other texts of discourses, literary nonliterary. the theory also placed special emphasis on the ways in which the works themselves are implicitly critique and the methods engaged. visual elements were used to disengage from other stereotype artistic genres to interrogate police brutality as a cog in the wheel of economic and socio-political development and the need for its global intervention in africa. the jacket album paintings for this study were purposively selected from the 26 album cover designed by lemi ghariokwu for fela anikulapo kuti within socio-political themes between 1974 and 1993. these artworks were collected from the archive of the artist for research engagement. artivism is a concept of protest that was engaged as metaphoric, iconic, or symbolic constructs within a socio-political aura. understanding art activism, protest arts and police brutality in nigeria art is a formidable tool for resisting a dictator or oppressive government. since the mid-1990s, art has attracted increasing attention as an instrument for social movements and organisations. scholars have begun to appreciate the importance of art in forming a movement’s identity, mobilizing resources, and ensuring effectiveness. of all the art forms, visual arts are probably the most commonly used in civic action and, although the variety of artistic expression is endless, paintings, photographs, sculptures, videos, graffiti, and holograms are some of the forms used. especially in countries where freedom of expression is severely limited, art functions as an alternative channel of communication: when demonstrations are banned, organisations shut down or media subjected to severe censorship, art is often the only possible instrument of protest (goris and hollander 2017,14). scholars such as (mansbridge 1990; naples 1992; ryan 1992; staeheli 1994; staeheli and susan 2003) have expatiated the issues of political action, activism, social problems, and the need to direct efforts towards them. research on nigerian art activism has tended towards preoccupation with photography, sculptures, videos, graffiti, and other artistic forms. however, little or no scholarly attention has been directed at the engagement of album cover design as a form of activism, this forms the lacuna that this research tends to fill. art activism is becoming a global issue in nigeria, where artists use genres of art as a weapon to address injustice and socio-political contestation in the community. artivism is a coinage of ‘art’, and ‘activism' which describes the essence of art as a tool of enquiry in a non-violent campaign for the fundamental human right of the people. artivism, also dubbed protest art (resistance art) is one of nigerian art referenced as instrumentalization of sociopolitical transformation. it is a confrontational and social-reflective art engagement that captures human unbearable conditions, suffering, pains, agony, torture, torment, and all form of socio-political circumstances prevailing in the country. art as a tool demonstrates and articulates the atrocities experienced by people living under the consequence of brutality. svirsky (2010,163) defines activism as involving local instigation of new series of elements intersecting the actual, generating new collective enunciation, experimentation, and investigations, which erode good and common sense and cause structures to swing away from their sedimented identities. the struggle for accessible and democratic societies across the world, specifically in africa with the awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 106 benefit of essential resources and life support has always been the craving of activists. with this in mind, the activity of the activist, especially artist-oriented ones, is a nonviolent movement at the centre stage of ensuring participatory and inclusive democracies as dividends for the citizens. brutality: the culture of torture and torment torture is perceived as human practice with a long discreditable history. it has an intertwined relationship with torment when describing the dehumanizing condition that the human body is subjected to. torture has been approached by scholars as to the social-psychological conditions that trigger inhumanity, an extensive type of violence engaged as an expedient technique of interrogation for the extraction of intelligent information which metamorphoses into psycho-physical aftermath (constanzo & gerrity 2009; makwerere, tafadzwa & musorowegomo, 2012). the concept of torture in an official space is engaged to inflict severe mental or physical pain, on someone to extract information or to confess to a crime committed. kenny (2010) avers that torture is the systematic and deliberate infliction of severe pain or suffering on a person over whom the actor has physical control, to induce a behavioral response from that person (p.154). scholars definition captures torture as political torture or public torture. this is engaged to describe the action of the state and religious groups. this is not limited by the importance of the act. he proposed that looking across space and time as a germane step will enable a more enriched and interesting comparative analysis of torture without the consideration of prognosticating its essence. feith (2012) opine that torture is a technology of pain, the more or less crude maximization of suffering on the other's body. accurate knowledge and mapping of "trigger points'' can convert it into a refined "acupuncture" of pain. the torturer dehumanizes the victim by reducing him/her to a body under control (p.92). from feith’s perspective of argument, the optimum intention of the person inflicting torture is to subject a person under control using an element of dehumanization. blakeley (2007) avers that the horribleness of torture is what makes it appear to lend itself to the acquisition of intelligence, the deterring of potential and actual political opposition, and the securing of legitimacy. he explained that all manner of torture methods is currently used, including beatings, electric shock, rape, acts that resemble drowning and suffocation, burning with fire and chemicals, sensory deprivation, the witness of the torture of others, especially loved ones, and threats of the same, and sham executions. those who justify torture for intelligence assume it works because of its effects on victims. it is believed that victims will respond to torture because they would rather speak up than suffer the physical and psychological torment involved. derivatives from scholarly views above indicate that torture can be categorized as a useful tool of the state, especially during cross-examination and investigative process. this is often an attempt to inflict pain in a calculated way to an illicit response from a criminal or a suspect in most cases. when torture is applied in this situation, this argument justifies torture as legitimate machinery of the state to maintain law and order. this resonates with the findings of kenny’s research. however, torture can also be arbitrarily utilized as an element of oppression, domination, control, slavery, kidnap, and dehumanization. the law enforcement officers, sometimes, engage in corrupt practices of extortion and jungle justice to destabilize their victims and use power arbitrarily to cover up their shortcomings. hence, torture in this sense is described as an act of brutality. torment is the description of a state or condition that places a person under extreme suffering. it is a state that causes sadness, sober reflection, and traumatic experiences. several innocent individuals have been extorted and wrongly accused of the crime they know nothing about. these categories of people now live their lives being paraded with defamation of character. they struggle with inner pains and agony which has been bottled–up due to threats levelled against them by a police special anti-robbery squad. torment, therefore, mirrors the aftermath of torture. exposing police brutality through protest in nigeria nigeria is a nation prone to several incidences of police brutality and the infringement on the fundamental human rights of the people which has stirred up rigorous public agitations. various sectors have reacted in contentions against the callousness of the police, yet there has been a consistent refusal of this allegation by the authority of police agencies in nigeria on the use of torture and torment as a strategy of forcefully engaging suspects in conversation to retrieve facts. the negligence of the government to find a lasting solution to this cruelty has endangered many innocent citizens. scholars have directed research on police brutality, abuse of power, and the disparagement of the basic human rights of the people for some decades. (aborisade and obileye, 2018; madubuike-ekwe and obayemi 2019; alemika and chukwuma, 2000; akinyetun, 2021; okoye, 2021; ulo, 2021). police brutality is a civil right violation where police as law enforcement officers exercise undue or excessive force against humanity. it is one of the major obstacles to the prospect of the nigerian police being a positive factor in pro-poor change initiatives. the police in nigeria, with the backing of autocratic leaders and repressive laws frequently acted outside the rule of law. often, they were laws unto themselves, maiming, killing, and detaining persons arbitrarily and with impunity. in nigeria, police repression had been institutionalized since colonial rule. however, police repression became increasingly intensified under the successive military regimes after 1966. as it has been observed, police repression has persisted, and in most cases intensified. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 107 abati in iwuoha and aniche (2021) argue that the prevalence of police brutality in africa is a function of political leadership failure rather than colonial legacy (p. 4). nigeria has been faced with police brutality consistently since 2015 when muhammad buhari was elected president of the federal republic of nigeria. the increased brutality of the police and the violation of human rights resulted in the recent agitations by nigerian youths against sars extra-judicial killings, which were recently re-ignited by a video shared via social media showcasing a sars officer assaulting a young nigerian in delta state on october 3, 2020. subsequently, several other pictures and videos of similar assaults and extortion by officers of the sars resurfaced on social media with an end sars hashtag created to further amplify the issues in national conversations. this led to uncoordinated protests by youths calling for the dissolution of the sars and metamorphosed into a national protest from october 8, 2020 (business day as quoted in ulo 2021,182). activism and protest of 2020 against human rights violations and police brutality fall on bad governance. corruption has eaten deep as a cankerworm into the value system of the nation. insecurity, illicit killing, kidnap and disregard for constitutional rulings become the order of the day. the government has lost its credibility, capability, and sovereignty to fix the existing political dilemma. figure 1 figure 2 figure 1: author. fela anikulapo kuti's portrait, medium: pen, staedtler graphite pencils, size:5.2 x10.7 inches, (courtesy of the artist) figure 2: author. lemi ghariokwu’s portrait, medium: pastel and pen, size:5.6 x10.2 inches, (courtesy of the artist) fela anikulapo kuti and lemi ghariokwu: the intertwined artistic narrative of police brutality the year 1976 was the evolution of the artistic collaboration and florilegium of design prospects between fela anikulapo kuti, a nigerian afro-beat musician, and lemi ghariokwu, an album cover designer who produced powerful musical narratives and striking art images on 26 explosive albums. these addressed socio-political themes and condemned corrupt government’s brutality with cultural etch, passionate articulation of open resistance and optimism. the arts and political ideologies of these activists resonate with the urgency for a changing society. the drawing above in (fig. 1) is the figurative illustration of fela anikulapo kuti (b.october 15, 1938, abeokuta, nigeria—d. august 2, 1997, lagos, nigerian) an afro-beat musician and activist that fused american blues, jazz, and funk with traditional yoruba music. interestingly, the aura of mystery surrounding fela anikolapo kuti, the afro-beat maestro, obscured his ideal picture and created for him an exploding myth that lives till today. although named olufela olusegun oludotun ransome-kuti, fela dropped “ransome” as his family name claimed it was a slave name, replaced it with an unconventional appellation “anikulapo” (death in his quiver), and adopted a shocking nickname, “abami eda” (supernatural being) (moore as quoted in alimi and anthony 2013, 75). his views and efforts on human rights were an admixture of personal principles and societal influence. a man of complex character, fela exhibited these through his songs; the conflict between tradition and modernism, indigenous and foreign cultures, and the resultant effect of identity crisis in african society. the tyranny of the masses by the ruling class and the affluent were the major theme of his songs. as a courageous epitome, fela used his songs to educate and encourage oppressed african people to fight for their rights. (alimi and anthony 2013,91). olaniyan (2001,76) confirms that fela, as his fans call him, is renowned for his distinctive "afro-beat" sound (itself a masterly blend of diverse forms), his politically charged lyrics and anti-establishment politics, his offbeat charismatic figure, his many encounters with the nigerian authorities leading to his repeated harassment, prosecutions, and imprisonments, and his general flamboyantly nonconformist lifestyle. in spite of the agonising experience and the consistent harassment, fela was put through at the hands of the government, three factors seem to account for fela’s radicalism. first, it was rooted in his family background; second, personal experiences both in childhood and adulthood were also factors; third, interactions with both individuals and societies were other awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 108 decisive factors (ibid). with an indefatigable campaign against tyrannical governance, fela’s explosive instrumental produced politically inflaming lyrics which the artistic narratives of lemi ghariokwu resonate with. the drawing in (fig 2) above is the figurative illustration of lemi ghariokwu, b.1955, lagos nigeria, was a selftrained fine artist with a special interest in graphics design with artistic prowess dovetailing into painting and collage paste-up design. he had a call to fame through the body of works produced as a visual narrative to accompany fela anikulapo’s kuti denigratory anti-government lyrics with its illustration, caricature, and distorted collage. the conspicuous social realism of lemi's works created between 1974 and 1993 was so significant in fela’s musical career. his artistic career as a sleeve designer begins in 1974 when for the first time, he sees the cover of fela kuti‘s new album ‘rofo rofo’ fight’, he decides to draw his version of the album cover as a means of practice. lemi shows his version to the journalist babatunde harrison in his portfolio, he is so amazed by his cover version of fela’s ‘rofo rofo’ fight that he decided to introduce lemi to fela directly. so the two men start their collaboration. the first album cover he designed for fela is ‘alagbon close’ in november 1974. this is the first time that an album cover is being reviewed with the music therein. as far back as 1980, he was also the consulting album cover designer for polygram (phonogram+polydor) records in nigeria for 11 years. the album covers of some other musicians were also designed by lemi. these include osita osadebe, james iroha, bob marley, kris okotie, lucky dube, gilles peterson, miriam makeba, ivory music, national encomium, kennis music, 2 face idibia, tony tetuila, lagbaja, kenny st. brown, sound sultan, emi, cbs, ivory music and about a hundred other musicians across the globe. he has designed over 2000 album covers. his career has lasted for over forty years learning to research and follow trends in his field of art. peter tosh, marcus garvey, and malcolm x were instrumental in the mental liberation that built lemi into a socially conscious man getting inspired by the happening in his immediate environment. his works were influenced by philosophical views of society, political reasoning, and human expression. he produced art that is revolutionary, political, and sensual. visual narratives of police brutality, torture, and torment as earlier articulated, the visual imageries for the campaign against police brutality in this narrative were produced by lemi ghariokwu, a nigerian visual artist, creating the visual concepts of fela anikulapo’s albums jacket covers between 1974 and 1993. a total of 26 jacket covers designed by lemi formed the population for the study. ten high-resolution images of the jacket cover designs engaged in this research were collected from this artist with approval to engage the artworks strictly for research purposes alone and not for any kind of commercial exploitation. these images reflect the themes of brutality, torture, torment, pain, agony, abuse, and the deprivation of fundamental human rights of the people. the artist metaphorically used red and black to represent bloodshed and the doom the masses were experiencing at the hands of the power brokers. yellow ochre was used to induce anxiety and distress and x-ray the criticality of the situation at hand. the green and blue capture the active role of the men in uniform as the agent of torture and torment to conceal corruption in the society when in actual sense, the peace of the masses has been murdered. torture and unlawful detention as the element of brutality figure 3: lemi ghariokwu. alagbon close. 1974.(courtesy of the artist) fig.3 is titled alagbon close, visual imagery which got its name from the street of the police headquarters where fela was imprisoned. this artwork was the first compact disc painting commissioned produced by lemi ghariokwu using oil on board with a collage approach depicting fela’s experience at the alagbon maximum prison in lagos. lemi depicted fela anikulapo in chains under the terrible dehumanizing experience in the prison. fela’s community called ‘kalakuta’ was plundered with several levels of brutality melted on fela which led to skull injuries. this invasion must have been due to fela’s malfeasance in his kingdomkalakuta republicwhich include sexual domination, women exploitation, hiv saga, drug abuse and the induction of so many youths into illicit sex and drug addiction. these among others must have been the reasons the politicians of awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 109 his time never took him serious. however, the message of fela anikulapo was a heavy blow to the military administration. after his prison experience, fela produced this song to lampoon the police as one of the few artists working in african space whose works adopted a figurative or metaphorical use of words or expression as a contemporary response to address socio-political contestation. the visual imagery depicted on the album jacket represents the view of fela as a parody to criticize the existing political and social status quo. lemi employed the artistic approach of creating alternate realities in an attempt to resonate with the trauma fela was subjected to while in the prison. the rendering in the background of the painting is the illustrative narrative of brutality, torture, and emotional torment with which the police inflicted pain on fela using a baton to turn things upside-down creating an atmosphere of chaos under the instruction of a tyrannical government. this scenario is tantamount to a colonial experience in a post-colonial period. the painting pictured a sense of detachment from a peaceful ambience existing in fela’s haven through the infliction of pain and agony rooted in subjective defense. fela’s agitation and campaign for an ideal society were toppled by the torment of police brutality, peradventure, due to his immoral life style that was a counter-narrative to his agitations for an ideal society. alagbon was captured as a jail pit of hell and anguish where prisoners suffered untold pain. despite the torture and dehumanizing attempt on fela, his kalakuta republic stands on a rocky and firm foundation that could not be broken. lemi further satirized the police by capturing fela as a triumphant personality who has broken the chains and danced over a capsized police patrol boat. justice: compensation for dehumanizing experience figure 4. lemi ghariokwu. kalakuta show. 1974. (courtesy of the artist) a simplistic narrative was portrayed in (fig.4) titled ‘kalakuta show’ illustrating the attack waged against the kalakuta republic as depicted in fela’s song. the painting describes how the police brutalized fela with batons, guns, and axes to inflict pain on him and massive destruction on his ‘kalakuta republic’. lemi also addressed the legal contribution of kanmi osobu, fela’s lawyer, in his painting challenging the government for the release of fela and compensation for the dehumanizing experience he was put through. john collins gave the account of his 1985 conversation with fela anikulapo kuti and how the name ‘kalakuta’ was originated. according to him, fela was imprisoned in a police cell at the (central intelligence division) in lagos. the cell he occupied had the name “the kalakuta republic” as given by the prisoners. sometime later, after his release from the cell, fela discovered during his tour to east africa that “kalakuta” is a swahili word that means “rascal.” from this discovery, fela concluded that, if rascality is going to bring the expected result, then it is better used. he concluded that the government officials are corrupt and they have to be dealt with ‘rascally’. tyrannical governance figure 5. lemi ghariokwu. zombie. 1977. (courtesy of the artist) awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 110 (fig. 5) titled zombie is a serious lampoon to the existing threat and tension inflicted on the community by the tyrannical government of the military regime in nigerian governance in 1977. the artist used this painting for a controversial design cover to stir-up nationwide hatred for military leadership. it was a direct attack to point out the ills, shortcomings, and corruptible acts in governance. the inspiration for this album cover came after the artist had scanned through tunde kuboye’s 1960 nigerian independence photographic collections. this work was produced through a paste-up of three photographs selected from dozens of earlier selections made, edited to fit in the album size which is later finished up with a thick brush lettering. the visual interpretation resonates with the lyrical satire portrayed by fela anikulapo kuti in his song zombie. he articulated the deeds, traits, and services of the military and the police with a metaphoric expression that suggests that they lack personal initiative, creativity, self-will, intelligent direction, and focus. the crafted word ‘zombie’ was used to describe the condition of the military and the police officers as a puppet in the hands of a puppeteer. a will-less and speechless human generation whose appearance looks strange and emits an unwelcoming attitude. it also gives the representation of reanimated human into a strange character. blood spillage figure 6a-b. lemi ghariokwu. sorrow, tears, and blood. 1978. (courtesy of the artist) (fig. 6a-b) above titled sorrow, tears, and blood, is a multi-panel painting depicting the visual narrative of lemi ghariokwu as he narrates the military retaliation on fela anikulapo kuti’s ‘zombie’ musical album released as an act of insubordination and the decision to scold the military and police brutality, abuse of power, bad governance, endemic corruption, and the abnormality in governmental policies adopted as a special mode of operation through the ‘zombie musical album’ he had earlier released on february 18, 1977. the painting depicted the inflicted sorrow, tears, and blood spillage of innocent people living in fela’s haven. the military juntas with the collaboration of the police, orchestrated a destructive attack by setting the kalakuta republic ablaze, a utopia of the land of asylum accessible for the welcome of all outcasts left in lagos, under the command of general olusegun aremu obasanjo. lemi illustrated his concept to create a reminiscence and mental picture of the agony which was inflicted by the soldiers and police on fela. the colour red, as depicted in the painting is a metaphor for the increasing destructive activity meted on the civilians by the police force. the background depicts bloodshed ironically describing the attempts the police have shown in protecting life and properties through severe damages. the illustration of wailing women, litter of the dead bodies of several outcasts sheltered by fela, and the scenes of torture were captured through this painting. the painting also focused on the gruesome torture and torment of olufunmilayo kuti, fela’s mother, a pan africanist, an anti-colonial activist who was thrown out of the window and died shortly after the incident from her injuries. …this uprising will bring out the beast in us’ figure 7a,b, and c. lemi ghariokwu. beasts of no nation.1988. (courtesy of the artist) awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 111 beast of no nation album design in (fig.7a,b,c) was produced by lemi ghariokwu after parting route with fela but still maintaining a business relationship with him. fela’s ideology was integrated into this comprehensive illustration. several names had mentioned in the lyrics of the beast of no nation which was also leveraged by lemi in his artistic trajectory; the illustration of ronald reagan of the u.s., margaret thatcher of the uk, former president mobutu sese seko of zaire, and pieter willem botha, a former south african prime minister who upheld apartheid. some rodents were depicted in military uniforms with the insignia of the nigerian army. the album illustration also pictured a satirical portrayal of general(s) buhari and idiagbon and other african leaders as the beast of no nation, ‘…this uprising will bring out the beast in us’. this in itself indicates that the military regime undermined the fundamental human rights of the citizen and the value of lives and property. he also lampooned the military government in nigeria that had sent him to jail -general buhari, who interestingly is now the incumbent president in nigeria for the second term. lemi further positioned fela in the ‘black power’ salute as a free man from jail-house been paid obeisance by the chief judge that condemn him to five years’ jail term leadership with the testimonies of embezzlement and corruption figure 8a-b. lemi ghariokwu. confusion break bone. 1990. (courtesy of the artist) confusion breaks bone as depicted by lemi in (figure 8a-b) captures nigerian leaders as the perpetrators of corruption and lawlessness putting the masses into a state of confusion and torment. the artist used his visual illustration to create a conversation which resonate with fela’s lyric that the governmental agenda revolves around the destruction of state properties and the negligence of the government officials to provide the social amenities needed for the survival of the masses. he presented a newspaper illustration and captured the scarcity of food, erratic electricity supply, and joblessness as old news that suggests that the element of inflation, austerity, and gross corruption in nigeria is not a new culture. the leadership of nigeria was metaphorically interrogated through a conspicuous question mark with a statement, ‘which head never steals’? this superimposed icon on the teeming population depicted in blue with the figurative representation of the populace living an agonized life under the torment of bad leadership gives rhetoric’s that deserves the right answer. the artist used his visual narrative to challenge past nigerian leaders; azikiwe nnamdi, general johnson aguiyi-ironsi, murtala mohammed, olusegun obasanjo, and shehu shagari from the first republic in 1963 to the second republic that elapse in 1983 as individual not exonerated from the act of stealing. the derivative of colonialism in a post-colonial period was pointed out in the lives of these leaders as exemplified in military regalia and the emulation of the colonial masters. fearless, bold and brave in persecution figure 9a-b. lemi ghariokwu. fear not for man. 1977. (courtesy of the artist) awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 112 one of man's greatest enemies is phobia. (figure 9a-b) titled fear, not for man depicts fela anikulapo kuti’s persistence, boldness, and defiant way of criticizing corruption and maladministration of the military government was on the increase and generated fear in the heart of his fans over the possible consequence this might generate from the government. given this fact, fela gave a very short, blunt, and fearless lyric of consolation titled ‘fear not for man’. an adaptation from the quote of dr. kwame nkrumah, the father of pan-africanism, "the secret of life is to have no fear". lemi’s painting captures fearlessness as portrayed by fela. this artwork was produced using black and white photographic collections of tunde kuboye to create a collage paste-up of different facial expressions of nigerians' power clipped into textual narrative and advocacy for fearlessness. blood effect was created on the photograph of fela using ecoline to create boldness, fearlessness, and total readiness for whatever situation that may come his way. nigeria and the state of confusion figure 10a-b. lemi ghariokwu. upside down. 1976. (courtesy of the artist) fig. 10a-b was a painting developed for another album jacket of fela anikulapo kuti titled upside-down. in 1976, about forty-eight years ago, fela prophesied the nigerian future and sent out a note of warning through his song to call the attention of nigerian leaders to socio-economic backwardness and advice the government to learn from the west. upside-down is a musical production that featured sandra who came on a visit to fela. she actively supported and stood by fela in his transformation years in the united state. this artwork was used by lemi for a perfect description of the african situation has portrayed by fela anikulapo kuti, a well-traveled african, whose travelled experiences surpassed any university professor. in reminiscence of fela’s experience, he remarked that it is expedient to classify his experience into dictionary words ‘upside-up and downside-down’. he laments that there is a high level of structure and organisation in the economic and socio-political system of the western world compared to a dysfunctional system in nigeria. lemi ghariokwu’s painting illustration depicted the pains and concern of fela through the use of metaphor, irony of situation, and symbolism to drive home his meanings. the painting captured a man turned upside-down in bondage, road traffic congestion, hunger, joblessness, abandoned construction projects, erratic light, the need for a good road network, unemployment, a down-trodden economy, and a fallen educational system. all these symbolise the confusion that reigns in nigeria. the use of words such as ‘go slow’, ‘molues’ denote how terrific lagos traffic could make a man lose his confidence and become suddenly incapacitated with withered aspiration. lagos traffic as compared to someone locked up in jail to complete prison term on the highway. in this painting, the reflection of the past has lingered and metamorphosed into the present nigerian predicament. conclusion the ambience of the conundrum that encompassed fela anikulapo kuti ‘abami eda’ is enigmatic and explosive which transcends his life into immortality. even in death, the nigerian fela anikulapo-kuti (1938-1997) remains, without doubt, africa's most controversial popular musician, and the one with perhaps the largest following outside the continent. olaniyan (2001) opines the salient function of art in a society is to expose socio-political questioning in a manner that will provoke and ignite intellectual conversation (p.76). the essence of art as articulated by chinua achebe is to create alternatives to reality, which could be beckoned on for a way out when it is necessary (rowell,1990). with this in mind, it is the responsibility of the artists to engage visual elements as ammunition for intervention in societal problems. this article has discussed the tyrannical traits of the ruling class and police brutality as a global phenomenon in african space especially in nigeria by adopting the marxist contextual approach as the conceptual framework. the study has examined art activism as a measure of questioning disrespect for human values, oppression, sufferings, callousness, atrocity, political subjugation, unbearable government agenda, and infringement on the fundamental human right of the people as portrayed in selected album jacket paintings by lemi ghariokwu which awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 113 resonate with fela anikulapo kuti’s lyrics. his artistic thought and concepts depicting human rights are his reflection on fela's songs to educate and encourage the oppressed to fight for their rights. the sub-themes were categorized based on the metaphorical narratives discovered in the paintings, pointing to the economic and sociopolitical challenges in nigeria. whatever sentiment or over-blowing depiction conspicuously captured in the selected visual imageries, yet, it is evident that they are contemporaneous with police brutality and gross corruptible patterns among public office holders in nigeria. they represent the common problems within several strata of society calling for urgent solution. moreover, the album jackets also trigger the curiosity of fela fans about the content of each album. and as they unpack the graphics on the album covers, their minds are further illuminated to identify with the struggle, and become members of the activism movement consciously or unconsciously. fela’s ideology was integrated into the comprehensive illustrations created by lemi ghariokwu’s artistic trajectory as he satirically illustrated tyrannical leaders as the ‘beast of no nation’. the visual imageries were also released to condemn police brutality, abuse of power, bad governance, endemic corruption, and the abnormality in governmental policies adopted as a special mode of operation. this research has articulated the deeds, traits, and services of the military and the police with a metaphoric expression that suggests that they lack personal initiative, creativity, self-will, intelligent direction, and focus. the crafted word ‘zombie’ as used in the context of this article was used to describe the condition of the military and the police officers as a puppet in the hands of puppeteer. a speechless human generation whose appearance looks strange and unwelcoming. it also gives the representation of reanimated human into a strange character. the article has also discussed the effects of economic and socio-political oppression in nigeria through the engagement with the artworks in connection with fela’s songs. hence, this calls for a total reformation of the police structure and service to ensure a better policing system in nigeria and by extension to other african countries. acknowledgement i wish to acknowledge the lemi ghariogwu under whose permission his works are engaged in this research, the journal and book reference, and the anonymous reviewers. references cited abati, 2020 in iwuoha,victor c. and aniche, 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(centre for law enforcement education, lagos and the national human rights commission, abuja, nigeria) alimi, shina and iroju, opeyemi anthony. 2013. ‘‘no agreement today, no agreement tomorrow: fela anikulapo-kuti and human rights activism in nigeria.’’ the journal of pan african studies, 6(4): 74-94 beek, jan, and göpfert, mirco. 2013. ‘‘police violence in west africa: perpetrators' and ethnographers' dilemmas.’’ ethnography, sage publications 14, (4) :477500. https://www.jstor.org/stable/24431736, blakeley, ruth. 2007. why torture? review of international studies, 33(3),373394. https://doi.org/10.1017/s0260210507007565 bruce, david. 2002. police brutality in south africa, from the report police brutality in southern africa – a human rights perspective by mwanajiti, n., mhlanga, p., sifuniso, m. nachali-kambikambi, y., muuba, m and mwananyanda, m (eds). published by: inter-african network for human rights and development (afronet). https://www.policebrutality.pdf (csvr.org.za) chukwu, christian chima, scent grace a.-t. and emerinwe, mezewo obuzor. 2020. ‘‘police brutality and human rights in nigeria’s democracy: focus on restoration of man’s dignity.’’ revista brasileira de gestão ambiental e sustentabilidade 7(15): 155170. https://doi.org/10.21438/rbgas(2020)071512. feith, m. 2012. the art of torture in “the water cure”, by percival everett. revue française d’études américaines, 132, 90–104. http://www.jstor.org/stable/43830310, kenny, p. d. 2010. the meaning of torture. polity, 42(2): 131–155. http://www.jstor.org/stable/40587519 goris, yannicke and hollander, saskia. 2017. activism, artivism and beyond inspiring initiatives of civic power. activism,+artivism+and+beyond++pdf+2017.pdf (thebrokeronline.eu), https://doi.org/10.1057/s41284-021-00316-z https://doi.org/10.36108/njsa/7102/51(0110). https://www.jstor.org/stable/24431736 https://www.csvr.org.za/docs/policing/policebrutality.pdf https://doi.org/10.21438/rbgas(2020)071512 http://www.jstor.org/stable/43830310, http://www.jstor.org/stable/40587519 https://www.thebrokeronline.eu/wp-content/uploads/attachments/activism,+artivism+and+beyond+-+pdf+2017.pdf awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 114 groenewald, h. and peake, g. 2004. ‘‘police reform through community-based policing: philosophy and guidelines for implementation. in: chukwu, christian chima , scent, grace a.-t. and emerinwe, mezewo obuzor (2020). police brutality and human rights in nigeria’s democracy: focus on restoration of man’s dignity, revista brasileira de gestão ambiental e sustentabilidade 7(15): 155-170. https://doi.org/10.21438/rbgas(2020)071512, luban, d. 2005. ‘‘liberalism, torture, and the ticking bomb.’’ virginia law review, 91(6): 1425– 1461. http://www.jstor.org/stable/3649415 madubuike-ekwe, ndubuisi j. and obayemi, olumide k. 2019. "assessment of the role of the nigerian police force in the promotion and protection of human rights in nigeria," annual survey of international & comparative law, 23(1): 3.18-48. https://digitalcommons.law.ggu.edu/annlsurvey/vol23/iss1/3 mansbridge, jane j., ed. 1990. beyond self interest. chicago: university of chicago press. martin, deborah g., hanson, susan and fontaine, danielle. 2007. what counts as activism? the role of individuals in creating change.women's studies quarterly, fall winter, 2007, the feminist press at the city university of new york, 35 (3/4)78-94. https://www.jstor.org/stable/27649696 naples, nancy a. 1992. 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"mobilizing women, mobilizing gender: is it mobilizing difference?" gender, place, and culture ll. a journal of feminist geography. 11(3):347-72. staeheli, lynn a., and susan e. clarke. 2003. "the new politics of citizenship: structuring participation by household, work, and identity." urban geography 24(2):103-26. svirsky, marcelo (2010). defining activism. deleuze studies, edinburgh university press pp.163–182. https://doi.org/10.3366/dls.2010.021, https://doi.org/10.21438/rbgas(2020)071512 http://www.jstor.org/stable/3649415 https://digitalcommons.law.ggu.edu/annlsurvey/vol23/iss1/3 https://www.jstor.org/stable/27649696 http://www.jstor.org/stable/3820905 tonemic substitution 24 awka journal of research in music and the arts vol.15 (2021) 24 church-based music programme and youth empowerment in nigeria: lessons from mountain of fire and miracle ministries, lagos tosin samuel ajose ph.d. abstract ver the years, many christian religious institutions have been part of the interventions in combating unemployment among youths in the country by initiating several empowerment schemes through skill acquisition in diverse vocations. despite the growing interest of young people in the creation and consumption of music in our contemporary society, the inclusion of music in the various skill acquisition programme has been neglected. therefore, this paper seeks to highlight the remarkable contributions of mountain of fire and miracles ministries (mfm), lagos, in the development of the human socio-economic capacity of the youths in the church through her various musical skill acquisition programme. the study adopts a qualitative research design and data will be content analyzed. this article recommends that other churches should invest in artistic skills acquisition programmes–specifically music, as a productive and sustainable form of empowerment among youths in nigeria. keywords: faith-based music education, youth empowerment, religion and development, mountain of fire and miracle ministries introduction the effort of religious institutions in empowering people–socially, economically and spiritually is gaining attention among the league of o awka journal of research in music and the arts (arma) vol. 15 2021 ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 25 scholars in religion, social work and development studies. these scholars have explored the intersections between religion and empowerment in different historic and geographic settings. development is known to be holistic when it affects the various layers of society. that is when there is a remarkable improvement in the condition of living of people. the development brings about empowerment–socially, economically, psychologically and politically. simply put: when people are empowered, there will be development. even though the developmental efforts of religious institutions have welcomed mixed responses from within and outside academia, the place of religious organizations in engendering or stifling development cannot be overemphasized particularly in africa. olakunle et al. comment, “from the days of the missionaries to the present, the church in africa has focused its development strategy in two areas: education and health care. on the contrary, the intolerant nature of religious actors and the destructive tendencies they exhibit during conflicts have been voiced by scholars as anti-development (cited in ogbonnaya, 2012:910). with reference and in addition to the two development strategies by the missionaries above, there are emerging developmental initiatives by several religious institutions in africa. for instance, many christian organizations are now involved in setting up and managing mega financial firms, state-of-the-art medical facilities and educational institutions of world-class status. all of these is in a bid to articulate the spiritual and social relevance of the christian message in a society where the state socio-economic framework has collapsed (sanneh, 2003; obadare, 2016). the role religion plays in empowering people especially the youths has been of growing interest in scholarship on youth development. youth ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 26 empowerment for social and economic productivity is of urgent concern globally particularly in developing worlds. this concern is worth noting for various reasons. first, because of the increase in the youth population in the world. for instance, it is reported that are about 1.2 billion youths (12-24 years) make up 16 per cent of the world’s population and 90 per cent of the youths live in developing countries (united nations, 2019). second, the rate of social deprivation evident through unemployment as well as social vices among the youths especially in developing nations are disturbing. in africa and nigeria in particular, religious communities have continued to facilitate various empowerment and development intervention programmes that are aimed at improving the quality of life of their adherents. such programmes include skill acquisition in soap making, shoemaking, fashion designing, computer training to mention a few have been established by religious communities including churches to productively engage their youths to make them be gainfully (self-) employed. in a study by ogunyemi and adenuga (2019), they identified and assessed youth empowerment programme in neo-pentecostal churches in nigeria. they found that youth empowerment programmes by the church include leadership training, marriage and marital relationship, music, ict and multimedia and medical welfare. they submit that these programmes contribute to the reduction of unemployment among youths in nigeria. it should be pointed out here that the inclusion of socio-religious programmes such as leadership training, marital relationship and pastoral training as types of empowerment programmes appear to be problematic. how do we empirically prove that training in marital relation guarantees social and economic productivity? however, the passing reference to music training as a framework for youth empowerment in the neo-pentecostal context by ogunyemi and ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 27 adenuga (2019), and offiong (2010) calls for deeper inquiries into the place of music in engendering and sustaining development among people. therefore, this current study probes whether churches (mainline or pentecostal) consider church-based music programmes as a tool for empowering their youths. in what specific ways have these programmes contributed to youth empowerment? what are the implications of faith-based creative interventions for sustainable development in growing economies like nigeria? in responding to these questions, this article highlights the contribution of the mountain of fire and miracles ministries (mfm) music education programme to youth empowerment in nigeria. specifically, it discusses the organizational structure and goals of the mfm music programme and highlights the ways by which youths have been empowered through the church’s music programmes. finally, the study presents lessons that can be drawn from faith-based empowerment interventions particularly through creative activities and how these interventions can be utilized as a viable model for sustaining developments among the teeming youth population in developing societies in africa including nigeria. data for this were gathered through observation of the music activities–specifically training and performance of mfm and interviews and personal interactions with youths who have benefitted from the music programmes of the church. this study offers new perspectives for rethinking the place of religious-based efforts concerning youth empowerment especially in the areas of creative arts. it calls the attention of religious actors to the entrepreneurial potentiality of church-based music education and how it contributes significantly to increased employment among youths. by presenting the nigerian experience and mfm in particulary, this ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 28 study contributes to the increasing literature on faith-based communities, youth empowerment and sustainable development. in what follows, the article reviews relevant literature on music and youth engagements and then, though briefly, traces the origin and development of church music education in nigeria. afterwards, an overview of mountain of fire and miracle ministries within the neopentecostal space in nigeria was discussed. furthermore, the activities of mfm music programmes and how they engender empowerment and development–religious, social and economic among the youths of the church were examined. finally, implications of church-based youth empowerment interventions in the areas of creative arts for sustainable development in nigeria were discussed. music and youth engagements music permeates every aspect of human lives hence its utility by everyone. both young and old engage with music almost daily. music has been found to occupy a significant part of the lives of young people (arnett, 1991; ross, 1994; brown, 2006), and it influences their thoughts, shapes their worldview and aspirations. young people interact with music at different layers: listening, performing or composing; in formal or informal settings. for listening, several factors have been found to alter musical experiences and engagements among young people (boal-palheiros and hargreaves, 2001). while listening to music is the most engaged form of music by young people, social, environmental and technological conditions affect how they listen to music. as boal-palheiros and hargreaves (2001:103) submit, “even though many children do not engage in performance, either in informal or formal settings (playing with friends, singing in a choir, or attending instrumental lessons), the vast majority of them regularly listen to music”. this implies that young people spend most of their time listening to music. according to miranda (2013:5), young people, ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 29 especially, devote huge amounts of time and money to music listening. studies have shown that on average, adolescents listen to music for up to three hours daily and accumulate more than 10,000 hours of active music listening throughout adolescence (boal-palheiros and hargreaves, 2001; roberts et al., 2009; miranda, 2013). this submission is further reaffirmed by william et al (2018) that middle and high school students are active consumers and performers of music. in terms of performance, young people get involved in music through singing or playing musical instruments whether in informal or formal settings. within the educational context, performance opportunities are presented through concerts, music competitions, talent hunts and recordings to mention a few. performance offers young people the platform to express their musicality and portray their social identity. studies have associated engagement with religious music and the formation of social identity by young people. colville fletcher (2015), investigated the religious engagement of music and identity work among students in catholic schools in austria. the study highlights the importance of religious music to various aspects of adolescents’ identity work. how religious settings contribute to the everyday musical engagements by young people especially in the non-western environment is yet to be explored in extant literature especially on faith-based music education programmes. this is a gap this article seeks to fill. church music education in nigeria church music education in nigeria can be traced to the advent of european missionaries into africa and nigeria in particular. there is substantial scholarship on the efforts of the missionaries in entrenching european christian musical tradition during their mission work in nigeria (edet, 1964; okafor, 1988; adegbite, 1992; kwami, ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 30 1994; owoaje, 2014; udok and odunuga, 2016). one of the methods used was the introduction of music training in mission schools. the training was facilitated by headteachers, mainly europeanswho also doubled as priests in the church. the training scheme included the singing of hymns, playing of the harmonium organ and reading of solfa notation. with the emergence of nigerian musicians who have had formal training in music, church music education witnessed significant change. notable among these musicians were robert a. coker, t.k.e. phillips, fela sowande, akin euba, laz ekwueme, joshua uzoigwe to mention a few. these musicians championed various musical revolutions in terms of music education both in secular and sacred settings. for example, many of these musicians started composing in idioms that challenged the known choral tradition which does not favour african stylistic expressions. speaking of t.k.e philips, owoaje (2014:39) remarks, phillips, having studied music formally was able to theorise on yorùbá music. he saw the pentatonic nature of yorùbá traditional music, particularly the songs that j. j. ransome-kútì parodied. he then began go preach the message of pentatonism amongst yorùbá church musicians through his augmented choir1. when he composed his versicles and responses in 1926, he based all of the melody on the pentatonic scale as a demonstration of the possibility of composing tunes that conform to the tonal pertern of the yorùbá translation of the english vesicles and responses. this was later to be further extended by many of his protégées; fela s ̣ówándé being one of the most significant of his protegees. even though the christ church cathedral was an elite church, phillips was sufficiently influential to introduce elements of yorùbá music to the music of christ church cathedral. ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 31 with the increase of trained musicians in the nigerian space, some churches considered investing in church music education. arguably, church music education started in nigeria towards the end of the 80s. it was about this time churches started setting up music training programmes with a focus on instrumental pedagogy. although not much is known about the efforts of mainline churches, however, the contributions of evangelical and neo-pentecostal churches to the growth and development of church music education in nigeria is replete. one leading example is the apostolic faith church based in anthony village, lagos. it was reported that one of her formal general overseer, late rev soyinka went to the church’s international headquarters in portland oregon, usa, where he learnt a few instruments in one week and later came back to lagos to teach his church members. to date, the church has a sustained training framework in the musical training of its members. members especially choristers are taught rudiment of music, sight-reading, voice training and instrument playing. averagely, choristers spend between two to four years of intensive music training before joining the central choir and orchestra of the church. at a time in nigeria, the apostolic faith choir and orchestra was a reference point to excellent church music. their annual musical concerts – easter and camp meeting attracted guests both from within and outside the countries. the church music education programme caters for children, youths and adults and it is exclusively reserved for church members. another example is the deeper life christian church (dlc), one of the mega-churches in nigeria. as falaye (2015:23) notes, ‘the growth of such a ministry today as one of the largest churches in nigeria, africa and the world, a mega-church with branches in several countries of africa, europe, usa, asia, indian ocean, to mention a few….’ the church was founded by pastor w.f. kumuyi, a former academician with phd degree in mathematics. (see falaye 2015 for details). the church ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 32 music education in dlc can be seen as a ‘carryover’ of the musical experience of pastor kumuyi from the apostolic faith church where he had his early christian experience and training before he ceded. music education in dlc is almost similar to what obtains in the apostolic faith church as both churches cater for both the young and adult. the musical training which paid more attention to instrumental music initially started centrally at the church’s headquarters in gbagada, lagos and later was decentralized owing to membership growth as well as the establishment of more branches of the churches. while apostolic faith church organized regularly concerts open to the public, deeper life church did not organize any publicized concerts. one event that appears like a concert, which this author witnessed, was in a week-long programme organized by the church during which an evening was devoted to musical performances by the youth choir and orchestra of the church. music training in dlc were offered on different musical instruments except for percussion instruments. the exclusion of percussion instruments from the training scheme can be linked to the church’s stance on worship and bodily expression in dance which the church believes can be influenced by the playing of percussion instruments like the trap drums and some nigerian traditional instruments including the gangan (hour-glass drum). like apostolic faith church, dlc taught their members rudiments and theory of music and encouraged them to take professional music examinations such as musical society of nigeria (muson), abrsm and trinity guildhall music. the contributions of these church-based music programmes to music education in nigeria has not been given substantial attention in the existing literature. while the music education programmes of the churches mentioned earlier seem to be witnessing a backward trend due to lack of interest by the younger generation and poor institutional ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 33 support systems, neo-pentecostal churches like mountain of fire and miracle ministries (mfm) appears to be making giant strides as far as church music education is concerned in contemporary nigeria. youth engagements in mountain of fire and miracle ministries the mfm church can be classified under the broad domain of pentecostal notwithstanding other sub-categorizations including neopentecostal. the church started with a group of about twenty-five people at the residence of the general overseer, dr d.k. olukoya, in yaba, lagos, nigeria in july 1989. the praying group grew into a fullblown church in 1994 when it started sunday services. from olukoya’s home, the church later moved to no. 60, old yaba road, ebute-metta, lagos and was later offered and purchased an abandoned slum located at no. 13, olasumbo street, onike, yaba which currently serves as the international headquarters of the church. the name of the church “mountain of fire and miracle ministries”, was reported to be revealed to the founder in a prayer meeting, which according to ayegboyin (2005) implies that the church is considered to be a mountain higher than any problem that one may have. ‘fire’ in the name of the church is indicative of both the presence and power of god that can be invoked to consume, roast, and burn their stratagem to ashes. as one of the fastest-growing churches of this generation the church boasts of spreading to the united states, canada, the rest of europe, the caribbean, africa and asia. on every continent, mfm is visible and greatly impactful (www.mountainoffire.org/about). part of the church mission and vision is to propagate the gospel of the lord jesus christ and to train believers in the art and science of spiritual warfare; thus, making them an aggressive and victorious army for the lord. this explains why the church is renowned for spiritual warfare prayer styles. ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 34 the religious activities of mfm are a prototype of those of the african indigenous churches (aics) especially in terms of worship and this can be traceable to the christian upbringing of the founder in christ apostolic church. dr. olukoya, a molecular genetics expert, started his christian experience in the christ apostolic church, acclaimed to be nigeria’s first indigenous pentecostal church, as a young person where his father served as a pastor. like other aics, mfm believes in the power of prayer, the holy spirit, and spiritual warfare against the ‘other’ world. they believe that some malevolent entities are responsible for retrogression in human lives hence the need to “kill them before they kill you”. like many christians, one phraseology that expresses the natural–supernatural connection by mfm members is the spiritual controls the physical. the mfm fits into the classification of ukah (2007) as newer pentecostal churches because of its specific theological dispositions including prosperity gospel, faith healing and deliverance. the latter significantly characterizes the spiritual operation and vision of the church: “that is why we would always have a deliverance ministry wherever we are. if you do not believe in deliverance, you are not supposed to be in mfm” (church’s website) [emphasis original]. in addition to doctrines as ukah (2007) noted, business-like organizational structure, economic activities and ownership of religious camps are other features of neo-pentecostal churches and mfm operates all of these activities. with its international headquarters located near the university of lagos–one of the country’s famous tertiary institutions, the church attracts the followership of many young people. there is a discernable interest and investment–spiritual, social, economic, educational, personal and corporate by the church leadership in the young people and this, arguably, account for the visible presence of youths in the ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 35 church. for example, there are branches of the church exclusively designed for and attended by youths and young adults. the worship style including music allows for more flexible and dynamic practices which resonate with the worship preference of contemporary youths. the age-framed churches, built and equipped with the state-of-theart facilities, are led by young pastors to attend to the spiritual cum social needs of its young worshippers. different programmes are organized by the church to cater for the spiritual growth, marital engagements and academic success as well as economic prosperity of the youths. social events such as arts and crafts, technological activities including cartooning, video editing and sports are a regular feature by the church. the mfm leadership finds every opportunity to motivate its members particularly the youths and football is one of such opportunities. the church manages a football team and hosts several football tournaments among its youths in nigeria. besides using football as a means of engaging and empowering the youths, it is also utilized for evangelistic purposes by the church. as ajani (2013) noted, “the use of football game as a way of reaching the youths in the society for christ is indeed innovative” (p. 97). however, there is no empirical evidence to support the claim by mfm church that their football activities offer them the opportunity to win souls to christ. ajayi believes, the ‘allegiance’ of some of these youths to the mfm is only superficial, as long as that has the privilege of playing the game, which they believe could be a stepping stone to their dream football teams” (p. 98). although the church is known for aggressive and ‘war-like’ prayer activities, however, musical activities are visibly vibrant in the life of the church. ayodeji (2020) reveals the place of music as one of the significant elements in yoruba pentecostal christianity by focusing on rituals, rites and worship in mfm. his work investigates how music ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 36 intersects christian rites from the opening to the closing activities of the church with members of the congregation playing various roles during worship. similarly, ajani (2013) notes that music particularly singing permeates the church services. he remarks, “one of the hallmarks of the mfm is the love for hymn singing” (p. 183). in our observation of mfm programmes, services are largely participatory during singing and praying. more often than not prayers are offered in a caller-response manner. in ayodeji’s observation, “their prayer formulae involve calling of ‘prayer points’ by the anchor pastor and these are then fervently repeated by congregants. in other words, prayer among yoruba pentecostal churches often a take a call and response format” (2020:45). like in many aics, vigorous handclapping and dancing usually accompany boisterous singing in mfm. except for drums–foreign or indigenous, musical instruments such as electronic keyboards, guitars, and other wind instruments offer accompaniment during worship. the exclusion of drums from worship in mfm demands some explanations. first, some of the holiness pentecostal churches including mfm consider drums and by extension drums, as capable of distracting worshippers during service hence trap drums (jazz drums) were not allowed in their services. second, these church leaders, just like the european missionaries, hold the view that african traditional instruments particularly drums are linked with cultic worship in traditional religion settings and should be banned in christian worship. while some holiness pentecostal churches, for example, the redeemed christian church of god, a leading pentecostal church in nigeria, have permitted the use of yoruba traditional instruments such as bata, dundun, omele, and sekere, others including deeper life bible church and mountain of fire and miracle ministries still prohibit the use of drums in their worship services. however, we noticed the use of virtual drums–as sequenced drum loop in mfm even when the church’s stance on drumming is very clear. this practice demands some questions: why ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 37 are ‘live’ drums replaced with virtual drums if drumming distracts worshippers? what is distractive and ‘worldly’ about the medium– drums or the expression–drumming? since the medium and expression of drumming are humanly initiated, to what extent does the sound of drum remains a sacred one especially regarding christian worship? these questions are not within the purview of this study however, they should demand responses from scholars in religion and ethnomusicologist. musical performance in mfm is favourably disposed to western classical music tradition and this is traceable to the musical background of the general overseer who himself plays the organ and the trumpet and has once served as a chorister in one of the cac churches in lagos known for excellent musical performances. large choir and orchestra are a striking feature in mfm with youths and children making up the larger percentage. the engagements of youth in the music ministry of the church is worthy of scholarly investigations. furthermore, as earlier mentioned, mfm seeks various ways to motivate and empower the youth population of the church and two prominent activities have taken centre stage in this regard: football and music. the mfm church has a very broad range of musical activities that its members especially the youths involve themselves in. besides improving spirituality through creative–music activities, how music serves as a tool for empowerment–social, social and economic among youths in a faith-based context is the focus of this article. this article explores church-based music programmes and youth empowerment in nigeria by focusing on mfm music programmes. it asks, how is church-based music training programme different from non-church-based music programmes? in what ways has mfm music programmes engendered empowerment–socially and economically among its youth and what ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 38 lessons can religious institutions learn in considering artistic activities such as music in their various empowerment programmes in contemporary nigeria. the central goal of this study is to offer a clear argument for the inclusion of music training in youth empowerment programmes in a church-based context as it is capable of achieving sustainable development in contemporary africa. methodology in exploring music programmes and youth empowerment in a churchbased context, the study employed qualitative research methods. indepth interviews were conducted with key officials as well as interviews with youths involved in the music programme of the church. youths selected for the study were those who participated in various music training programmes of the church. to mitigate the challenge of physical distance and that of covid-19 protocols, virtual interviews were conducted with some respondents particularly those residents outside nigeria, notwithstanding scheduled in-person interviews with key officials. various visits were made to the church’s headquarters where worship, music training and performance activities were observed. archival materials including the church’s website, print and electronic publications and other media sources also provided data for the study. profiling mountain of fire and miracle music ministry mountain of fire and miracle ministries has a very broad range of music programme that is being run under the church’s music ministry– mfm music ministry (hereafter referred to as mfmm). over the years, the music ministry of the church has witnessed significant growth and development in terms of membership, administrative structure and musical programmmes. the music ministry of the church has developed with the church in all ramifications. as church membership increased, so did the music of the church. the church that ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 39 started with about twenty-five members now boasts of hundreds of thousands of worshippers all over the globe. similarly, the church’s music ministry began with nine persons and has now grown to over 20,000 members; both singers and instrument players. the membership demography of mfmm is a unique one. unlike many churches especially (neo-)pentecostal churches, mfmm is comprised of people of different ages, social, educational and economic backgrounds. in one of the services, we observed at the church’s headquarters, we saw children as young as five years and adults as old as 70 years and above performing in various music ensembles of the church. the music ministry of the church is largely dominated by youths and young adults. the average age of members of the music ministry is about 30-40 years. members of the mfmm can be said to be educated across various levels of education from primary to university and are working as professionals, traders, artisans, it experts, school teachers, university lecturers and musicians. the music unit attracts both the low, middle and upper class–though few–of the society. some explanations need to be made here. the influx of young people particularly students can be traced to the proximity of the church to some notable institutions of learning in lagos including the university of lagos, yaba college of technology and federal college of education. also, the location of the church’s headquarters in yaba–an area believed to be largely occupied by the middle-class of colonial and postcolonial lagos, the church and its music unit by extension, attracts members of varied social status–low and middle class. mountain of fire and miracle ministries, in the opinion of the author, has a very elaborate structure for its music programme when compared to other churches–historic and pentecostal in nigeria. corroborating ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 40 the author position, adedeji (2020: 66) notes, “not all yoruba pentecostal operate such elaborate organizational structures mfm”. the mfmm is led by a regional overseer (music) and assisted by ten departmental directors. see adedeji (2020) for detailed information on mfmm structure and operations. broadly, the mfmm can be categorized into two units: performing and educational groups. the performing units are those who are responsible for performing music– vocal or instrumental in the church. the vocal groups include the senior choir, youth choir, male choir and gospel choir while the orchestra– divine symphony orchestra, guitar choir and saxophone band, comprise the instrumental sections of mfmm. the mfm music school is solely responsible for providing music education and coordinating music examinations in the church. as a department in mfmm, the music school serves as a capacity developing a centre for the church in the areas of music education. the school offers training in both vocal and instrumental to interested members of the church for almost free of charge except for a token paid for a qualifying examination organized by the church for those who wants to register for the external examination–abrsm. this training serves as a form of empowerment especially for the young people who are a large part of the beneficiaries of the programme. fig. 1: mfm choir & orchestra performing @ the church’s headquarters source: https://web.facebook.com/mfmmusicministry/photo ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 41 the establishment of mfm music conservatory is a testament to the fact the church places a premium on church music education in nigeria. both members and non-members of the church have immensely benefitted from the tuition the conservatory offers. arguably, mfm is the only church that can boast of a full-grown faith-based music conservatory in nigeria apart from the musical society of nigeria (muson) school of music, lagos. the mfm music conservatory offers music training of high standard as obtained in other music institutions across the globe. the conservatory plays host to some excellent musicians–home and abroad in concerts or master classes. past students of the conservatory are pursuing higher degrees in various institutions and are known as excellent musicians in the us, canada, uk and other parts of the world. omo bello, a french-nigeria, who has been described as one of the world’s most sought-after sopranos has a music training background from mfmm. one can submit that the church has been at the forefront of promoting and sustaining quality music education from colonial till postcolonial nigeria. church-based music programmes and youth empowerment in mfm the concept of empowerment has remained fluid because it means different things to different people and it has been used in a broad range of discipline and historic as well as geographic contexts. while it is an “attractive and powerful concept” (zambrano, 2007: 75), its meaning is still unclear and the definition remains different and abstract (pick et al., 2007). some literature submit that empowerment is both a process and result, that is, it is a means and an end (kampe, 2012; xavier et al., 2016). in broader terms, youth, despite the complexity in the dimensionality of the notion of empowerment among scholars, there are three connecting threads that extant research has associated with empowerment: power, participation and education (xavier et al., 2016). for the sake of scope and space, this section ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 42 discusses how education, in this case, music education in mfm engenders empowerment–social, economic and spiritual among youths. as earlier mentioned, mfm has over the years empowered its youths through a deliberate and conscious investment in the areas of music and sports. the church founder believes that “music and sports are veritable tools for youths to channel their energies in order to contribute their quota to nation-building all over the world” (olukoya, 2017). in a collegiate music festival organized in his honour at the university of lagos in august 2017 where the author participated, dr olukoya remarked that he would do anything to take away youths from the street. for him, music education is not just a cliché but a process that is capable of improving individual lives and boosting the economy. little wonder why the church invests heavily in music training programmes for the youths as a form of empowering them socially and spiritually. studies have identified training on musical instruments as one of the forms of empowerment programmes among youths in faithbased organizations (oghenekwho & tonunarigha, 2019; ogunyemi & onanuga, 2019). though these studies failed to discuss in-depth how music training provides empowerment for the youths, this article focuses on the extent to which music serves as a means of empowerment among youths in growing economies like nigeria. with reference to economic empowerment, youths in mfm through the music programme can be said to have been empowered. the youths have acquired skills in playing different musical instruments and deploy these skills for both religious and social engagements. these youths provide musical services for individuals, educational as religious organizations as instrument instructors and performers–singers– instrumentalists for a fee. many of these youth are sought after in the city of lagos and elsewhere in nigeria. in an online conversation with ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 43 miracle agbor, a singer and violinist, trained in mfm, she recalled how mfm music programme has empowered her financially. the kind of training you get from mfm for free… if you were to pay for such training outside, you will be paying a lot of money. and now after receiving that training for free, it’s not only helping you become a musician you also have the platform because of what you’ve learnt, you teach other people and make income for yourself…. and i remember that the first job that i got as a result of having just grade 3 certification in music theory and singing that was what i used in getting a teaching job in a primary school then. so, you are not only receiving you also have an income to start making a platform for yourself. (interview, june 29, 2021). the account of mary above is similar to the experiences of many young musicians in contemporary nigeria. these youths receive their music training from the church and use their musical skills to make a living both within and outside the church. it is insightful to offer the economic opportunities that the youths in deploying their musical skills. the cost of offering music instructions in nigeria varies from one location to another. in lagos, for example, private music instructors charge between n20,000 and n30,000 per month for an average of two lessons per week. in some highbrow settlements like lekki, victoria island, banana island areas in lagos, music instruction costs as high as n20,000 per hour/child. it means that a music instructor with five students will earn up to n100,000 per week which is way beyond what some blue-collar job workers earn per month. one of my respondents, owolabi oloruntoba, a pianist/keyboardist, trained in mfm narrated how he was enrolled, though unwillingly, by her mother into the music training of the church. he explained how the training has empowered him to be self-sustaining financially. in his words, “i no longer depend on my parents for money as i now make money for ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 44 myself. before the covid-19 lockdown, i do private music lessons for twenty-five thousand (n25,000) per hour and i also teach in a school. mfm is empowering young people and i think other churches should learn from them” (personal communication, july 2021). as performers, these youths feature at different events such as concerts, weddings, funerals, birthday anniversaries and book/product launches to mention a few. these performances are well renumerated. in the author’s experience with some musicians who were trained in church-based music programme particularly mfm, these musicians– mostly string players charge a very high amount to perform even in church events. when asked why they charge an exorbitant fee for performance, they responded that it is from the performance earnings they pay their house rents and school fees, feed themselves and look good. some of them even confirm sponsoring their siblings throughout their education and at the same time looking after the welfare of their parents. the preceding narratives further establish the fact that church-based music programmes offer viable means of economic empowerment among youths in nigeria. socially, many of the youths have risen to stardom both at local and international music spaces. for instance, one omo bello, a frenchnigerian, who has been acclaimed as “one of the world’s most soughtafter soprano singer and as carved out a striking reputation on the operatic stage all over the world” (british broadcasting corporation, 2016), had musical training from mfm. in 2018, the mfm’s shalom chorale, one of the branches of the based in the united kingdom, won the bbc gospel choir of the year. the chorale comprises mainly of youths who are studying or leaving in the united kingdom. in 2018, the mountain top chorale–mfm conservatory choir, participated in the world choral games held in south africa and won a gold medal in their category. as earlier noted, the unreserved commitment of the church ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 45 founder to developing youths accounts for the chorale’s achievement at such a global stage. a newspaper editor writes “a man [olukoya] who has created such an inspiring environment by being a mentor, has also, made unreserved financial commitments, by providing such talents with opportunities for further development through music studies” (guardian newspaper, 2018). not only can youth empowerment especially in the areas of music be locally relevant but it can also make a significant contribution at the global level as we have seen in the mfm experience. fig. 2: mountain top chorale @ world choir games in sochi, russia, 2016 source: https://web.facebook.com/mfmmusicministry/photo empowerment is multifaceted and affects different aspects of humanity. in the same vein, the music training programme of mfm not only empowers the youth socially and economically but also empowers them spiritually. for the youths, the training develops them musically, morally and spiritually which they believe embodies empowerment in its totality. like one of my respondents puts it, one good thing about church-based music programme is that they don’t only give you, provide you with the efficiency you need to be a great musician. they also build a structure that is ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 46 faith-based. you learn morals. music is very wide…... and it’s easy to get lost in the other side of music if you don’t start up with your morals and your faith and all that. so, i personally prefer church-based music programmes because they don’t only teach you the music you need but also help you build good morals you need. nobody wants to hire someone with bad character… you know. so, it doesn’t only build you musically it builds you spiritually, it gives you the spiritual context. religion and spirituality have been associated with empowerment (kiit and nielsen, 1999), therefore, the church-framed empowerment programme embodies spiritually transformation and development. since man is tripartite in nature–spirit, soul and body, empowerment within a religious context should also affect these areas of people. empowering youths through musical engagements is an effort that mfm leadership considers very important and do this by providing platforms where “young ones showcase their talents in godly music through idioms of well-arranged classical, negro spirituals, native airs and contemporary idioms” (akinselure, 2018). we contend here again, that music particularly in a faith-based context offers the framework for sustainable well-being–spiritual and social. fig. 3: shalom chorale performing at the finals of bbc gospel choir competition, 2019 source: https://web.facebook.com/shalomchorale ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 47 summary and conclusion several lessons are to be learnt from the mfm model of youth empowerment through the areas of music training among youths. first, research has shown that music occupies a larger part of young people’s lives and it provides them a platform for expression. therefore, youths can be meaningfully engaged through music training programmes in faith-based organizations. in the opinion of the author, empowerment programmes that exclude music by churches are not wholistic. secondly, youth empowerment through musical initiatives has the potentials for sustainable poverty reduction, job and wealth creation as well as value reorientation. hence, more efforts should be put in place by churches and other faith-based organizations to develop enriching music programmes that will empower their youths economically. as seen in the mfm model, youths were developed and empowered through musical skills which became a source of earning living for themselves. it, therefore, implies that the church can help realize the sustainable development goals project under goal 1– no poverty. thirdly, faith-based music programmes help to develop lifelong skills in people which is capable of empowering them to be relevant both at local, national and international levels. youths in mfm, through its music empowerment programme, have been brought to the limelight and stardom in the music scene locally and globally. while not demeaning other forms of youth empowerment programme by faith-based organizations, music empowerment initiatives offer the platform for creative expressions which attracts global attention. as these youths move to the global stage, they project the nation’s culture and arts. fourthly, faith-based organizations such as mfm have continued to support the government’s effort in empowering the teeming youth ajose, s. a.: church-based music programme and youth empowerment in nigeria: ... awka journal of research in music and the arts vol.15 (2021) 48 population and channelling their god-given potential into national development. no nation can develop without developing human capacity. conscious and deliberate decisions should be made into investing in youth empowerment specifically in artistic programmes like music by the church. this will not only increase and improve the music workforce of the church but will significantly add value to the social, economic and spiritual lives of youths in nigeria. beyond contributing to the literature on faith-based 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(2007). criterios de intervención en estrategias de empoderamiento comunitario: la perspectiva de profesionales y expertos de la intervención comunitaria en chile y españa [guidelines for procedures in community empowerment strategies: professional and experts perspective in community procedures in chile and spain]. barcelona: universitat de barcelona. tonemic substitution 141 traditional musical instrument technology education for national development in nigeria blessing ebere arih, gloria oluchukwu eze & tobi ebiakpo kemewerigha abstract raditional musical instrument technology is a substantial factor in the reaching and sustenance of national development. various nations have at various times committed substantial proportion of their resources to the development of effective musical instrument technology programme for the passion of necessary skills and knowledge which has led to their aforementioned technology and economic advancement. in nigeria the commitment to traditional musical instrument technology and the rate of technological advancement clearly leave much to request. the focus of this paper is on the role traditional musical instrument technology education plays in the realization and sustenance of national development. it is an assessment of the present state of traditional musical instrument technology education in nigeria and its relevance to the realization and sustenance of national development in the country. keywords: traditional, music, technology, development, instrument, nigeria introduction the importance of musical instrument technology education in the realization and substance of national development cannot be overemphasized. as reported by osuala (1987) and aboyi (1997) it is an t awka journal of research in music and the arts (ajrma) vol. 14 2020 142 instrument par-excellence for effecting national development and the improvement of the life of the people. conceptually musical instrument technology education as used here refers to well critical knowledge. osuala (1987) puts it as all the systematic learning experiences which are designed to prepare individuals for gainful employment in recognized occupations as semi-skilled workers or music technologies or sub-professionals. the focus emphasize here is the preparation of individuals at the primary prevocational and post primary vocational levels to value the relevance of indigenous or traditional music technology in the realization of peace and unity in nigeria. the aims and objectives of musical instrument technology education are well elaborated in the national policy on education (national policy on education, 1981). importantly, these aims and objectives have to do with the provision of man-power in applied technology at sub-professional level and the preparation of our young men and women for the understanding of the increasing complexity of technology. these aims and objectives are very much laudable as they are capable of moving the nation into a formidable state. the present state of musical instrument technology education in nigeria has not facilitated the realization of these aims and objectives but however the achievement of any reasonable level of real national development. in addition to other numerous constraints, the nigerian government appears not to have placed much serious emphasis on the effective implementation of musical instrument technology education programme. kum (2001) has observed that nigeria can only break even with a renewed emphasis on musical instrument technology education. this is quite true on the ground that our instrument technology will become efficient under the consideration of our traditional ways of doing things. he further pointed out that if more attention is paid to musical instrument technology education, it will go a long way to solve issue of unemployment with attendant national‟s ills. all over the nation, the 143 prominence of musical instrument technology education as a factor in the realization and sustenance of national development is appreciated. but this realization will be to the maximum if these technologies are indigenous or traditional. it is also not out of place to state that our inability to make any appreciable impact in terms of real development is largely the product of the low level of our commitment to the development of viable musical instrument technology education programs. this statement totally agrees with the observation by (osuala, 1997) that nigeria is abundantly rich in natural resources most of which cannot be utilized for the nations development because of lack of technology man power. todaro (1997) as reported by aboyi (1997) is of the opinion that “it is the human resources of a nation and not its capital or its material resources that importantly determines the character and peace of its development put easily, human resources that constitute the ultimate basis for the wealth of nations. any country that is unable to develop the skills and knowledge of its individuals and effectively put it to use will be unable to develop anything else. most advanced countries of the world have at various times committed huge (heavy) resources to the provision of effective musical instrument technology education programme which has facilitated the diffusion of technology knowledge that is responsible for their industrial and military advancement today. all the advances countries of the world today are not as naturally endowed as nigeria. okafor (1998) has observed that the wealth and power of a nation depend on the successful education of its citizens, and in the number of highly talented men and women within the national compass a nation succeeds in providing superior and divergent education. 144 he further observed that among the factors necessary for the ushering in and consolidating contemporary development the factor of education stands in a class by itself, let it be observed that moreover being the central point around which factors revolve, musical instrument technology education is a major focus for the actualization of self-reliance, national development and real political and economic independence. purpose and objective of the study culture is the way of life of people. sometimes they are fully imbedded in the music and dance of a common people. also music is a vital tool for unity. this is dated back to the days of our forefathers. the current state of nigeria does not give room to the important of traditional musical instrument technology to excel in the field of music. hardly will you find a complete documentation for the practice of the africa traditional musical instrument technology if there are. so this study hopes to remind the nigeria government not to forget the place of music in national development. we hope to show how relevant traditional musical instrument technology to the attainment of peace and unity. therefore, the objective of this study is to bring back to the awareness of the masses, the possible extinction of our traditional musical instrument technology in nigeria, if nothing positive and urgent is done. status of traditional musical instrument technology education in nigeria as observed by okobia (1999) the educational objectives provided by the nigerian constitution include the promotion of science and technology education. this is within the aim of leading the country into industrial development. as a demonstration of this emphasis on science and technology education the admission policy in our higher institutions is on a ratio of sixty (60) to forty (40) in favor of science and technology education against arts and social sciences 145 respectively. in addition, the federal and state governments have all pledged robust financial commitment to technology education programme. the aims and objectives of technology education as contained in the national policy on education (npe) art articulate and laudable. moreover, the present state of technology education in the country does not reflect the pledges to traditional musical instrument technology. it is all westerner with little or no prominence to our traditional music instrument. challenges of traditional musical instrument technology in nigeria even the implementation of technology education programme is sorrowed with many problems, which have made the realization of the programme a phenomenon mirage. these problems rouge from human and material shortages to outright lack of harmony between policy and practice in the implementation of technology education programme, one of the major problems that hinder the success of nigeria technology education programme is shortage of man power (technology education teachers) while it has remained relatively easy to employ teachers in other fields, it has become a heavy challenges to employ traditional technology education teachers. there is also the attitude of the generality of nigerians, which tends to regard traditional music technology education as somewhat inferior to other types of technology education. this attitude has some colonial origin. as fafunwa (1997) noted, colonial masters stressed literal tradition and made university degrees remove indelible symbols of reputation in nigeria. this was to the damage of technology, agricultural, and other problems include poor funding, shortage of important facilities and lack of the political interest to implement a useful and set upon a technology education programme in the nation. kum (2001) noted that nigeria has not been too shy to redirect technology and scientific education. as a result of this, it has not been possible for her to 146 realize the full benefits of technology education in the enhancement of national development. he moreover concluded that nation‟s technological development was low because “the nation man-power from all discovers has been dependably designed to meet the immediate and not the future needs. the situation presented above shows clearly that all is not in order with traditional musical instrument technology education in nigeria. this situation has serious implications for our goals to achieve a sustainable national development. relevance of musical instrument technology education to national development relevance means purpose, usefulness, importance or relatedness. when relevance of musical instrument technology education to national development is being discussed, one is talking about the usefulness of musical instrument technology education towards the development of a nation such nigeria. music in various ethnic cultures contributes immensely to the integration of the nigerian societies. music in nigerian culture is not only a social phenomenon but also plays vital cultural and religious roles. according to nzewi (1980), the musical tradition of the nigerian culture is something that has latent psychological, psychical and spiritualizing essence in all its elements and applications. upholding nzewi‟s view, agu (1992) wrote that „the musical culture of the nigerian tribes is quite rich and varied and it is associated directly with the socio-cultural, religious and political systems and preserved by tradition‟ (p.8). nigerians create and perform music to enrich every activity, ranging from birth to death. all musical creations serve specific purposes and all performances are carefully chosen to suit specified functions and activities appropriately and 147 inclusively the technology behind it. in this regard, (agu, 2000) inferred that; music making is not simply an exercise in the organization of sound. it is symbolic expression of social and cultural organization, which reflects the values, and the past and present ways of life of the human being who creates it (p.79). musical instrument technology education ought to be a viable part of the school curriculum and should be designed to meet the needs of the students and the society in particular and it should be traditionally based. for it to achieve this objective, musical instrument technology education must combine traditional skills with modern technologies. most of the instructional aides used in the teaching and learning of music emanates from the technological innovations. technology has been part of music education, and for a long time, it has been an important aid in the teaching and learning of music. the musical instruments both local and western and other musical equipment indicate that music education is not a stranger to technology. in more advanced nations like europe and america, computer technology is inevitable in their music education because of its powers of efficiency in music teaching and music making. in nigeria, the use of computer in music education has not developed to a reasonable level. this is due to, as olorunsogo (2008) wrote „wide gap on educational plans and socio economic development plans‟ (p.33). since this is the case, nigerian music education cannot depend so much on computer assisted learning. we should also look inwards. the stance of this paper is that musical instrument technology education should not be restricted only to the use of computer and other electronic devices but attention should also be drawn to the local musical instrument technology. this will go a long way in enhancing the 148 entire system of music education for better and more productive teaching and learning experience. nigeria is blessed with varied vegetation zones which help them to create the varying instruments used by different tribes and culture and can effectively in making and teaching instrument technology in schools. agu (2000) stressed on the importance of nigerian local musical instrument technology and noted: nigerians are great lovers of music. as they create and perform music, so do they manufacture musical instruments. the production of the variety of musical instruments by nigeria was made possible by ability to harness their environment as much as possible, making effective use of local materials around them with good results. (p.89) immense benefits can be derived from utilizing the materials within our environment technologically in music education which will in turn bring about national development. taylor (1980) believed in the philosophy of learning by doing as found in the theories of dewey, montessori, and piaget that children learn by doing and by thinking about what they do. exposing our music students to nigerian local musical instrument technology will not only broaden their experience in musical knowledge but will also enhance the development of nigerian musical instrument technology. music is about the technology that is involved. the following are the benefits as outlined in ojukwu, and ibekwe (2015):  with the involvement of traditional musical instrument technology in music education, students‟ concentration, cooperative learning and level of creative thinking is enhanced especially when they perform as a group; it will go a long way in sustaining the interest of music students thereby improving their concentration level, changing their general attitude to learning; 149  students‟ level of comprehension of musical concepts is enhanced owing to the involvement of students in the instrumental production and performance; and advancement of the standard of nigerian music education technology will not only be beneficial to „nigerian composers but also to music students, music teachers and performers at various levels‟ nwamara, (2007). in addition, it will also prevent traditional musical instrument technology from extinction thereby enhancing the value cultural heritage. factors affecting traditional musical instrument technology education music education is one way of achieving educational goals; but it appears that it has been relegated to the background in our schools especially in primary and secondary schools. one hardly found music as a subject in our primary and secondary schools. as a result students who are naturally gifted in music are denied the opportunity to develop their talents and as a result cannot contribute effectively to the musical growth of the nation and in turn hindering national development. many problems militate against musical instrument technology education for national development. the music curriculum is expected to, at the end, to produce people who are musically literate and competent both in theory and practice. unfortunately, this goal seems to be a herculean task. music is taught at various levels of educational ladder not with a view to encourage independent reflection, creativity and innovativeness among students. according to nnonyelu (2000) observed “no attempt is made to invent or improve on our local products to satisfy our basic needs” (p.123). in nigerian school curriculum, most of the programme is western oriented which does not give the nigerian student access to music that is indigenous to contribute to formal music education and 150 thereby encourage creativity along the desired need of the student‟s community. as a result teaching technology becomes effective. this is another way to say the nigeria musical instrument technology education is decolonized by our own people. this is the act of throwing our culture away for the whiteman‟s culture. okafor (2005) regretted that “the focus of the music education itself appears to be on western music transplanted or introduced into the culture” (p.124). most nigerians look at teaching and learning of music from a negative perspective. there is a lot of misconception about music as a subject of study. nzebuiro (1993) observed that people who are ignorant of what music entails often react negatively towards anybody offering music as a course and can go to any length to discourage their wards from studying music (p.37). the government also contributed to a large extent to this problem because they have not given enough attention to the subject in the area of work force and instructional materials. most of the schools are not adequately staffed for traditional musical studies. speaking on the government‟s neglect, onwuka (1997) noted that the government is not willing to employ enough qualified music personnel that should match the existing workload. musical studies in particular are very poorly handled in terms of course content. the teachers and the taught are greatly dampened by such factors … lack of motivation and the insufficiencies of traditional instructional material (p.87). the fact is that the government is not willing to employ local traditional musical icon to teach in our schools, simply because of the whiteman paper called certificate. an eye witnesses reported that he witness in higher place of learning, to be specific a university program, where the traditional rulers who were among the attendees were neglected simply because of the word, tradition. poor funding resulting to dearth of traditional musical instruments and other facilities also militate against music education. music by its very 151 nature as a theoretical as well as a performing art involves a broad scope of educational resources. a school that has music in its programme finds that the subject is more demanding of fund than some other subjects. the government and school authorities find it difficult to meet up with the educational cost; they prefer purchasing equipment in other subjects that cost lesser than music or spend money on those subjects they felt that have more prospects to the nation more than music. this resulted in many schools being in serious shortage of musical instruments and other instructional materials for music teaching and learning. buttressing on this issue, mbanugo (1991) asserted: „in the face of rising costs and dwindling educational fund, music education in nigerian secondary schools has become very badly hit‟ (p.105). this also includes traditional musical instrument technology. shortage of instructional materials to a large extent hinders the effective teaching and learning of music. okafor (2009) also agreed with the aforementioned and wrote „the apparatus for teaching is either in short supply or decrepit‟ (p.18). music is basic to education and investment on the instructional materials (especially traditional musical instrument) for proper teaching and learning ought to be the concern of the government. poor curriculum has also been partly responsible for a chain of problems in the sector. for instance on the new 9-year basic education cultural and creative arts curriculum, music is seriously marginalized. it is discovered that most of the themes in the curriculum are dramatic arts, fine and applied arts with little traditional music. today music is not being taught in our primary and secondary schools (ojukwu, and ibekwe, 2015). 152 consequences of the neglect of traditional musical instrument technology education okafor (1988) has observed that when education is neglected, the national soul is negated. when education is boosted, the national spirit is boosted. this statement is true of education in general. for nigeria and indeed every nation of the world, there can be no real development without great tangible things being placed on technology education which is based on the ethnicity of the people. this is because language is a tool of unity and oneness. our ability to equip and develop the musical instrument technology education programme has serious consequence for the goal and sustainable national development. over and above every other thing, it has made it impossible for us to develop anything. nigeria is one of the few countries richly blessed with natural resources yet we are rated among the poorest countries in the world today. this is due to our inability to fully utilize these resources for sustainable national development, the main reason being the failure of our technology education programme, traditional music education inclusively. a simple categorization of the implications of the failure of musical instrument technology education programme for sustainable national development in nigeria include the following  political and economic instability  poverty and ignorance  over dependence on foreign nations for materials and human resources.  total lack of technological advancement. the above mention which is very true of nigeria today is a proof of under development. traditional musical instrument technology education is a major factor in the accumulation of human capital 153 which is vital for sustainable national development. that is not able to make meaningful impact is a clear prove of under development and dependence. recommendations the purpose of music education programme of any country should be to develop the aesthetic potentials of its citizens to its highest level. in the light of the above discussions, the following recommendations are made for effective use of traditional technology in enhancing music education for upward national development in nigeria in agreement with ojukwu, and ibekwe (2015. p.192). reassessment of the present cultural and creative arts curriculum with an attempt to bridge the imbalance in the curriculum in the area of music and bring it to bear with the needs of nigerians at the present in order that music education will be a means of transmitting musical knowledge for achieving functional and utilitarian music in nigeria; first, a review of the present music curriculum in nigeria in order to incorporate innovations in the area of technology, such as incorporating master of traditional music into the musical academia, as earlier done, to enable students gain from their expertise and become more proficient in the area of traditional music technology. attention of the students should be drawn to our traditional musical instrument technology in other to engage them in the production of simple local musical instruments. secondly, the government should take up the full responsibility of funding traditional music programme in the school system to ensure availability of traditional musical instruments and other music facilities. workshops and seminars should be organized for music teachers and music educators from time to time to get them abreast 154 with the latest development in traditional music. furthermore, there should be proper maintenance of traditional musical instruments, equipment and other music facilities regularly in nigerian schools. conclusion there is a strong relationship between education and sustainable national development. according to kum (2001), technology and education (particularly technology education) are the main agents of man‟s transition from stone age to nuclear, space and computer/internet levels that make life more convenient. our inability to redirect technology education has made it difficult for us to fully benefit from this transition. nigeria present state of poverty, instability, ignorance and dependence must not be allowed to continue. to overcome this, the following suggestions need to be considered: 1. more efforts should be focus on traditional musical instrument technology education through the provision of more funds for its implementation and the right attitude towards traditional musical instrument technology. the ideal of looking down on traditional musicologists simply because they don‟t have a certified paper to prove their talents should be highly disregarded. in fact a museum should be created in all tertiary schools to celebrate these icons and their exploit. this will facilitate the africa musical value among the youth. 2. traditional musical instrument technology and indeed scientific education should be made integral parts of universal basic education programme and pursued with equal strength by the relevant government agencies. that is every primary and secondary schools school should have a curriculum that appreciate culture and values. this will in turn inculcate some morals in the student thereby promoting peace and unity for 155 national development. this is because the africa music is composed mostly for brave warriors. references aboyi , e. a. 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(2000). culture, national consciousness and value reorientation in nigeria. in n. e. orjiakor, g. c. unachukwu and a. obiajulu (eds.) challenges of national growth and development in nigeria. enugu: john jacob‟s classic publishers (pp. 1 10). nwamara, a. o. (2007). computer technology as strategy for advancing art music composition in nigeria. awka journal of research in music and arts (arjma). 4, 49-60. nzebiro, l. m. (1993). teaching music in nigerian schools. statesman, april 7, p. 13. nzewi, m. (1980). folk music in nigeria: a communion. journal of international library of musc 6(1), 6-12. okafor f. c. (1988). philosophy of education and third world perspective. third edition, enugu publishing company. okafor, r. c. (2005). music in nigerian society. enugu: new generation. okafor, r. c. (2009). music and national development. annual lecture of the nigerian academic of letters for 2009. presented at the university of nigeria, nsukka (unn) (february 11, 2009). oklobia, a. (1999). millitary balance sheet. otukpo amazon publishers. olorunsogo, a. (2008). the advancements of computer music: a perspective for music education in nigeria. journal of association of nigerian musicologists (janim), special edition, 29-35. 157 onwuka, u. a. (1997). music and societal advancement in nigeria. nigerian national development: the humanities and the social sciences‟ viewpoint. (pp. 81-98). onitsha: outright osuala e. c (1987). a handbook of vocational technological education for nigeria. uruowuly-oboss pacific publishers. taylor, r. (ed.) (1980). the computer in the school: tutor, tool, tutee. new york: teachers college press. ojukwu, ebele v. and ibekwe, eunice u. (2015). music education technology, a tool for enhancing national development in nigeria. journal of education research and behavioral sciences vol. 4(6), pp. 188-193. 45 applying piaget`s ``critical period`` to music education in nigeria: a study of selected schools. okeke, ikedimma nwabufo music department, nnamdi azikiwe university, nigeria. abstract the challenge of a breakthrough in music education in all tiers of our learning (nursery/primary/secondary/tertiary) has bordered nigerian music educators for quite a long time. although numerous learning theories have been explored and applied with relative success regarding the situation, piaget`s notion of the `critical period` as implied in his theory of mental development still raises some concern with regards to music education in nigeria. piaget`s notion of the `critical period‟ posits that every normal person is imbued with the potentiality of forming, organizing, processing, and interpreting concepts starting from infanthood through sensitive stages of their development (0-11yrs) and beyond this `sensitive or critical` stage, cognitive development could be seriously hampered. piaget`s discovery, doubtless, has immensely influenced modern educational ideology, policy. formal education and curricula are now designed to commence as early as possible and to pace such factors as age, mental capability, and adaptability of the learner. unfortunately, the nigerian situation is such that most learners become formally involved in music when they must have passed through primary or secondary schools. pupils and students of (mount olive nursery/primary school, onitsha; springfield academy, onitsha, supreme knowledge comprehensive schools, nkpor; and british spring college, awka) along with undergraduate students of the department of music nnamdi azikiwe university, awka were taken as research samples for the study and evidence of the critical period was discovered as a major cause of their musical challenges. in fact, most awka journal of research in music and the arts (arma) vol. 10 2014 46 students who enroll for music in the department of music of nnamdiazikiwe university, awka had no music education in their primary nor secondary schools. many also have enrolled for music as a last resort to admission problems and thus complicating issues for both the learner and the teacher. this paper, therefore, sought to find solution to the problem of the critical period regarding music. the „continuity theory` of mental development was explored as a feasible solution to the problem and it appears to offer some hope. the continuity theory holds that human development is continuous and not „fixed` therefore giving some glimpse of hope that even though the reality of the critical stage can pose serious challenges to music learning; the possibility of adapting to music after this stage is still feasible with regards to conducive learning environment, native endowment and positive attitude on the part of the learner, and teachermotivation. introduction since the turn of the 19th century, psychologists have been active both experimentally and observationally in investigating learning processes and the nature of interactions between teachers and learners (gordon, e.e, 1970; campbell and scott-kassner, 2006). learning according to leonhard and house (1972:121), „…is growth; learning is development; learning is experience; learning is something new that has been added; learning is a process that results in change in behavior`. mbanugo (2006: 41) affirms that „investigations of human learning have given rise to theories about how people learn and how learning is best achieved`. hoffer (1991) recognizes the fact that learning involves different areas of human activity which were delineated by bloom (1956) as, cognitive, affective, and psychomotor domains. the cognitive domain refers to the domain of information and understanding; the affective involves feelings and attitudes while applying piaget`s ``critical period`` to music education… 47 the psychomotor domain involves physical skills. relating the three domains to music learning, hoffer (1991) submits: learning is a manysided word. it can refer to kinesthetic or psychomotor skills, as when a violinist learns to shift from first to third position. learning also refers to memorizing information, such as the fact that a above middle c vibrates 440 times each second or that mozart was a composer of the classical period. learning may also mean problem solving. for example, a student may have studied some impressionistic music and its phrasing and when presented with a work by debussy that is unknown to him or her, he or she is able to phrase it properly. finally, a person has learned a piece of music when he or she can listen to it with understanding or play it and convey its aesthetic intent (p.78). the interest of instructional psychologists in the learning process stems from the pioneer work of ebbing house (1885), thorndike (1898), and others. with the publication of his book, animal intelligence in 1898, thorndike laid the ground work for the theory of learning which dominated american education for about three decades of the twentieth century and which remains influential today (leonhard and house, 1972). notable among the numerous learning theorists are i. pavlov(1849-1936), b.f. skinner(1904-1990), jean piaget (1896-1980) , lev vygotsky (1896-1934), david asubel, robert gange, jerome bruner(1966), albert bandura (1977), and so many others whose findings also bear special significance to music. among the bulk of learning theories are thorndike‟s connectionism, guthrie‟s contiguous conditioning, hull‟s systematic behavior theory, pavlov‟s classical conditioning, piaget‟s cognitive schemata, vygotsky‟s social constructivism, and skinner‟s descriptive behaviorism and operant conditioning among others (leonhard and house, 1972:147). although the focus of this paper is on piaget‟s „critical period‟ but it okeke, ikedimma nwabufo 48 would suffice to mention in brief some other influential learning theories which bear relevance to music. for instance: e. l. thorndike (1874-1949) laid the groundwork for the theory of learning which dominated american education for three decades of the twentieth century and which remains influential today. that theory is generally known as connectionism. the theory is based on stimulus-response association (leonhard and house, 1972). according to thorndike, we stamp in effective stimulus-response (s-r) connections and stamp out those responses which are useless. using food-deprived cats, he devised experiments in which the animal was placed in a cage or puzzle boxes from which it could escape to reach food by simple acts of trial and error such as manipulating a cord, pressing a lever, or stepping on a platform. thorndike‟s experiment is shown in the figure below: fig. 1. one of thorndike’s puzzle boxes to reach the food (goal), the cat had to learn to pull (trial and error) the loop that released the cage door. thorndike‟s experimental model can be effectively applied to vocal and instrumental music instruction where it is usually rewarding for the applying piaget`s ``critical period`` to music education… 49 learner, after initial guidance by the teacher, to solve articulation problems and make discoveries on his instrument through personal endeavor and practice (bruner, 1966 later tagged this discovery learning). like thorndike, i.p. pavlov (1849-1936) viewed behavior as responses initiated by stimuli, but unlike thorndike, his interests were strictly to do with physiological reflex actions: the salivation of dogs in particular (child, 2004). he discovered that dogs would salivate when some other previously neutral stimulus (tuning fork), besides food (meat powder), was present, provided that on some previous occasions the stimulus had appeared before the presentation of food. from this finding he set about intentionally teaching dogs to associate salivation with neutral stimuli, a process known as classical conditioning. findings from pavlov‟s classical conditioning can be gainfully applied to the teaching and learning of music by pairing or conditioning abstract musical ideas (neutral stimuli) with those musical experiences that elicit positive responses (pairing of the tuning fork[neutral stimulus] with meat powder[positive stimuli] by pavlov). that is, pairing topics which the learner does not prefer with those he prefers and thus the un-preferred ones will begin to elicit the same learning response with the preferred ones. that is, student‟s interest in abstract topics in music (such as rote learning of the notes and spaces of staff) could be sustained when paired with singing, clapping and playing of simple melodic and harmonic instruments (ojukwu, 2011). another instance is the teaching of music history with recorded musical examples of the musical styles being studied. okeke, ikedimma nwabufo 50 lev vygotsky (1896-1934) in his short life of 37 years was a most prolific researcher living in russia early in the twentieth century (child, 2004). he postulated that human mentality was the result of cultural learning using social signs. that is, the culture into which a child was born was the source of concepts to be internalized and this affected the physiological functioning of the brain. tools such as language, number, and art were seen as the means by which a culture would conceptualize, organize and transmit thinking. therefore, our thinking processes are a product of the culture in which we happen to be born. vygotsky‟s theory of social constructivism has a serious implication for music education in the sense that a meaningful musical experience should involve musical ideas and idioms from the learner‟s cultural background. that is, the fortification of the young learner with the musical idioms of his culture such as folk songs and indigenous musical styles for a meaningful musical experience. this has inspired the compulsory integration of native folk songs in the curriculum of music studies in most african educational institutions. vygotsky also established that the adult, primarily the parent and teacher, is the primary influence on a child‟s socialization process. the adult not only transmits music to a child, but also participates in the child‟s discovery and manipulation of the music to be acquired. during musical play, the teacher or parent delivers to the child cultural signs such as verbal comments, facial expressions, or indicatory gestures. according to vygotsky, these signs provide the means for drawing children into knowing their culture (in this case, musical culture) (campbell and scottkassner, 2010). b. f. skinner‟s (1904-1990) classical theory of operant conditioning is at the heart of behavioral change, including learning. operant conditioning is a three-part instructional “kernel,” or process, comprised of a stimulus that is presented to the learner, a response that is elicited by the learner as a consequence of the stimulus, followed by the presentation of another stimulus that reinforces the response (campbell and scottkassner, 2010). skinner‟s applying piaget`s ``critical period`` to music education… 51 reinforcement theory can be effectively applied in music. for instance, when a learner‟s behaviorsinging in tune or playing rhythms accuratelyis positively reinforced by the teacher‟s smile, nod, or positive comment, that behavior will be maintained or increased.  jean piaget (1896-1980)(cognitive schemata/stage dependent theory/critical period) contemporary views on the nature of cognitive development have been vastly influenced by the work of jean piaget (child, 2004). piaget, a swiss psychologist, developed a theory of mental growth by observing the behavior of children. he delineated four stages in the development of behavior and thinking: sensorimotor (0-2yrs) learning through direct sensory experience like reflex grasping, sucking and general body movement. pre-operational (2-7 yrs)-learning through the manipulation of objects, noting the consequences and internalizing them for the future, thus transforming stimuli to symbols. concrete operations (6/7-11 yrs)-viewing objects in concrete, tangible, and systematic ways but not abstractly. formal operations (11yrs onwards)-learning abstractly using logic and deductive reasoning. piaget‟s developmental theory has serious implications and applications to music and they can be outlined thus:  the stages suggest that younger children in particular be given many opportunities to listen, sing, play, and move to music.  the introduction of staff notation should occur only after preliminary experiences. okeke, ikedimma nwabufo 52  music instruction follows sound –before-symbol approach.  age eight is a turning point in a child‟s cognitive development. at this time, children are capable of identifying timbres, discriminating among random melodies, and perceiving structure in simple melodies, although they are less successful in perceiving the sound of more than one simultaneous musical line (or harmony).  music curriculum should be planned to pace the maturational ages of the learners.  the evidence of the developmental stages implies the existence of sensitive or critical periods when formal learning should duly commence. the bulk of piaget‟s theory informs us of sensitive periods or stages of mental development. by implication, music teaching should commence as early as possible to enhance the development of musicality and aesthetic sensitivity. beyond these budding stages, music learning could become tedious. child (2004:78) reaffirms this: „piaget‟s theory implies that certain periods are critical in mental growth‟. furthermore on the notion of the critical period implied by piaget‟s theory, leonhard and house (1972) assert that: the research of piaget and others emphasizes the soundness of the idea that the development of musicianship and aesthetic sensitivity can and must begin in early childhood. there is increasing recognition that in connection with many abilities there is a critical stage that occurs early in the development of a child. if education is delayed past this critical stage, the child can never fulfill his potential. there is every reason to believe that there is a critical stage in the development of musicianship and aesthetic sensitivity, which occurs early, probably before the age of nine. in view of presently available evidence, it is arrant nonsense for music educators to continue using the bulk of their financial and human resources on students in high school. a planned applying piaget`s ``critical period`` to music education… 53 program of music education in nursery school, kindergarten and the primary grades, providing a rich variety of experience with music conducted by well qualified teachers, merits the highest priority in music education program planning (p.155). the notion of the „critical period` implied by piaget‟s theory is a very sensitive and critical learning theory which nigerian music educators have not quite given much attention despite its implications for music education in nigeria and hence, the focus of this paper. the analogy of second language teaching/learning the teaching of music to the „musically deprived` is usually a task. the challenge is analogous to the teaching/learning of a foreign language. one can testify of the difficulty of learning a foreign language, let`s say, french in primary or secondary school after the mother tongue (l1) has taken root. not that learning a second language is unattainable, after all some have innate predisposition and flair for languages, but the herculean task of learning new rules of grammar, syntax, phonology, and idioms for communication is quite a challenge to the learner and the teacher as well. child (2004) submits that, evidence for this critical period in language acquisition is not hard to find. witness the difficulty a person born and bred in france has with `th` as in `the`. it tends to come out as z. the japanese have difficulty pronouncing r`s and l`s. english speaking people have their problems with german umlauts and french nasal sounds (p.93). this informed neville and bavelier‟s recommendation in child (2004:93) of ``how important it is to learn the pronunciation and grammar of a second language as early as possible``. if the learning of a foreign language can pose such problems, as noted above, how okeke, ikedimma nwabufo 54 much more music which demands the learner should go through the rigors of music appreciation, theory, aural perception, solfeggio, notation, musicianship, etc. before reasonable musical apprehension ? precisely when is the critical period? there seems to be no consensus on the precise developmental time frame which might be labeled „the critical period` or which might denote its elapse among scholars, even though most scholars agree to the evidence of it (leonhard and house, 1972). piaget in child (2004:69) pointed to ages between „0 -11yrs`; pryor in davidoff (1987) reasoned it is before or soon after birth during periods of fast growth. leonhard and house (1972) argued it is before the age of nine for music education. here we find one of the weak points of this theory. does the critical period start and close or end at what age? 011yrs, 3yrs, 6 yrs, 9yrs, puberty, adolescence, or adulthood? if, according to leonhard and house (1977), the critical stage ends at age nine for music, does it follow that there is a critical period peculiar for a given subject of learning? if we decide to ignore the confusion with specifics and admit that naturally the critical period should be in –between the tender ages of 0 -10yrs, how then do we reckon with the learning of prodigious and exceptional people who having been deprived the privilege of learning as early as suggested surprisingly rise beyond their limitations and the expectations of many. a classic example of this anomaly with regards to music is the life of the russian composer, peter ilyich tchaikovsky (1840-1893), who began to study music at a relatively late age of twenty-one but rose to become the most famous russian composer (kamien, 1986). a more glaring scenario is the case of popular musicians who, having no formal music education, soar beyond their limitations and sustaining their art. applying piaget`s ``critical period`` to music education… 55 where then is the place of `the critical period`? one might give some explanation to the aforementioned situation to stem from the peculiar nature of music. musical genius just like fine art requires talent for its arousal and sustenance. one can sing or paint artistically without formal lessons but none has ever been known to speak a language without direct imitation or learning. but `the continuity theory` of cognitive development and maturation tends to give a more lucid and objective explanation to the situation. the continuity theory, in contrast with the theory of the critical period, posits that: `people change subtly and gradually and grow continually` (davidoff 1987:371). she further explains that, `continuity theories challenge the uniformity assumption of stage theories‟. development is an individual process that depends, in every instance; on unique biological propensities and specific experiences` (p.371). does the continuity theory completely negate the evidence of the critical stage? no. if we completely ignore the evidence of the critical period, we might end up with some developmental and educational crisis! failing to enroll a child, for instance, in school as early as possible and hoping the child would `continue` in his cognitive development whenever possible would be a risky experiment. the gains of early childhood education are numerous but the continuity theory sensitizes us on the possibility of continued cognitive receptivity and development on the side of the learner even after the critical stage has elapsed. data analysis the bulk of data gathered through questionnaires from undergraduate music students of nnamdiazikiwe university, awka and the direct observation by the researcher in the course of nursery/primary/secondary school music teaching show evidences of the effect of the critical period. for instance, through direct observation, the researcher discovered that most of the students okeke, ikedimma nwabufo 56 who showed competence in music in the jss 1 and jss 2 classes of british spring secondary school, awka (2011/2012 session) were mainly primary school graduates of springfield academy and mount olive school, both in onitsha. these two primary schools located at new nkisi drive, g.r.a onitsha are renowned for serious music teaching. also data sourced from questionnaires issued to undergraduate music students of nnamdiazikiwe university, awka shows that most undergraduate music students of nnamdiazikiwe university, awka with appreciable levels of musical capacity passed through dennis memorial grammar school, onitsha. dennis memorial grammar school, onitsha is also renowned for a strong musical tradition. the data is analyzed below: thirty-three copies of the questionnaire were distributed among the undergraduate music students of various academic levels (yrs. 1 through 4). the students were asked to indicate the various schools they attended ranging from nursery through secondary and whether they studied music in the respective tiers of their learning. they were also asked to indicate the nature of the challenges they were experiencing presently as undergraduate music students. the last question was raised in order to find any possible connection between their contact with formal music or its deprivation in their formative years (critical period) and their musical experiences in the university. table 1. influence of the critical period on musical understanding sample of population early contact with formal music(percentage value) no contact with formal music(percentage value) 33 (100%) 13(39.3%) 20(60.6%) from the table presented above along with direct observation of the research samples, these relevant deductions were made: applying piaget`s ``critical period`` to music education… 57  only 13(39.9%) of the total number of students gathered through the questionnaire received musical instruction in their formative years.  about 20(60.6%) of the total 33 students were deprived music instruction in their formative years.  among the 60% who were deprived of formal music learning, about 50% of them have serious difficulty adapting to music as undergraduates students.  most of the 13(39.9%) students who received music lessons in their formative years have shown appreciable traits of musical understanding and appreciation as undergraduate students.  some of the deprived students have seemingly grown beyond their limitations. may be as a result of a positive attitude towards music. this development might have informed the assertion by leonhard and house (1985 :401) that „a pupil with a moderate level of musical capacity and high levels of motivation and interest frequently accomplishes more than the most talented pupil lacking in interest and motivation‟  some of the students who attested to receiving music learning early appear to have lost much of the musical understanding gained during their formative years. maybe because of poor attitude towards continuous learning or some external factors. discussion of findings evidently, the influence of the critical period in mental development is a serious factor affecting music education in nigeria. obviously we have an educational crisis at the grassroots (nursery/primary/ secondary) with respect to music. we cannot hope for a positive response to music at the tertiary level if music is lost at the critical stages. perhaps it may be possible to still revitalize a deprived student musically at the tertiary level if proper motivation were employed by music educators. this position stems from one of the discoveries of the research through the questionnaire. virtually all okeke, ikedimma nwabufo 58 the students indicated their utmost challenge to be lack of attention by their respective vocal/instrumental instructors. motivation shall be discussed in the subsequent pages as a vital tool which music educators can employ towards solving issues emanating from the critical period. classroom implications of the critical period for the music teacher having gone through the bulk of theoretical and empirical arguments surrounding the notion of the critical period in mental development and having established its influence, what then should the music teacher expect in a given classroom situation? supposed he is faced with, let`s say, a class of jss 1(year 7) students who had no music education in their primary and consequently have no idea of rudiments of music? suppose also in a given jss1 class of twenty (20) students; six (6) had received primary music education and the remaining fourteen (14) had none? what does he do? does he bring every one down to rudimentary music or does he carry everyone along with the secondary school music curriculum? definitely the secondary school curriculum will not work here. in fact this is one of the situations where music teaching can be frustrating, bearing in mind that at the end of the term you are required to account for good music teaching! how does a primary school pupil sing in choir when he has no grasp on rudimentary solfeggio (d: r: m: f: s: l: t: d)? where does the undergraduate music student start on his orchestral lessons, let`s say, trumpet, flute, saxophone, or oja when he has no grasp on recorder or oja basics from his primary/secondary education? all these are just a few of the myriads of challenges facing the music educator in nigeria with regards to issues emanating from the critical period. reacting to this situation; aninwene (2009) discloses that: applying piaget`s ``critical period`` to music education… 59 all children should have minimum competences in music so that in future while some are good music makers, others would be producers and performers of music. the success of their musical experience largely depends on the musical nurturing they received right from their early childhood. if they do not receive the right musical education, they become deficient in that aspect, and this would definitely affect their adulthood. our children in the primary schools do not receive proper early music education and that has reflected in the society (p.51). bemoaning this situation, ekwueme in aninwene (2009:51) argues further that: ``if we deny a child music education, we have denied him the opportunity of developing his musical talents, capabilities and musical intelligence, thus causing that part of his brain to remain dormant and undeveloped throughout his life time”. furthermore, gordon (1970) advises that: although younger students learn more slowly than older students, the younger one is when he begins the study of an instrument the more he can ultimately learn. the earlier one learns motor skills in terms of technique, the more solidified they become. this is because younger students are more adept at rote learning than conceptualization, whereas the reverse is true for older students (p.233) solving the problem of the critical period in music education in nigeria some scholars have suggested „audition tests‟ for students before admitting them to study music particularly in nigerian tertiary institutions. it is believed that this approach would sieve out students who have little or no formal music background and thereby cutting off the problem of „teaching the untaught‟. this approach has so many okeke, ikedimma nwabufo 60 obvious drawbacks. first, few students apply for music as their primary course of study in the tertiary institutions and any further exercise that cuts off more numbers from the few portends grave danger for the survival of music departments in tertiary institutions. also it is elitist: there is no guarantee that the „qualified‟ students can sustain their musical aptitude throughout school. conversely, there are no adequate criteria to judge and conclude that those candidates that could not „qualify‟ initially would not grow musically and even surpass their favoured colleagues. therefore the option of „audition test‟ creates more problems for music and so does not work here. worth mentioning is the continuity theory of mental development because it offers some hope to solving the dilemma of the critical period on music education. the continuity theory posits that human development is continuous and not `fixed`. continuity theory assumes that people change subtly and gradually and grow continually and thus challenging the uniformity assumption of the stage theory. development (learning) is an individual process that depends, in every instance, on unique biological propensities and specific experiences (davidoff, 2004). drawing on the position of this theory, therefore, it is possible for a learner to adapt to music after deprivation if he can develop positive attitude towards music, explore his native musical endowment with proper teacher-motivation, and the creation of conducive learning environment. the four suggestions are discussed in detail thus:  conducive learning environment a conducive musical environment is very necessary for effective music learning. a proper learning environment also serves to catch the attention of learners more easily than the actual learning itself. the nature of music demands a setting secluded from the usual distractions of daily living; practice rooms with soundproof acoustics; adequate and functional musical instruments for individual practice; applying piaget`s ``critical period`` to music education… 61 interactive teacher-learner relationship and learning materials such as audio-visual aids, music software and computers, music texts and relevant literature for individual studies. onuora-oguno (2009) and onwuekwe (2010) have raised the imperatives of computer in music education in nigeria.  exploring the learner’s native endowment it is evident from history for native endowment or giftedness to supersede lapses in the preceding stages of learning. classic examples are shakespeare and newton. another classic example particular to music is the case of peter ilyich tchaikovsky (1840-1893), mentioned earlier in the work, who began to study music at a relatively late age of twenty-one but rose to become the most famous russian composer(kamien, 1986).  positive musical attitude attitude plays a reasonable role in learning. a positive attitude towards music makes music learning faster and easier. even with native giftedness in music, a poor attitude to the subject diminishes the giftedness. leonhard and house (1972:19) explain that, „attitude refers to a generalized emotional reaction for or against a specific object. attitudes have a direct effect on learning of all kinds and have much to do with the efficiency with which knowledge and understanding are developed‟. mbanugo (2006) observes the care-free attitude often exhibited towards music by some undergraduate music students of nnamdi azikiwe university, awka, who conceive individual music practicing as too sedentary. that is, they find it hard to sit down and work at the pieces for long and this poor attitude usually results in their poor delivery during performance exams.  motivation motivation is a powerful tool in the employ of a dedicated teacher and it involves arousing learners‟ interests in learning. leonhard and house okeke, ikedimma nwabufo 62 (1985: 306) explain that „it is the most complex but most important task of the music teacher to manage the learning environment so that optimal motivation is present`. they reasoned further that „motivation is closely associated with interests, setting reasonable and rewarding goals, and experiencing success in attaining goals` and that „a pupil with a moderate level of musical capacity and high levels of motivation and interest frequently accomplishes more than the most talented pupil lacking in interest and motivation‟ (leonhard and house, 1985 :401). onyiuke (2003) also has seriously advised on the place of motivation in primary school music education in nigeria. recommendations having shown evidences and the problems ensuing from the „critical/sensitive period‟ with regards to music education in nigeria, it becomes imperative that nigerian music educators endeavor towards proper and compulsory music education starting from the kindergarten to the tertiary level. the researcher recommends class singing using didactic and folk songs, and the introduction of simple musical instruments the learners can adapt to with ease. such musical rhythmic/melodic/harmonic instruments that have been found useful are the rattle or tambourine, the recorder, and the harmonica. we cannot hope for a positive response to music if we do not have a functional one at the grassroots. also, since few or no students are currently registering for training under cca (cultural & creative arts) in colleges of education; it would be worthwhile to absorb undergraduate music students (yr 2 4) for music teaching in schools as a form of industrial attachment and a palliative measure. this would help address the emergency at the grassroots regarding music. currently the researcher has placed about five music undergraduate students of nnamdi azikiwe university, awka in about five different nursery/primary/secondary schools in anambra state where they are engaged in serious music teaching under the supervision of the researcher. currently this is applying piaget`s ``critical period`` to music education… 63 yielding remarkable results as music education is thriving in the respective schools. conclusion the highlight of piaget‟s stage theory of mental development (sensory/preoperational/operational/concrete) suggests and implies that learning commences as early as possible (0-3yrs) in human beings (sensitive/critical period) and that formal learning beyond this sensitive stage might be hampered. this holds serious implication for music education in nigeria where music is neglected as a subject of instruction in most schools. the aftermath is that learners grow without any formal foundation in music and thus encounter serious challenges in aesthetic development and in attempts to study the subject later. the research has discovered that although the impact of the critical period might overshadow and hamper subsequent learning in music; the enthusiastic learner can still survive by developing a positive attitude to music, building on his native potentiality for music, and adequate support from educators by means of motivation and conducive learning environment for music. suggestion for further reading the present paper does not claim to be encompassing. therefore, it is being suggested that further research along this line be undertaken by future researchers. this will help to consolidate the decision made in relation to piaget‟s „critical period‟ as the ideas relate to nigeria‟s music education. okeke, ikedimma nwabufo 64 references aninwene, e. o. (2009). the state and future of music education in primary schools in nigeria: a case for teacher preparation. interlink: a journal of research in music, 4, 48-62. campbell, p. s. and scott-kassner, c. (2010).music in childhood.usa: schirmer. child, d. (2004). psychology and the teacher. (7thed.). london: continuum. davidoff, l. l. (1987). introduction to psychology (3rded.).new york: mcgraw-hill inc. gordon, e. e. (1970). learning sequences in music: skill, content, and patterns. chicago: g. i. a. publications. hoffer, c. r. (1991).teaching music in the secondary schools. usa: wadsworth, inc. kamien, r. (1986). music appreciation. new-york: mcgrawhill. leonhard, c. & house, r. w. (1972).foundations and principles of music education. new york: mcgraw-hill book company. mbanugo, c. e. (2006). music learning principles for individual performance studies: the nnamdi azikiwe university, awka approach. interlink: a journal of research in music, 3, 41-55. ojukwu, e. v. (2011). dysfunctional music education in nigeria. unpublished doctoral dissertation in music. nnamdi azikiwe university, awka. onuora-oguno, n. c. (2009). applying computers to music pedagogy in nigeria. interlink: a journal of research in music, 4, 1-10. onwuekwe, a. i. (2010). the computer as an indispensable aid to the music composer in the global world of computer technology. the humanities and globalisation in the third millenium. chiegboka, a. b. c., utoh-ezeajugh, t. c., and udechukwu, g. i.(eds).442-447. onyiuke, y. s. (2003). motivation as a valuable factor in nigerian primary school music teaching. awka journal of research in music and the arts (ajrma), 1, pp. 69 – 78. applying piaget`s ``critical period`` to music education… awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 143 harmonising worship: the role of church music administration in planning congregational hymn singing events in local baptist churches mary a. niyi-ojo the nigerian baptist theological seminary, ogbomoso niyiojomary@gmail.com tel: 08064531425 abstract 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. keywords: church music administration, congregational hymn singing, local baptist churches, worship planning, spiritual engagement introduction hymn singing is a crucial aspect of worship in baptist churches, and church administration plays a vital role in planning and coordinating these events. wagner (2018) emphasizes the importance of hymn singing in baptist churches to express faith and unify congregants in shared beliefs and experiences. by understanding theological foundations, addressing logistical complexities, and fostering congregational engagement, church administrators can create a conducive atmosphere for worship. training and development are essential for individuals leading this vital aspect of worship, ensuring they are adequately equipped to facilitate meaningful experiences for congregants. harmonious worship enriches the spiritual journey of individuals and strengthens communal bonds within the church body. as worship practices evolve, adept administration becomes increasingly critical to navigate challenges and cultivate an authentic faith community. this paper examines the role of church administration in congregational hymn singing, highlighting its importance in enhancing worship through musical selection, logistical organisation, and community engagement. it highlights the intricate relationship between church music administration and hymn singing events in local baptist churches, requiring a deep understanding of theological appropriateness, logistical considerations, congregational engagement, and worship atmosphere. theoretical framework adedeji and ayanyinka (2022:14) noted that functionality or role theory by adedeji (1999; 2014) proves that music is 100% functional in the church, while odusanya (2022:104), while quoting adedeji (2006) also noted that “transformative musicology is the musicology that is aimed at the transformation of individual and our world at large. it encompasses all music activities that focus on transformative purpose, a product of intercultural musicology” this theoretical framework provides a foundation for exploring the relationship between church administration and congregational hymn singing in local baptist churches. role theory is highly relevant to the ‘harmonising worship: the role of church music administration in planning congregational hymn singing events in local baptist churches”. the key concepts of this theory are domiciled on the premise of the distinct roles of church music administration, music leaders, and congregational members in planning and executing hymn singing events, the essential functions of effective planning, coordination, communication, and resource management, and the interdependence of these elements in achieving harmonious worship. however, church administrators have mistakenly suffocated church worship through undue regimentation and conflict of interest. as a sequel to this pitfall, the paper came as a rescue motion to avert this scenario using the coordinators in the planning and organising hymn-singing mailto:niyiojomary@gmail.com awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 144 events, ensuring effective communications between music leaders, congregational members and other stakeholders in the church music ministry to ensure smooth administration. the resource manager oversees logistical and financial aspects, while the spiritual leader provides theological guidance. in music leadership, the music director selects and prepares music, while the worship leader leads congregational singing and worship. congregational members sing hymns and worship while volunteers assist with event planning and execution. leaders provide support and guidance within their respective ministries. functionality (functionalism) or role theory can be applied to analyze these roles and functions. brief historical context of hymnody in baptist worship** to understand the current role of church administration in hymn singing, it is necessary to contextualize the historical significance of hymnody in baptist worship. the baptist tradition strongly emphasizes congregational participation in worship, mainly stemming from the reformation, which espoused the idea of the priesthood of all believers (akin, 2019). hymns have long been a central component of baptist worship, from isaac watts’ influence in the 18th century, which encouraged congregational singing, to the modern integration of contemporary christian music (sutton, 2020). the historical trajectory of hymnal selection and musicality within worship reveals an evolving practice influenced by theological, cultural, and social dynamics—each necessitating thoughtful administration in planning hymn-singing events. hymn singing and the people called baptist in the life of a local baptist church, congregational hymn singing holds a special place, serving as a powerful medium for worship, spiritual reflection, and community bonding. however, the success of these hymn-singing events hinges significantly on the effectiveness of church administration. hence, church administration encompasses a church's organizational and managerial functions, including coordinating various activities and events. in the context of hymn singing events, this involves a range of tasks, from selecting appropriate hymns and coordinating with musicians to managing logistics and ensuring the congregation's participation. effective administration ensures that these events are well-organized, spiritually enriching, and inclusive. therefore, planning congregational hymn-singing events requires meticulous attention to detail and a deep understanding of the congregation's needs and preferences. church leaders and administrators must collaborate to create an environment that fosters active participation and enhances the worship experience. this involves careful selection of hymns that resonate with the congregation, organising rehearsals, and ensuring that all logistical aspects are seamlessly managed. however, the place of church administration in the planning of congregational hymn singing cannot be over-emphasized because of its valuable contributions to worship service. hymn singing tradition is biblical and inherited; if it is not well planned, it will not achieve its purpose in christian liturgy. the bible records many songs for various purposes; those songs could be accompanied or unaccompanied; the psalms are used as worship hymnals in jewish worship (2 chronicles 29:28-30). therefore, planning the hymn singing event, this can be done in several ways. it can be done as a congregational hymn singing service, hymn revival service, community hymn singing, song service, and so on. all these can be grouped to become hymn-singing events. out of these aforementioned, this paper considers the impact of church administration in planning congregational hymn singing services for practical worship experience among the worshipers in local baptist churches. despite the importance of these events, local baptist churches often face several challenges in their planning and execution. limited resources, volunteer management, and diverse congregational needs are just a few hurdles that church administrations must navigate. however, with strategic planning, clear communication, and community involvement, these challenges can be effectively addressed, leading to successful and impactful hymn-singing events. theological foundations of hymn singing in baptist churches hymn singing within baptist churches is grounded in theological premises that underscore the significance of music in worship. the baptist tradition maintains that music serves as a vital means of glorifying god and fostering spiritual edification among congregants. according to the southern baptist convention, hymns are integral in expressing theological truths, helping congregants to internalize doctrine (southern baptist convention, 2021, https://www.sbc.net/resources/hymns). these hymns range from traditional compositions steeped in christian history to contemporary music that speaks to modern congregations. the role of church administration in ensuring that the songs selected for congregational singing align with theological tenets cannot be overstated. the administration must collaborate with pastoral leadership to discern which hymns resonate with the church’s doctrinal beliefs and address the congregation's spiritual needs. this collaboration is crucial in curating a programme that reflects the church’s theological stance and fosters a sense of unity among its members. https://www.sbc.net/resources/hymns awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 145 logistical considerations in planning hymn singing events effective church administration plays a pivotal role in the logistical planning of hymn-singing events. these logistics encompass a range of considerations, including scheduling, orchestration, and resource allocation. the planning begins with identifying an appropriate time for the hymn singing, considering various congregational factors such as attendance patterns and community engagement (creswell, 2014). in addition to scheduling, the administration must address the practicalities of orchestrating these events. this involves selecting suitable music leaders or choirs with the skill and the ability to engage the congregation. training sessions may also be necessary to harmonise the music team with the hymns selected and to enhance their ability to lead the congregation effectively. this preparation lays the groundwork for a seamless worship experience whereby congregants feel invited and equipped to participate in singing. furthermore, resource allocation is essential in this planning phase. churches must consider their financial capabilities when investing in sheet music, sound systems, and other equipment. additionally, promotional efforts may need to be leveraged to ensure the congregation knows about upcoming events. a well-structured administrative approach allows the church to honour its commitments while being prudent with its finances. logistical challenges in planning hymn singing events** the logistical role of church administration in planning hymn-singing events encompasses various responsibilities, including scheduling, resource allocation, and technical support. effective administration requires an understanding of the available resources and the congregation's needs. scheduling hymn-singing events must consider factors such as the church calendar, local community events, and potential conflicts with other ministries (booth, 2021). additionally, church administrators must curate hymn selections that reflect the congregation's theological beliefs while catering to diverse musical preferences. the logistical challenges extend beyond scheduling. church administrators are responsible for coordinating with musicians, sound technicians, and worship leaders to ensure that all components of the worship service function seamlessly. this involves selecting hymns and arranging rehearsals, ensuring that musicians are adequately prepared and that technical equipment is functioning (hunt, 2022). the importance of logistical planning cannot be overstated; numerous studies have shown that well-structured church events increase congregational participation and satisfaction (crawford, 2019). the role of technology in modern hymn singing events** in the contemporary context, church administration must also contend with the impact of technology on worship practices. the rise of digital resources has transformed the way congregations approach hymn singing events, enabling broader access to a diverse array of musical styles and hymn resources. administrators are tasked with integrating these technological tools effectively into the worship experience (edwards, 2020). this includes utilizing projection systems for lyrics, incorporating multimedia presentations, and offering live streaming for virtual attendees. moreover, the challenges of technology necessitate further administrative oversight. technical glitches during hymn singing can disrupt the worship experience, leading to frustration among worship leaders and congregants. therefore, church administrators must provide adequate training and support for volunteers working with worship technology (booth, 2021). strategic planning for contingencies, such as equipment failure or unexpected changes in worship format, is key to maintaining the integrity and flow of worship. engaging the congregation a harmonious worship experience hinges on the engagement of the congregation itself. church administrators must be attuned to their members' preferences and musical inclinations. understanding the demographic composition of the congregation can inform the selection of hymns that will resonate broadly. for instance, a church with an older demographic may gravitate towards traditional hymns written by figures such as isaac watts or charles wesley. at the same time, a younger congregation might respond more enthusiastically to contemporary worship music (dixon, 2010, https://www.christianitytoday.com/ct/2010/april/12.33.html). to foster this engagement, church administration can implement various strategies to involve congregants in the hymn selection process. surveys or feedback forms can solicit opinions on preferred hymns, which positions congregants as active participants and allows them to take ownership of the worship experience. when congregants feel connected to the hymns being sung, they are more likely to engage wholeheartedly in worship. additionally, incorporating testimonies or reflections from congregants about the significance of specific hymns can create an atmosphere of shared experience. this practice strengthens the communal aspect of worship and provides a deeper connection to the lyrics being sung, ultimately enhancing the spiritual impact of the event. https://www.christianitytoday.com/ct/2010/april/12.33.html awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 146 role of church music administration in planning congregational hymn singing events church music administration is vital in organising congregational hymn singing events, ensuring worship cohesion, music selections that engage and inspire the congregation, logistical support, community engagement, and resource management. the roles of church administration include providing organizational structure and leadership, selecting hymns that align with theological themes and spiritual needs, coordinating with musicians and choir, and managing logistical planning. the church administration is responsible for coordinating with musicians and choir to ensure rehearsals are scheduled and conducted efficiently, arranging practice sessions, providing necessary resources, and ensuring all participants are well-prepared for the event. effective logistical planning is crucial for the success of hymn singing events, including arranging the venue, setting up sound systems, organising seating arrangements, and ensuring all technical aspects are in place. community engagement and participation are also vital roles of church administration. this involves promoting the event through various channels, such as church bulletins, social media, and word of mouth, to create a more inclusive and vibrant worship experience. church administration also develops worship planning teams, coordinates hymn selection processes, schedules rehearsals and sound checks, manages music budgets and resources, and communicates with musicians, pastors, and congregation. engaging congregation through hymn selection** the selection of hymns is crucial in engaging the congregation during worship events. when curating hymn lists, church administrators must be finely attuned to their congregants' spiritual needs and cultural contexts (wagner, 2018). this involves considering the theological themes in the hymns, the music's emotional and spiritual resonance, and the church community's cultural diversity. there has been a shift towards incorporating new and contemporary hymns alongside traditional favourites in recent years. this diversification of hymnody caters to a broader audience and fosters an inclusive worship atmosphere. however, church administrators must ensure that such selections align with the denominational beliefs and values of the congregation, thereby fostering a shared sense of identity and purpose (akin, 2019). effective hymn selection engages the congregation, deepens spiritual reflection, and contributes to shaping the community’s collective faith narrative. the atmosphere of worship the atmosphere of worship is another crucial element that church administration must cultivate. the emotional and spiritual environment established during hymn singing can significantly influence congregational engagement. administrative leaders must create a space that encourages reverence and reflection while being receptive to the joy of worshipping together. utilizing the physical space of the church effectively is vital in achieving this atmosphere. elements such as lighting, seating arrangements, and decorations can all contribute to a worshipful environment conducive to hymn singing. studies indicate that the physical space can affect individuals’ spiritual experiences, suggesting that thoughtful planning can enhance the emotional resonance of the worship experience (francis & kaldor, 2002). moreover, the timing and integration of hymn singing within the worship service must be considered. church administration should ensure that hymn singing is not an isolated act but part of a broader narrative of worship that includes prayer, scripture readings, and message delivery. this cohesive flow enables congregants to engage more deeply with the spiritual themes, creating a holistic worship experience that resonates on multiple levels. congregational hymn singing congregational singing refers to the collective singing of hymns, psalms, and spiritual songs by a gathered community of worshipers, typically in a church or other sacred space (witvliet, 2003). it is vital to christian worship, fostering unity, spiritual growth, and communal expression. hymn singing can be a great event with memorable anthems joining or merging choristers with the congregation and extra instrumentalists to plan for and rehearse by adding scripture readings to coordinate with the hymns’ themes. sydnor (1982:12), in his remark, states that it is the opinion that great congregational singing is achieved when the congregation sings a sizable number of good hymns with spiritual perception and musical artistry. miller (1993:51) also highlights the importance of congregational hymn singing in harmonising worship, fostering community and belonging, and providing an outlet for collective praise and thanksgiving. it also serves as a teaching doctrine, evoking emotions and deepening spiritual experience. additionally, hymn singing unites voices in prayerful songs, transcending age, cultural, and socio-economic divides and bridging generations. types of congregational singing effective planning in congregational hymn singing offers numerous benefits, including enhanced worship experience, a united community, theological clarity, improved participation, smoother service flow, reduced distractions, and efficient resource use. administrative benefits include efficient resource use, effective communication, and increased awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 147 engagement. congregational hymn singing is vital to christian worship, fostering unity, spiritual growth, and communal expression. various styles have emerged, reflecting cultural, historical, and theological contexts. these include traditional hymns, contemporary worship songs, psalms and chants, gospel music, and global and multicultural songs. traditional hymn singing is inclusive, intergenerational, theological, emotional, and spiritual, encouraging participation from all ages and backgrounds. examples include hymns, psalms, cantatas, chants, gregorian chant, classical gospel, contemporary worship, praise and worship, gospel music, rock-influenced, urban, and indigenous worship songs. contemporary worship songs are modern, upbeat, and energetic, while praise and worship are energetic and expressive. gospel music often has choir, and christian rock is rock-influenced worship music. urban gospel music has urban hip-hop influences. global and multicultural styles include african american spirituals, latin american coritos, asian hymns, african gospel, and indigenous worship songs. each style has its unique characteristics and significance, making it essential for congregational hymn singing to be well-planned and executed effectively. benefits of effective planning effective planning in congregational hymn singing enhances the worship experience, fosters unity, ensures theological clarity and improves participation. it also streamlines service flow, reduces distractions, and optimises budget, personnel, and facilities. administrative benefits include efficient resource use, effective communication, and increased engagement. gangel (200), identified four administrative functions for effective planning in congregational hymn singing: planning, organising, leading, and controlling. these functions help optimise budget, personnel, and facilities, enhance collaboration between music teams, pastors, and staff, and boost congregation involvement and commitment. planning: the singing of a hymn by the congregation is a straightforward process requiring the hymns to be familiar and that the choir must have worked on the tune and key to be used during the rehearsal period before the congregational performance. the basic steps to hymn singing are: information: in planning congregational hymn singing, information should or must be given to the members from the church pastor ahead of time, even if it is fixed to the church calendar of activities. also, the choristers must be aware and prepared for thorough rehearsal in preparation for the hymn singing. general theme to be used: in planning congregational hymn singing, there is a need for a theme to follow in selecting hymns. bereza (2014:75), ‘observes that if your congregation follows a liturgical calendar, your theme could relate to the season”. therefore, the theme should be the first criterion in planning congregational hymn singing. pick out hymns: after receiving hymns from worshipers (congregations), the next thing the minister of music needs to do is to page through the hymnals to check for the hymns on the theme to see if they correspond with the one congregations selected or not. at times, the hymns may not be in one baptist hymnal; it may be in the 1956 edition, 1975 edition, 1991 edition, 1998 edition, it may even be from broadman hymnal or any other baptist hymnals, but the best thing for the minister of music is to search and look for the scored hymn and make photocopies for the choristers to learn. thereafter, narrow down the list to a number that fits the planned amount of time if all the stanzas will be sung within the given time frame. the next thing is to order hymns in groups: congregational hymn singing can be grouped into two or three parts depending on what the minister of music plans. the most challenging part can be given to the choristers to sing in order to teach the congregation while the music minister or music director leads them. thereafter, the congregations will join them to sing. the standard/frequent hymns can be given to the congregation so they can sing without the choir joining them. this is for the music minister to watch and listen to them to correct where necessary; after that, the whole congregation will sing it repeatedly after corrections have been made. controlling: according to shalley (1995:240), in music ministry, the music minister or leader has to keep many things in the air simultaneously. his spiritual sensitivity, personal preparation, attention to group dynamics, thoughtful song selection, and full-bodied accompaniment are some of the ingredients contributing to powerful congregational singing. therefore, in controlling the preparation schedules, a rehearsal plan should be implemented with the choristers on whether to add to their rehearsal time if they are meeting twice a week before; because of the event coming, additional rehearsal should be added. in preparation for hymn singing, after the hymns have been selected for the service, the minister of music examines the tune and texts of the hymns to be sure of any difficulty and studies it before teaching the choir. singing amen at the end of each hymn may not be needed. reynolds (1975:59) submits that if a final “amen” is used on a hymn, that fact should be noted and communicated to the accompanists, and the choir awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 148 should know how it is being done. for the hymns we sing today in our contemporary time, not all hymns we sing need to end with amen. this is what the music minister or director needs to add to his teaching of hymns in congregational singing in our local church that men can only say when singing hymns of prayer and dedication, consecration hymns, hymns of the resurrection, aspiration and assurance and so on if ends with prayer or request. leading: the next step is to lead the congregation in singing. if the hymns are complex, the song leader/music minister would inform them to listen to him/her while singing the first stanza so the congregation can listen and learn; thereafter, the congregation will respond. in congregational singing, there is a need to observe music glossary or musical terms; for instance, leonard (1993:90) explained that fermata (fehr-mah-ah) which means a hold or purse, crescendo (kreh-shen-doh), meaning gradually growing louder, decrescendo (deh-kreh-shen-doh), which also means gradually growing softer and so on should be taught by the music minister or song director to the whole congregation by informing them to take a look at the musical terms and tell them what they stand for before leading them to sing. therefore, the music minister or song leader must tell the congregation what it means and where to observe those signs in congregational hymn singing. organising: according to auda (2010:6), good congregational hymn singing should be spirit-filled and full of understanding. the singing of hymns can be exciting and have good feelings, with the contributions of acoustic music and the support of sound instruments. rice & lovelace (1976:71-88) submit that the primary congregational responsibility is hymn singing. therefore, hymn singing is a unique event focusing on the selected hymns. these hymns might include old favourite and newly composed hymns, as stated by ashley danyew (2020). this is where the central activity is singing in the worship service. a hymn singing can proclaim god’s word through the voices of faith. benefits of congregational hymn singing the importance of hymn singing in worship is that it provides a natural way for the primary activities of worship in the environment. choral hub (2019:176) explains that hymn singing helps to develop the spirit of unity and solidarity in the singing community. the benefit of singing is that it helps the singers to comprehend the text of the message in the song and put it into practice, and it equally helps the singers to be healthy and strong physically, spiritually, and emotionally. the therapeutic effects of hymn singing are capable of producing the above-mentioned benefits. therefore, congregational hymns foster togetherness. it is pertinent to note that the administrative work of the music ministry cannot be overemphasized. in planning congregational hymn singing, the music minister should do it the way it should be done in line with what he or she has been trained for in the right way and at the right time. the church pastor must know what plan the minister of music has for the church before carrying the assignment out, and the church under the shepherd must also inform the minister of music of all the church activities so as for the church's goal to be achieved with a better understanding of preparation for all the events. doing things right plays a significant part in making worship more effective in a local baptist church. therefore, relationships and mutual understanding cannot be neglected (ishola & oparinde, 2017, pp. 264-265). impact of church administration on singing congregational hymn in many churches today, congregational hymn singing is falling gradually; in some churches, it seems to have disappeared. rainer (2016:10) gave six reasons congregational singing is waning: first, some church members do not prepare themselves for worship. second, members do not know the songs. third, the songs are not sung in a range where we can participate. fourth, the lighting communicates performance rather than participation. fifth, the music is too loud to hear others in the congregation. sixth, the worship leaders are not listening to the congregation. the trained musicians, who also happen to be the worship leaders, have a broader range to sing without any difficulty; as part of their impact to help the church achieve its goal, they have to make decisions by teaching and leading the congregation to sing in a range that is beyond their ability. by doing this regularly, the song will be freely produced and help the congregation flow with enjoyable singing. music can be performed equally when people see each other and hear from one another. therefore, worship by singing should include both the worship leaders and the entire congregation. community engagement and the importance of congregational participation church administration is pivotal in creating an environment encouraging active congregational participation in hymn singing. promoting a culture of inclusivity is essential, where all members feel invited to engage meaningfully with worship (sutton, 2020). this can be achieved by inviting congregational input in hymnal selections, training members as hymn leaders, and facilitating workshops that develop congregational skills in singing and music appreciation. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 149 furthermore, church administrators may organise supplementary events that enhance communal participation, such as hymn sings, workshops, or musical evenings (hunt, 2022). such events can help foster a sense of belonging and community among congregants while encouraging a fuller expression of worship. the administrative process of promoting these events and engaging with attendees is fundamental in creating a vibrant worship life within the church. the need for training and development planning congregational hymn-singing events is complicated; therefore, volunteers and church staff must be trained and supported thoroughly. this covers the worship leaders, ushers, sound technicians, and other personnel. these people receive instruction that gives them the abilities and information needed to improve worship. workshops and training sessions can focus on various aspects, such as effective music leadership, sound system operation, and congregational engagement strategies. moreover, fostering a culture of continuous learning allows church administrators and volunteers to adapt to changing congregational needs. the ongoing professional development of church staff leads to more competent leaders, ultimately enriching the congregation's worship experience (wong, 2020, https://www.churchleaders.com/leadership/406950-the-importance-of-training-in-the-church.html). discussion of findings to create a sense of direction for the paper, the writer raise three questions to be responded to by stakeholders in the music ministry, church leaders and music directors to corroborate the scholastic positions on the focus of the study. 1, how do church administrators plan and coordinate congregational hymn singing events? 2. what factors influence effective congregational hymn singing in baptist churches? 3. how does church administration impact spiritual growth and community building through hymn singing? the writer observed and realised that congregational hymn singing promotes unity, participation, and spiritual growth. the church administration is critical in planning worship services, selecting hymns, and coordinating music. on this note, effective planning ensures theological integrity, musical excellence, and cultural relevance. however, various styles of congregational singing (traditional, contemporary, global, and blended) enrich worship experiences. hence, church administrators must balance tradition and innovation, engaging diverse ages and backgrounds. odusanya (2024), while presenting his view on how church music administrators plan and coordinate congregational hymn singing events, observes that: the coordinator role in hymn singing events involves planning and organising the event and facilitating communication between music leaders, congregational members, and other stakeholders. the role of a music director in music leadership involves selecting and preparing music for hymn-singing events. in contrast, the role of a worship leader in music leadership involves leading congregational singing and worship. the principles of functionality include social order, social integration, and social change. the role theory applications include clear expectations for roles, effective performance, and potential conflicts between roles, requiring negotiation and resolution. (odusanya, 2024, oral interview) odusanya’s view on the role of a music coordinator in music leadership involves assisting with planning and logistics. the roles of participants in hymn singing and worship are outlined, with volunteers helping with event planning and execution. ogunleye (2024), while presenting her view on how church administration impacts spiritual growth and community building through hymn singing, also observes that: harmonial worship is not just a product of musical success but an outcome of diligent planning, thoughtful leadership, and a commitment to nurturing a worshipping community. church administrators play a multifaceted role in providing logistical support, embracing technology, curating meaningful hymn selections, and fostering congregational engagement. as worship practices evolve, adept administration becomes increasingly critical in navigating challenges and cultivating an authentic faith community. (ayankemi, 2024, oral interview) leaders provide support and guidance within their respective ministries. functionality (functionalism) or role theory can be applied to analyse the interactions between different roles and functions in hymn singing events. conclusion the role of church administration in planning congregational hymn singing events in local baptist churches is crucial. it involves acknowledging the theological foundations of hymn singing, addressing logistical complexities, fostering congregational engagement, archiving meaningful hymn selections, and fostering congregational participation. as awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 150 worship practices evolve, adept administration becomes increasingly critical in navigating challenges and cultivating an authentic faith community. investing in training and development ensures that individuals leading this vital aspect of worship are adequately equipped to facilitate meaningful experiences for congregants. harmonious worship is not merely a product of musical success but an outcome of diligent planning, thoughtful leadership, and a commitment to nurturing a worshipping community. based on the findings, the following recommendations are made thus: establish a worship planning team to coordinate hymn selection and service order, provide training for music leaders and worship teams, encourage congregational participation through inclusive language and accessible melodies, incorporate diverse musical styles and instruments and periodical evaluation of worship services regularly to ensure effectiveness. references adedeji .f & ayanyinka . a (2022), music in worship and worship in music: towards a theory of inseparability. journal of church music and worship (jocmaw) vol. 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(2019). the power of hymn singing: a guide to congregational song. choralhub publications (p.176). crawford, e. (2019). congregational engagement: how administrative planning impacts participation. the church leader, 4(1), 45-58. retrieved from https://www.churchleader.com/congregational-engagement/ creswell, j. w. (2014). research design: qualitative, quantitative, and mixed methods approaches. sage publications. retrieved from https://journals.sagepub.com/doi/abs/10.1177/0907568213518894 danyew, a. (2020). beyond the worship wars: empowering congregations for 21st – century ministry. fortress press. dixon, s. (2010). new worship music that challenges the status quo. christianity today. retrieved from https://www.christianitytoday.com/ct/2010/april/12.33.html edwards, j. (2020). leveraging technology for effective worship experiences. worship technology journal 10(2), 23-35. retrieved from https://www.worshiptechjournal.com/technology-in-worship/ francis, l. j., &kaldor, p. 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(1993). building an effective church music ministry:a guidebook for church music administration. ibadan. baptist press (nigeria) limited. odusanya, o. s. (2022). the contribution of julius dele ogunlade to music scholarship and professionalism in the faculty of church music, nigerian baptist theological seminary, ogbomoso. journal of church music and worship (jocmaw) vol. (1) 103-121. ojo, m. (2017). african gospel music: identity, meaning, and performance. routledge publishers. rainer, t. (2016). breakout churches: discover how to make the leap. b & h publishing. reynolds, w. (1975). hymns of our faith: a handbook for the congregation. broadman press. rice, j. & lovelace. m (1976). the hymnbook companion. hope publishing company (p.71-88) scholes, p. (2017). the oxford handbook of christian worship (oxford university press). shalley, j. (1995). the music minister’s survival guide. baker books.(p.240) sosa, r, (2017). the american worship: a study. wipf and stock publishers. southern baptist convention. (2021). hymns. retrieved from https://www.sbc.net/resources/hymns stowe, d (2015). no sympathy for the devil: christian rock and the politics of youth culture. unc press books. sutton, l. (2020). exploring contemporary hymnody in baptist worship. baptist history review, 102(1), 55-70. retrieved from https://www.baptisthistoryreview.com/exploring-contemporary-hymnody/ sydnor, r. j. (1982). hymns & their uses:a guide to improved congregational singing usa. hope publishing company. wagner, h. (2018). hymnody: a unifying force in worship. american baptist quarterly, 36(2), 93-102. retrieved from https://www.americanbaptistquarterly.com/hymnody-inworship/ watson, j, r. (2002). the complete book of hymns. tyndale house. watson, j, r. (2002). the english hymn: a critical and historical study. oxford university press. webster, j. (2015). the oxford handbook of christian worship. oxford university press (pp.419-452). white, j. f. (2011). introduction to christian worship. westminster john knox press. wilson-dickson, a. (2007). the musician’s handbook. augsburg fortress. witvliet, j. (2003). worship seeking understanding: windows into christian practice. baker academic (pp.151-170). wong, w. (2020). the importance of training in the church. church leaders. retrieved from https://www.churchleaders.com/leadership/406950-the-importance-of-training-in-thechurch.html. list of interviewees adeyinka, v. a (volunteer music minister, antioch baptist church, ogbomoso. august 12, 2024 odusanya, o. s. (music minister, unity baptist church, ibapon, ogbomos, august 23, 2024. ogunleye, a. (music minister, surulere baptist church, lagos), august 06, 2024. https://www.sbc.net/resources/hymns https://www.baptisthistoryreview.com/exploring-contemporary-hymnody/ https://www.americanbaptistquarterly.com/hymnody-inhttps://www.churchleaders.com/leadership/406950-the-importance-of-training-in-the-%09church.html 194 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music production for entrepreneurship benefits in a digital economy kalu, kingsley (phd kaluck27@gmail.com & osele, angelina a. (phd) angelinaosele@gmail.com & obiesie, ezekiel n. c. obiesieezekielnc@gmail.com departmentof music, alvan ikoku federal university of education, owerri abstract digital economy is taking shape and undermining conventional notions about how businesses are structured; how firms interact, and how consumers obtain services, information, and goods. music writers or composers can now determine to release the specific genres and styles at any point in time; while live performances can be streamed to audience via digital network service platforms easily anytime, anywhere. hence, the benefits of music production for entrepreneurship in a digital economy cannot be over-emphasized. on the strength of the above, this paper therefore discusses the benefits of music production for entrepreneurship in a digital economy, with reference to the south eastern state of nigeria. the researchers applied bibliographic, ethnographic and musicological methods to elicit information on concepts of music production, music entrepreneurship; benefits and challenges of music production for entrepreneurship, as well as music entrepreneurship education. thoughts were given to music education and its importance towards preparing graduates for entrepreneurship purposes, creating employment opportunities for music graduates in a digital economy; the curriculum contents and its benefits to music students and, the role of government in providing a flourishing ambience for music artistes’ contribution in a digital economy which lives much to be desired.views in focus include the roles of the academia, music professionals and investors in the entertainment industry for the sustenance of digital economy, as well as recording studios in the south eastern states and the contributions of music practitioners and musicologists to digital economy in nigeria. finally, the researchers flayed the government seemingly insouciance towards music education and advocates for regular music talk shops/seminars, conferences and in-service training, to be in line with the dynamic requirements for music studies, creativity and performances in a digital economy. keywords: music production, entrepreneurship, digital economy introduction the introduction of digital technologies in the 1980s, multiplied the strength and confidence of self– determined music producers. internet is now the main source of spreading produced musicals. economically, it has salvaged many composers in moving around their own musical works. music writers can now determine to release the specific genres and styles when desired, while live performances can be streamed to various audiences through digital network service platforms for easy access at anywhere, anytime. to this end, the relevance of music production for entrepreneurship benefits in a digital economy can never be over-emphasized. music production involves one or more persons. playing musical instrument and singing could be a sort of organized activities for entertaining mailto:kaluck27@gmail.com mailto:angelinaosele@gmail.com mailto:obiesieezekielnc@gmail.com 195 awka journal of research in music and the arts (ajrma) vol 17 june 2024 audiences in a traditional or social setting, religious gatherings or in the recording studio via recording the voices only, voices with the accompanied musical instruments or (vice versa)the process going the other way. it could be script writing of musical notes by an art music composer, to form rhythmic pattern, rhymes, melodic and harmonic chords, using languages as lyri technology. burgessin kalu, ahanotu and onwuekwe (2020) explained: music production as the technological extension of composition and orchestration captures fullness of the a composition, its orchestration, and the formative intentions of the composer cs to express people(s) beliefs and way of life in line with required digital and scientific or composers. in its precision and inherent ability to capture cultural, individual, environmental, timbre and interpretive subtleties along with those of intonation, timing, intention, and meaning (except where amorphousness is specified), it is superior to written music and oral traditions. music production is not only representational, but also an art in itself (p. 88). in concert with the above, music production is not just a studio thing, it now involves script composers who can now write their works with computer, while they make use of music software like: sibelius, noteworthy, cubase, and lots more in writing melody line or harmony for voices and score scripting for orchestral and symphonic works. these days, music scripting requires the use of computer system to help quicken the composer’s work and enhances clean and distinct print production for easy sighting during teaching and learning periods and for artist live stage performances. george (2015) opines: that due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. for the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production. in the same vein, kirby (2015) also observes: characteristics of modern technologies as processes that can be combined and configured endlessly for fresh purposes: “technology”, “once a means of production, is becoming a chemistry”, he adds: “technological competences can often be as useful and relevant as traditional musical skills when working with digital music (p. 243). the above definitions clarify the fact that music educators need to have personal or individual appraisal of self on the impact of modern technology to the musicologist, academic environment and to the society in general. also, to ask ourselves if the interest and enthusiastic spirit with which many started with is yet there. otherwise there is the need to brace up to this unending music education and its harmonic alignment with digital system of information and communication technology. again, the need to ask, if one sees it as a fulltime career or part time participation since the musicologist undergoes his training to become a music and entertainment producer. the issue to battle with all the time is choice of area of production, but there shall always be a compulsory decision to make; if one wants to be a script music producer, a studio music producer, or rather choose to be an “on stage music producer”; that is, a performer or become all the three. however, it has become imperative that, the musicologist of today should primarily focus on perfecting the artistic and ethical aspect, and also understand the economic, administrative, andentrepreneurship facet of music production. usherwood (2015: 5) specifically points out that: as digital technology continues to be a major force in the music industry, they also have new expectations, opportunities, and issues to consider. it is necessary then for musicians to be entrepreneurially inclined and business-minded in order to productively and successfully navigate through the current realities of this ever changing industry. it is 196 awka journal of research in music and the arts (ajrma) vol 17 june 2024 important for musicians to realize their artistic strengths, broaden their musical scope, and explore audience possibilities. digitalization in the music industry did not only change the concept of the music business but basically reshaped its value-added network. digital innovations are transforming the music industry with the entrepreneurial rush and increasing new projects attributed with extensive advancements in audience reach and online visibility measured through capitalization and media impacts, etc. though digitalized music in mp3, whatsapp, youtube, xender, etc. created the way for unlawfully downloading of music; however, producers concentrated on the sale of single tracks instead of full music albums. it brought illegal copying and transferring of music over the internet, albeit, it increasingly acts as a substitute for sales, though it reduces the inflow of capital to the industry, as finances that would have otherwise be used for the discovery and the development of new artists were lost. nevertheless, the benefits of digitalized music education and production outweighits losses. concept of music production production can be seen as the act of bringing something out for use or consideration. supporting this assertion, the chambers dictionary sees production as the act of producing or process of being produced. music production therefore, as earlier cited above is the technological extension of composition and orchestration. it is a great outlet that offers you a lot of opportunities to get your foot in the door of music industry. you work with people of like-minds and instructors with whom you can collaborate, and most importantly it is a lot of fun. music producers, as discussed here, are rarely involved in manufacturing; typically delivering a final mix or master of the music in the prevailing professional format. music production is thus a less ambiguous term because it references the thing we produce, irrespective of its ultimate encoding as grooves on a cylinder or disc, pits and land on a cd, or ones and zeros in a digital file. nonetheless, the producers as discussed here recordmusic mostly for distribution to consumers and also for film, television, electronicgames, commercials, and more. dissemination and monetization through multiplechannels are now common. it is noteworthy that no two producers or production teams have identical skill sets or ways of working, but commonalities do exist. there are many useful criteria for classifying producers. among them are current success, musical genre, training, studio ownership, price, location, and methodologies. on these bases, you could select someone who recentlyhad a big hit, a heavy metal producer, an engineer/producer, a studio owner, someonewho works at cheaper rates, or a person who programs everything using a digitalaudio workstation and synthesizers. a modestbudget may make studio ownership imperative, but not just any studio owner willdo. similarly, if prior success is crucial (as it often is—major labels value hits) and becomes the initial filter, functionality will still need to be the ultimate criterion fora successful outcome. identifying producers by background or training— engineer/producer, songwriter/producer, musician/producer, and so on—omits other criticalconsiderations. engineer/producers often discontinue engineering and contributeto arrangements, song doctoring, and performance coaching. likewise, songwriter/producers nowadays often engineer and do not always insist on writing the materialthey produce. furthermore, these classifications may not apply to the person of the producer exclusively butrather to the techniques he or she applies to a particular production. as describedearlier, some producers 197 awka journal of research in music and the arts (ajrma) vol 17 june 2024 have bior poly-functionality and can switch roles from projectto project. moreover, a producer can be a team or an individual, hence the use of the term “production team” when it is clear that two or more are formal partners. itis worth noting that established production teams generally interact with each otherand the artiste differently than individuals, who co-produce with the artiste in what is, frequently, an ad hoc working relationship. concept of entrepreneurship entrepreneurship has been the focus of different disciplines such as economics, sociology, finance, history, psychology and anthropology, each of which works with its own terms. the concept of entrepreneurship, according to carton, hofer, & meek (1998) is derived from the french word, entreprende which means, “undertake”. while shane & venkataraman (2000) definedentrepreneurship as the use of opportunities for the discovery, evaluation and promotion of goodsand services, forms of organization, markets, processes and raw materials that were not previously available, parker (2004) took this further by stating that entrepreneurs drive change drawing on abilities such as leadership, motivation, solving crises and taking risks. finally, garud, jain, & tuertscher (2014) touched on personal and psychological characteristics, emphasizing that individualsexhibit certain behaviours based on their needs such as establishing close relationships, obtaining power and achieving success. to chambers dictionary, 10th edition, an entrepreneur is“a person who undertakes an enterprise especially a commercial one often at a personal financialrisk”. the managing proprietor of a firm who supplies the capital bears the risk of productionand is the controller of a day-to-day management and marketing; so also is a contractor oremployer, an organizer of a musical or other entertainment outfit. furthermore, barker and peppler (2017) defined entrepreneurship as ‘‘the ability to imagine and identify opportunity, combined with the skills to creatively build something of sustaining value, for a central and necessary part of the lives of artists, the development of organizations, and the future of music ensembles’’ (p. 2).barker and peppler (2017) further described entrepreneurship as “a management process and unique entrepreneurial “recipe" informs the decisions made throughout the management process” (p. 50). in another view about entrepreneurship, ojeifo (2012) stated that: entrepreneurship is generally viewed as a process of creating something new. doing this involves a lot of time and effort devoted to ensure the tasks at hand and the resultant effects include monetary and personal satisfaction as well as independence. entrepreneurship involves creation process, conscious devotion of time and effort; it involves risk and has some rewards (p. 79). in a clearer point, based on the above report, entrepreneurship is usually a procedure of establishing new ideas. to achieve such, one has to be committed to such project; though financial benefits could be amongst the consequential outcome, it also includes formation procedure, realization of commitment and time endeavour to justify the menace attached to it. gray (2017) implied that entrepreneurship is a way of taking an approach towards discovering and pursuing opportunities, solving problems, not constrained by the present that find application in diverse context and institutions, new and old; public and private work places (p. 27). however, kruger (2004) insisted that selecting an appropriate basis for defining and understanding entrepreneurship creates a challenge for academic researchers and writers due to the fact that a number of schools of thought exist that view the notion of entrepreneurship from fundamentally different perspectives (p. 13). in concert 198 awka journal of research in music and the arts (ajrma) vol 17 june 2024 with the above comments, the researchers opine that entrepreneurship is an unvarying procedure with variations of an exceptional collection that involves a personal tactic during setting up and developing a positive attitude while working in every situation. in other words, entrepreneurship is the ability of an individual or group to take a bold and confidence decision to embark on business venture, being ready to bear the risk outcome in either profit or loss result. the entrepreneur is the sole owner of such investment, and chief executive in charge, in most instances, takes the decision, gives instructions to every other person working in the establishment or company. benefits and challenges of music production the music industry has undergone a marked transformation in recent years. with advent of digital age, the music business has evolved significantly, giving rise to a diverse array of professions that play crucial roles in the creation, distribution, and promotions of music. these include, but not limited to: musicians/songwriters and composers, who are the heart of music industry themselves; as they craft the soul-swirling lyrics and melodies that resonate with audiences worldwide. they are the very hub of the industry. they earn their income primarily from record sales, streaming, live performances, and songwriting royalties and publishing, making them the driving force behind the economic success of the industry. others include managers and agents, record labels and distributors, event planners and promoters, etc whose synergy create a thriving ecosystem that drive the growth of music industry. furthermore, the way that many great musicians have set themselves apart is by using their educational status to their advantage. as they learned and listen more and more, they were able to find something about their styles that they could draw upon to make sure no one ever confused them with anyone else. engaging in music production avails you of many opportunities and benefits. it allows you to gain the knowledge and experience you need to be formidable in the music production business. working with people who have been in the industry for much longer than you, will allow you to take advantage of their wisdom and experience. you will be opening yourself up to a whole world of information that can enrich and broaden your musical career in ways that you did not even know were possible. successful producers can generate a great deal of income from the sales and use oftheir productions. according to burgess (2013),“a good producer can make millions”. “ideally you want to have several albums that go on selling forever.” although this is true, it takes a very big hit or several substantial successes to make millions as a non-writing producer. on the other hand, producers are problem-solvers. productions begin as concepts that will embody disparate elements, known and unknown. the producer’s task is to combine these parts and ideas to make a coherent communicative statement. to burgess (2013), music producers are problem solvers. for instance, “when you have been given the description of something but do not yet have anything that satisfies that description;“he described a problemsolver as “a person perceiving and accepting a goal without an immediate means of reaching the goal. this is what producers do”. more so, burgess observes that: apart from artist and auteur producers, most do not face the blank page paralysis that confronts creative artists from time to time—sitting in front of a blank page, canvas, or screen with no immediate thought or inspiration for where to begin (p. 45).. 199 awka journal of research in music and the arts (ajrma) vol 17 june 2024 producers function like editors or commercial artists such as graphic designers—they rarely create on a whim. typically, there are clients, a target audience, an artistic sub-discipline, and a conceptual brief. to be successful, the work has to meet the practical requirements while achieving a high level of “aural communication. the term “production”, like “graphic design”, means both the process and the result. a primary challenge for producers is meeting the demands of the commissioning entity or entities that will, in turn, satisfy the wants of a substantial audience. fine artistes may choose to starve in order to follow their artistic muse, but it is notable that much of what we consider great art was commissioned, created under patronage, or made for commercial purposes. these artistes had to wrestle with the creative challenges of the work and satisfy clients, donors, or a broad audience to survive. a producer has to mollify many interests, while resolving technical, creative, financial, commercial, and interpersonal problems. finally, no matter how strong your contract and how high your royalty rate (within the range of longstanding major label rates), unless your recordings are consistently selling at gold or platinum levels, royalty income generated for a producer will be modest. unknown producers rarely get large advances or high royalty rates. without hits or an established reputation in a niche, it can be difficult to make a living as a producer. in the same vein, fox (2004) observed that some artistes are hard of hearing due to standing in front of live amplification fortoo many years, and you only hope they have the wisdom to defer to those whocan hear. when faced with this problem, fox states, “i do an a/b session with the artiste’sfavorite records so that they (and i) can get a relative sense of how our work is sounding”. in fact, being at loggerheads with the artistes is a big concern and challenge to most producers. “or worse still, members of the band, being at loggerheads with each other.” he also further stated that: though i had never seen a situation where the bands have completely broken down, but haveseen disagreements where one person gets very upset. you just have to take the time .to makes them feel their concerns are being listened to. then, they will back down from their stance (p. 30). some of the recording music studios in the south eastern states visited by the researchers include smooth groove productions at no. 4 aba road, umuahia, abia state; rhythm & beats at no. 17 nnamdi azikiwe evenue, onitsha, anambra state; melody makers at no. 12 ogoja road, ebonyi state; enugu music hub at no. 34 ogui road, enugu state; rave studios at no 12 wetheral road, owerri, imo state. the above listed music studios range of services include recording studio services, concerts, conferences, crusades, rallies, birthdays, music production, entertainment during events and music recording services. their production costs vary widely based on factors such as the specific services offered, the studio’s reputation, and the location. entrepreneurship education one of the keys that help to drive any economy is entrepreneurship, jobs are created through small business owners who later develop courage for entrepreneurship venture. entrepreneurs do have confidence in themselves, they have time of their own; make self-decision for the progress of the business. entrepreneurship contributes to reducing unemployment in the economy; successful entrepreneurs are figures for emulation by small scale artisans, skilled and craft individuals who do not have the courage to lunch out to start up a business. entrepreneurship education informs, 200 awka journal of research in music and the arts (ajrma) vol 17 june 2024 educates, liberates the mind of youths and individuals who dependent on government and other private sector or individual for employment. by teaching entrepreneurship skills, the content of learning activities if well achieved, would spur learners to discovery of their innate abilities and create opportunities for entrepreneurship endeavour. the economy grows if youths and graduates embrace entrepreneurial ideas and engage themselves in skillful work, crime and other social vices would reduce to a reasonable degree. entrepreneurship education stimulates the economy from such an unexpected dimension, there are neglected areas, skills and trade that could systematically stimulate the economy, but if people are not educated or informed about it, such aspect stays stagnated in terms of business and economic gains; music production is one of such area. narrowing the above concepts down to music graduates, onuora-oguno (2015: 28) affirmed: “by honing the entrepreneurial skill of the nigerian musician, he will emerge with a cogent business plan applicable to many different ventures within the music industry.” according to him, entrepreneurship turns out to be an essential skill for today’s musicians and even more so for music of tomorrow. digital technologies have simply become part of our lifestyle and one that empowers music producers to “go do it yourself” rather than work for others. he enumerated the following groups as the beneficiaries of entrepreneurship to music: 1. performers wishing to treat their musical ventures in a professional business manner. 2. song writers who wish to act as their own publishers. 3. those interested in creating music production companies. 4. those interested in music merchandising and others. all these groups of entrepreneurs will be taught how to go about establishing their businesses. music entrepreneurship education music entrepreneurship education should include all academic activities involving those course contents that help the teacher impact knowledge to the learners, prepare them towards being selfreliance and proficient in skills acquisition, educate them on modern music business acumen, integrate all that should make music students achieve success in their professional career and personal goal attainment after graduation. music entrepreneurship education can also be defined as a transfer of strategies to applying ideas like: ethical competences, creative abilities, confidence in risk taking to venture in a committed music investment with economic implication, being business minded, having the zeal to exhibit musical knowledge and skills, encouragement to achieve being self-employed after graduation; based on already acquired training, using well-organized curriculum contents that should be relevant to music student in a digital economy. there is need to explore music production skills as one of the many core economic and vibrant areas that will enhance effective music entrepreneurship education, to reduce unemployment of music graduates and practitioners. in support to the above, gray (2017) believe that’s pedagogic framework built to integrate essential concepts in entrepreneurship within the context of existing music curricula has the potential to better define arts entrepreneurship and its intended learning outcomes for music students’’ (p. 41). the above statement means; there should be educational structure to incorporate important aspect of skills acquisition for self-employment into the current music curriculum to produce an acceptable document to guide and direct a part way for performing and creative aspect of music production for music students. abiogu, mbaji, & adeogun (2015) implied that apparently, music education is a strategy for achieving much public good and through direct programs and advocacy, institutions can 201 awka journal of research in music and the arts (ajrma) vol 17 june 2024 promote music as an intervention to improve youth’s successful employment outcomes and strengthen self-development of communities (p. 120). to the above, gray (2017) further explained that: music entrepreneurship curricula can foster student goals by teaching skills and developing knowledge in areas that are specifically relevant to individual professional goals as well as through the teaching of self-regulatory habits and a presentation of the current arts context (p. 43). the above assertion reveals that teaching any aspect of skills acquisition and entrepreneurship in a creative and performing arts courses by one who is not artistically minded in such area is an aberration; he may not be able to influence the students in their specialized area requirements due to lack of experience in creative and performing arts business complexity. however, usherwood (2015: 5) opines that: students should be encouraged to acquire the career development and entrepreneurial techniques necessary to advance themselves according to their area of specialization and their own career objectives.” however, most music departments, programs, and schools still lack fundamental music business or entrepreneurial initiatives. unfortunately, there seem to be great lacunae in the curriculum content vis-a-sis the views expressed above. more so, the government inability to provide the needed facilities for effective teaching and learning towards acquiring entrepreneurial skills leaves much to be desired, especially as observed in all the tertiary institutions in the south eastern geo-political zone of the country. usherwood’s view is also in agreement with the above discussion. nigerian music students should be groomed to have confidence in their area of interest and professional fields of endeavours. departments of music are expected to focus more on music production business, it has the influence to create and enhance effective entrepreneurship opportunities in a digital economy. gray (2017: 42) noted that “context specific characteristics” can inform the “types of entrepreneurial activities as well as the associated skills that a student will need to master”. again, usherwood (2015) specifically pointed out that: as digital technology continues to be a major force in the music industry they also have, new expectations, opportunities, and issues to consider. it is necessary then for musicians to be entrepreneurially inclined and business-minded in order to productively and successfully navigate through the current realities of this ever changing industry. it is important for musicians to realize their artistic strengths, broaden their musical scope, and explore audience possibilities (p. 5). based on the above, both gray (2017) and usherwood (2015) seem to be saying that the level of technology and innovative advancement of now will determine the student’s interest to develop his or her individual skills, based on content and specific objective, to be able to measure up with the emergence and continuous influence of modern digital technologies, the evolving digital musical appliances and unending new methods of music creation/production, distribution, and appreciation. kirby (2015: 372) added that: “technology provides the tools with which people and institutions augment their abilities to communicate, and changes in communication technology profoundly destabilize and create new opportunities in art and culture”. in a similar response, gray (2017: 39) discussed that music entrepreneurship classes can be suffused throughout music curricula: “course offerings in music entrepreneurship exercise skills unique to the career experiences of music performers, educators, and researchers. ideally, a fully suffused 202 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music entrepreneurship program would include several course offerings that expose students to a gamut of skills and content in a variety of learning environments. the views of kirby and gray are in tandem with the previous discussion, they are saying that an organized guideline of personal or individual skills and abilities acquired in creative environment will help to steer the musician’s entrepreneurial development. they stressed that the perception of entrepreneurship as ways of thinking and procedure that leads to creative development for entrepreneurship program, enhances the teaching and learning of exact skills, and students’ response. the teaching and learning of the music entrepreneurship procedure would help students to develop in their knowledge and skills as they advance in studies. barker and peppler (2017: 3) responded: like social entrepreneurs, music entrepreneurs learn to combine the passion for creativity and problem solving with business discipline, innovation, and production within a larger context. they are aware that the act of music making takes place within a framework of relationships. they improve systems of music making, come up with new ways to solve problems, and explore ways of changing organizations, ensembles, community, and society for the better. they have the ability to be visionaries and realists simultaneously and are passionate about transforming an idea into reality… the entrepreneur is able to think boldly, question assumptions, and challenge the status quo. the above assertions by barker and peppler clarify that individuals who are music business owners become skillful to merge the enthusiasm for inventiveness as an entrepreneur who proffers solutions to bring about improvements in a wider scope of framework for improved environment and larger scope of the society. their view in the area of creativity and entrepreneurship development and accomplishment within the immediate environment, suggest the “creation of fresh thoughts and novel ideas for economic empowerment and sustenance of music graduates”. gray (2017) in his emphasis on music entrepreneurship observed that its curriculum content and materials should focus at developing the following set of concrete and abstract skills, characteristics and abilities: (1) the capacity to think creatively, strategically, analytically, and reflectively (2) confidence in one’s abilities (3) collaboration and communication skills (4) an understanding of the current artistic context (5) entrepreneurial opportunity recognition and risk assessment (6) an understanding of personal passion and vision (7) musical disciplinary knowledge, technical skill, and expression (p. 22). gray reveals that in an effort to develop an entrepreneurship curriculum that includes a holistic approach to arts and entrepreneurship learning, the curriculum also aims to develop core entrepreneurial skill sets, such as project planning, assessment, ideation, marketing, and networking. music entrepreneurship education is expected to involve impacting techniques, skills and knowledge necessary into the learners, inspiring their individual or group intention(s) to starting up a new business, be it self-employed, small, medium or large scale. teaching and equipping them with skills so they can be self-confidence individuals, private or group entrepreneurs. also analyzing them, making decisions and acting upon them, educating the students on possible sources of providing required financial, human and material resources geared towards an implementation for profit making and a successful career in music entrepreneurship. 203 awka journal of research in music and the arts (ajrma) vol 17 june 2024 conclusion digital technologies have changed methods of music education and production in nigeria and beyond; and the impacts, feelings and relevance of digital economy is currently at the front burner in every facet of life globally. therefore, in a way of summering/concluding this paper, the researchers opine that efforts should be geared towards inculcating the benefits of the modern contents of digital and technological aspects of music education as contained in this paper to the music students. the music educators/scholars are expected to be equipped with the basic entrepreneurial acumen in music and other digital economy around the world. fresh thoughts and novel ideas are required in reviewing music curriculum contents, to embrace relevant skills and abilities so that musicians can strive to thrive in their music business and entrepreneurship career for a worthwhile impact in a digital economy. furthermore, the government’s seemingly apathy towards music education in preference for science leaves much to be desired, since it is believed that the “arts (music) pre-date science; the humanities is the mother of science”, hence the need to create more awareness for entertainment industry and most importantly, music education. these can be done through regular music workshop, seminars, conferences, and in-service trainings to be in line with the dynamic requirements for music production and creative performances in a digital economy. references abiogu, g. c., mbaji, i. n., & adeogun, a. o. (2015). music education and youth empowerment: a conceptual clarification. open journal of philosophy. 5, 117-122. barker, a. and peppler, k. (2017). music entrepreneurship. the sage encyclopedia of out-of school learning. sage publications. 1 9. burgess, r.j. (2013). the art of music production: the theory and practice. new york: oxford university press. carton, r.b., hofer, c.w., & meek m.d. (1998). the entrepreneur and entrepreneurship: operational definitions of their roles in society. in annual international council for small business. conference, singapore. chambers dictionary 10th edition (2007). edinburgh: harrap publishers fox, m. (2004). e-commerce business models for the music industry. popular music and society,27 (2), 201 – 220.. garud, r., jain, s., & giuliani, a.p. (2014). contextualizing entrepreneurial innovation: a narrative perspective.research policy, 43 (7), 1177 – 1188. george, a. w. (2015). the role of music theory in music production and engineering. an m.a. thesis presented to the school of music and dance and the graduate school of the university of oregon. gray, m. (2017).teaching music entrepreneurship in the chamber music classroom: a cross disciplinary curricular framework. an essay submitted in partial fulfilment of the requirements for the doctor of musical arts degree, in the graduate college of the university of iowa.. kalu, k. a., ahanotu, e.n & onwuekwe a. i. (2020). exploring entrepreneurship opportunities of studiomusic production in tertiary institutions insouth east education zone. awka journal of research in music and the arts (ajrma). 14. pp. 83-100. kirby, p. r. (2015). the evolution and decline of the traditional recording studio. thesis submitted in accordance with the requirements of the university of liverpool for the degree of doctor in philosophy. 204 awka journal of research in music and the arts (ajrma) vol 17 june 2024 kruger, m. e. (2004). entrepreneurship theory and creativity. university of pretoria. (pp.13, 16). ojeifo, s. a. (2012). entrepreneurship education in nigeria. journal of education and practi www.iiste.org. 3 ( 14) 78 82. accessed 9th, dec. 2019. onuoraoguno, n. c. (2015). honing he entrepreneurial skills of the nigeria youth for social stability: the music option. journal of nigeria music education. 7, 2228. parker, s.c. (2004). the economics of self-employment and entrepreneurship. new york: cambridge university press. shane, s. & venkataraman, s. (2000). entrepreneurship as a field of research: the promise of entrepreneurship as a field of research. academy of management review. 26 (1), 13 -17. usherwood, j. t. (2015). music business and entrepreneurship: a graduate level course for performance students. a thesis submitted to the faculty of the jacobs school of music in partial fulfilment of the requirements for the degree, doctor of music indiana university. http://www.iiste.org/ 61 women and music in nigeria john ajewole department of creative arts (music) faculty of arts, university of lagos, nigeria abstract the contributions that women make to the building of any nation generally and in particular cannot be overemphasized. this paper, women in music in nigeria, addresses cultural and religious beliefs about women as music-makers. the paper also discusses some women activities such as the transmitting of values; women‟s roles at home, women as mobilizers; women in education; women in the medical field; women in legal profession; women in politics; women in education; women in agriculture; women in business and lastly women in music. the paper concludes that nigeria had women of ability and integrity in the past and still has them today across all fields of life generally and music in particular. nigerian women have proved to be in control through the use of their musical arts to move the nation forward. various recommendations were given on effective way to tap the immense potential of nigerian women in music. introduction women can be described as indispensable group in the development of any nation. writing on women‟s population, masha (2001:1) said: “the 1991 population census put the number of nigerian women at about 44million which is almost fifty percent of the total population 88,514,501million.” apart from their numerical strength, women have great potentials necessary for economic, social, political, educational and moral development, which will sustain nation building. in his views on women‟s population, oyetade (2003:1) notes that: “women constitute more than half of the population of nigeria, yet they are relegated to the background in the realm of things in the society.” he went on to explain the fact that women were not expected to be individuals, in law they were not supposed to live by themselves. unless they were widows, they were expected to spend their whole lives in legal and physical subjection to a man. the subjected women had many duties, but few rights. she was expected to breed and rear children, as many as possible. ideally, a woman or girl should never be idle. it is known from history that nigeria was particularly blessed with women who could found and build societies. according to emarievbe (2003:2) “we had the legendary inkpi, moremi and daura, they were associated with the founding and building of igala land, yoruba land hausa land respectively. there were also women who took charge of state affairs. these were like queen amina of zauzau and queen kaumbasa of bonny, who even commanded armies of their state. furthermore, there were those who wielded great influences in the awka journal of research in music and the arts (ajrma) vol. 9 2013 62 society. according to ogbeh (2005:4) and oruwari (1996:10), iyalode efusetan and omu otuwe are good examples of this. in african culture generally and nigerian in particular, the place of a woman is in the kitchen. according to emarievbe (2003: 4) “her duty is to bear children, care for them and her husband. she should be seen and not heard, so it is seen as something abnormal and against the culture for a woman to see herself in position of authority which is the exclusive reserve for male. women cannot participate in politics as this will be seen as an attempt to rub shoulders with the men. a woman is seen as a property of the husband just like any other inanimate object owned by the man. she does not own a farmland except that given to her by her husband to farm on and it is on a temporary basis. she could also have farm land from her paternal of maternal family depending or her relationship with the head of the family. according to saito (1994:5) “farming of these parcels of land was temporary.” the culture gives priority and recognition to a boy child at the expense of a girl child. the female child is seen as a liability rather than an asset. the man is the head of his family and has authority to do what he wants with members of his family unit. our culture is seriously gender-based. having been brought up under this type of culture, where men are seen as semi gods, to aspire to positions of authority where they can use their talents for the upliftment of the nigerian society becomes difficult. in some homes, the women dare not hold a different political view or belong to a political party other than the one the husband belongs. she could be severely disciplined if she does. women should be empowered to do away with those aspects of our culture that are oppressive once this is done; they will participate actively in political and economic matters and contribute meaningfully to the development of their nation. in the nigerian society there are about 250 ethnic groups with different customs and traditions. it is important to note that there are bound to be differences between one society and the other, and the difference between sections of the same ethnic group may be striking. according to okafor (1987:120) “in some societies like the igbo, for example, there are certain aspects of the communal law both in maintenance and in breach in which the woman‟s word is virtually the last.” and, there are other ethnic groups in nigeria where the man‟s word is certainly not the last especially as it concerns the welfare of the family. there are customs among the igbo, particularly in the funeral rite and moral laws, where the council of the classificatory sisters have an important and often decisive voice. in the history of yoruba, we have had, at least, two cases of woman rising to the top and making their mark. one was a ruler of ile-ife, moremi and the other was the well-known madam tinubu, the warrior. among the bini, emotan made her mark and though a destitute, is now somebody, a figure, a name by which the edo take their bearing. there was the princess inikpi of igala and, of course, the well-known amina of the hausa. and so, women have very important places in the history of nigerian society and they are therefore not always the kitchen-bound, child-rearing, child-bearing ones. 63 educated nigerian women if education is being regarded as a weapon of change, then every citizen, male and female must be ready to bring the desired change to move the nation forward. in nigeria, there have been women who have contributed scientifically to the socio-political and economic development of the country in their various fields. according to ayanlola (1993) as quoted by fadeiye and olaregan (2001) educated eminent nigerian women had made their marks in the history of the nation. prominent among them were madam tinubu of egbaland, efunsetan aniwura of ibadan, amina of zaria, mrs. funmilayo ransome-kuti, professor (mrs.) bolanle awe, bola kufariji –olubi to mention but a few (p. 65). adepoju (2003:3) remarks that, “politically, there are women who have made impact and are still making impacts. many women have been appointed ministers, deputy governors, senators, commissioners and so on.” in the literary field, there are women who have distinguished themselves. also in the professional field, for example medicine, engineering, banking, law and so on, we have had women who have competed favourably with men. even in sports, music such as professor omibiyi obidike, (institute of african studies, university of ibadan), to mention but a few, several women have excelled. generally the activities and contributions of these women have made serious marks in the development of the nation. this is to buttress the claim that educated women play a vital role in bringing about national development that is capable of moving the nation forward. women activities in nigeria several records reveal overwhelming evidence of the women folk‟s contributions in the nigerian‟s historical development. the following highlights women‟s activities in nigeria in the past and present: 1. women as transmitters of values: the task of building a nation (nigeria) requires a re-orientation of the citizens. it requires the inculcation of our cherished values as stated in the philosophy of education f.g.n (1998: 12) which include: (a) respect for the worth and dignity of the individual, (b) faith in man‟s ability to make rational decisions, (c) moral and spiritual values in inter-personal and human relation; (d) shared responsibility for the common good of society; (e) respect for the dignity of labour and promotion of the emotional (f) physical and psychological health of children. women are indispensable factors/instruments in the transmission of these cherished values to the younger generation. women are rightly said to be the custodians of the future. ogbuigwe (1996:10) remarks that, not only because they bear and rear children but also because they are by nature endowed with much potential to nurture succeeding generations of the nation. 64 2. women’s roles at home: women are responsible for early training of their children. our traditional education provides adequate rural training for women who in turn pass it down through instruction to their children. they care in so many ways as keeping and sustaining human life, ensuring that the child conforms to the accepted social norms. they ensure also that the child achieves success and develops into a responsible being. in fact, women are the doctors, teachers, cooks, accountants and lawyers of their various families. 3. women as mobilizers moving nigeria forward politically requires creating awareness through mobilization. onifade (2003:9) notes that, “historical evidence shows that women are good mobilizers. examples of these are mrs. funmilayo ransome kuti who played important roles in mobilizating people during the struggle for independence. the aba women‟s riot of 1929 is another example of women mobilization against obnoxious colonial policies. it is well known fact that when people are mobilized for a common purpose, irrespective of differences in their backgrounds, they become more united, speak, with one voice and co-operate to achieve their purpose. 4. women in education: educated women, particularly in nigeria have been playing dynamic roles in the various fields of endeavour – from legal profession to medical, engineering, surveying, education, aeronautics, and also in politics where many of them have sometimes proved the saying that “what a man can do, a woman can do even better”. the outstanding contributions of women in education cannot be over-emphasized. some of them have held high positions in our tertiary institutions. prof allele williams, former vice chancellor, university of benin, prof. jadesola akande, vice chancellor, lagos state university are two examples of such. there are other women professors and doctors in the different fields of education contributing to human development in nigeria. 5. women in the medical field in the medical field, women are not left behind in their contributions to nation building in nigeria. prof. abiose of the guinness eye center kaduna is an example. women doctors, surgeons, consultants, and specialists in pediatrics, obstetrics and gynecology, and other parts of medical field are helping to bring about the quality and longevity of live to millions of nigerians through their sciences. many of them including nurses help in the enlightenment campaign against hiv/aids and other killer diseases. 6. women in the legal profession women like late hon. justice atinuke ige, justice fati abubakar, justice ansa mbaneto and justice hansine donli of ecowas court of justice, to mention but a few, have proved that the legal profession is not the exclusive preserve of men. 7. women in politics in politics, nigerian women have featured prominently not only in immobilizing others but also active participation in politics. according to iwara (1998:138) women have won local 65 government elections as chairmen in imo, kastina and oyo states in 1991 while 209 women were represented in the executive of the 3 rd republic of the national, state and local government levels. women have occupied the post of deputy governors in some states of the federation. recent examples include alhaja s. badeu, deputy governor of ogun state, yeye erelu, deputy governor osun state, dame virgy etiaba, deputy governor of anambra state and later governor of anambra state for some months to mention but a few. in deed women like sarah jibril have dared the men in contesting the presidential position. women ministry like kema chinwe, formerly of ministry of aviation has proved that given the right education, there is nothing impossible for them. what is more? the recent integrity award from transparency international given to dr. dora akunyili the executive director of nafdac according to guardian (2003: 16) is another example of the unsurpassed achievement of educated women in their fields. among prominent women who played vital roles in the country‟s political development were mrs. margaret ekpo and mrs. elizabeth adekogbe who were at the constitutional conference in london in the late 1950s. even in northern nigeria, where fewer women dare to raise the voices, a prominent woman hajia bambo, played crucial role with men, socially and politically. the recent creation of the position of first lady has placed a lot of responsibilities on our women and has given convincing evidences of what women can do if given the chance. there are also women senators who are really rubbing shoulders with their men counterparts in the national assembly contributing effectively to debates. with the current women empowerment, hope is bright that women can hold any position including the presidency. 8. women in agriculture according to adeyokunmi (1981: 10) “traditionally, roles in agriculture were sexspecific with the women complementing the men. men did the clearing, ridge making and planting while the women mostly were responsible for weeding harvesting, marketing and storage.” according to world federation of republic health association (1986: 45) these women are no longer only “farmers‟ wives” but are „farmers themselves‟. in fact, nigerian women play significant roles as farmers, traders and entrepreneurs. 9. women in business modern african women exhibited great ingenuity in business. on the business scene, many women are thorough in their managerial skills and intelligence and have made remarkable break throughs in their contributions to economy of the nation. for instance, the roles kuforiji olubi played in nigerian economy are worth noting. she was the first nigerian woman chartered accountant, first woman chairman of the river basin development authority, first woman chairman of the third largest commercial bank in nigeria, and first to be admitted as fellow of nigeria institution of management. (nim). the present effective management of immigration department is under women. 10. women as music-makers in nigeria in nigeria, the education of the individual begins right at birth and doesn‟t stop until death. and, in education in nigeria, music is a very strong force and vital factor. the education 66 begins with the life-rites-the birth rites, the child-rearing practices, the initiation ceremonies etc. here music is both a medium of instruction and a lesson itself. it is central to the educational process. okafor (1989: 23) remarks that: the chants that are raised at the birth of a child or at the circumcision of a child may not be of great use to the child – the child may not really understand at all but it rallies the community it also means that the women raising the chants have fitted into the normal practices of the society. in the ceremonies of title-taking, funerals, and others, we find that music is an integral part of the occasion. women are majorly involved as music makers. some of the chants, dances and songs used are in the prerogative of women. not only that, women dominate in the performance because they are the main custodians. it is the women who must perform them. it is the women who will let the society move and by looking at the theme(s) of the songs used in the ceremonies, they are things that edify the society, excite and move the people and motivate them. music, therefore, plays a cardinal role in moving the society throughout the life-rites and women are often the music makers. in many cultures of the world and in many literatures of the world, the power of a woman to criticize, to decide, and to speak striking words are very easily recognized. in the nigerian society the woman‟s tongue has been harnessed for the betterment of the society. there are some ceremonies in some parts of the country where once a year or at stated times, the whole society does a poetic and song review of what had happened – those who had misbehaved throughout the preceding year, those who are doing something bad in secret places and those who are stepping out line. women lead the songs and they have been known to start gossips that were mainly corrective in nature. some of the gossip started in the saloons or in the hair – weaving places, in the public streams, in the markets or even within high – walled compounds have motivated women to go on the march either to build or to destroy so as to draw attention of the elders to what have been irking them in the society or to forcefully tell errant wife or husband that enough was enough. it is known that it was through this medium and through the medium of their songs that they had, in some areas, been able to erect schools and maternity or hospitals, to get certain laws, customs, modified or abolished, to place taboos against certain markets or to guide some parents in their altitudes to their children. all these are facts that are known to the insider and perhaps less to the outsider. and that is why the outsider concentrates on the passive role or the supposedly passive role of the woman in the organization. social control is a cardinal part of the corrective system of our society and women often, have their hands on the lever. okafor (1989) notes that: there are many instances of the value or the nuisance value of women‟s dancing groups and musical-groups in many communities but we cannot deny that women are great organizers of these. they make the necessary law-binding laws, and they have the necessary organizational structure to move a whole community – husbands and relations, friends, kinsfolk and the general town‟s people (p. 24). when a women‟s dancing group for example, is performing in the village, virtually all the village is on the move and the proceeds of the show may be for desired purposes. perhaps, in 67 these days, we should take account that many of these group have contributed to the building of bridges, maternity hospitals, post offices, sinking of boreholes, erection of primary health care facilities or even improvement of existing structures like tearing down the ceilings of schools and churches and putting on new ones. other organizations have found these women‟s groups invaluable in the fact that it is not only what they can do but what they can attract others to do that end up in the final results. the group organizations generally grow along the lines of classificatory sisters, wives of a village, greater relations like two related communities, and in modern times, pure simple social clubs or dancing clubs to which people from outside the community may even belong. but, the women have found these groups invaluable not only in keeping together but also in maintaining interest in other unrelated projects. therefore, we can find out that a women‟s co-operative society selling rice or doing some farming or doing some trading will also find it necessary to have music and dance associated with their group. and therefore, they are both a dancing club and a co-operative society at the same time. nigerian women musicians a phenomenon of the nigerian musical scene in modern times has been the upsurge of women‟s activities in musical performances. there are now several nigerian women musicians, some of them trained in the classical idiom and some of them talented artists. it is also well known that these people have turned their attention to the events in the society. they have therefore been able to compete with men and indeed come out better in performing music. in support of this assertion, okafor (1989: 25) notes that, “women used music to rally round a given national cause or goal, to mobilize people towards a central attitude or action, and even to correct some of the common misconceptions in the society.” the mass mobilization programme has attracted comments and songs from nigerian women such as nelly uchendu, veno marioghae, bunmi olajubu, mandi ojugbana, martha ulaeto, uche ibeto, christy essien igbokwe, onyeka onwenu, joy lo-bamijoko, george gold, evil edana ogholi, funmi, adams etc. from merely singing about emotional events, women have suddenly burst out into patriotic favour that points the way to the future. patriotic music is another area in which women have been making great contributions in modern times. popular among them are veno merioghae, nelly uchendu. women have also shown political awareness when they express their sentiments over situations in either parts of africanelson mandela, apartheid and western imperialism, for example onyeka onwenu and joy lo-bamijoko‟s (nee nwosu) compositions. the nigerian women singers such as ulaeto, funmi adams, christy essien igbokwe, carmen ezuma, sharon (shato), comfort omoge, princess mojisola balogun, evangelist (dr) sister bola are, fasoyin, funmi aragbaye, toun soetan to mention but a few have used their various styles/types of music such as calypso, reggae, pop, traditional folk songs, gospel, sekere, juju, fuji etc. for strengthening and pushing nigerian music to the international scene, making nigerians proud. 68 many women in music have occupied the post of lecturership in many institutions of learning in some states of the federation. women in music have proved that given the right musical education, there is nothing impossible for them in promoting nigerian musical culture. conclusion in this paper, women in music have extensively been highlighted and discussed. nigeria had women of ability and integrity in the past and still has them today across all disciplines of human endeavour. if women are given full opportunity, they will excel, and they will be able to use talents for the improvement of the nigerian society. a popular maxim has it that “if you educate a man you educate a single individual, but if you educate a woman you educate a whole nation.” women are nation builders and this paper affirms that women are essential resources to nation building in social, political, family, religious, economic and educational fields. they are vital to the progress of the nation; their potentials are for the good of the society. nigerian women have proved that they can be in control of the minds of men and as long as they use their arts especially music in the powerful way and in the right direction, they can move the nation forward. recommendations to effectively tap the immense potentials of nigerian women, the following recommend dations are suggested. parents should ensure that girls get equal opportunities as boys in all levels of education from primary to tertiary. government at all levels (local, state, and federal) should remove all barriers towards female musicians in their areas of jurisdiction. the educated professional women in music should intensify their efforts towards educating the uneducated ones about their musical roles in and outside the family cycle. female music graduates should be employed in all sectors to encourage others to aspire to read music courses without fear of job discrimination in terms of employment. all concerned should organize more workshops, terminals and conferences to stimulate girls‟ interests in music courses (theory and applied) using successful women in the field as resource persons. in this way females will be equipped to contribute their quota not only in the other arts subjects but also in musical culture. parents should try as much as possible to develop more positive attitudes towards the education of their children most especially their female children. this will consequently close the educational gap between men and women. references adepoju, h. f. (2003). women education: a panacea for moving nigeria forward in the present dispensation. a paper presented at the 4 th annual national conference of the school of arts and social sciences, federal college of education (special) oyo. adeyokunmu, t. o. (1981). women and agriculture in nigeria. london: united nation economic commission for africa publication. emarievbe, s. o. (2003). women empowerment and new nigeria. paper presented at the national association for the promotion of studies in arts and social sciences (napsass), held at the federal collage of education, zaira. 69 fadeiye j. o. & olanegan, c. e. (2001). education: a panacea for women empowerment. journal of educational development, (joned), 3, 64-69. federal government of nigerian, (1998). national policy on education lagos: federal government press. guardian, (2003, july 3). http:/www, nigeriaarts net/music/reggae, juju etc. p. 1. mashal, g. i. (2001). woman education and nation building: the challenges ahead. a paper presented at the 7 th annual national conference of nact, enugu state university of technology (esuth), enugu. ogbeh, f. (2003, june 29). women in politics. sunday vanguard. ogbuigwe, a. e. (1996). sustainable development in nigeria: the role of women. lagos: vantage publishers. okafor, r. c. (1987). popular music education in nigeria. nigerian research in education, 4, 119-130. _____ (1989, january-june) music, woman and social mobilization in nigeria. nigerian magazine, 57 (1&2), 18-26. onifade, c. a. (2003). the importance of improved women education in building a new nigeria. a paper presented at the conference of national association for the promotion of studies in arts and social sciences (napsass), nnamdi azikwe university awka. oruwari, y. (1996). women development and the nigerian environment. ibadan: vantage publishers (inc) ltd. oyetade, e. m. (2003). women empowerment: the role of social studies education. paper presented at the national association for the studies in arts and social sciences (napsass), nnamdi azikwe university awka. saito, k. a. (1994). raising the production of women farmers in sub-sahara africa. world bank discussion papers. africa technical department series. world federation of public health association (1986). women and health. geneva switzerland: publication of world federation of public health association. tonemic substitution 83 exploring entrepreneurship opportunities of studio music production in tertiary institutions in south east education zone kingsley a. kalu, eunice n. ahanotu ph.d. & agatha i. onwuekwe ph.d. abstract he paper focuses on exploring entrepreneurship opportunities of studio music production for music students in tertiary institutions in south east education zone, nigeria. through interviews, review of related literature and personal experiences of some of the authors, issues on the concept of music, studio, entrepreneurship, and music production in south east nigeria were looked into. among views shared is that music production would greatly enhance students‟ entrepreneurship opportunities after graduation; also that music production would help to reduce the number of unemployed music graduates, enhance entrepreneurship opportunities and affect music education positively in the zone. recommendations made include that university and other tertiary institutions in the zone should reconstruct and equip studios in the departments of music; while music educators should pay more attention to impacting all the skills, techniques and confidence necessary for building a more successful business career development for music students. the music curriculum planners should review the tertiary institutions academic programme in the zone, so that graduating music students would be more prepared for entrepreneurship task that awaits them after graduation. keywords: music, studio, entrepreneurship, music production. t awka journal of research in music and the arts (ajrma) vol. 14 2020 84 introduction the federal government of nigeria introduced entrepreneurship studies as a compulsory course for students at the tertiary level of education. this innovation was aimed at equipping graduating students with entrepreneurial skills to make them job creators instead of job seekers. also the goals of tertiary education as highlighted by national policy on education (2014) include „„the training of relevant manpower for national development of individual capability and intellectual skills to become useful members of the society‟‟. the policy aims at preparing the student to acquire skills for selfemployment and entrepreneurship initiatives. onuoha (2010) defines entrepreneurship as the ability to use the factors of production like; land, labour and capital to produce new goods and services. he describes entrepreneurship as the managerial process of organizing, operating and assuming the risk of a new business. furthermore, he believes entrepreneurship constitutes a vital engine in the economic growth and development of nations including nigeria. this is because it helps in the stimulation of indigenous entrepreneurship; it leads to the transformation of traditional industry; creates employment opportunities; has linkages effects that help to link up the various sectors and sub-sectors of the economy (p. 5). writing on the importance of entrepreneurship education in nigeria, ajuzie (2017) says: „„entrepreneurship education became imperative in higher institutions in nigeria because it offers a realistic approach to solving the endemic problem of unemployment; the overall objectives are to continuously foster entrepreneurship culture amongst graduating students‟‟ (p.183). while haynes and marshall (2017) divulge that: the entrepreneurial emphasis in both higher education and music industry rhetoric reflect more general changes in cultural work and the creative economy. the shift from manufacturing to service sectors in western economies and the role of cultural production in urban and economic regeneration has resulted in 85 the „creative industries‟ becoming a central focus of policy-makers and politicians, viewed as hubs of innovation that contribute to the economic growth and cultural vitality of cities, regions and nations (p. 5). the above discussion elucidates the need to create broad changes towards enlightening the job-related, inventive and financial system to bring more emphasis towards focusing on individual venture in both higher institution of learning and music entrepreneurship business. the move from industrialized economies to the aspect of reconstruction and maintenance in developed economies and the function of artistic creation in the city, and financial rejuvenation, helped the inventive institutions grow an innermost focal point for those who are architects of decisions, and politicians see them as group hubs of improvement that add to the fiscal development and enlightening strength for towns, civilized zones and countries. elekwa (2007) describes entrepreneurial development as „„training that prepares one to acquire the readiness, initiative and ability to organize and manage other resources into sellable products and services‟‟ (p. 6). in his own view ojeifo (2012) define entrepreneurship as willingness and ability of an individual to seek out investment opportunities in an environment and be able to establish and run an enterprise successfully based on identified opportunities (p. 79). in their view, the above definitions explains the concept of entrepreneurship as one having the confidence to start up a business, take the risk, with no fears of failure, but been courageous to invest more as a self-employed individual, to make profit, be an employer of labour, reduce unemployment and boost the economy. though entrepreneurship courses in tertiary institutions in the zone are taken as compulsory, most of those courses do not focus on skill acquisition in the students‟ specific areas of specialization. for example, a graduate of music should have enough entrepreneurial skills in one or more specific areas in music. the idea of taking 86 general courses on entrepreneurship to an extent have not helped matters on reducing unemployment, most graduates insist on taking jobs that relate to their academic fields of study. concept of music music can be a potential subject and also made to be the most valuable subject for enhancing human personality. it is a kingpin among the various facets of culture which fashion and mobilize a person to attain all that is best in their lives, whether as individual or as co-operate entities. tagg (2002) expresses music as that form of inter human communication in which humanly organised, non-verbal sound is perceived as vehiculating primarily affective (emotional) and/or gestural (corporeal) patterns of cognition (p. 3). “music is a tool for communication. mbaegbu (2015) implies: music is a special form of flexible abstract thinking, which enables us to use all kinds of configurations and schemes in our developmental stages in the creative and integrative purposes” (p. 117). in the same vein, onwuekwe (2006) affirms: music can do many things and have many desirable results. it can stimulate or soothe the mind, help toward a wider education, or at least, a wider mental perspective. it can gently plough the mind so that it will be more receptive to the seeds of learning; it can comfort the lonely and the sick, awake pleasant memories in the old, delight the young, and lull a child to sleep (p. 227). the above statement elucidate that music informs the mind and helps the soul breathe the lively abstract breeze from its rhythmic structure that often moves all the body to dance steps and exhibits different body gestures, all of these help to build good human healthy living. discussing the role of music in the society, reimer (2002) observes: 87 music has a dual role in society. firstly to develop talent for those gifted musically and secondly to develop aesthetic sensitivity to music of all people regardless of their musical talents. this in turn would benefit society and the art of music which depended upon an understanding public (p. 14). reimer‟s comments, illuminates music as having a powerful influence on man‟s culture, religion and traditional value. the informative strength and the role music play in directing the mind towards précised understanding of who we are has no doubt. it clarifies that; music embodies one of the highest forms of creativity. a high-quality music education should engage and inspire the individual to develop a love of music and improve his or her talent as a musician, and so increase personal self-confidence, creativity and sense of achievement. music is not discriminatory; to the above assertions, the elements of music must attract one to appreciate its performance and the performers who are the musicians. though individual listeners may have choices for specific genre, style or type; it has the supreme power of reflecting unity in diversity, in agreement with the discussion, negus (1996) expresses music as “more frequently a background to other activity than a central part of any encounterspace or cultural struggle” (p. 28). the above comments mean that music is already an integral part of any educational and informative actions that is too familiar to the environment, than any other assumed essential aspect of fight for liberty. studio a studio is an artist‟s or worker's workroom. this can be for the purpose of photography, painting, acting, architecture, sculpture, pottery ceramics, woodworking, scrapbooking, graphic design, filmmaking, animation, industrial design, radio or television production broadcasting or studio for audio recording and music production https://en.wikipedia.org/wiki/artist https://en.wikipedia.org/wiki/photography https://en.wikipedia.org/wiki/painting https://en.wikipedia.org/wiki/acting https://en.wikipedia.org/wiki/architecture https://en.wikipedia.org/wiki/sculpture https://en.wikipedia.org/wiki/pottery https://en.wikipedia.org/wiki/ceramic https://en.wikipedia.org/wiki/woodworking https://en.wikipedia.org/wiki/scrapbooking https://en.wikipedia.org/wiki/graphic_design https://en.wikipedia.org/wiki/filmmaking https://en.wikipedia.org/wiki/animation https://en.wikipedia.org/wiki/industrial_design https://en.wikipedia.org/wiki/radio https://en.wikipedia.org/wiki/television_production https://en.wikipedia.org/wiki/broadcasting 88 (http://www.soundrecordingproduction). watson (2012) refers recording studios as sites in which “appropriate and available technologies are assembled and hired to musicians and producers for periods of time, for the purpose of sound recording (p. 9). concept of studio music production studio music production involves recording the voices only, voices with the accompanied musical instruments or the process going the other way. studio music production are those activities that aim at putting down universal languages as lyrics, people (s) believes and way of life to record rhymes, rhythmic pattern, using some of the highest form of scientific technology, with sophisticated musical instruments, to create variety of musical genre, language, cultural heritage; in quest to satisfying the listener and for preservation and posterity. burgess (2013) defines: music production as, the technological extension of composition and orchestration. it captures the fullness of a composition, its orchestration, and the performative intentions of the composer or composers. in its precision and inherent ability to capture cultural, individual, environmental, timbre and interpretive subtleties along with those of intonation, timing, intention, and meaning (except where amorphousness is specified), it is superior to written music and oral traditions. music production is not only representational, but also an art in itself (p. 6). from the above definition, burgess says, music production is not just a studio thing, it now involves script composers who can now write their works with computer, while they make use of music software like: sibelius, noteworthy, cubase, and lots more to writing melody line or harmony for voices and score scripting for orchestral and symphonic works, today, music scripting requires the use of computer 89 system to help quicken the composer‟s work and enhance clean and distinct print production for easy sighting during teaching and learning periods and artists live stage performances. while ojukwu and ibekwe (2015) assert: music making is not simply an exercise in the organization of sound. it is symbolic expression of social and cultural organizations, which reflect the values, and the past and present ways of life of the human being who creates it (p. 190). music production in the studio involves the combination of the producers‟ experiences and the knowledge of music theory and practices, music of other people and their styles or eras in music history and practical skills, the producer‟s dexterity in the usage of studio equipment, and available musical instruments to re-arrange and organize the artists or composer‟s work to a recordable standard and listening value for audience appreciation. the musicologist undergoes his training to become a music and entertainment producer. the issue to battle with all the time, is choice of area of production, but there shall always be a compulsory decision to make; if he or she will be a script music producer, a studio music producer, or rather choose to be an on “stage music producer”, that is; a performer or become all the three. however, it has become imperative that, the musicologist of today should primarily, focus on perfecting the artistic and ethical aspect, but understand also the economic, administrative, and entrepreneurship facet of music production. the concept of entrepreneurship the word entrepreneurship is derived from a 17th century french and word „entreprendre‟ which is defined as a person who undertook risk of a new enterprise. kruger (2004) narrates: the word "entrepreneur" is derived from a french root „entreprendre‟, meaning, "to undertake". the term "entrepreneur" seems to have been 90 introduced into economic theory by cantillon in (1755) but say (1803), it was first recorded the entrepreneur prominence. it was schumpeter however, who really launched the field of entrepreneurship by associating it clearly with innovation (p.16). chambers dictionary 10th edition = defines an entrepreneur as a person who undertakes an enterprise especially a commercial one, often at a personal financial risk; the managing proprietor of a firm who supplies the capital, bears the risk of production and is the controller of a day-to-day management and marketing; a contractor or employer; an organizer of musical or other entertainment. ojeifo (2012) says: entrepreneurship is generally viewed as a process of creating something new. doing this involves a lot of time and effort devoted to ensure the tasks at hand and the resultant effects include monetary and personal satisfaction as well as independence. entrepreneurship involves creation process, conscious devotion of time and effort, it involves risk and has some rewards (p. 79). in a clearer point, entrepreneurship is usually a procedure of establishing new ideas. to achieve such, one has to be committed to such project, though financial benefits could be amongst the consequential outcome though it also includes formation procedure, realization of commitment and time endeavour to justify the menace attached to it. when music students in the south east zone are equip with enough skills in studio music production from first year to final year, graduates of music those who choose the course as a major interest area will become creative, have confidence to getting involve in entrepreneurial risk in a personal effort to be self-employed. such self-confidence will reduce music graduates unemployment, increase interest of students towards enrollment for studying music in tertiary institutions in the zone. most students, parents and guidance 91 are searching for those courses with special areas in academic study where their children or wards can specialize and major, so that after graduation, they can fend for themselves and not just attend a higher institution to acquire book knowledge and obtain a certificate only, but also to learn and develop skills, attitude for entrepreneurship purpose. kruger (2004) insists: selecting an appropriate basis for defining and understanding entrepreneurship creates a challenge for academic researchers and writers due to the fact that a number of schools of thought exist that view the notion of entrepreneurship from fundamentally different perspectives (p. 13). entrepreneurship is the ability of an individual or group to take a bold and confident decision to embark on business venture, being ready to bear the risk outcome in either profit or loss result. the entrepreneur is the sole owner of such investment, and chief executive in charge, in most instances, takes the decision, gives instructions to every other person working in the establishment or company. music entrepreneurship education music entrepreneurship education should include all academic activities involving those course contents that help the teacher impact knowledge to the learners, prepare them towards been selfreliance and proficient in skills acquisition, educate them on modern music business acumen, integrate all that should make music students achieve success in their professional career and personal goal attainment after graduation. music entrepreneurship education can also be defined as a transfer of strategies to applying ideas like: ethical competences, creative abilities, confidence in risk taking to venture in a committed music investment with economic implication, been business minded, having the zeal to exhibit musical knowledge 92 and skills, encouragement to achieve been self-employed after graduation; based on already acquired training as a music student. there is need to explore studio music production skills as one of the many core economic and vibrant areas that will enhance effective music entrepreneurship education, to reduce unemployment of music graduates in the zone. in support to the above statement, gray (2017) is of the view that: „„a pedagogic framework built to integrate essential concepts in entrepreneurship within the context of existing music curricula has the potential to better define arts entrepreneurship and its intended learning outcomes for music students‟‟ (p. 41). the above statement means, there should be educational structure to incorporate important aspect of skills acquisition for self-employment into the current music curriculum to produce an acceptable document to guide and direct a part way for performing and creative aspect of studio music production for music students. an acceptance to the above assertion, teaching any aspect of skills acquisition and entrepreneurship in a creative and performing arts courses by one who is not artistically minded in such area is an aberration, he may not be able to influence the students in their specialized area requirements due to lack of experience in creative and performing arts business complexity. while usherwood (2015) in his view says: students should be encouraged to acquire the career development and entrepreneurial techniques necessary to advance themselves according to their area of specialization and their own career objectives.” however, most music departments, programs, and schools still lack fundamental music business or entrepreneurial initiatives (p. 5). in the aspects of modern requirements for music curriculum contents in the zone, it is normal to agree with the above revelation. it unveils 93 the need for upgrade in modus operandi; it also implies that the primary objectives for music studies in the tertiary level of education is facing a great challenge, if music graduates lack essential skills required to be successful in their music business career. furthering the discussion, usherwood (2015) specifically points: as digital technology continues to be a major force in the music industry they also have, new expectations, opportunities, and issues to consider. it is necessary then for musicians to be entrepreneurially inclined and business-minded in order to productively and successfully navigate through the current realities of this ever changing industry. it is important for musicians to realize their artistic strengths, broaden their musical scope, and explore audience possibilities (p. 5). usherwood (2015) seem to be saying that the level of technology and innovative advancement of the now will determine the student‟s interest to develop his or her individual skills, based on content and specific objective, to be able to measure up with the emergence and continuous influence of modern technologies, the evolving digital musical appliances and unending new methods of music creation/production, distribution, and appreciation. barker and peppler (2017) responses: like social entrepreneurs, music entrepreneurs learn to combine the passion for creativity and problem solving with business discipline, innovation, and production within a larger context. they are aware that the act of music making takes place within a framework of relationships. they improve systems of music making, come up with new ways to solve problems, and explore ways of changing organizations, ensembles, community, and society for the better. they have the ability to be 94 visionaries and realists simultaneously and are passionate about transforming an idea into reality. in the realm of the arts, success in entrepreneurial action the creation of value can have a double or triple bottom line. financial sustainability and profit is one area of success. societal benefit can be considered too, as can the intrinsic power of the art itself. key to entrepreneurial success is the generation of new ideas and new modalities. the entrepreneur is able to think boldly, question assumptions, and challenge the status quo (p. 3). the above assertions by barker and peppler clarifies that individuals who are music business owners become skillful to merge the enthusiasm for inventiveness as an entrepreneur who proffers solutions to bring about improvements in a wider scope of framework for improved environment and larger scope of the society. their view in the area of creativity and entrepreneurship development and accomplishment within the immediate environment, suggest “the creation of fresh thoughts and novel ideas for economic empowerment and sustenance of music graduates”. while gray (2017) in his emphasis on music entrepreneurship views that: its curriculum content and materials should focus at developing the following set of concrete and abstract skills, characteristics and abilities: (1) the capacity to think creatively, strategically, analytically, and reflectively (2) confidence in one‟s abilities (3) collaboration (4) communication skills (5) an understanding of the current artistic context (6) entrepreneurial opportunity recognition and risk assessment (7) an understanding of personal passion and vision (8) musical disciplinary knowledge, technical skill, and expression (p. 22). 95 gray (2017) revels that in an effort to develop an entrepreneurship curriculum that includes a holistic approach to arts and entrepreneurship learning, the curriculum also aims to develop core entrepreneurial skill sets, such as project planning, assessment, ideation, marketing, and networking. music entrepreneurship education in the tertiary institution is expected to begin from first to final year of music students‟ studies. it involves impacting techniques, skills and knowledge necessary into the students, inspiring their individual or group intention(s) to starting up a new business, be it self-employed, small, medium or large scale. teaching and equipping them with skills so they can be self-confidence individuals, private or group entrepreneurs. usually attention focuses at: encouraging students to identifying and development of self-endowed and acquired abilities in music business accept other persons by adopting every individual‟s differences, identifying and recognizing opportunities. also analyzing them, making decisions and acting upon them, educating the students on possible sources of providing required financial, human and material resources geared towards an implementation for profit making and a successful career in music entrepreneurship. bloom’s table presentation and explanation. bloom’s definition knowledge === remember previously learned information. comprehension=== demonstrate an understanding of the facts. application === apply knowledge to actual situations. analysis === break down objectives or ideas into simpler parts and find evidence to support generalizations. synthesis === compile component ideas into a new whole or propose alternative solutions. evaluation === make and defend judgments based on internal evidence or external criteria. 96 to throw more light on the processes involved in studio music production, bloom‟s table presentation and explanation above show how knowledge is expressed after teaching and learning sessions. the student defines, labels, list and name concepts relating to studio music production. he or she must recall all the information during practical studio production sessions. i) comprehension: the student would have the ability to define concepts, understand, arrange and edit beats (accompaniments), songs, and all other musical activities in the music studio. ii) application: at this level, the student begins to manipulate, exhibit the knowledge acquired to solve problems, the real life recoding activities, during lay down sessions in the music studio. iii) analysis: this involves mixing time, illustration, breakdown of pieces of knowledge for in-depth scrutiny, checking all the laid down and recording session activities, knowing how to take up the task by doing it track by track to correct, fine tune, add or remove effects where and when necessary. iv) synthesis: this stage relates to mastering of the already mixed job. it involves bringing all the tracks to the same level, make corrections on all un-intentional, overlooked mistakes during mixing. at this level, the learner will be able to compile, organize, rearrange, create, design and generate a complete album. mastering brings all ideas into one whole package. v) evaluation: after mastering, every soundtrack played is heard as a musical album with each instrument performing its regular duty and assigned interval roles. listeners assert judgments based on what is heard. the above explanation show students‟ ability to produce original musical work in the studio is evident; it is clear, learning has taken place and knowledge acquired is positively used. though teachers may apply different methodology and philosophies during class sessions in the studio, the information are explicit and established. in other 97 words, when teaching recording techniques or musical genre, good intonation, sonority, stage presence or effective practice, class attitudes do not differ among teachers, instructors or even between levels. every teacher expects good understanding during learning periods. in the studio, good tone production while playing on any musical instrument is expected, relaxed posture, intonation and musical interpretation from the students should be emphasized. one thing is important in teaching methods or strategy. the content and methodology may be similar, but there are often differences in the order, depth and way in which teachers relate to their students considering individual differences. summary efforts have been made to summarize related literature on the topic under review, exploring entrepreneurship opportunities of studio music production for tertiary institutions music students in south east. works reviewed emphasize on the need for teaching studio music production. also review was studio, concept of studio music production, studio music producer; review was made on the concept of entrepreneurship, music entrepreneurship. recommendations recommendations to improve the teaching and learning of studio music production in departments of music in south east education zone include: 1. the management of tertiary institutions in the zone should reconstruct and equip the studio in departments of music for regular and effective use during teaching and learning of music production. 2. to create new value in music entrepreneurship education within the zone, there should be addition and innovation to the usual academic curriculum that gears towards teaching and learning of music theory and practice for stage performances 98 only, to satisfy the immediate audience and other listeners after which; the performers await clapping ovation and accept good verbal commendations, while they go back home thinking about a different business to venture in and money to pay their bills. 3. music educators should begin to pay more attention in the aspect of these irresistible new ideas from the world of information and communication technology, devoting more time and effort to impacting all the skills and techniques necessary to building a successful business career development for music students, not to wait for a special entrepreneurship courses that often do not emphasize on students specific area of study. references ajuzie, n. e. (2017). graduate (youth) unemployment and need for entrepreneurship education. contemporary issues in vocational and entrepreneurship education. gender studies association nigeria. (gsan). 178 188. ambert c. (2003). promoting the culture sector through job creation and small enterprise development in sadc countries: the music industry. geneva: international labour office. barker, a. and peppler, k. (2017). music entrepreneurship. the sage encyclopedia of out-of-school learning. sage publications. 1-9. burgess, r. j. (2013). the art of music production : the theory and practice. new york: oxford university press. chambers dictionary 10th edition (2007). edinburgh. harrap publishers. darby, p. (1982). music as culture. marcia herndon and norma mcleod. 2nd ed. norwood publishers. ekwueme, l. e. n. (2004). essays on africa and african american music and culture. university of lagos, nigeria: lenaus publishing. 99 elekwa, c. (2017). introduction to entrepreneurial development: a practical approach for self -reliance. nigeria: rexlon publications. federal republic of nigeria (2014). national policy on education. lagos: nerdc. press. george, a. w. (2015). the role of music theory in music production and engineering. an m.a. thesis presented to the school of music and dance and the graduate school of the university of oregon. gray, m. (2017). teaching music entrepreneurship in the chamber music classroom: a cross-disciplinary curricular framework. an essay submitted in partial fulfilment of the requirements for the doctor of musical arts degree, in the graduate college of the university of iowa. haynes, j. and marshall, l. k. r. (2017). reluctant entrepreneurs: musicians and entrepreneurship in the „new‟ music industry. british journal of sociology· university of bristol pp 1-23. http:// (www.ocr.org.uk). 28th october 2019. http://www.soundrecordingproduction. accessed on 28th october 2019. idamoyibo, o. i (2006). igoru music and its historical development in okpe culture. awka journal of research in music and the arts. (ajrma), 3, 114 131. kruger, m. e. (2004). entrepreneurship theory and creativity. university of pretoria. (pp.13, 16). mbaegbu, c. c. (2015). the effective power of music in africa. scientific research publishing. open journal of philosophy. (p. 117). negus, k. (1996). popular music in theory: an introduction. new england hanover and london: wesleyan university press. ojeifo, s. a. (2012). entrepreneurship education in nigeria. journal of education and practice. www.iiste.org. 3 ( 14) 78 82. accessed 9th, dec. 2019. http://www.ocr.org.uk/ http://www.soundrecordingproduction/ http://www.iiste.org/ 100 ojukwu, e. v. and ibekwe, e. u. (2015). music education technology: a tool for enhancing national development in nigeria. journal of education research and behavioural sciences. 4(6), 188193. onuoha, b. c. (2010). entrepreneurial development in nigeria: an integrative perspective. owerri: alvan global publications. onwuekwe, a. i. (2006). the composers‟ commitment to social change in nigeria: the case of the national anthems. a journal of the association of nigerian musicologists. (janim). 2, 226 245. reimer, b. (2002) a philosophy of music education. pearson education. upper saddle river. prentice hall. tagg, p. (2002). towards a definition of „music‟. institute of popular music, university of liverpool. usherwood, j. t. (2015). music business and entrepreneurship: a graduate level course for performance students. a thesis submitted to the faculty of the jacobs school of music in partial fulfilment of the requirements for the degree, doctor of music indiana university. watson, a. (2012). sound practice: a relational economic geography of music production in and beyond the recording studio. doctoral thesis submitted in partial fulfilment ofthe requirements for the award of doctor of philosophy of loughborough university. www. audio-music-production-course. endless. html. accessed 13th may, 2018, from http:// www.education.com http://ww2.odu.edu/educ/roverbau/bloom/blooms_taxonomy.h tm. retrieved 16th may, 2018. www. mbs. org. htm. national bureau of statistics (2017). reports on employment in nigeria. retrieved 2nd, jan, 2020. www. yoni leviatan. music production. htm accessed 16th may, 2018. http://www.education.com/ http://ww2.odu.edu/educ/roverbau/bloom/blooms_taxonomy.htm http://ww2.odu.edu/educ/roverbau/bloom/blooms_taxonomy.htm 95 functions of the music recording industry in nigeria loko, olugbenga olanrewaju deparment of theatre arts & music lagos state university ojo lagos abstract the paper discusses functions of the music recording industry in nigeria and ways in which the industry contributes to the socio-political and economic growth of nigerians. the paper is based on ethnographic research conducted in several cities in nigeria on the challenges of music recording industry in nigeria from 1940 to 2000. the first section is introduction. the second section listed and discussed four important functions of the industry during the period and also examined some issues pertinent to the identified functions and third section is the conclusion. introduction popular music in nigeria and its attendant socio-political and economic implications has attracted scholarly discourses. music scholars, critics, journalists and non music scholars alike engage themselves more on socio-political and economic issues when popular music is discussed in nigeria. not much critical and scholarly study on the functions of music recording industry in nigeria exists. it is against this backdrop of critical discourses on popular music that this paper examines the music recording industry in nigeria with particular reference to the functions of the industry in nigeria between 1940 and 2000. according to baskervile (1970), collins (1988), euba (1988), graham (1989), and omibiyi (1989), the recording industry is a part of the music industry solely responsible for the production and manufacturing of mass cultural musical products for the market via industrial processing of records, cds, and cassettes. implicitly the recording industry is central to the activities of the music industry such that it dominates the whole music industry. arguably the industry is relevant as a key factor in the realization of the composite sense of the music industry realism globally and as well in nigeria‟s music business and practice. this therefore underscores the need for further analytical studies on the music recording industry in nigeria. although the paper examines the functions of music recording industry in nigeria from 1940 to 2000, it is equally important to pay attention on the new trends in the industry today. the paper is guided by the theoretical perspective of functional theory and combining content analysis of representative examples of recorded music, the paper identifies four functions of the music recording industry in nigeria namely: economic, social, awka journal of research in music and the arts (ajrma) vol. 9 2013 96 entertainment and information functions and ways in which they contribute to the socio political and economic stability in nigeria. it has been several decades of successful recording activities in nigeria and all through the industry‟s history in nigeria, musicians and artists in the industry have been able to achieve artistic and social breakthrough. undaunted by various challenges encountered in their communities and recording studios, they turned their minds and energy towards composing, producing and recording songs to inform, educate, eulogize and address other socio-political and economic problems. through their untiring efforts they contributed to the creation of a distinct nigerian music. though fame has remained a long enduring bottom-line, the emergence and flowering of new styles of music has remained a long enduring legacy bequeathed to the nigerian populace and the mainstream of global music. apart from these, nigerian artists have also achieved some level of successes in the area of self owned labels. findings showed that renowned musicians and artists who felt cheated by other recording companies in the payment of royalties for their works as at when due, breach of contract, poor recording studio facilities and other disagreements established their own record labels and studios primarily for artistic excellence and development. the significance of this is in their contribution to the establishment of more labels and recording studios. taking into cognizance all the foregoing, artists and musicians have contributed positively to the growth of the industry. it offers a unique opportunity to examine the functions of the music recording industry in nigeria in this paper, four important functions of the industry within the nigerian society are identified and examined. these are economic, social, entertainment and information functions. functions simon (1989) listed four functions inherent in mass cultural activities: they are economic, social, entertainment and information. congruently, the approach used in this paper identifies these functions within the mainstream of the recording industry and its concomitant socioeconomic implications. economic function: like elsewhere in the world, the economic activities generated in the music recording industry are of immense value. from its inception the nigerian recording industry has shown the primacy of the economic aspect of its activities. a lot of human and financial capitals were injected and expended on the industry which encouraged artistic expression and new stylistic patterns. because of the financial gains involved, the companies adopted experimental attitude of signing on artists and musicians who were mostly naïve and prone to being used and exploited. the industry became capital intensive at this point because of the introduction of new recording equipment and techniques. the 4-track equipment introduced by phillips (w.a) ltd was replaced by the 8-track one by emi; arc introduced the 16-track and phonodisk, recordisc, and tabansi introduced the 24-track; introduced recently are the digital „state of 97 the arts‟ recording equipment. this modernization of equipment greatly impacted the industry and facilitated growth and development. the industry became recording destination for artists and musicians from the neighbouring west african countries. prior to this, nigerian musicians and artists travelled to ghana and overseas for their recordings. but, with this development, there was no need for nigerian artists and musicians to travel abroad for the recording of their music as the facilities needed for recording were available locally. by 1960s much capital was invested in building studios and pressing plants such that by 1974, there were 3 major record companies, 12 recording studios, 2 major indigenous labels and over 50 small local labels which produced a variety of nigerian music. this transformation made nigeria the largest music market in black africa supporting a record market of several millions during the 1970s and the 1980s. today, there are numerous recording studios both digital and analogue in all the major cities and several modern pressing plants are located in lagos, onitsha, port-harcourt and other cities. nigerian artists and musicians made the most immediate impact in the recording industry. first, millions of nigerian records of varied stylistic patterns; juju, highlife, ikwokilikwo, asiko, among others were produced and sold (omibiyi, 1981). by 1974, 10 million albums by various nigerian artists and musicians were produced and sold. 12 million albums by 1979 and 20 million albums by the 1980s were also produced and sold. this produced several local and national stars who became celebrities. certain expectations are raised which were heightened by the form of financial package and promotion that were attached to such celebrities. several concerts, shows, media advertisements and performer-audience chain (wallis and malm, 1984) were produced by various nigerian artists and musicians for the purpose of attracting fee paying audience for shows and entertainment. several nigerian musicians and artists enjoyed this pedigree, among such were fela anikulapo kuti, dizzy k. falola, nico mbarga, johnny haastrup, sunny ade, ebenezer obey, sonny okosun, the ofeges, mandators and kris okotie among others. in the economic sense, the global emergence of the recording industry no doubt has had tremendous impact on the activities within the music industry. its growth has been dependent purely on its economic gains, and the maximization of profit becomes its prime motivation. for obvious economic reasons, the industry promotes and supports only artists and musicians, works or materials that have proved successful or important stabilizing factor in its mode of operation within the society. social function: socially, the industry offers opportunity to a large number of people at various levels within the nigerian state, irrespective of age, gender, and educational background. the economic activities generated by the recording industry created new occupational opportunities; record distributors, craftsmen, music retailers, music entrepreneurs, promoters, directors and managers were needed to work within the system. opportunity for wage labour of less physical exertion existed especially for creative people such as artists, musicians, producers and sound engineers. as the activities in the recording industry became more intense and lucrative many of the stakeholders were needed in large numbers to meet the ever increasing 98 demand of records for home and foreign entertainment. all these gave greater incentive to nigerian musicians and artists. new stylistic patterns including reggae, juju, makossa, sookus, highlife, ikwokilikwo, afrobeat, and sakara among others were introduced with success. fuji, folkloric songs, apala and particularly juju music and afrobeat became popular for the international market. all these attest to the fact that the industry contributed to the socio-economic growth of nigerians and the society. however, the involvement of „all and sundry‟ (dennis 2003) within the system, perhaps in line with simon‟s (1989) description of african mass cultural festivals, is apparently due to two fundamental reasons. it is a non restrictive activity that is open to virtually all nigerians and foreigners. it attracts each year, many people, both young and old, from „all walks of life‟ students, housewives, pastors, and touts among others. there were no severe demands on the participants with regard to background knowledge or learning. entertainment function: in its role as entertainment industry, the music recording industry, as indicated earlier, mediated changes in stylistic patterns and in tastes. music performances began to be organized as paid shows and gigs. in the course of performances (shows, gigs) a performeraudience chain is developed and sustained through the encouragement of various forms of audience participation and responses solely to encourage, entrench and establish a level/pedigree of identification between the performer „star‟ and the audience. it is true that while making musical/cultural heroes out of performers the industry was also exploiting both the performers and the public economically. in the same vein, the industry vis-à-vis the above-mentioned process also has in some instances unintentionally created nonconventional, deviant social types, which make them an acceptable and marketable commodity within the society. their records were required in greater quantity to meet the increasing demand of nigerians. in my opinion fela anikulapo kuti, johnny haastrup, and majek fasek were deviant types. while johnny haastrup‟s shaven head and mode of dressing was bizarre. fela and majek took to hard drugs; samples of deviant behaviours. the newly evolved genres as mentioned earlier began to exert overwhelming influence on nigerians and competed with the indigenous genres. in fact, the new genres became increasingly popular among nigerians. a number of newly recorded music genres that emerged as a result of other imported records such as highlife, ikwokilikwo, afrobeat, makossa among others emerged and subsequently grew in popularity (omibiyi, 1981). there developed a tendency among nigerians to reject the communal entertainment making, it became anachronistic. music making became a highly commercialized creative work, which became more profitable and more dignified. all these gave greater incentive to the artists, musicians and their producers as well. while it is true that the industry has overt positive functions in the society, the desire by the record industry to concentrate on commercial type of music led to the neglect of communal entertainment. also its concept and cultivation of popular music led gradually to the neglect of traditional music. the craving for the „new music‟ on lacquer produced by record 99 companies made the recordings to begin to compete with traditional recreational facilities and it became more attractive while traditional entertainment facilities received less attention. the point being emphasized here is that the western derived new stylistic patterns did not totally displace or obliterate the indigenous music in the society, they existed along side each other. however, more attention was given to the new styles of music to the detriment of the indigenous music. information function: the recorded works made it easy for music to be used effectively as a medium of public information, vehicle for social mobilization, political campaigns and as sources of historical/cultural information. omibiyi (1985) noted that various themes covering a wide range of issues bordering on social, economic and political issues have been chronicled in recorded works. the various themes addressed, and served as tools for political, socialisation, education and social control she argued. for instance operation feed the nation (o.f.n) in 1979 came up to emphasize the importance of agriculture. to emphasize the need for citizens to be law abiding, war against indiscipline (w.a.i.) emerged. the role of music in literacy campaigns cannot be overemphasized. ebenezer obey (1972) in one of his recoded works reminded the audience of the change to right hand driving. on nationalism sunny ade recorded „nigeria yi ti gbogbo wa ni’. sunny okosun recorded works for the international community on the evils of the apartheid system in south africa „fire in soweto‟ thus emphasizing black cultural nationalism and condemning all forms of racial discrimination. fela anikulapo kuti also recorded works bordering on social issue and vices, political events and human rights abuses. in „itt‟, for instance he satirically exhorted all the elites, rich, and government officials not to steal. these works also serve as a repository of extant ( a wide range of these exists in archives abroad, while some are located in radio nigeria gramophone archives) nigerian music, especially traditional music which is fast loosing its appeal (for example the various drum ensemble repertoire, asiko songs and other folkloric songs because of modernity and acculturation). such works are manifestly used to portray some aspects of nigerian history and culture. they are aired in every nook and cranny of nigeria, both in the rural and urban areas satisfying certain psychological needs of some individuals. this encourages artists and musicians to record the type of music. psychologists explained that emotional tensions and stress are always present in humans which if not released, ultimately result in withdrawn, moody, aggressive and irritable behaviours. this ultimately leads to depression, nervous breakdown and insanity in extreme cases and predisposes humans to harmful actions; affect personality and disrupt cordial social relationships. musical activities such as music recording session or music production session, and live performances/shows/concerts, help participants and audience to release bottled up emotions and tensions thus, meeting/satisfying their psychological needs. one way in which recorded works provide tension relief mechanism among nigerians, is in its response to social and political issues (omibiyi, 1985), the implicit criticism directed at those who are at the helms of affairs in recorded songs. in so doing the artists/musicians and their audience (the public) get some of their accumulated grievances off their chest. a typical 100 theme, which facilitates the relief of tension, is the ridicule of the elites, the politicians, military governments, corrupt officials and police and their corrupt practices for instance in fela anikulapo kuti‟s “itt” and daura and his group in „bawan, allah,yakubu gowon (omibiyi, 1985). similar recorded works with themes concerning dishonesty, poverty and economic hardship, love, and injustice, help to relieve tension, promote positive interpersonal relationship, dissuade negative or dysfunctional attitudes and help to develop better attitudes and new ideas among nigerians. leaders are advised to observe good governance, while the citizenry are enjoined to be good and law abiding. conclusion it is evident from the foregoing, that the music recording industry has important functions within the society. however, there were some other indirect or over sight functions by which the recording industry contributed to the growth and progress of the nigerian society. other means by which the music sub-sector impacted the society are first, the praise and eulogies extolling harmonious, responsible life style and peaceful coexistence among nigerians by artists and musicians in their songs reinforce permissible societal values. second, though the recording industry‟s activity is purely an urban oriented enterprise, it however provides recorded music that is listened to in every nook and cranny of nigerian cities, towns and villages. its products in form of media works provide recorded entertainment available to the people through retail outlets. this affords the people, most especially the rural dwellers of watching and or listening to their musical idols that they cannot meet thus, assuring the people, of a place in urban oriented social life style. implicitly, while providing entertainment for rural people it also serves the purpose of dissuading rural-urban migration since the recorded works are also welcome as a change in the communities, thus complementing other local recreational facilities. 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(2007). the talking machine. retrieved from http;//www. savannahphone.co.uk (assessed june 13 th 2007). http://www.alexander.com/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 1 an appraisal of visual effect application in old nollywood epic representations: a reading of ken anuka’s zazzi (2016) uchechukwu chimezie ajiwe department of theatre & film studies, nnamdi azikiwe university, awka. email: uc.ajiwe@unizik.edu.ng & nwosu obianuju gladys theatre and film studies department faculty of arts, nnamdi azikiwe university, awka. og.nwosu@unizik.edu.ng +234 803 865 1639 abstract this paper appraises the way visual effects are being used in communicating african ideologies in nollywood epic genres and further buttresses that the application of visual effects in nollywood narratives is a construct of nigerian cultural representation. hence, this paper places emphasis on igbo cultural norms and beliefs. semiotic theory is used to interrogate the use of visual effects in ken steve anuka’s zazi (2016) by pinpointing the meanings of cultural representations in the selected movie as regards igbo cultural realities. at the end, this paper submits that the application of visual effects in nollywood helps to serve narrative purposes depending on how the filmmakers encode the ideology of nigerian society. introduction nollywood as an industry is a highly placed commercial industry that is developing rapidly. its film narratives are characterized by nigerianness, which is easily understood from the perspective of the nigerian context. nollywood films are produced in different genres, which include ritual genre, the vigilant genre, comic genre; epic genre, religious genre, love, and other genres. this notwithstanding, there are films which display aspects of more than one genre. in all, these films are representations of different ideologies of the nigerian society. as such, their visual images are constructs of cultural representation in which meanings can only be deduced from the context of culture. most recently films employ the use of visual effect images to construct meaningful signs which present objects and images that are larger than life and possibly events that give illusion of representations of one’s cultural belief. these visual effect images are created and made to be believable. the point here is that, filmmakers create these images especially in nollywood epic films to create ideological and acceptable cultural beliefs which communicate meaningful ideas within the context of the narrative. to understand how images created with poor technological equipment in the old nollywood narratives, it warrants a semiotic reading of those visual images applied in the selected narratives. mailto:og.nwosu@unizik.edu.ng awka journal of research in music and the arts (ajrma) vol. 16, september 2023 2 therefore, this warrants a critical understanding and application of film semiotics to the reading of the select film’s visual effect images. film semiotics is the study of sign process or any process that involves signs, including the production of meaning, as these signs pertain to moving pictures, visual effect images and animations. film semiotics is used for the interpretation of many art forms, often including abstract art. it has its root in semiotic and semiology theory. semiotics can be referred to as the study of sign processes, signification, or the study of signs and symbols. however, there exists the formal and social aspects of semiotics, the former (semiology) abstracting signs from the contexts of their usage while the latter (semiotics) examines semiotic practices that are specific to nigerian culture.” in this regard, saussure (1966, p. 16) expressed in his semiotics that; the signifier calls up a mental image, not a material object. we see the signifier and think about the object it stands for; we do not experience the object directly. what is signified is not the object, only an idea of the object. as saussure put it, “both parts of the sign are psychological” (saussure 1966, p. 16), (as cited in chandler 2002, p. 25). therefore, film images are representations of what the filmmaker sees which indicates that nothing real exists independently of the use of codes. the filmmaker uses cultural codes to construct reality. in this respect, semiotics infers meanings from the societal expectations, cultural values and individual experiences. barthes (1915-1980), as a follower of de saussure’s semiological programme and a leading structuralist, is recognized for his contribution to test semiotic studies of myth, theology, literature and narrative. he became famous also for his contribution to the semiotics of various types of visual communication, and for his systematic model of signification, a saussurean term which barthes defined as “a process: it is the act which binds the signifier and signified, an act whose product is the sign” (1964/67, p. 48). barthes sets up two orders of signification, which he refers to as denotation and connotation. his particular usage of these terms derives directly from saussure’s dyadic (signifier-signified) model of the sign. huhtamo,(2003, p. 5), highlights the difference between denotation and connotation as follows: the distinction between denotation and connotation is the guiding idea of barthes' semiotic theory. he claims that when we read signs and sign complexes, we can distinguish between different kinds of messages. denotation is the "literal or obvious meaning" or the "first-order signifying system". for example the denotative meaning of an image refers to its literal, descriptive meaning. connotation refers to "second order signifying systems", additional cultural meanings we can also find from the image or text. barthes identifies connotation with the operation of ideology (which he also calls "myth"). according to barthes, "ideology or "myth" consists of the deployment of signifiers for the purpose of expressing and justifying the dominant values of a given society, class or historical period (the signs express not just "themselves", but also all kind of value systems that surround them). as myths, signs tend to appear "natural" and self-evident (although they are basically always artificial, coded), hiding the operations of ideology. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 3 umberto eco widens the subject and role of semiotics in the exploration of reality of human existence when he writes that, “semiotics is concerned with everything that can be taken as a sign. a sign is everything which can be taken as significantly substituting for something else. this something else does not necessarily have to exist or to actually be somewhere at the moment in which a sign stands in for it” (eco, 1976, p. 7). moreover, it can be visualized as an approach to a wide variety of systems of signification and communication or it can be visualized as a description of those various systems focusing on their mutual differences or their specific structural properties such as the transformation from verbal language to gestures or from visual images to body positions. it can investigate those various systems either at the elementary level of their sequential units such as words, colour spots, sounds or at the more complex level of the texts which is, narrative structures or figures of speech (eco, 1977). a semiotic analysis of a film seeks to find out how the messages are formed and given meaning. in a semiotic approach, the meanings of images designed in film by their creators give shape and significance to our experience of reality. to study film may mean to decipher the framing of meaning since they are always produced in a social context and are always contextual. without a context, no meaning can be produced because the image will stand for nothing, so films compose connections between the meanings and images produced. these images as codes assembled by the filmmaker are also deciphered by the viewer. moreover, understanding of the different codes assembled by the filmmaker as a unified entity depends on the viewer’s level of interpretation of the image seen and his/her familiarity with the cultural codes. in this regards, visual effect in film, tv, and games as tools for connotation produces meanings to the film story and to the audience. william notes that, “awareness of the operations of the devices may also be part of the pleasure of the spectators” (as cited by shilo t. mc clean, 2004, p.37). much as this assertion seem true, it should be noted that some genres are dependent on action, suspense and visual effects, especially computer generated imagery are the vehicle through which tension are heightened and as well elaborated in film’s narrative. bordwell states that narration is a process whereby films furnish cues to spectators who are interpretative schemata to construct ordered intelligible stories in their minds, from the point of view of reception, spectators entertain, elaborate, and sometime suspend and modify their hypothesis about the images and sounds on the screen. however, representation of reality plays a crucial role in understanding literature and art as a whole since ancient times. in this wise, lawant, (2013, p.13) explained that human intervention in rotoscoping cannot be denied. the semiotics of this human intervention are a little more explicitly noticeable in the iconic aspect of the rotoscoped image than in the indexical. as with the indexical aspect the iconic is anchored within the live-action image.” thus visual effects (cgi) tend to make use of allusive and elusive references to individuals and objects which are iconically or metaphorically identified by the audience. therefore, visual metaphor could provide subtle means for identifying some references; because visual metaphors awka journal of research in music and the arts (ajrma) vol. 16, september 2023 4 generally have much impact than verbal metaphorical expressions in terms of understanding the relayed visual messages and their influence on the audiences when used in appropriate and specific contexts. lakoff and johnson (1980) have argued that metaphorical language is pervasive and universal, which is not arbitrary but remarkably systemic. their argument was based on the fact that people’s ordinary conceptual system is metaphorically structured helping them to comprehend complex or abstract experiences in terms of concrete concepts which they are more familiar with. from this perspective, cognitive metaphor is the term used to refer to the understanding of a particular idea that is the conceptual domain in terms of concrete or real experience. thus metaphor has been described as a mental process of “understanding one conceptual domain in terms of another conceptual domain” (kovecses, 2002, p.4). lawant (2013, p.13), explains that, semiotically rotoscoping obviously works in a matter close to live-action: after all, the image is directly traced over from live-action footage. this means that here the iconicity and the indexicality of the image behave differently from the forms of film previously discussed. the signs of the live-action image become fully incorporated into the animated image. while the indexical aspect of the drawn image is in part simply contained within the brushstrokes on the canvas (or whatever the material used), the indexical aspect of the live-action footage is also incorporated. the live-action image has an indexical aspect of registering the light that shoots through the lens and in return the final rotoscoped image registers that image. animated images and live action images, both make use of indexical and iconic signs, and both produce better messages were merged or fused together. thus, hisham bizri, andrew johnson, and christina vasilakis (1998, p.12) highlight that, “the quintessential rule of art is its ability to suspend disbelief and create the illusion of art. through convincing representation, the illusion in art manifests itself, forcing the viewer to become psychologically involved.” thus viewers are psychologically involved in a film narrative which is imagined as a complex web of signs. the viewers are given series of narrative codes which can be deciphered at multiple levels of meaning. each deciphered thread embodies a network of signs leading to other signs. if the viewer fails in his initial task he confronts another set of signs to choose from which will lead to other sets. the viewer’s psychological inquiry into the narrative and her attempt to decipher its puzzle often times yield desired and new meanings as well. in this respect, the application of visual effects as a narrative device is subjectively utilized in nollywood film narratives by filmmakers to create magical, ritualistic images and supernatural characters that are indexical representations of its real objects or imaginations that are culturally accepted. the relevance of a variety of images created i.e. transformations of the photographic image like motion blur, diffusion or lens flares – which are created by digital means in visual effects applications as essential aspects of photorealism which are composed to align with the narrative and give meanings that are culturally bound. in this regard, uwah (2013, p. 53) in explaining views on the integration of magic and witchcraft in nollywood film narrative points out that these films represent awka journal of research in music and the arts (ajrma) vol. 16, september 2023 5 and portray themes with existential significances for ordinary nigerian.” nollywood’s depiction of supernatural iconographies and powers indicates the interactivity that the digitally manufactured characters and shots interplay with time and space which communicates with signs that are either overtly exaggerated or basically of the filmmaker’s imagination which often are suggestive realism. this demonstrates that cgi, digital visual effects are infused in nollywood films to serve narrative purposes depending on the filmmakers encoding ideology of nigerian society. this is why omoera (2009, p.197) states that what the filmmakers “in turn produce are concrete reflections of the society.” in other words, the society and culture propel the images used as signs created with the use of visual effects in any film genre/narrative. benagr (2012, p. 69) explains that “sociopolitical, economic and socio-cultural considerations usually determine the nature and shape of technology and consequently its application in solving the particular problem it is designed to solve.” this implies that social ideologies, culture and values are proponents from which visual effect objects are designed and composited in a film narrative with intent to infer illusions cultural realities. and the analysis of such images are also decoded and analyzed within visual narrative culture and social elements to arrive at a desirable and suitable scientific explanation. benagr reiterates that it “eventually leads too technological innovation.” therefore, depending on the filmmakers’ encoding of nigerian society’s ideology, the use of visual effects in nollywood narratives not only serves narrative purposes but also communicates specific cultural beliefs and ideologies. according to chow and harrell (p.5) “the director or animator can infer the sensation by cognitively projecting her or his own experience to the perceived action. this act of “inference” seems to be suggesting that the projection takes place at a higher cognitive level, demanding conscious mental operation.” thus, the filmmaker especially the visual effects designer blends his or her past experiences and perceived action thereby yielding an inferred sensation. the blend is so tight that the visual effect images are associated with the sensation. in this regard, use of visual effects to recreate past experiences bring visible and invisible images and events for us to re-experience. this is based on a perceptional perspective but also as a narrative category, because visual effects offer a vast range of visualization strategies. these visualizations convey dimensions beyond the scope of human perception, imagination, thought or magical phenomena. magic is not only a content of representation but refers to the technology itself, providing it with a mythic enhancement. uwah (2013, p. 269) reiterates that “movie encoders often dramatise people’s everydayness and bring in some elements of their mythical and real history toimbue resonance that connects with viewers in the films.” thus, these images encoded in nollywood film narratives elicit pleasure and trigger reactions of fear, emotions in the narrative and on the viewer. from a film cognitive-semiotic perspective, most nollywood films produced with the use of cgi tend to distort images in comparison to their real socio-cultural images and roles. thus, cg images in nollywood films are manipulative representations which are equipped with good or bad morals, to covey the necessary messages encoded in a narrative. this awka journal of research in music and the arts (ajrma) vol. 16, september 2023 6 instance is seen in igbo movies. likewise, in yoruba movies, representation of ritual practice or witchcraft often presents a society comprising of both good and bad, shown in dark and white symbolisms. this depiction of good and bad is to present the view that the good supersedes or wins over evil actions. likewise, the igbo film narratives through the cgi xray depictions of retribution in which the culprit after confessing his sins either dies or goes crazy to serve as deterrent to the viewers. therefore, nollywood tend to portray cg images of magical, ritual and witchcraft simulations that are either suggestive or exaggerated and rests on retribution. the cgi simulations in both igbo and yoruba movies are based on their beliefs and sociocultural backgrounds. synopsis of ken steve anuka’s zazi (2016) ahanna is a prince of umudike kingdom who is betrothed to the princess of amankwo kingdom as a peace offering. the prince, on the other hand, dislikes the princess because of her pompous behavior and irrational treatment of her subjects. zuru is a very wicked father who treats all his daughters and wives like slaves; he goes as far as having sexual intercourse with his daughters and impregnating them. he is a god and never wants any male child to exist in his land. on the other hand, his community has been punished for the atrocities they committed, and they are now depending on another community to salvage them, but not without a price. zazi from a far land overpowers her father (zulu) and kills him after taking his talisman, using her father’s talisman to strike him with a lightening that burns into black ashes and evaporates. she does this in anger since zuru killed her younger sister for not being brave as well as killed her new-born child after childbirth. on a faithful day, as prince ahunna takes a stroll, he sees a young maiden being beaten by two boys, and he ordered them to stop and reprimands them. he asks his guards to help the young maiden up. he then walks her to where she resides despite her refusal. the prince gets to know that her parents died in their farm as a result of thunder and lightening that struck them while it was raining. before the prince leaves, he invites her to the palace. the next day after she had finished her daily fetching of firewood for people, she went to see the palace and the guards that were on guard at the entrance of the palace prevented her from entering and pushed her away. when the prince found out what happened he asked her to describe the guards so that he will sack them from their duties as guards, but she pleaded with the prince not to take such a drastic decision. the princess of amankwo visits her betrothed and proposed husband and she stayed for days in the palace. the prince dislikes her arrogant nature and maltreatment of her subjects. each time the prince goes out to visit his friends that he rescued from being beaten by two boys, the princess of amankwo keeps wondering why he goes on a stroll. unfortunately, a messenger who had seen the prince and the maiden he saved playing, informed the princess of the maiden that the prince often goes out to visit. she goes and give the girl a serious warning to stay away from the prince. she did not stop at that. she plots against the girl with the help of one the elders and accuse mma of stealing from someone’s farm. she is arrested and detained at the palace where she is flogged and kept in a cage. when the prince hears this he is furious and goes to release her. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 7 one faithful day the prince went hunting with some guards in the forest and they all went in separate directions in the bush to hunt. then the prince meets zazi in his direction of the forest. he tried to find out whom she was but lost her when she ran. while he is shouting in beckoning on her to come back and not to be afraid, the guards heard his voice and came to his recue, thinking he is attacked or injured. he explains that he saw a stranger from a far land loitering in the bush path. later on chaos arouse between zazi’s people and umuddike people which resulted into war,and zaazi terrorizes the people of umudike. a critical analysis of ken steve anuka’s zazi the amazon warrior (2016) at the beginning of the narrative we are made to see the wicked nature of zaazi’s father. he prevents any of the maidens from going out from the village and impregnates them. in protecting any visitor from discovering that such people existed he ensures that hunters and wanderers are kept away. we see how his spirit moves away from his body when he looked through his magical pot to see a hunter lucking around the bush nearby hunting. when his spirit gets to hunter he questions him and he strikes the hunter with light flares from his arm. the hunter shouted and dies. the move away of his image from his body is a photo trick which has been in used in several nollywood films right from living in bondage though more enhanced with time. the drifting away from his body symbolizes his powers as a strong man in charge protecting his family. and any kill he makes he conjures the blood to fill the sacred calabash he also uses as his medium seeing through and around his vicinity. as a matter of fact, these symbolic supernatural display show cases the prowess of the king. and these technics has been used in different genres in nollywood. especially in vodoo genre such as occult and witchcraft movies. these genre visual images that are naturally unseen but are believe to be in existence. thus filmmaker employ and infuse these supernatural and magical images based on their imaginations and cultural experiences. as such that the magical and supernatural images are the appealing effects of the narrative. therefore, these surreal images with its synchronized sounds horrifies the audience. then when zuru (zazi’s father) observed that zazi had taken his protective charm as a god, he started pleading with zazi, zuru is struck with fire and he gets burnt alive. this action describes the ascending of zazi as the goddess. it shows the automatic transfer of power from zuru to zazi who leads the people. the entire scene is edifying and educative to any viewer that when one is in power he or she should be mindful of his or her action which can change and if he/she is wicked on his or her subject such action can reserve towards him. therefore, cgi is infused in the narrative which stands as a narrative device to convey main idea or intended meaning of the entire narrative. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 8 pictorial representations of supernatural power with the use of cgi in zazi (2016) pictorial representation visual effect interpretation sound effect interpretation superimposition of a scene into zuru’s eyes to give illusion of a god seeing all things within his vicinity the drifting of zuru spirit back from killing the hunter into his stationed body. (ghost effect) lightening flare effects and flares of light signifying that the subject has been subdued by burning from lightening. lightening sound effects and flares of light signifying that the subject has been subdued by burning from lightening. sparkling lighting flares are placed at strategic points of zuru’s body to give an illusion of being inflamed through magical means by zazi. sparkling lighting flares are placed at strategic points of zuru’s body to give an illusion of being inflamed through magical means by zazi. from the above pictorial representation, the narrative at the beginning showcases some supernatural powers which are culturally acceptable. however these surreal images are subjective ideas of the designer though there were some inconsistencies in the representation when zuru got burnt. but the cgi representation communicated symbolic awka journal of research in music and the arts (ajrma) vol. 16, september 2023 9 ideas. as such, the magical and supernatural representation are acceptable and can be easily construed. most filmmakers are happy to fulfill only the first challenge to make a relevant story relevant, or at least accessible. but the makers of 300, basing their film on the graphic novel by frank miller and lynn varley, take the second challenge seriously. they take pains to show the strangeness of sparta, at least from our perspective, its brutality, its fanatical obsession with warfare and its code of manhood. the movie thrusts us into this bizarre warlike culture and then, just as we are beginning to get our balance, it surprises us by quickly establishing that the spartan soldiers, in fact, are the good guys. the invading persians are worse, mythical, cruel and autocratic, with no proto-democratic traditions. the visual and sound elements are not softened for our benefit but are presented with accuracy. as a result we get to feel every move made by the key actors and what prompted their move. the film 300 was a studio production which has its realistic effects on the film and the audience. the film 300 is like watching marble turn to flesh and blood, and the effect is fascinating. significantly, this hyper-stylization of 300 is limited to its visuals. the performances are played straight, and this combination of straight performances and stylized visuals produce uncanny effect. it is as if the movie is reminding us that we are seeing history as it truly appeared, even if this is history as it happened. we are getting it through the lenses of memory, or legend. whereas in nigerian films, filmmakers have been able to project african cultural identities, they have a long way to go. for instance, in the film mountains of evil, a good plot is technically marred due to poor sound synchronization. sometimes the visual images tend to lack coherence with the sounds synchronized to them. some of these faults are mainly the result of the sound designer not being precise. and some are the result of piracy and dubbing. some sounds were able to decode some information about the scene and the theme of the film story. conclusion this paper explored the use of visual effects to convey specific igbo cultural ideals in realistic and significant ways throughout nollywood epic film storylines. despite the poor representations as a result of available visual effect tool, it still uphold african cultural beliefs especially the igbo cultural beliefs system. visual effect designers create and infuse images in tandem with film narratives based on inferred sensation. as afore mentioned these visual effect images are associated with the sensation. in this regard, use of visual effects to recreate past experiences bring visible and invisible images and events for us to re-experience. this is based on a perceptional perspective but also as a narrative category, because visual effects offer a vast range of visualization strategies. these visualizations convey dimensions beyond the scope of human perception, imagination, thought or magical phenomena. magic is not only a content of representation but refers to the technology itself, providing it with a mythic enhancement. therefore, the use of visual effects in nollywood narrative aids in achieving story objectives based on the directors’ encoding of the igbo cultural ideologies. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 10 references andrew darley. 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(ed). film theory and criticism. new york: http://www.aijcrnet.com/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 12 oxford university press, pp. 366-309. kitzinger, j. the methodology of focus groups: the importance of interaction between research participants. sociology of health & illness vol. 16 no. 1 1994 issn 0141 9889.uk: blackwdl publishers. uk nwanya, a.n. (2010). contemporary nigeria music culture in the wake of globalization. in nereus, y.t. et al; (ed) nigerian literature, structural adjustment policy and globalization proceedings of the international conference on nigerian literature. gombe׃ gombe state university, pp.263 – 273. okome, o. and haynes, j. (1997). cinema and social change in west africa. jos: nigeria film corporation. okwuowulu, c. semiotic discourse on narrative techniques in nollywood. omoera, o. (2009). nollywood unbond: benin language video-films as paradigm. smc journal of cultural and media studies. volume two, number one. olagoke, a.(2010). narrative and style in nigerian (nollywood) films. african study monographs, 31(4): pp.163-171. onuzulike, u. (2016). audience reactions to the different aspects of nollywood movies. volume 5.2, u.s.a: university of pittsburgh press rédei a.c. towards a cognitive semiotic approach to cinema: semiotics vs. ‘semiology’ rose, g. (2007, an introduction to the interpretation of visual materials, second edition. sage publications. sebeok, thomas a. 1994 signs: an introduction to semiotics, toronto: university of toronto press. shilo m., (2004). silicon spirit. the impact of digital visual effects on story craft in filmmaking. a ph.d. thesis submitted to the university of technology, sydney. faculty of humanities and social sciences. sydney: university of technology sydney ukadike, n. f. (1994). black african cinema. california: university of california filmography title: zazi (2016) screen play: ernest obi producer: martins onyemaobi director: anuka steven starring: rachea l okonkwo, gentle jack, diamond okechi company: onye-eze production ltd 242 awka journal of research in music and the arts (ajrma) vol 17 june 2024 preserving and promoting nigerian folksongs in a digital economy adesipe, adekunle enitolorunyan 0806-603-8345 adesipe247@gmail.com abstract nigerian folksongs are tunes that help to moderate communal lifestyle and character. good behaviours are encouraged while public denunciations of evil deeds are done through extemporized chants. it is however a case of deep concern that these innumerable folksongs, though laced with proverbs and wise sayings yet have little or no place in the digital archives. majority of the nigerian traditional folksongs are not transcribed and this obstructs the foundational basis for the new african art music thereby making form and analysis in african music a herculean task. this research canvasses for the digitization of our rich and enviable traditional folksongs in various dialects in a digital economy. it proposes the utilization of multimedia as an aid to retaining and promoting the rich cultural values of our society via the digitization of our folksongs as well as re-awakening the dying culture of singing lessons in our schools which has been a medium through which we teach our kids moral lessons that shape and modify behaviours. the research relied on ethnographic materials, available literatures on folksongs and the syllabi of high-stake examination industries in nigeria. findings revealed that the dearth of instructional materials for the teaching of folksongs can be resolved via the utilization of digitization mechanisms. it is observed that the use of multimedia makes singing lessons real and fun to children and makes it easily accessible and affordable to teachers and learners. kids are fascinated when they see a dancing castle and images via animations and cartoons especially with musical notes. conclusively, it is recommended that music technologists adopt the utilization of multimedia mechanisms to preserve and promote our culture and at the same time raise its standard as a tool for revenue generation. introduction nigerian folksongs are melodies that play a crucial role in shaping communal lifestyle. they encourage good behaviour while publicly denouncing evil deeds through spontaneous chants. it is worrisome that despite their richness in proverbs, they have little or no presence in digital archives. most folksongs are not transcribed thereby hindering the development of new african art music and making analysis and form in african music a challenging task. the study reviewed existing literature on folksongs and the syllabi of major examination bodies in nigeria. findings indicate that the lack of instructional materials for teaching folksongs can be addressed through digitization. this research advocates for the digitization of folksongs in various dialects within the digital economy. it suggests utilizing multimedia to preserve and promote the cultural values embedded in these folksongs and to revive the declining practice of singing lessons in schools. multimedia tools make singing lessons engaging and enjoyable for children, while also being accessible and affordable for teachers and learners. nigeria is a multicultural, multi-ethnic and multilingual nation. the nation is ethnically and culturally diverse although tribes and tongues differ yet bound together in brotherhood. this giant of africa has thirty-six states with the federal capital territory, abuja as the nation’s capital. the nation is divided into six geopolitical zones. these are north-west, northeast, north-central, and south-west, south-east, south-south geopolitical zones. with over three 243 awka journal of research in music and the arts (ajrma) vol 17 june 2024 hundred traditional festivals and dance styles, this south-west country of the sub-sahara has more than five hundred ethnic groups each of which has its lifestyle and character moderated by countless legendary tunes and thought-provoking folksongs. folksongs are traditional song-style of a community. the nigerian traditional folksong is peculiarly an extemporised music composition that reflects the cultural heritage and practice of people who by virtue of geographical location or language have things in common. folksongs are not written down but are transmitted orally (as game songs among children or as work-songs among adults) from generation to generation by our progenitors. the use of folksongs is peculiar to the community it originates from. the original composers of folksongs are often anonymous and embellished in melody or texts. consequent upon this, there is an urgent need for digital archiving. in nigerian settings one observes that almost every aspect of our lives is covered by folksongs and there is a folksong attached to almost every sphere of life. folksongs are deeply enmeshed in philosophical and proverbial speeches. but as thought-provoking as the folksongs are, despite its valuable effect, most of them are not documented. to this end, it is then essential to digitalize by means of animations and scoring these all-important streams of songs for the purpose of building the young ones and for the sake of influencing the outer world while projecting the viable, noble cultural heritage lest the culture dies (adesipe 2023). by extension, it is hoped that this would create an avenue for revenue generation. adenle, (2011) postulated that folksongs evolved through the process of oral transmission, being shaped by (a) continuity which links the present with the past; (b) variation which springs from the creative impulse of the individual or the group; and (c) selection by the community which determines the form in which the music survives. this assertion precludes survival i.e. preservation or promotion via the instrumentality of digitization. according to adeoje (2011), “folksong is an aspect of the oral traditions of any nations which is used to address topics or issues that concern the natives of a community.” what this suggests is that folksongs on truancy and uncleanness among youths in the schools are used to rebuke irresponsible acts and teach neatness among kids at the grassroots. an example is the yoruba folksong “we ki o mo! i.e. bath and be neat! the question is what happens when these proponents die? the tradition dies a natural death except there is a deliberate effort to spread it through the process of digitization. adesipe, (2024) alerts that “if our cultural heritage (of which traditional folksongs…are an indispensable…force and factors to reckon with) is relegated to the background, we would frustrate…our relevance…bastardize our cultural symbols…heritage, significance and identity…” adesipe’s opinion reveals a heart-cry and call to strengthen our cultural heritage. this has not reflected technological impacts in any way. folksongs were composed extempore i.e. at the spur of the moment. some folksongs came about as bodies of legendary tunes that were handed down to us by our progenitors or forefathers. folksongs are traditional customs preserved among people. 244 awka journal of research in music and the arts (ajrma) vol 17 june 2024 they extol the rich cultural life of any people. if the customary beliefs of our land are to continue there is need to archive and document and practice them. to ensure the survival of nigerian folksongs and preserve our rich cultural heritage, archival digitization is essential. utilizing multimedia tools for documenting and archiving these folksongs will help retain and promote the cultural values embedded within them. this approach will also revive the declining practice of singing lessons in schools, which have traditionally imparted moral lessons and shaped children's behavior. currently, singing lessons and music education in schools can seem monotonous and lack innovation. folksongs vary significantly across different regions in language, style, texture, and customs. unlike the western tradition, where folksongs often feature refrains or stanzas, nigerian folksongs are unified by their traditional nature and the moral lessons they impart. multimedia can make singing lessons more engaging and enjoyable for children, while also being accessible and affordable for teachers and learners. animated visual aids and musical elements captivate children's imaginations, making lessons more concrete and fun. to preserve and promote our cultural values, nigerian music technologists should adopt multimedia tools and methods. this strategy not only enhances cultural preservation but also elevates the standard of folksongs as a potential revenue source. to support the preservation and promotion of nigerian folksongs, educational bodies and major examination organizations in nigeria should dedicate significant portions of their syllabi to various aspects of traditional music. the joint admissions and matriculation board (jamb) in its current jamb syllabus made it elaborate (jamb 2023:166) likewise the national examinations council (neco 2014 : 282) and west african examinations council (waec 2016 : 728 and revised edition in 2017 : 728). digitization of folksongs is a potential change agent and a formidable tool of retention for our cultural heritage. folksongs are generally simple and short tunes and are oftentimes easy to learn. they serve as a check for social and moral conducts. such songs bring the culprit to the limelight for proper discipline. this can be seen in the ekpe and ikoro festivals of the akwete ndoki community in abia state (bentina a.m 2014). he observed that young girls who toyed with their virginity and were guilty of promiscuity were dealt with by being ostracized. this often serves as deterrent to further perpetrators of social vices in the society. according to adesipe’s northern nigerian festivals of the maidens and the girl-child education as tools for societal wellness (2021), folksongs via traditional festivals help to control and regulate social mores and ethical standards. they help to keep public morality by fearlessly announcing and admonishing evil deeds and doers in the society. this is further corroborated by adesipe in his book, history of nigerian folksongs (2024), exhorting that the heart of a matter is a matter of the heart, so the heart of education is the education of the heart. education is the mirror of any society. a child educated only at school is an uneducated child because educating a man’s mind without morals tantamount to educating a menace to society…that is what our tradition teaches – morals. this underscores the import of education through the instrumentality of folksongs. 245 awka journal of research in music and the arts (ajrma) vol 17 june 2024 folksongs and the dynamics of multimedia tools for the fact that the world has become a global village, it is essential that musicologists utilize the world wide web (www) interface to judiciously and further enhance the beauty of the nigerian folksongs. as babatunde (2011) rightly observed that popular music exponents and professionals in nigeria have exploited multimedia resources in varied ways. there is evidence that popular music and musicians have been influenced by developments in the use of multimedia resources such as audiovisual products, computers, and sound generators. but this is not to be so in the case of folksongs digitization. multimedia signifies a combination of multiple media using electronic and digital manipulations to bring about knowledge enhancement. a cursory consideration of the items moderation discourse and materials of the joint admissions and matriculation board (jamb) revealed that some of the young resource persons found it a herculean task providing examples of traditional folksongs whenever they got to folksongs section. technological enhancements of folksongs via animations technological enhancements like animated cartoons, images and graphics may be employed to teach simple and exciting folk-tunes like oluronbi. these cartoons may need to be translated to cover a wider view. this will indubitably make music career reverberates with new enthusiasm among children. kids are captivated when they see the effect of animations, cartoons and or motion pictures being displayed when songs are going on over a recorded devise such as digital video recorder (dvr) etc. if this happens in the comfort of our homes how much more the impact it creates in the four walls of the classrooms. with the new sophisticated and psychedelic digital remote technology and the digitization of our folksongs in place, folksongs will enjoy a prominent position and play a major role in the following ways: 1. it makes classroom learning lasts longer in the memories of the learners (as in yoruba’s “bata re a dun ko-ko-ka” i.e. you’ll go places); 2. it awakens the creative instincts and musicality in the youths; 3. it will make nigerian folksongs library conspicuous on the internet; 4. it boosts youth’s morals (as in yoruba’s ko ’le, ko ’le, ko ’le sori apata i.e. build, build, build on the solid rock); 5. it makes the rich cultural values of the land stick fast in their memories; 6. it inculcates good manners in the young minds (as in yoruba’s “bomode o ku” i.e. young shall grow); 7. it helps to moderate the behaviours of adults in the society especially in trying times (as in igbo’s dibe! dibe! dibe!” i.e. “take heart! take heart!”); 8. it curbs societal miscreants (as in yoruba’s “omo to mo ‘ya re loju” i.e. the child that belittles his mother); 9. it cautions against the evils of polygamy, polyandry etc. (as in yoruba’s “gbanjo iku de!” i.e. death, for auction) 10. it supports tough penalties against corporate miscreants (as in yoruba’s “oyi mee”); 11. our social mores are upheld firmly and promoted and projected to the outer world; 246 awka journal of research in music and the arts (ajrma) vol 17 june 2024 12. the ever shifting mores of the day and almost dying culture of good morals are rejuvenated and made steady through obedience (as in yoruba’s “ma lo we” i.e. don’t go bath); 13. our proprieties, customs and manners of a polite society are further strengthened (as in yoruba’s “isa-nsa ma tun de o” i.e. here comes the truant); 14. conformity to what is socially acceptable in conduct or speech is effectively taught through this mode among youths in their teenage years (as in yoruba’s “bata re a dun ko-ko-ka” i.e. you’ll go places); 15. it shows how much value that nigerians place on their dead or burial ceremonies (as in hausa’s “sai wata ra na!” and ya tafi kenan i.e. “till we meet” and igbo’s “oyi mee” and “onye amuna ladoo”) 16. it makes youths learn how to conduct themselves with propriety in the private and public right from youths (when they travel out of the country, they spread our rich cultural heritage among the whites that they mingle with on campus); 17. the culture of dying interests in music by the young ones is further re-awakened with this technological development; 18. it showcases our rich cultural heritage to the outer world via folktales and folklores (as in yoruba’s “ode ma pa mi!” (hunter kill me not!), “aja duro ran mi leru!” (doggy, wait, lighten my burden!); 19. it helps to transmit the rich culture to the up and coming generations; 20. it makes room for easy retrieval of such songs; 21. it makes room for sundry lessons, caution, warning, praise and commendation (as in yoruba’s yokolu! yokolu! ko wa tan bi! (see what you caused yourself!); 22. it instills the fear of god in people’s minds and simple obedience to instruction of the gods or the supreme being (as in yoruba’s “babalawo mo wa bebe” i.e. “oh thou seer, i come pleading”); 23. it instills in the people the mind to value their relations (as in igbo’s “mmekota” one’s companion); 24. it creates an avenue for our youths to appreciate the dignity in labour (as in yoruba’s ise loogun ise” (labour averts poverty) and “ise agbe ni’se ile wa” (farming is our vocation); 25. it is a mark of societal identity and nationalism such as identifying tribal, language and geographical entity (as in yoruba’s “ola ilu wa lawa ma n wa o” i.e. we cherish our land). using multimedia tools to project folksongs multimedia aids may be variously viewed, defined and described as materials enhancing technological production packages and delivering the work in audiovisual forms to the audience. multimedia is a technological process of combining audio and visual materials in a unified form for the sake of entertainment, education, information and commercial purposes. multimedia interplays with visual and audio gadgets in diverse ways. multimedia uses a combination of different content forms such as text, audio, images, animations, or video into a single interactive presentation. the text of the folksongs are written out and later recorded in voice via a digital machine. images and animations are later added to make it lively and dramatic. invariably, multimedia is an integration of multiple types of media into a single presentation and or package. 247 awka journal of research in music and the arts (ajrma) vol 17 june 2024 here are few traditional folksongs that were scored with sibelius music software which can be digitally manipulated to enhance learning and infuse good morals using motion pictures. the graphical illustrations by the sides of the scores can be animated using motion pictures with the aim of captivating the learners and make learning fun. as the musical notes are moving along the melodic line, the animated graphics by the sides move alongside. fig.1 fig.2 fig.3 fig.4 fig.5 248 awka journal of research in music and the arts (ajrma) vol 17 june 2024 fig.6 fig.7 fig.8 fig.9 249 awka journal of research in music and the arts (ajrma) vol 17 june 2024 250 awka journal of research in music and the arts (ajrma) vol 17 june 2024 fig.10 fig.11 fig.12 251 awka journal of research in music and the arts (ajrma) vol 17 june 2024 fig.13 fig.14 252 awka journal of research in music and the arts (ajrma) vol 17 june 2024 fig.15 fig.16 fig.17 253 awka journal of research in music and the arts (ajrma) vol 17 june 2024 fig.18 fig.19 stage 1: at this stage, critical thinking is established. afterwards, technical skills and imaginative thinking are manipulated and organized towards producing a multimedia animations or cartoons. multimedia is a project development that requires creative, technical, organizational and business skills. stage 2: the ingenuity and resourceful thoughts in stage 1 above are harmonized using technological enhancements. here, multimedia is presented by a combination of texts, art, sounds, animations and videos. stage 3: the provision and architecture in stage 2 above is further delivered to the end-user via electronic or digital manipulations. animations as in figures 20 – 24 can be colourfully displayed to make learners active in class. fig.20 fig.21 figures 20 and 21 above are a piece of animations displaying game song. this can be a way of making children learn with fun. fig.22 fig.23 figures 22 and 23 above can be painted in beautiful colours and be made to jump up and down using the multimedia animations and by so doing; it becomes a bit easier for kids to clap the rhythms. 254 awka journal of research in music and the arts (ajrma) vol 17 june 2024 an american psychologist, jean bamberger (2000) outlined two phases on the basis of studies on the development of early musical literacy with the help of colourful notes (image notation): the figurative phase of graphic representation (symbols next to one another, ranging symbols one next to the other) and the phase of metric representation (where the sounds and duration are expressed in symbols). teaching with the application of digital media therefore appears as an innovative teaching tool which contributes to the efficiency of teaching music education in lower primary school grades (garcia, mirra, morrell, martinez & scorza, 2015; ranker, 2015). it is noteworthy to state that students who attend classes in which digital media are used have significantly better learning achievements compared to students who attend traditional class. by way of reflection oluronbi folktale is easily remembered when the song is rendered because it is reinforced with folksongs that drive home the point being made. in the tale of oluronbi, there was a village besieged with calamities. they resolved to visit the magic tree in the forbidden forest near the town to seek help from the deity. the deity's agent interceded on their behalf and asked what they would offer in exchange. the villagers promised goats. oluronbi, the heroine of the folktale and the young wife of a wood-carver, vowed to dedicate her own child to the deity if she were granted one. when the miracle of fertility came, oluronbi gave birth to the most beautiful child in the land, destined to be dedicated to the deity. the couple loved the child deeply, and her beauty made them reluctant to fulfill their vow. while others honoured their promises, oluronbi and her spouse refused. one fateful day, as oluronbi walked through the village farm with her baby straddled at her back, the spirit snatched the child and transformed her into a small brown bird using magical powers. the bird perched on a branch of the tree and sang the song in oluronbi’s score (see fig. 14). another case is the song, oyi mee among the igbo people of nigeria. this is a song that talks about the ordeal of the womenfolk in their matrimonial homes. it is satirical! it is a message to the lazy men who prefers to enslave their women. when a woman dies in her matrimonial home without proper care, the song is rendered with the aim of passing across a message to the relations. this song helps to condemn in strong terms such acts like nonchalance, maltreatment or other domestic violence among community members. this is seen in the local dialect song below although it is not the lingua franca igbo language. here is the song. oyi mee cheru moo g’mbomanu gi uka friend, let me gist you oyi mee cheru moo g’mbomanu gi uka friend, let me gist you aga m’ekworo n’mu luko di uwa ja anwu n’onyene will i die because of the man i married? ja anwu n’onyene ne mu luko di ja anwu n’onyene die, because i’m married to a man? akpoko bu n’ugwo pepper, you buy on credit! ja anwu n’onyene die, because i’m married to a man? ikerike bu n’ugwo salt, you buy on credit! 255 awka journal of research in music and the arts (ajrma) vol 17 june 2024 ja anwu n’onyene die, because i’m married to a man? ja anwu n’onyene die, because i’m married to a man? ja anwu n’onyene die, because i’m married to a man? conclusion and recommendation nigerian traditional folksongs enjoy more prominence as it becomes more captivating in the teaching-learning or classroom setting. it is helpful in the aspect of helping to reshape our cultural heritage and project it to a larger world. if these folksongs and folktales are digitized and people now have to buy and listen to it, both young and old will better trace their roots. it will be a reminiscence of our noble historical genealogies. as we make purchase of these digitalized folk pieces it is also an avenue of generating revenues. this opens us up for greater possibilities. researchers will soon pick up the scores for further exploits. music technocrats, music researchers, ethnomusicologists as well as music technologists will have much to do in this regard if our folksongs and folktales can be collected and diligently harnessed into a digital cocoon for the purpose of reviving and retaining our culture as well as projecting it to the outer world. references adenle, a. (2011), the changing social functions of yoruba folk music, nigeria adeoje, o.a. (2011), forms and functions of yoruba folk music: a case of some selected children game songs. journal of the association of nigerian musicologists vol.5 (2011). adesipe, e.a., adesola, o.a., glory, n., oritsetimeyin, n. (2021), northern nigerian festivals of the maidens and the girl child education as tools for societal wellness. journal of nigerian music education no.13 (2021). adesipe, a.e. (2023), nigerian festivals and traditional instruments. available on https://selar.co/x120z2 adesipe, a.e. (2024), history of nigerian folksongs. available on https://selar.co/18131g babatunde, h.m. (2011), multimedia revolution and popular music in nigeria: a review. journal of association of the nigerian musicologists vol.5. (2011). bamberger, j. (2000). developing musical intuitions. oxford university press (2000). bentina a.m (2014.) ekpe and ikoro festivals of the akwete ndoki community in abia state. garcia, a., mirra, n., morrell, e., martinez, a. & scorza, d. (2015). the council of youth research: critical literacy and civic agency in the digital age. journal of reading & writing quarterly, 31(2), 151-167 (2015). joint admissions and matriculation board (2023), jamb examination syllabuses. published by jamb nigeria pages 164 172. national examinations council (2016), neco examination syllabuses. published by neco, nigeria pages 282 295. ranker, j. (2015). the affordances of blogs and digital video: new potentials for exploring topics and representing meaning. journal of adolescent & adult literacy, 58(7), 568 578 (2015). west african examination council (2016), waec examination syllabuses printed by waec, nigeria pages 709 739. 114 sustainable development and folklore in traditional igbo society: prospects challenges and solutions. nnamdi onuora-oguno (ph.d) and alvan-ikoku nwamara (ph.d) department of music, nnamdi azikiwe university, nigeria abstract sustainable development is an approach to economic planning that attempts to foster economic growth while preserving the quality of the environment for future generations. despite its enormous popularity in the last two decades of the 20th century, the concept of sustainable development proved difficult to apply in many cases, primarily because the results of long-term sustainability analyses depend on the particular resources focused upon. since the earth summit of 1992 sustainable development has been central to a multitude of environmental studies. folklore comprises the sum total of traditionally derived and orally or imitatively transmitted literature, material culture, and custom of subcultures. in popular usage, the term folklore is sometimes restricted to the oral literature tradition. folklore culture was affected greatly by the rise of industrial society and of cities, as well as by nationalist movements beginning in the 19th century. both the threat to folklore culture and the rise of nationalism spurred revival and preservation movements in which learned musicians, poets, and scholars provided leadership. this paper investigates the uses of oral literature in advancing sustainable development among the igbo‟s of south eastern nigeria. the challenges and solutions were also analyzed and solutions proffered. awka journal of research in music and the arts (arma) vol. 10 2014 115 definition of concepts the concept of development still remains the most controversial and easily manipulated term both in the academia and political arena. people take the idea of development for granted and as something that can be realized so long as there is a goodwill and capacity to do so. it is also a politically and ideologically driven concept and practise since its inception as a catchy concept in the discourse of practitioners and intellectuals in the continuum where underdeveloped, less-developed, developing and developed are the scales 0f measurement. in addition to the inherent complexities that we have with the concept of „development‟, making a better sense out of it in terms of its „sustainability‟ will certainly need another serious examination. sustainable development is the development that meets the needs of the present without compromising the ability of future generations to meet their own needs. this definition has been used as benchmark in efforts to make it more comprehensive and accommodative from the socioeconomic, political and environmental perspectives. if sustainable development aims at the sustainable use of natural resources of the earth and the protection of the environment on which natural resources on which nature and human life as well as social and economic development depend and which seeks to realize the right of all human beings to an adequate living standard on the basis of their active, free and meaningful participation in development and in the fair distribution of benefits resulting there from, with due regard to the needs and interest of future generations‟, folklore must be seriously considered in a discuss as this because the concept of development has serious impacts on the environment with serious consequences for the depletion of the resources that provide for and threatening the very essence of human survival and continuity (mohammed, 2011). folklore comprises of story songs (akuko ifo) proverbs (ilu) music (egwu) etc. folklore can be used for entertainment and to educate a nnamdi onuora-oguno and alvan-ikoku nwamara 116 community. it structures people morals, values and beliefs. most folktales make use of animals and birds for their major character. there is folklore on the tortoise and dog over the argument” shall man die or live forever”? god the creator decided that tortoise and dog had to run a race. god who loves and favoured man decided to give man the fleet footed dog for human life and tortoise for death. during the race the dog saw a delicacy in the bush and went for it believing that he can always beat the tortoise because of his slow pace. at the end, the tortoise won the race. god then ruled that man should not live forever. the above tale illustrates why human begin should not live forever. according to okafor, the igbos‟ have a great fondness for fairy tale. they have a big stock of legends and folklore… the igbo is a good story teller with a faculty of putting reality into fables. he uses as illustrations animal and birds in such a way they seem to be endowed with human powers. folklore served the society in the attainment of its objectives. epics can be used as illustrations for lessons and lectures in schools and universities. the present generation can learn a lot about past life and values of his community by listening to and taking part in folklore. through folklore proverbs could be taught and better appreciated in schools because examples are drawn from the child‟s immediate environment. okafor (1991) collaborated with the above mentioned view: through song texts, a person learned moral codes of his land. he also learned about his own language, the things his people lived by, and how the society worked. all these were learned through music that ranged from simple folk tunes to highly specialized ritual music, including chants, incantations and minstrelsy. sustainable development and folklore in the traditional… 117 environmental degradation and cultural education we had earlier defined sustainable development as an approach to economic planning that attempts to foster economic growth while preserving the quality of the environment for future generations. we had also pointed out that development in our society has serious environmental effect due to deforestation, industrialization, the implosion of time and spaceglobalization. the rural setting in our society that encouraged traditional education is gradually being eroded. television, telephone and information communication technology (ict) has taken over. in music for instance, the instrumental resources of a community were drawn from its environment but today, the social setting is quite different. educational purposes are summed up in three dimensions; preparing students for jobs, preparing them to be citizens, and teaching them to be human beings who can enjoy the deeper forms of beauty. the three complement each other. the concept of “development” needs a thorough reflection and review before the concept of „sustainability‟ is attached to it. in educating a child, we make use of things close to the nature of the subject. in music, for instance, in teaching of the letters, alphabets can easily be committed to memory through rhymes. this makes the learning of alphabets fun for young children. the informal system of education starts from home. the home is the child‟s world; it either mars the child‟s life or leads to success; it provides him with the necessary equipment to fit him for his proper place in the society and if guided properly, for its future career, the child is sure to be successful, but if the home fails in its duty, then the future of the child is damaged. challenges and solutions sustainable development in the creative arts varies greatly based on the child's experiences with art, music, dance, and theater. the public view the creative art as lovely but not essential. yet against this nnamdi onuora-oguno and alvan-ikoku nwamara 118 backdrop, a new picture is emerging. comprehensive, innovative arts initiatives are taking root in a growing number of schools. many of these models are based on new findings in brain research and cognitive development, and they embrace a variety of approaches: using the folklore as a learning tool. although most of these initiatives are in the early stages, some are beginning to rack up impressive results. there's lots of evidence that children immersed in the creative arts do better on their academic tests. education policies almost universally recognize the value of arts. education in nigeria is fraught with tendencies of the western style of education in scope and content. writing on the colonial system of education, (okafor) observed that: it was an education system that alienated the people from their culture and value system. the colonial system of education had limited social objectives. the aim here was to produce at best, middlelevel manpower for the colonial civil service. the society had no part in designing it nor, indeed, in implementing it but had to co-operate in it. it was not designed to have impact on the masses. it was a rule or system laid down by the colonial master for his own good. the christian missionary and colonial educational systems had similar short comings as well as it was designed to serve the interest of its propagators and not the people it was designed for. societies, traditional or modern usually design their educational systems to meet their needs and satisfy their aspirations. functionalism, self-reliance, social and political participation and stability were the ultimate outcomes and were predicated on industry, resourcefulness, creativity and obedience to god and society. education has been portrayed by many sociologists and educationists to be an experience which borders on the peoples‟ culture and which through learning processes prepares an individual for adult life in his sustainable development and folklore in the traditional… 119 particular society. indigenous education could therefore be interpreted to mean that type of education that is natural or native to a place or that could be found within a group (agu). okon and anderson, described traditional education as: tribal or community based education. knowledge embedded in folklore could be used as a tool of social control through ridicule, sympathy and in energizing people into greater performances. there are chants, dirges and poetry to challenge the retentive ability of a child and to impart. other methods of learning include recitation, games, memorization, role-playing and story-telling especially in literary matters. the intellectual ability and competence of the child is challenged through solving riddles, proverbs and storytelling. he learns language manipulation, explores the mysteries embedded in words and statements and learns the rationale behind certain social practises and natural occurrences. the igbo believes that whoever expects a proverb to be interpreted to him acknowledges that he is daft and empty (the bride-price paid on the mother is wasted). the child is expected to draw the meaning of the proverb from the context of the discussion. highly intelligent and attentive children easily do this and even employ a few. it is mark of successful interaction with elders. the child learnt the use of proverbs as an art in diplomacy. children imitate adults a great deal in role playing. in the words of odimegwu, “education in the traditional igbo society was designed in accordance with the people‟s world view, their surroundings and immediate circumstances and facilities that were needed for effective coexistence and maintenance of society”. upholding the view above, agu wrote: participation in children‟s games and stories enable him to learn to sing in the style of his culture just as he learns to speak its languages. sometimes, the mothers even dance with their children on their backs until the children are old enough to take part in the dancing themselves. by the time nnamdi onuora-oguno and alvan-ikoku nwamara 120 the child reaches adolescent age, he may have learnt to play on toy instruments in adult ensemble. in igboland, cultural transmission starts from the cradle, emeka in (agu, 2006) concurred: children grow up and play together; improving their language and number skills by running errands, playing musical and rhythmic games, listening to and participating in the telling of folk tales and in their recitation of rhymes. fafunwa, observed that education in the traditional african society: was an integral experience whose aim, content, methods and organization were intricately interwoven; they were not divided into separate compartment as in western system of education. in essence, traditional education was characteristically integral in experience, and very functional in purpose. the individual became fully integrated into his society, observing the societal laws and respecting the demands of his society. through folklore, the child was taught to respect his elders and those in authority. conclusion the establishment of skill acquisition centres in igboland should be encouraged. skill acquisition centres should also be established in educational institutions, and notable minstrels should be encouraged to be part of the teaching process. the curriculum, right from the primary school, should make folk or traditional music the foundation of music education. numerical increases in school enrollments, though occasionally spectacular, fail to correspond to the legitimate aspirations of the people or even, more modestly, to the initial objectives fixed by the governments themselves. there has also been concern about the financial difficulties in the management of sustainable development and folklore in the traditional… 121 educational institutions. folklore thrives in oral tradition and urbanization and industrialization has greatly affected the traditional setting that supported the implementation of folklore in the traditional igbo society. egwu-onwa–moonlight play has almost gone into extinction. the educational curriculum left by the colonial masters was unsuitable for sustainable development. there should be a liaison between educational policy makers and the planners of economic and social development. education in cultural perspective must be revisited and the study of oral literature is imperative. the creation of an enabling cultural environment must be pursued for folklore to be sustained. the television should be used as an agent to spread folklore and to export it universally using the internet. a great many of the special forms of literature now in manuscripts and books are paralleled in traditional oral literature, where history, drama, law, sermons, and exhortations of all kinds are found, as well as analogues of novels, stories, and lyric poems. folk literature is but a part of what is generally known as folklore: customs and beliefs, ritualistic behaviour, dances, folk music, and other nonliterary manifestations. these are often considered a part of the larger study of ethnology, but they are also the business of the folklorist. education must pace development not follow it. references agu, d.c.c (2006).the nigerian policy on education: it‟s impact on music education programme and delivery in nigeria. awka journal of research in music and the arts (ajrma), 3. pp. 1-17. agu, s. (1997). indigenous education in igbo society. in j.o. onwuka and s.c ahaiwe, (eds.), nigeria heritage. pp. 29-38. okigwe: whytem publishers (nig). emeka, l. (2004).traditional education in nigeria (pp.217-239). in r.c. okafor and l.n. emeka (eds). nigerian peoples and culture, 4th ed. enugu: new generation books. nnamdi onuora-oguno and alvan-ikoku nwamara 122 fafunwa, b. (1974). history of education in nigeria. london: allen and unwin. federal republic of nigeria (2004). national policy on education (4th edition). abuja: national education research council. globalization. encyclopædia britannica 2007 ultimate reference suite dvd. leroux, m. (2005). global warming: myth or reality. the erring ways of climatology. new york: springer. mbanugo, c. e. (2009) music research: it status in the global village. interlink: a journal of research in music. 4. 118 – 129. mohammed, i. (2011). cultural industry and sustainable development in nigeria. in olu obafemi & barclays ayakoromo (eds), cultural administration in nigeria. pp 84-100. ibadan: kraft books limited. nwosu-lobamijoko, j. (2001). art singing in nigeria: the composers and the performers. in m.a. omibiyi-obidike, (ed.), african art music in nigeria, fela sowande memorial. pp.70-76. ibadan: stirling-horden publishers (nig.) ltd. nzewi, m. (1997). african music: theoretical content and creative continuum, the culture exponents‟ definition. oldershansen: institute fur didactic popularer musik.odimegwu, f. (2004). african world view and african development implications and challenges in a globalizing world. unizik journal of arts and humanities vol vi. okafor, richard. (1991). music in nigerian education. bulletin of the council for research in music education, 108, pp. 59-68. okafor, r. c. (2003). teachers – opening doors to a better world. enugu: new generation books. okafor, richard. (2005). music in nigerian society. enugu: new generation books. okon, e. c. and anderson, a. l. (1982). the school and the nigerian society. ibadan: university press ltd. sustainable development and folklore in the traditional… 205 awka journal of research in music and the arts (ajrma) vol 17 june 2024 culturally informed piano instruction in nigerian tertiary institutions: a composition of three piano etudes celebrating local heritage emeka egbonu & umeojiaka, david sopuluchukwu, phd department of music nnamdi azikiwe university awka abstract a look into the piano works used for piano studies in the music departments of nigerian tertiary institutions shows a preponderance of western piano works. these do not speak to the cultural background of the students. this has led to a growing concern by african music scholars on the imposition of western culture and musical norms through music education curriculum. it has also created a problem which is that students struggle with african piano pieces. therefore, it is upon this background that the researchers carried out this study to compose piano etudes based on african music rhythms to help students overcome this challenge. it was based on collecting folk songs of the igbo which were transcribed, and analyzed to extract the folk idioms for original compositions of piano pieces. the methodology employed in the study was research-composition technique. this is a compositional approach that involves in-depth ethnomusicological research of indigenous music. three (3) original piano pieces were composed based on the collected folk songs and the folk music idioms extracted from them. these original compositions were analyzed based on chosen criteria. recommendations were made one of which is that composers should base their compositions on elements drawn from the folk idioms of the people. introduction music is a part and parcel of any culture. the music of any society helps in defining the culture of that society. this idea was supported by adeogun (2008:21) when he explained that “music is central to the cultural life, and monitors the mental advancement of a society from generation to generation.” music is an expressive language of every culture including nigeria. it therefore implies that the importance of music to the nigerian society cannot be over emphasized. buttressing this point, obiesie and nwamara (2019:1) opined that: “music in nigerian societies is conceived as object of aesthetic contemplation as well as a sociocultural phenomenon that plays multi-dimensional roles in every aspect of culture.” music is very important to the nigerian society; therefore, music education is also important. music education “refers to the teaching and learning of formal music making and listening.” (obiesie & nwamara, 2019). it is an important tool in molding, forming and shaping a learner (ekwueme, odunuga & ogunrinade, 2013). in nigeria, music is taught in primary, secondary and tertiary institutions. however, the focus of this study was on tertiary institutions, south east nigeria. music education in nigerian tertiary institutions which started about five decades ago has evolved over the years. it has striven to improve with the view of meeting the current global standards. the nigerian society looks to the departments of music of our tertiary institutions to provide graduates who possess many practical skills necessary for their success after graduation. this is why the national policy on education in nigeria demands that tertiary education in nigeria will provide graduates with many skills they can take into the job market, (fgn, 2004). consequently, the curriculum for tertiary music education has been structured in a way that takes care of not only the 206 awka journal of research in music and the arts (ajrma) vol 17 june 2024 theoretical aspects of music. consideration was also given to the practical aspect as well. certain courses were provided to take care of the practical aspect of music learning. these courses include; keyboard studies, individual performance studies and ensemble studies. keyboard studies is the teaching and learning of keyboard instruments. it is crucial for promoting rounded and extended musicianship among music students. the acquisition of keyboard skills is a major means of securing a musical employment (adeogun, 2008). there are many keyboard instruments but this study focused on the piano. although piano studies is an important part of the curriculum of nigerian tertiary institutions, however, the piano works used in teaching the students are mostly the ones written by some western composers like mozart, handel and bach. this has created a problem which is that “the students do well in western piano pieces but struggle with african piano pieces. let us take for example the individual performance studies which involves both western voice pieces and african voice pieces. the researchers have observed that the piano accompanists to the singers usually do well in the western voice pieces but do struggle with the african voice piece. this is mainly because they find it difficult to interpret african rhythms. this is also because they are not used to playing african rhythms because they use mainly western pieces for their studies. it is indeed very sad that a student will do well in western piano pieces but struggle with the african pieces which are our own. this is one of the reasons many nigerian music scholars have stressed the need for balance in content and methodology of music education in the country (onyeji, 2008). one of the scholars, okafor (1992) wrote: an examination of music education in nigeria presents the observer with immediate and glaring anomaly. the focus of music education itself appears to be on western music, music transplanted or introduced into the culture of the indigenous nigeria from an outside culture. the syllabus of the educational system, the curriculum content, and the philosophy and thrusts of the institutions which teach music place strong emphasis on western music. the student and even the nigerian teacher of this type of music will, therefore, have to grapple first with an understanding of the method of teaching it. (p. 89). his opinion is that the method of teaching music takes the students away from their culture. this is why nzewi (1981) argued that the learner’s cultural background has been ignored in the approach to music education in nigeria. in addition to this, adedeji (2013) opined that “this has been one of the main reasons accountable for the underdevelopment of music education in nigeria.” this approach has affected piano studies in our tertiary institutions. therefore, it is upon this background that the present researchers carried out this study with a view to composing three (3) piano etudes using musical idioms from igbo folk songs from the researchers’ inspirations. these piano works which emphasize african rhythmic styles are intended to help the students with their interpretation of african rhythms. statement of the problem music education in nigerian tertiary institutions has been structured in a way that covers both the theoretical and practical aspects of music. the courses that are contributing to the practical aspect are; piano studies, individual performance studies and ensemble studies. however, a look into the 207 awka journal of research in music and the arts (ajrma) vol 17 june 2024 performance of students in these courses shows that they struggle to play the piano accompaniment for the african solo voice and chorus pieces. this struggle most times leads them to even vamping the pieces. these are the same students who do better in the western category. it is as a result of this that the researchers composed three piano etudes using musical idioms from igbo folk songs to proffer solutions to the seemingly existing problem. purpose of the study the purpose of the study was to make a culture-based approach to piano playing in nigerian tertiary institutions with special reference to the south east region. to this end, three (3) original piano pieces were composed based on the folk idioms extracted from igbo folk songs. the study was guided by the following specific objectives:  to collect igbo folk songs from the south east region of nigeria.  to analyze collected igbo folk songs with the view of getting musical idioms from them.  to use the musical idioms of the folk songs to compose piano etudes with emphasis on african rhythmic styles.  to analyze the composed piano pieces based on chosen criteria. significance of the study music scholars in nigeria have raised the need for an african best practice to enhance africansensitive music education (onyeji, 2019). this study is intended to make a contribution towards that. the piano etudes which were composed using musical idioms from igbo folk songs will contribute to the preservation of igbo folk songs. these etudes which were composed with emphasis on african rhythmic styles will help students improve in their interpretation of african rhythms. it will provide teaching tools for piano teachers in tertiary institutions in nigeria. the piano works will also add to the repertoire of piano compositions in nigeria and even globally. it will enhance piano studies in tertiary institutions of south east nigeria by providing piano works which considers the cultural background of the students who are mainly igbo students. methodology the researchers employed research-composition technique in this study. this is a compositional approach that involves in-depth ethnomusicological research of indigenous music (onyeji, 2019). this method was used to study some selected igbo folk songs and some other selected igbo art compositions. it should be noted that at the heart of every music composition is inspiration. composition cannot take place without inspiration no matter one’s knowledge of music theory. the researchers have discovered from their years of experiences in the academia that the most important tool for composing piano works is the inspiration that comes from the composer’s mind. this inspiration can be stimulated through listening to music, studying other compositions and active musical engagements. theoretical framework this study is anchored on research-composition technique. this term as explained by onyeji (2019) is “ the compositional approach that gives a background in-depth to ethnomusicological research of indigenous music.” (p. 276). in this approach, the composer is expected to study and analyze indigenous music with the view of deriving musical idioms for his compositions from them. 208 awka journal of research in music and the arts (ajrma) vol 17 june 2024 piano etudes this is a piano composition intended as a basis for the improvement of the performer’s technique. (kennedy,2007). it is a short musical composition that a musician plays mainly for practice with the view of improving on certain musical skills. african pianism african pianism is one of the terms that came up as a result of efforts by nigerian art music composers. it is, as explained by boamah (2012) “ a style of piano music which employs techniques and styles used in the performance of african traditional songs and african popular music.” (p.1). boamah observed “the term african pianism was coined by akineuba, a renowned musicologist. in furtherance of his arguments, akineuba in boamah (2012) discovered: a possibility of evolution in the use of western pianoforte in combination with african drums and other instruments of percussion. the piano already displays certain affinity with african music and by creating a type of african pianism to blend with african instruments; it should be possible to achieve a successful fusion (p. 1). thus african pianism could be likened to playing the african drum on the piano. african-sensed music education there has been a growing concern by african music scholars of the imposition of western culture and musical norms through educational curricular for music (onyeji, 2019). this has raised the need to develop music curricular that considers the cultural background of the students. this means that the focal point of music education in africa especially in nigeria which was hinged on western music should be brought home meaning a maneuver or insert of western culture into the culture of the africans should be reconsidered to embrace africanness in our education sector as exemplified below: 209 awka journal of research in music and the arts (ajrma) vol 17 june 2024 210 awka journal of research in music and the arts (ajrma) vol 17 june 2024 211 awka journal of research in music and the arts (ajrma) vol 17 june 2024 212 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the piano piece “ariri” is in rondo form. rondo is a form of composition, usually instrumental, in which one section intermittently recurs. (kennedy, 2007). onwuekwe (2013) went further to explain that “a rondo contains sections or episodes which are smoothly joined when necessary by little linking or bridge passages.” (p. 31). the sections in a rondo are usually identified as abacada. the opening section a is the section that intermittently recurs. a closer look at this rondo piece shows that a piece of music material stated at the beginning of the piece from bars one to sixteen keeps recurring, alternating with the episodes. the first episode is found from bar seventeen to thirty-two. this episode is section b. the second episode is from bar forty-nine to sixty-four. this is section c. the piece ended with a coda from bar eighty one-eighty four. structural analysis form: rondo (abaca) medium: piano solo length: 84 bars tempo: moderato meter: six-eight time signature bars 1-16: section a bars 17-32: section b bars 33-48: section a again bars 49-64: section c bars 65-80: another section a bars 81-84: coda or tail 213 awka journal of research in music and the arts (ajrma) vol 17 june 2024 214 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the piece “egwu okereke” is in binary form. onwuekwe (2013) explained the binary form as a “musical composition which consists of two parts, (ab) each usually repeated”(p .29). she went further to say that the two sections are usually related but differ in such important respects as key, mood, texture, tempo, thematic materials, time signature, or dynamic level (p. 29). binary form simply means a musical composition in two sections, section a and section b. structural analysis form: binary (ab) medium: piano solo length: 48 bars tempo: allegro meter: six-eight time signature from bars 1-22 and four-four time signature 215 awka journal of research in music and the arts (ajrma) vol 17 june 2024 216 awka journal of research in music and the arts (ajrma) vol 17 june 2024 217 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the piece “ ije awele” is in “through composed form.” this is a musical form of composition in which new musical ideas are presented throughout, with no repetitions of themes ( onwuekwe, 2013). a closer look at the piece also shows call and response between bars five to ten. the right hand calls while the left hand responds. this is shown in the figure below. fig 1 a deeper analysis of this piece also shows that from bars forty six to fifty nine, the melody moves to the left hand while the right hand becomes an accompaniment for this left hand melody as shown in the figure below. fig 2 structural analysis form: through composed medium: piano solo length: 64 bars tempo: allegro 218 awka journal of research in music and the arts (ajrma) vol 17 june 2024 meter: six-eight time signature summary, conclusion and recommendations music scholars in nigeria have raised the need for an african best practice to improve africansensitive music education (onyeji, 2019). unfortunately, a look into the piano works used for piano studies in the music departments of nigerian tertiary institutions shows a preponderance of western piano works composed by western composers like mozart, handel and chopin. these works do not speak to the cultural background of the students rather it takes the students away from their culture (okafor, 1992). consequently, students struggle with interpreting african piano works. therefore, the researchers are of the opinion that the composed piano works that speak to the cultural background of the students as contained in this study be used in teaching and learning of piano in our tertiary institutions. this study also makes a case for more african piano works that are based on african rhythms hence the study is a move in that direction. it contains three (3) original piano etudes aimed at helping students improve on their interpretation of african rhythms. recommendations the need for music students to improve their interpretation of african rhythms cannot be over emphasized. therefore, the researchers are of the opinion that there is need for more piano works that are based on african rhythmical patterns. students will improve in their interpretation of african music when they practice with more african piano works. finally, the researchers are urging piano instructors in our tertiary institutions to consider using more of african piano works in both their teachings and evaluation of students. references adadeji, f. a. (2013). african music theory in the music education curricula of nigerian universities. awka journal of research in music and the arts (ajrma),9, 34-42. adeogun, a. o. (2007). music education in nigeria, 1842-2001: policy and content evaluation, towards a new dispensation (doctoral dissertation, university of pretoria). boamah, e. (2012). the concept of african pianism. legon journal of the humanities, 23,141-154. ekwueme, l. u., odunuga, a. f., & ogunrinade, d. o. a. (2013). promoting peace and culture in nigerian higher institutions through the use of music education. educational research and reviews, 8(12), 800-805. eliot, t. s.(2010). notes towards the definition of culture. faber & faber. kennedy, m.(2007). the concise oxford dictionary of music .( 6th ed.). manchester: oxford university press. nwamara, a. i. o. (2017). repackaging igbo folk songs for global acceptance : towards reviving and preserving the musical heritage of a nigerian community. journal of the musical arts in africa,14(1), 53-67. obiesie, e., & nwamara, a. o. (2019). tertiary music education in a recessed nigerian economy. journal of nigerian music education (jonmed), 10(1), 206-219. ogunrinade, d. o. (2015). music education as a panacea for national development. journal of education and practice, 6(4), 27-32. ogurinade, d. o. a. (2015). music education as a pillar to sustainable development in nigeria. sustainable development 6,(3). 219 awka journal of research in music and the arts (ajrma) vol 17 june 2024 okafor, r. c. (1992). music in nigeria education. african music: journal of the international library of african music, 7(2), 5-12. okafor, r. c. (2017). a study of igbo folk songs. enugu: academic press. onyeji, c. (2008). drummistic piano composition: an approach to teaching piano composition from a nigerian cultural perspective. international journal of music education, 26(2), 161-175. onyeji, c. (2019). composing art music from indigenous african musical paradigms. music education in africa(pp. 262-278). routledge. onyeji, c. (2019). africa-sensed music education in nigeria: setting new paradigms and relevance for nigeria in the global music space. journal of nigerian musiceducation(11), 1-17. onwuekwe. a.i.(2013). form in nigerian art music: a contemporary approach. awka journal of research in music and the arts (ajrma),9, 27-33. uzoigwe, j. (1994). compositional techniques in traditional african music and their application to contemporary art music. nsukka journal of the humanities (7), 1-27. 87 from satire to allusion: (re) examining hotel de jordan songs as tools against social inequality dan. e. omoruan & charles o. aluede ambrose alli university,ekpoma, edo state, abstract social stratification or pluralization in society is a phenomenon that is as old as the history of mankind. this, over the years has become a strong societal force present in all aspects of societal dynamics and has left indelible imprint in human psyche. while this has contributed to societal balancing and regulation in some ways, it has however been a factor for disaffection and resentment by those affected by the adverse effect of such pluralization. it is in this connection that the hotel de jordan was conceived and created. the focus of the drama was to mirror the society and expose its attendant ills occasioned by the inherent inequality in it. to effectively carry out this study, interviews, reviews of scripts and the films were done. these were further supported with review of related literature to strengthen the discourse. good a focus as well as the idea, this paper observes that in spite of the pungent message entailed in the script of the drama, the songs, singing styles of the songs, the costume and make-ups in the drama tended to distract the spectator. it is therefore suggested that in the use of songs as a tool for enlightenment and entertainment, especially through comedy, performing songs comically could rob the drama of not just the message but seriousness of the issues under contestation lest the goal of such drama may be compromised. introduction the french theorist emile durkheim (1858-1917) as cited in emielu, (2009: 16) is believed to be the first to theorize about social construction in his anthropological writings on the collective nature of human behaviour. he opined that, “individuals in the society are products of complex social forces which condition social actions; interaction and social mediations.” going by this definition by a renowned scholar, songs or the arts are excluded as criteria for social stratification. this paper argues that songs and music can be used as criteria for social stratification. the paper draws its primary data from a popular television series hotel de jordan broadcast on the nigerian television authority benin between 1973 and 1987 which is currently being proposed to be resuscitated. the theoretical framework of this study is based on the concept of social partitioning as an aspect of the sociological theory of social constructionism. this concept was further elucidated upon by hobbs and blank which they described as social stratification. they posit that social stratification is “the ranking of individuals, families and population into different levels according to the distribution of privilege, power and prestige.” class system is an aspect of social stratification and all members of a social class view themselves as equals, while holding themselves to be socially superior or inferior to some others (omoregie, 1995: 93). in this paper, song and music would be used interchangeably. materials for this paper have been derived from personal observation of trends in this programme, the society and other secondary sources. songs in society in both traditional and contemporary societies, songs are means of communicating messages, information, feelings and emotions. other functions attributed to songs are that they are entertaining, therapeutic and used as means of documentation. early in time, while giving an account of music in africa and the carry over musical attributes of african slaves in america, haa (1995: 8) opines: separated from their homeland and forced to endure the misery of bondage, africans in the colonial united states sought solace in the musical traditions of their ancestors. music and oral history had long been an integral element of the folklore of african culture, wherein religion, music, and magic coexisted in a close relationship. without a tradition of written history, awka journal of research in music and the arts (ajrma) vol. 9 2013 88 important events were passed down from generation to generation through song and tribal ritual. this tradition continued in the colonies in the form of slave or work songs, which later evolved into spirituals (p. 8). in most societies today, songs have become veritable means to speak out against oppression, injustice and inequality. it has become an indispensable aspect of the social process. emielu, (2009: 28) relates social process to “people and the way they organize individual and group behaviour in the society, including how they define themselves in social terms and their ranking on the social ladder.” he further states that social process involves series of actions on the part of the individual and the society which creates or causes changes in behaviour in one form or the other in the society. this change in behaviour is reflected in the kind of song or music associated with the different social classes. supporting the above view, emielu (2009) further observes that, ”while there was highlife music for the „high class‟, there was also „poor man‟s‟ music such as kokoma, agidigbo, and others which were also subsumed under a generic label of „palm wine music‟ because of their predominance in local palm wine bars. in the same vein, ajah (2004), while writing about class structure in the society says: aesthetic values are very highly cherished and they mark the high societies or higher classes of people in the society. this is because it is only when a person has taken care of the basic necessities of life that he or she will begin to be concerned with aesthetic values (p. 187). from the above it is fore-grounded that those in the lower class of the society are pre-occupied with seeking and providing the basic needs of life while those in the higher class have their values inclined on ostentation. it is in this thinking that olorunyomi (2005) posits that: as a divided, sectionalized-even tribalized-group, this comprador alliance with foreign capital has been unable to forge or crystallize an enduring national identity. this critical element in the nature of national class formation, especially the narrow and particularistic pursuit of the elite, has substantially distorted the crust of the working class and other ancillary sectors (p. 17). fela anikulapo kuti, a popular nigerian musician was well known for singing songs that were very critical of the class phenomena in nigeria and the rest of the world. his songs were critical of governments, institutions and wealthy individuals reputed to have been involved in activities injurious to the society or to have compromised the rights and integrity of the individual. trouble sleep yanga go wake am, zombie, beast of no nation, sorrow, tears and blood were songs by fela that portrayed class reality and identity in the society. writing further olorunyom (2005: 44) notes that: by the time he started waxing zombie, alagbon close, itt, and sorrow tears and blood which lampooned military and other authoritarian hegemonies in contemporary africa, it was clear that he had finally unmasked the bogey of the ideological unanimity of contending classes (p. 44). continuing, he remarks that “the prevalent interests of his lyrics are those often contrasting situations of power relations between the big oga and the marginal my people. in between these two extremes are to be found diverse modes of coping, of acquiescence or, on the other hand, of resistant modes with a large repertoire of sub-cultural linguistic codes. the vehicle for the transmission of fela‟s alternative message was often indirect in the early stage, but later became direct, akin to the discursive modes james scott describes as the “public” and “hidden” transcripts. the public transcript pertains to the nature of power relations, which is resolved in favour of the status quo, while the hidden transcript relates to forms of resistance of dominance in more subtle and oblique ways such as in gestures, jokes, humour, and parody which “insinuate” a critique of power”. sunny okosun, another nigerian musician whose songs were popular in the nineteen-seventies and nineteen-eighties was known to be very critical of the apartheid policy in south africa and issues of class structure in nigeria. some of his notable lyrics in this regard included fire in soweto, papa’s land ozzidi. other notable artistes that have trumpeted class attitudes and 89 resentment through their music are the mandators, ras kimono, osayomore joseph, nowamagbe and majek fashek and his kpangolo (grass root) music. early in time, songs had been used as independent artistic outlet within and outside the stage, other artistic outreach like drama, dance, mime and pantomime had either been used singly or in conjunction with other media like song to express class resentment or attack class attitudes. hotel de jordan was a foremost dramatic medium which combined the use of dialogue and song for this purpose. according to olusola (1983): in the end however` it is the audience who calls the tune for the future of television drama as they have done unmistakably, by reacting most favourably to such dramatic productions as the village headmaster, case file, masquerade, hotel de jordan and the growing number of single play specials on nigerian television (p. 380). the hotel de jordan as has been mentioned earlier, hotel de jordan was a television series that was broadcast on the nigerian television authority channels 6, 7 and 9 benin city in the then midwest/ bendel state. since television was introduced in nigeria, television drama had been a popular feature on the screen. between the nineteen seventies and the nineteen eighties, some notable television drama broadcast on the nation‟s media included mirror in the sun, village headmaster, masquerade, samanja and hotel de jordan. all but mirror in the sun in terms of origin reflect nigeria‟s major geo-political regions i.e. west, east, north and south (midwest). despite the tribal dichotomy inherent in their sources, their broadcast and appeal cut across tribal and regional boundaries. created by jonathan ihonde for nigerian television benin, it was a metamorphosis of his initiative in the pioneering of a drama group in 1971 which included artistes like raymond dokpesi, proprietor of african independent television, monday, now nosakhare isekhure, the itsekhure of benin kingdom and one pius oleghe a product of university of ibadan and contemporary of wole soyinka.etc. they rehearsed at the defunct emotan hotel where they were discovered and invited to nigerian television benin by a british man named mr. jarvis, the first manager of the station who was lodging at the hotel at that time. owing to the fact that the genesis of the group was in a hotel, its name was subsequently influenced, hence, the naming of the programme hotel de jordan, when they got an outlet in the television. thematically, hotel de jordan embraced the use of dialogue and song to express societal inequality. it portrayed a constant clamour and struggle by the down trodden in the society to extricate themselves from the clutches of poverty and despair which the so called `privileged class‟ inflicted on them. hotel de jordan was a comic satire with hilarious characters like chief ajas, chief igho and chief ugiagbe representing the high echelon of the society while at the middle class level were characters like gberegbedegbeun, casino manager, dr. milo monroe and bob alan the irrepressible journalist. coming at the rear of the society‟s ladder were characters like idemudia, chief ajas‟ house boy, kokori, idemudia‟s friend and a „nobody‟, usiobaifo, a loafer, barman, okpetu, the lord mayor‟s messenger and gbemwuan a prostitute all engaged in „ordinary occupations‟. joseph (1993: 35) relating occupation to people in the society said that “occupations are indications of social class, sharing with others in that class a distinctive way of life in terms of education, diet, dress attitudes and leisure pursuits.” as drama is the use of dialogue and other dramatic medium to express opinion or convey message on stage, kokori and idemudia, the singing duo in hotel de jordan were effective in the use of this medium not only to highlight the plight of the down trodden but as a weapon against oppression. the theme song for the series entitled „poor man dey suffer‟ explicitly portrayed the condition of the common man. the opening line of the song reads thus: „poor man dey suffer, monkey dey work, baboon dey chop‟. the song typifies a state of unease and suspicion between the rich and the poor. used for the opening and closing montage, it sets the dominant mood for the series. as in most communities, jordan city had a head known as the lord mayor of jordan. he was the de facto leader with imperial and dictatorial powers. he was therefore seen by the average jordanian as responsible for the society„s progress or misfortune. the 90 nineteen eighties in nigeria was a period characterized by inflation, lack of infra structural amenities and mismanagement of public funds in the midst of the oil boom. this led to wide spread hunger and poverty in the society especially among the people of the lower class. therefore, the lord mayor of jordan represented those in the upper echelon of the society seen by the down trodden as responsible for their misery. they used the medium of song to highlight their predicament and to call on the lord mayor of jordan to do something towards alleviating their plight. according to okafor (2005), human reasoning reflects on issues that bother on worthy, noble and meaningful living in any society. and music is, of course, very acceptable as an instrument of change because people digest it and consume it as entertainment while it leaves a mark on the psyche that redirects the person towards new personality, towards a new activity (p. 277). most of the songs in hotel de jordan reflect the above assertion. we shall consider them one after the other in the segment below. song one: mayor text in pidgin translation mayor put water for wetin you plant o you planti tree for house rent you planti tree for scatter beer landlord dey cry, tenant dey cry seller dey cry, consumer dey cry kokori dey cry over jordan mayor water your crops you planted trees for house rent you planted trees for scatter beer landlord is crying, tenant is crying seller is crying, consumer is crying kokori is crying over jordan in spite of his miserable state, the poor man in hotel de jordan found respite in hope. he believed that someday his condition would change for good as long as he was focused and hardworking. the song below captures this vision song two: some people text in pidgin translation some people say idemudia and kokori no go better o because e godi don maki dem poor but we say na lie dem talk because e godi don make everybody equal yes we say na lie dem talk o why people like chief ajas, gberegbedegbeun, casino manager and chief ugiagbe na dem make life hard for all the poor people wey dey for this jordan city so poor people wey e dey for this jordan city make una no worry, make una still work hard because poor man wey e work with him hand today, na him get tomorrow because poor man wey e work with him hand today, na him get tomo…rrow people have said that it will not be well for idemudia and kokori because god has made them poor we say it‟s a lie because god made everybody equal we say it‟s a lie it is the likes of chief ajas, gberegbedegbeun, casino manager and chief ugiagbe who have made life tough for the poor in this jordan city however, poor men in this jordan city do not worry, work hard because it is the hard working poor man of today that will own tomorrow because it is the hard working poor man of today that will own tomorrow 91 this song was unequivocally, an affront on the rich by the poor and down trodden. it typified the state of disharmony and disaffection in the society brought about by the trend of social stratification. like the previous song, it ended in a bright and hopeful note. the next song bemoaned the plight of the common man as he found himself unable to provide adequately for his home due to lack of gainful employment or support from the government in the form of loan or social and unemployment benefits. the only option in the absence of employment was to become self employed as rubber tappers and truck pushers, a common form of self employment for the underprivileged in the society. this sets the timing in the nineteen seventies when demand for rubber latex by industries for use in the manufacture of plastics, tyres and other related industrial products was high. this was also the case with truck pushing known in yoruba parlance as „omolanke‟as it was the cheapest and most common means of transportation of goods, farm produce and other materials by the masses at that time. the song presents a scenario of abandonment because of poverty as he was deserted by his wife for she could no longer cope with the situation. this therefore brought to fore a social problem of some sort occasioned by class consciousness as the eloped wife was most likely to shun going into further relationship with men in the lower class stratum to avoid a recurrent cycle of living in indigence. song three: ho my wife text in pidgin translation ho my wife, ho my wife ho my wife, ho my wife ho my wife, ho my wife why can‟t you remember me again? i rolli truck one year i tappi rubber so many years when money go woman go oh my wife, oh my wife oh my wife, oh my wife oh my wife, oh my wife why can‟t you remember me again? i pushed truck one year i tapped rubber for so many years when money finishes woman goes away if the axiom, birds of the same feather flock together is anything to go by in this discourse, it was probable that the wife, who abandoned her husband due to poverty occasioned by class disadvantage, would find it impossible to extricate herself from poverty as she could find the class wall impregnable. this is what tunde fatunde posits in his play sweat and blood, p94 when kisinger accused macmillan of romancing with blacks and coloured women in apartheid south africa. kissinger: but you. do you believe in racial superiority? why did you go to the night club with a female cook? even if she is a european cook, i do not expect you to go out with someone who belongs to an inferior class. i am disappointed at your behaviour. despite the ravaging effect of frustration on him, the poor man in hotel de jordan had been courageous in confronting his oppressors. the next song typified by casino manager directly affront on them. they are ready to fight or beat up any of the perceived oppressor who comes their way. song four: casino manager text in pidgin casino manager you dey for trouble if you no commot here we go beat you translation 92 casino manager, you are in trouble if you do not leave here, we will beat you to the poor man in the city of jordan all is not lost. despite their obvious predicament in the society, they are hopeful that someday their dreams would come through and they would be freed from the shackles of poverty, starvation and hardship engendered by class stratified society. this is the mood in the next song below. song five: my canoe bright is the day today everything passes away i have nobody to comfort my soul i better paddle my own canoe. textual analysis of hotel de jordan songs it may be considered utterly panegyric if not superfluous to say that most traditional nigerian songs are laced with anecdotes, ideophones, proverbs, metaphors, hyperboles etc. it is these attributes that the songs of hotel de jordan keyed into. the use of songs and music related activities in correcting societal ills is not novel in africa. for example, herskovits (1958) cites an instance from west africa where among the fon of ancient republic of benin derisive songs were used to ridicule individuals or groups who offended against communal morality. on a similar note, finnegan (1970: 272) said: “chopi musicians of mozambique in africa use the medium of song to criticize and pressurize those in authority.” while talking of song texts, aluede and aluede (2011) remark that: as one embarks on the textual analysis of songs, one should be mindful of the interplay between text and subtext in songs. african melodies have often been described as short and repetitive. this view may also go with the words of the melodies that go with them. a researcher who is not groomed in the musical traditions of africa may not be able to elicit any information from their songs. while examining critically one of the esan ujie songs, they further observe that: uki henlen reveals strong elements of satire. uki in esan means the moon and aghola is the northern star‟s illuminating power which is strong when compared to the moon. of all the celestial illuminants at nights, the moon is the brightest. when this song is performed in a procession while passing through the compound of those who recently performed in a procession, it means that the present performance is heavier in all realms in contrast to theirs in terms of number of wealthy children, audience participation and that the performance proficiency of the ensemble is better and superior to any other previously held around the locality. mere reading and singing of hotel de jordan songs may not make a serious impact on the reader except he is versed in the background trajectories of the socio-political quagmire of the epoch within which the songs were composed. the theme song illustrates the hardship in the country arising from exploitation. exploitation is a very common tendency in the country and it is the cause of wide spread poverty among the people as they are often paid wages below their capacity output. baboon here refers to the exploitative employer while monkey refers to the exploited workers. in song one, mayor was advised to water his crops. in this song, the poor man is calling on the government to ameliorate the impact of inflation on the society because her policies have resulted in increase in house rent and consumer products making life difficult for all the citizens. scatter beer here refers to the fact that as a result of inflation, the dream to hang out with friends while drinking beer has been dashed. the proletariat are left with nothing than to resort to cheap alcohol (ogogoro) which the poor man consumes in order to drown his misery. this cheap 93 drink is known to be very high in alcoholic content and so highly injurious to human health. song two speaks about the inequality in the country which has almost become an order. on the other hand, the masses that are at the receiving end of this social malaise are encouraged not to accept their fate. this is done by relying on the order of equality established by god. it therefore calls on the poor people in the society to be courageous and hardworking because it is only through these that they can be liberated. in song three, the poor man is bemoaning the attitude of women in the society who fail to stand by their husbands when things are no longer going well. here, the poor man decries his misfortune as he finds to his chagrin that his wife has abandoned him because he could no longer cater for her needs. literarily, one may see this song from a simple perspective of just divorce. the divorce here is as a result of joblessness, collapse in economy which the government and her agents are responsible for. for example, when salaries are paid in arrears, retrenchment and job insecurity are noticed everywhere, the problem is government‟s. in song four, we find that the patience of the poor man has run out and therefore, he is ready to take the law into his hands by physically assaulting the rich who they believe is the cause of their predicament, song five encourages the poor man not to be disillusioned in the face of present hardship but rather to be strong and self dependent. effectiveness of songs as tools against social stratification the effectiveness of songs as tools against social stratification can only be measured within the parameter of their uses and goal in the programme. in the first instance hotel de jordan is a satirical comedy. according to aristotle, art is a matter of representation, and comedy is an imitation of worst men. dasylva (2004) writes that: comedy is a term loosely used, and generally applied to a wide range of dramatic writings. as a form of drama, comedy is concerned with man‟s relation to society and deals with experience rather suitable than questionable…. he categorizes comedy into two: high and low comedy. these can further be expanded into comedy of manner, humours and intrigue (p. 57). hotel the jordan falls within the genre of comedy of humours. this is dependent on how the playwright presents his characters. he however remarks the danger in this form of comedy as it has the tendency to trivialize serious matter due to its farcical nature. he observes a link between comedy of manner and comedy of character as both suggest ethics and moral actions. although the programme had attracted a lot of viewers and was very topical at the time of its broadcast, one must however not be misled into thinking that the programme was very effective in ameliorating the plight of the common man. this was due to its hilarious tendency which undermined seriousness in the height of hilarity. the veracity of this assertion could be hinged on the fact that throughout the duration of the programme, there was never a noticeable change in the condition of the common man in hotel de jordan less the lager society which it represented. neither did idemudia have his condition changed from that of knickers wearing houseboy who was frequently shouted upon and taunted by his maverick boss chief ajas, nor kokori, a loafer nor was jester able to rise above his state despite singing themselves to hoarse. rather, they were seen by their audiences and masters as comic figures of some sort relevant in aiding them to get over the tension and pressure of their day to day activity. in other words their comic disposition further empowered or enhanced the capacity of their subjugators to suppress them. this is the irony of hotel de jordan which andrew gamble (1988:5) described in a phrase as “those more directly at the receiving end.” the poor man in hotel de jordan is at the receiving end and his method of expressing his plight through his comic posture only seemed to exacerbate his condition as he was most often not taken seriously rather his antics were regarded as an elixir. another factor which tended to downplay the plight of the common man in hotel de jordan was the factor of the sub dramatic element of stock character an established and accepted dramatic rite in the 94 ritual of play wrighting relied upon by playwrights as a tool in the construction of plays. according to abraham (1984:185) stock character is described as “types that recur repeatedly in a particular literary genre, and are so recognizable as part of the conventions of the form.” this definition locates the stock character as an unchanging entity and in this capacity is recognized and identified ad infinitum. the implication of stock characterization in drama is that as drama is dependent on the use of characters to develop plot and unfold meaning through dialogue, it therefore implies that a stock character is a character endowed with an unchanging, permanent or balanced ethos which he must uphold at all times and must be identified with in the course of the play. this is probably the aspect of dramatic flaw not only inherent in the programme but in dramatic studies i.e. the irreversibility of stock characterization. other stock characters such as usiobaifo and okpetu who fall within the category of the common man did not have their conditions improved either throughout the play. this was not because they did not struggle enough, or cry loud enough, or even work hard enough but because their characters had been so created, established and stocked up by the playwright. in this circumstance, nothing could be done to change their destinies within the span of the play. conclusion in this paper, we have attempted to show that songs can be used to express a state or condition of a people. in it also we examined how societal stratification can be used as a tool for divisive relationship in the society. while showing how societal stratification perpetuates affluence and poverty in the society, this paper pontificates the essence of songs as a tool for enlightenment and entertainment, especially through comedy. the authors hold the opinion that presenting serious and topical issues comically has its associated adverse effects. hence, they observe that in such a process, seriousness is lost and the desired goal compromised. to avert these, moderate use of comedy is thus suggested in the presentation of critical matters be it for the screen or the stage. references abrams, m. h. (1981). glossary of literary terms. (4 th ed.). new york: holt, winston. ademola, o. d. (1979). studies in drama. ibadan: stirling-horden publishers. ajah, o. p. (2004). stepping into comprehensive philosophy. abuja: timeless. aluede, e. o. & aluede, c. o. (2011). an analytical survey of the ujie music and dance. makurdi journal of arts and culture (majac), 9, 1-22. awodiya, m.p. (2010). the drama of femi osofisan: a critical perspective. ibadan: kraft books. barnhart, t. (1980). world book dictionary, a-k. chicago, illinois: broadway publishers. barnhart, t. (1980). world book dictionary: l-z. chicago, illinois: broadway publishers dasylva, a. o. (1997). dramatic literature: a critical source book. ibadan: bookman. emielu, a. m. (2009). high life music in nigeria. a doctorate degree dissertation submitted to the university of ilorin, nigeria. fatunde, t. (2006). no more oil boom and other plays. bookcraft publishers. finnegan, r. (1970). oral literature in africa. london: the clarendon press. gamble, a. (1988). an introduction to modern, social and political thought. london: macmillan. haa, e. (1995). soul. new york: friedman/fairfax publishers. herscovits, m. j. & f. s. (1958). dahomean narrative. evanston: northwestern university press. okafor, r. c. (2005). music in nigerian society. enugu: new generation books. olorunyomi, sola. (2005). afrobeat: fela and the imagined continent. ibadan: gold press, radice, b. (1981). aristotle horace longinus. middlesex: the penguin classics. 206 music: an incentive in early childhood education chinyere c. esimone department of music nnamdi azikiwe university, awka. abstract very few things in life inspire much joy and excitement than the miracle of a newborn baby. whether that child fulfils his or her potentials in life, is largely dependent on the family, community and the society into which that child is born, hence the early years of life is very crucial. when children are given the right attention from the start of their lives, from their family and the society, and especially with music, their general development in all areas: especially intellectual, emotional, moral and spiritual are obviously enhanced. this study examines the motivation that the use of music in raising children gives in their intellectual, emotional, moral and spiritual development. introduction music is as important as life, and it is a natural and essential part of young children‟s growth and development. anyone who has worked with young children knows that children love music and can engage in musical activities on many levels. early interaction with music positively affects the quality of children‟s lives. “from birth, music is an intuitive form of communication between mother and baby” (papousek 1996), and with time, between growing children and caregiver(s). also, from more than a decade, it has been apparent that from infancy, human beings are quite simply hardwired for musical experience, implying that children are born with the innate ability to respond to music and to develop intellectually, emotionally, morally and spiritually. music education music is defined by blacking (1973) as a “humanly organised sound” (p.57). elliot (1995) defined it as a „diverse human practice of constructing aural temporal patterns for primary values of enjoyment, self growth and self knowledge” (p.128) and walker (1998) believed it to be “a living analogue of human knowing, feeling, sensibility, emotions, intellectual modus operandi and all other life – giving forces which affect human behaviour and knowing” (p.57). music is a language given to us by god; through it we strive to express our joy for things that are real to us, and our longings for the things that might be. hence esimone (2009) asserted that awka journal of research in music and the arts (ajrma) vol. 9 2013 207 many things tend to influence life and reveal clear changes in character, and music is so effective and very prominent at such. it goes beyond organised sounds that please the ear to penetrating the innermost being of man, to cause a conspicuous change in the attitudes of man. (p. 1) on the other hand, education is defined as “a multi-faceted concept which here simply refers to learning or intellectual attainment” (mbanugo 1999). akinbote (2006) said, “it is a process by which the community seeks to open its life to all the individuals within it to enable them take their part in it” (p. 8). akende (2002) asserted that “it is the cornerstone of any nation that contributes to its development” (p. 26). akumah (2004) opined that, “it is the process of discipline through training and study in the acquisition of skills and knowledge” (p. 202). he further defined it distinctly as: “the process of development which consists of the passage of a human being from infancy to maturity, the process whereby he gradually adapts himself in various ways to his physical, social and spiritual environment (p. 203). adeogun (2006) on the other hand asserted “education empowers human beings, so that they can actualise their potentials and tendencies satisfactorily, and as members of society, they can interact with their environment richly: (p. 152). music is a necessity to life; hence all the definitions above point to the fact that it empowers and instils all the necessary qualities a child or any individual needs to explore the world around him. and if this is a fact, it means its involvement with education is inseparable. music education no doubt contributes in no small way to the general development of children. it is the best way enduring attitudes regarding the joy of music making and sharing are developed. however, this can only be achieved through effective teaching and learning with meaningful and educative songs, which could and should include nursery rhymes and lullabies which children can easily imbibe and understand; adopting the use of audio-visual learning aids and appropriate teaching methodology specifically meant for children such as the play-way and child centred (allowing children contribute in the teaching and learning activity) methods of teaching; hence in their early childhood. early childhood spans from infancy to the age of five (5) or eight (8) to some people. music no doubt is the most simple, easy and best way to inculcate all good knowledge into children hence it leads to their all round development. intellectual development every full-fledged man or woman was once a little child and had to go through a lot of experiences and influences to become what he is today. whether this child was privileged to have a music family or not, he had the opportunity to hear music being made even as a child; and as a result, could say a lot of things he learnt, which to a greater extent had helped shape his live even as an adult. hence: music making is a basic life skill as it is with walking and talking. it has so much to do with man‟s emotions, moods, feelings, attitudes and opinions hence; it is desirable for children to be exposed to, trained and enculturated with music for its own sake. in 208 other words, it is a birthright for all people irrespective of age, to be able to sing in tune and march to a beat (levinowitz) http://www.musictogether.com/import. music, no doubt is a great and important factor in the academic development of children. one wonders at the miracle of what mere singing could do even in making children who literarily would not want to read and write some english words, solve little mathematical problems, and even socialise with fellow children. you see them carry out such activities with ease simply because music was involved. it is then not a surprise why music is the backbone of life; hence it soothes our emotions, helps us cope with hardship and can be a prime factor to a healthy life. music is more powerful than mere words and has helped solve problems ordinarily words or flogging could not solve in children. education always changes behaviour which is the end result of what was learnt. and music is not left out as an incentive in intellectual upbringing of children. music expands memory and assists in developing crucial language skills. it exerts a multiplier effect on reasoning skills, especially on spatial reasoning – an effect that has been demonstrated experimentally. music also reinforces such logical and perceptual ideas as beginning and ending, cause and effect, sequence and balance, harmony and dissonance, as well as arithmetic concepts such as numbers, enumeration and timing (start the music: a report from the early childhood music summit. www.menc.org/resources/view/start-the-music-a-report-from-the-earlychildhood) moreso, the effect of music on the brain and thinking are demonstrable and research has shown that during an electroencephalogram (eeg), music can change brain waves and make the brain more receptive to learning. music connects the functions of the right and left hemispheres of the brain so that they work together and makes learning quick and easy. brain function is increased when listening to music and studies have shown that music promotes more complex thinking. it can make connections between emotions, thinking and learning (davies 2000). how important therefore it is for children to be introduced to music as early as pre-school age. music has also been proven to help in the development of mathematical skills in children; as maxim (1989) noted “singing games such as counting rope jumps could help a small child to understand how to count” (p. 289). more so: there is a causal link between music and spatial intelligence by which one can visualise various elements that should go together, it is critical to the sort of thinking necessary for everything, from solving advanced mathematics problems to being able to pack a book-bag with everything that is required for the day; from writing materials, text books and snacks for the day (teacher education www.classicsforkids.com/teachers/education/benefits.asap ). the teacher eduation above further observed: http://www.musictogether.com/import http://www.menc.org/resources/view/start-the-music-a-report-from-the-early-childhood http://www.menc.org/resources/view/start-the-music-a-report-from-the-early-childhood http://www.classicsforkids.com/teachers/education/benefits.asap 209 early musical training helps develop brain areas involved in language and reasoning. it is thought that brain development continues for many years after birth. recent studies have clearly indicated that musical training physically develops the part of the left side of the brain known to be involved with processing language and can actually wire the brain‟s circuits in specific ways. linking familiar songs to new information can also help imprint information on young minds. this is a fact. the researcher could still remember a lot of information and memories of things taught through music, even as a child. music makes an indelible mark in our memories and faster in children because their brain is tender and can take in things easily if well applied. also, in the acquisition of reading and writing in early childhood, music is another outlet to stimulate the mind; for that‟s the only better way to gain knowledge and confidence in oral language and writing. oral language is an interactive and social process and music is a natural way for children to experience rich language in a pleasurable way. children have a lot of energy, and learning movements with dances to songs always help to release some of these energies. the use of music for reading instruction allows children to easily recall new vocabulary, facts, numbers and conventions of print. for example, in learning abc‟s, the alphabets could be sung and danced to, making its learning more pleasurable, very simple, easy and sweet for the children. the same thing is applicable to the counting of numbers (1, 2, 3 etc.); as well as in knowing the parts of the body, their names and where they are located. more so, it has been observed that success in school and society is dependent on diverse abilities, and studies have shown that some measures of children‟s intelligence are indeed increased with music instruction. noting that it is not just that mere listening to music probably once in a while will make one smarter, rather a rich environment makes the difference. www.childrenmusicworkshop. co/advocact/benefits.html). moreover, deborah torres patel (internet source) on „top 20 reasons why children should study music observed that: the brain develops at a rapid rate between birth and three years and it is an essential window for the development of neurons. therefore encouraging musical exploration is an easy way to promote intellectual development. before the age of three, toy instruments can be an excellent introduction to the real thing and group musical play classes can prepare a child for later study. singing at any age is highly beneficial; linguistic and musical awareness can begin as early as the fifth month of pregnancy when foetal brain and ear are wide. (http://ezinearticles.com/top-20-reasons-why-children-should-study-music&id=151408 from all the above, it is very clear that music stimulates and increases intellectual ability in children. hence, the importance of using music to teach them all things, starting from their homes to their schools cannot be overemphasised. http://ezinearticles.com/top-20-reasons-why-children-should-study-music&id=151408 210 emotional development emotionally, music has been shown to provide emotional stability to children. a singing caregiver or a singing parent will always turn into a good friend of a child and will always have that child clinging to her just to have the caregiver or parent singing for him. such acts have been found to help children bond. making music with other children either in the kindergarten or crèches as the case might be or in any recreational environment (parks) or even at home with neighbours‟ children; gives children a wonderful feeling of belonging to a group and it helps to enhance their emotions. most children who have difficulty joining in activities with others because they are shy or have special needs, have always been seen feeling very free and participating once there is a music activity and this has often helped them make friends and bond with their friends as well. there is nothing that makes children experience much pleasure and joy than listening to, making, moving to and participating in music. whether they are singing along with a cd, playing a rhythmic pattern with any object of their choice, singing along someone or even skipping to music in their environment, they seem to thoroughly enjoy participating in the music making. there is no doubt that a child introduced to music in early childhood might be found to be a happy child later in life. it is amazing seeing babies or toddlers who by mere listening to music make them stop crying if they are crying, make them happy if they are sad, and make them obedient if they are stubborn. music indeed is very powerful. no wonder plato as quoted by abeles, hoffer and klotman (1984) said: music is one of the most inspirational forms of arts; its power is contained in its ability to by-pass reason and penetrates into the soul and the subconscious, manipulating one‟s feelings. it is a potent instrument than any other because rhythm and harmony find their way into the inward places of the soul of which they mightily fasten: imparting grace and making the soul of him that is rightly educated graceful (p. 4). music indeed is very powerful and simple to learn especially with children, because it has to do with their emotions. a child will always want to start dancing at any melody he or she hears; even when the child is crying, a melody makes the child stop crying and start dancing because, the song touched the child‟s emotions. to this blacking (1973) opines: music is a deliberate presentation of opportunities for listening, creative singing, rhythmic responses and playing instruments. through these activities, the child experiences pleasure, joy and creative expression. he or she develops listening skills and auditory discrimination. they also gain in psychophysical development, artistic use of the body as well as an increase in the range and flexibility of the voice (p.12). to grow emotionally and socially, children need to feel worthy and confident. freedom to experiment and to respond in creative ways to music can produce these feelings. music properly taught can provide opportunity for children to learn appropriate ways of relating with others. it can provide ways of doing things with little or no fear of threat. hence the 211 easiest way to gain self expression and self confidence is through music. when this is started during the early years of life, it becomes a normal lifestyle later in life; hence the best time therefore to introduce music in life is in the early childhood. more so, learning to sing is a great skill for children to imbibe. when children are made to learn and sing songs together as a group, it brings joy and happiness to them; and singing in a group also helps them to get use to one another, make friends among themselves and have a sense of belonging. all these in turn help them in their emotional development. some times, they misunderstand themselves, fight, quarrel and reconcile even though in a group. it is no deal; it is all part of growing up. as they see themselves from time to time, sing and play together, they get to understand the importance of appreciating one another, accepting one another and obviously loving one another, through these, their emotions which often times are sad, happy, hate, love and so on are developed and kept under control. from all the above it is clear that music serves as an incentive to the emotional development of children. moral and spiritual development the holy book says „train up a child in the way he should go, and when he is old, he will not depart from it‟ (prov. 22:6). moral and spiritual upbringing of children have always been best achieved; most of the time, through the use of songs. to this onyiuke (2006) says: from the childhood stage of development, the child learns to develop his moral attributes in order to live harmoniously with his fellow men. in the school, the child learns songs that teach morals like songs that emphasise on respect for elders, dignity of labour, kindness to all, hard work, cleanliness and many others. here learning comes naturally and does not need to be memorised with stress (p. 59). moral education is of great importance in the life of every individual, and if the society will be good, safe and prosperous, then the moral development of her citizens must be ensured. and this can only be started and maintained from early childhood through music. onyiuke (2006) further notes “other values are taught to children through songs, and the songs and the accompanying moral lessons are hardly forgotten by the child” (p. 59). music gets children in tune with god early in their life; it introduces them to their maker early enough and makes them have the fear of god in their hearts as they grow up. coles (1990), in his 30 years dedication in researching on children‟s spirituality across the united states and the world, met with hundreds of children whose spirituality were developed at home, churches, synagogues and mosques. he discovered that children are drawn to soul searching through songs, even though religion is not part of their lives. he interacted with students and engaged them in meaningful conversations and emotional debates about spirituality from which he quoted what one inner city child said about his connection to god through singing in church. …i was singing in church last sunday and i taught that god must be enjoying us, because we were hitting all the notes right! then when we were through and were just sitting there … i was thinking that god put me here so i could sing like i just did … i‟ll wait to see what he thinks i should do when i‟m older … (p. 136). 212 music no doubt connects us to god. it is often surprising, even as adults, how when our hearts are over burdened and we start singing, and discover before long, that the entire burden in the heart has been lifted. most adults could tell how by just singing praises to god, they have ended up praying and talking to god about their problems, how at the end of that prayer, what peace they felt because they knew right there and then, god heard them. if this could happen to the adults, little children benefit more. a little child that is crying, tensed up and unhappy gets over all that just by mere listening to songs. often times joining in the singing and dancing to its rhythm, when that child has done that for few minutes, the crying and tension will all vanish away. and the child will turn into the opposite of what it was like before then. most of the times when teachers or parents need to teach children to pray, do things right and love god, music is always the easiest and simplest way. just bring songs that talk on those issues and teach the child, you will get the shock of your life because that child will come reminding you of the practical section of what you taught the child through songs. this is because adults easily forget things because of much thought on their minds, but the child has nothing bothering him or her, so remembering what he or she learnt is like a blink of the eye. and they practice it to the later given a faithful environment. this undoubtedly tells us how powerful music could be. music obviously connects us to god. coles (1990) observes that “educational spirituality is how we connect with one another, move in and out of one another‟s lives, teach and heal and affirm one another, across space and time”…(p. 335). as we get closer to one another, god can never be farther from us. sacred and inspirational music instils a positive musical outlook for life. the teaching of morale and spiritual values can be accomplished through singing, playing and listening to great sacred music. the teaching of religion in the schools poses controversy and sectarianism most of the time, but music transcends these barriers and goes to the very heart hence “great music is that which penetrates the ear with facility and leaves the memory with difficulty. inspirational music never leaves the memory, and a song will outlive all sermons in the memory” (leader and hynie 1958). summary and conclusion this paper has examined how music serves as an incentive in early childhood education. it explored how music could affect the intellectual, emotional, moral and spiritual life of the children. music education is very important and without controversy, it is necessary for the entire education of the pre-school children. lehman (2006) says that “research has suggested that music instruction can have a positive effect on the functioning of the brain in young children and can offer other far-reaching educational and developmental benefits.” these results deserve our attention, but the most basic reason for bringing in music is that music is intrinsically worthwhile. it is valuable in itself and it is important. and piaget (2006) says that “recent research has proved that music affects the body. it appears to massage organs, entrain biorhythms, alter hormone levels, reduce stress and increase learning.” music carries with it more than just feelings; it can be a powerful vehicle for information. 213 when children are exposed to all of these revealed benefits early in their lives, the results no doubt will be enormous and our society will be filled with people of high moral values, who are versatile in every aspect of life. this paper will end with the quotation below: music gives a soul to the universe, wings to the mind, flight to the imagination… and life to everything. …plato. references abeles, f. h., hoffer, c. & klotman, r. (1984). foundations of music education. new york: schimer. adeogun, a. o. (2006). towards a philosophy of music education in nigeria. interlink: a journal of research in music, 3, 104-115. akande, f. f. (2002). teacher education and national development in the 21 st century: challenges and strategies for improvement. ilorin journal of teacher education. akinbote, o. (2008, august). universal basic education in nigeria: prospects and problems. a lead paper presented at the 3 rd national conference, school of education, federal college of education, osiele, abeokuta. akumah, e. (2004). concepts of functional education. in r.c. okafor and l. n. emeka (eds.), nigerian peoples and culture, 200-216. enugu: new generations books. blacking, j. (1973). how musical is man? london: faber & faber. coles, r. (1990). the spiritual life of children. boston: houghton mifflin. davies, n. l. (2000). learning… the best goes on. journal of research in children education, 1, 149-151. elliot, d. j. (1995). music matters: a new philosophy of music education. new york: oxford university press. esimone, c. c. (2009). music education and social identity: a study of selected secondary schools in enugu state. a master‟s desertation presented at the university of nigeria, nsukka. 214 leader, j. a. & haynie, w. s. (1958). music education in the high school. englewood, nj: prentice hall. maxim, g. m. (1989). the very young: guiding children from infancy through the early years. london: merrill. mbanugo, c. e. (1999). towards a philosophy of music education. unizik journal of arts and humanities, 1, 234 – 242. onyiuke, y. s. (2006). music pedagogy as implement for all round development of primary school children in nigeria. interlink: a journal of research in music, 3, 56-63. piaget, j. r. (2006). the role of music in learning. birmingham: baat ltd. united kingdom internet sources deborah torres patel (internet source) on „top 20 reasons why children should study (http://ezinearticles.com/top-20-reasons-why-children-should-study-music&id=151408 levinowitz, l.m. (1998). the importance of music in early childhood education. in the general music today. music educators‟ national conference 1998. available at http://www.musictogether.com/import. [accessed 15 th june, 2011] start the music: a report from the early childhood music summit. www.menc.org/resources/view/start-the-music-a-report-from-the-early-childhood teacher education ( www.classicsforkids.com/teachers/education/benefits.asap the national association for music education: „benefits of music education‟: brochure spring 2002. www.childrenmusicworkshop.co/advocate/benefits.html http://ezinearticles.com/top-20-reasons-why-children-should-study-music&id=151408 http://www.musictogether.com/import http://www.menc.org/resources/view/start-the-music-a-report-from-the-early-childhood http://www.classicsforkids.com/teachers/education/benefits.asap http://www.childrenmusicworkshop.co/advocate/benefits.html tonemic substitution 194 music composers’ roles in curbing youth restiveness in nigeria: an overview loretta nkechinyere okoro & alvan-ikoku okwudiri nwamara ph.d. abstract outh restiveness is a social phenomenon with a negative influence on national development and security. this is because the youths are potentially the greatest investment for a society‟s sustainable development. the means of curbing youth restiveness has always been a great concern in nigeria and many other countries of the world. studies on this issue have been carried out in different ways forming part of the literature review for this work. through library, internet, observation and interview sources, it was discovered that at various points in time, different programs under different names have been set up by government and nongovernmental bodies as a way out. these programs have made some positive impact; in this regard music has also played some vital roles. this paper therefore, reveals some of the efforts made in the past towards solving this problem by government and individual bodies with particular attention to the vital roles nigerian composers played. it revealed that through music arts, nigerian composers have the capability of capturing the attention of the youths and making them have focus. in conclusion, the paper suggested various ways nigerian composers could make more inputs on this issue. introduction one of the greatest assets of any nation is the possession of human resources of which the youths constitute the majority. the y awka journal of research in music and the arts (ajrma) vol. 14 2020 195 importance of youth in any society cannot be over emphasized because they are the foundation on which every nation is built. they are the engine of growth and development; because, they provide the labour for production of goods and service to take effect. their lives and character orientation determine the pace at which the growth and development of a nation moves. expressing the importance of youth in national development, a sahara report on the nigeria youth (n. d.) stated that: the youth in any society are the engine of growth and development; because, they provide the labour for production of goods and service to take effect. and also, are the critical masses of people, whose action and inaction can develop or destroy the hegemonies of their society. for example, according to the 2006 census, the youthful population constituted over 70% of the population. so, therefore, this quantum of population is great assets for the nigerian state if harness and utilize in the right direction. anasi (2010) also captured this point in a study she carried out on youth restiveness thus: youth are the foundation of a society. their energies, inventiveness character and orientation define the pace of development and security of a nation. through their creative talents and labour power, a nation makes giant stride in economic development and socio-political attainments. in their dreams and hopes, a nation founds her motivation; on their energies, she builds her vitality and purpose. and because of their dreams and aspirations, future of a nation is assured (p. 2). according to the above statement, young people are recognized as an important segment of the society with the potentials for establishing 196 peace and security of a nation. but on the other hand, they can as well destabilize the peace and security of a nation if their mind set and goals are not properly directed. this is confirmed in anasi (2010) which opined that: young people all over the world are a vital and important segment of the society in which they live. a disciplined, focused and law-abiding youth can create a bright future for any nation. conversely, a lawless, indulgent and violent youth is a threat to a nation‟s peace and security (p. 1). peace is believed to be a predecessor of development. for a meaningful development to take place in a nation there must be peace in such nation. conversely, if there is absence of peace in a nation according to anasi (2010), it “means that no meaningful development can take place” (p. 2). the above expression is better understood looking at the situation of things in nigeria today. nigeria as a nation is facing lots of challenges both in national development and security. this situation no doubt is because of lack of peace and security. studies on these identified youth restiveness as one of the major causes of the lack. youth restiveness relates to negative attitude of the youths usually marked by violence and disruptive of lawful activities which in most cases is aggravated by factors such as bad governance, lack of humanitarian and social welfare, unemployment, lack of recreational facilities, lack of quality education, inadequate communication and information flow, poverty, injustice, peer motivated of being a student, the jingoistic pursuit of patriotic ideas, idleness, negative indoctrination, religion fundamentalism, inordinate desire for material wealth, to mention but a few. the points raised above may have led to a sahara report on nigerian youth (n. d) stating that: societies are not only recreated through the youthful population, but, youth are often referring to as leaders 197 of tomorrow. so their mindset and roles is of major important to the development of any society. ….no nation will experience development when the preponderance of the population that constitutes the largest percentage of the population is idle and ineffective. therefore, it is of paramount important that the nigerian youths need to be molded, motivated and guided to imbibe and develop positive moral values in order to harness their potentials for the achievement of national growth. in the past, various actions have been taken to control the restiveness of the youth. some examples of such actions include:  sensitization on skill acquisition programme in rivers state which took off on 6th may 2000 aiming at helping youths in acquiring different skills for self-reliance and national development.  the adolescent programme (tap), a pet project of the wife of the former rivers state governor, justice mary odili that was set up in 2000. the project was initiated to ethically rehabilitate, morally re-orientate economically empower the adolescent with a view of inculcating leadership and responsive citizenship quality so that they do not become vulnerable to social vices.  the niger delta development commission (nddc) skill acquisition programme designed to equip youths with vocational skills in various trade.  the schools agriculture programme which focuses on the provision of farm inputs to facilitate farming activities in schools, formation of students into farming clubs, and linking 198 participating schools to credit facilities. also the marine agriculture development programme (cage and pen culture) is a fishery training programme for youth in tertiary institution were designed and set up by lagos state to fight hunger and poverty.  ondo state inclusion of youth in government committees that are involved with young people‟s issues as reported in national youth development report in 2009.  organization of workshop in 2008 on “peace building & conflict resolution in the niger-delta region” by the federal ministry of youth development in support of the millennium development goals (mdgs) to re-orient the youth by inculcating in them the culture of dialogue and communication in resolving conflict.  talaba youth skill acquisition programme (tysap) organized by the ministry of youth development of niger state. aside the above mentioned activities, the nigerian music composers have played holistic roles in this direction through their musical works. it is the concern of this paper then, to discuss the contributions of the various music composers in curbing youth restiveness in nigeria. the concept of youth the term “youth” according to the new international webster‟s comprehensive dictionary of the english language (2004) is “the state or condition of being young.” it is also “the period when one is young; that part of life between childhood and manhood; adolescence” (p. 1460). sahara report on the nigerian youth (n. d) described the youth as: 199 …a special group of people with strong stamina and passion for realizing certain set goals and objectives… youth share certain characteristics that distinguish them from other generation. such characteristics include, impatient for change, zealousness, radicalism, rebellions, curiosity, hard work, ego and ambition etc. ……youth are the engine and actualizes of national development, if their mindsets are channels in the right direction. youths are the ware house and pillar of a nation in that, they possess every quality needed by any nation to make a positive development especially when those qualities are properly channeled. youth restiveness ejumudo (2014) asserts that a standard and generally acceptable definition of the term “youth restiveness” is yet to evolve despite the fact that it has “gained notoriety in usage, particularly in nigerian parlance and has gradually assumed a global configuration.” he further defined youth restiveness as: …a situation of the inability of the youths to be still or quiet and difficult to control, especially when they are unsatisfied with something. it relates to matters of agitation, neglect, marginalization, and other feelings of dissatisfaction. it can also be viewed as the engagement by youth in agitation for the restoration of their right and dignity or self-seeking and criminal activities (2). ogbeifun in oromareghake, arisi & igho (2013:10) came up with another dimension of definition based on the fact that actor‟s motivation and orientation differs. youth restiveness in this regard was categorized under three categories thus: 200 restiveness based on actor‟s motivation and interest as youths engaged in genuine agitation for their right and restoration of the dignity of their group or race; youths engaged in self and criminal activities such as kidnapping or hostage taking in exchange for levied ransom; youths seeking revenge for oppressive attitude toward members of the elite class or a manner of responding to a repressive state. from the above points of view, it could be said that youth restiveness relates to negative attitude of the youths usually marked by violence and disruptive of lawful activities which in most cases is aggravated by situations perceived as unsatisfied and as such, seek for means of bringing them to satisfaction music composer the term composer and musician are two words that could be used interchangeably. this does not mean that every musician is a composer. musician is a general term used to refer to all in the field of music making. these could be a composer, conductor or performer of music and so on. therefore, a composer as one in the field of music making can also be referred to as a musician in this context. a music composer according to ukpong (2006) is simply “a creator who seeks to transform the society through music art.” (p. 98). okafor in ibekwe (n. d.) asserted that: a musician is a keeper of public conscience and as a man who has his hands on the social control lever, he guides the society; drawing, of course, from the collective wisdom and pool of knowledge and proverbs of his people. he foresees events like any poet, for a poet can point the way to come, even though the people following may not see it for the time being. (p. 162). 201 onwuekwe (2007) opined that “the composer is one who puts down sounds systematically to produce music.” she added that “the composer bears a lot of things in mind before and during his composition. he first of all bears in mind the audience for which the music is to be composed.” (p. 28). nwamara (2016:18) simply puts it as “one who creates or “manufactures” music. … basically skilled and is vast in the handling of musical notations, musical elements and orchestration.” from the forgoing, it could be deduced that a music composer in this context is one who through his/her musical work (s) has the ability of molding, motivating and guiding the lives and character orientation of the individual persons in the society to imbibe and develop positive moral values for the societal transformation and growth. thus, the contributions of the nigerian music composers towards curbing youth restiveness could be discussed under the following subheadings: nigerian music composers’ roles in curbing youth restiveness  music composer as an information communicator;  music composer as a motivator;  music composer as an educator;  music composer as a watch-dog;  music composer as a character molder;  music composer as a job provider;  music composer as a promoter of peace and unity;  music composer as potential builder;  music composer as poverty eradicator. 202 music composer as an information communicator one of the notable causes of youth restiveness in nigeria is inadequate communication and information flow. the youths need to have access to information that will enable them know their right in the society to avoid being misled. anasi (2010) affirmed that “nigeria youths as leaders of the future need to have access to wide range of information which will help reposition them to take their rightful place in the comity of nations” (p. 4). music composition is a perfect medium through which messages are better communicated irrespective of the nature of the messages. ibekwe (n.d.) had earlier expressed that: music offers a perfect medium through which messages are communicated; even a message that is considered implicating, dangerous, hurting or abusive is conveyed through music without minding the consequences and provided it is aimed at bettering the condition of the oppressed (p. 168). if the youths have the knowledge that they are future leaders, they will avoid being used as thugs to destroy lives and properties. this is expressed in the music of nneka (titled niger delta) where he described the methods of kidnapping and burning of oil installations by the mend as a „blunder‟. the music as taken from oikelome (2010) read: …the youths take to the street just to show off their anger i ask a question is this gonna take us higher? …the mend is just another major blunder left with no choice but to grab the power kidnapping just to get paid higher claiming it‟s for the peeps just to get their pains lighter who is to blame? 203 the country turning darker democracy couldn‟t make it any better it‟s time for a change people of niger delta. timaya‟s music “yankulu ya” according to oikelome (2010) is also in line with the description above. in it, timaya sensitized the youths that the consequences of killing and kidnapping are hatred and disunity among them. he advised them “to stop the killing and kidnapping …and engage in meaningful business ventures.” the excerpt below is the music: …the way we dey today we got to dey love one another e we got to dey use our head before we dey kill one another e …make una use una head eh nigeria people are one eh … the way we be today my brother we got to dey love one another eh we no need kidnapping eh i don tell una finish eh we no need to dey fight eh make una use una headi eh …nigeria people are one …make una stop to dey kill my brother make una wise eh. music composer as a motivator the youths sometimes need someone to motivate them to act bravely without violence for the good of the society in which they live. fela anikulapo kuti, a progenitor of afrobeat is one of the music composers who took a bold step through his musical compositions to 204 voice out most of the evil deeds of the nigerian government without being violent. although fela was jailed severally by the nigerian government because of his compositions but he did not take to violence rather, he maintained his stance. examples of fela‟s music that portrayed this point are his “zombie” in which he condemned the brutality of the nigerian solders through the command of the nigerian government which eventually took him to jail. also, in his “sorrow, tears and blood” which he composed after serving in the prison, fela described the destruction that took place as the armed forces were searching for him to take him to prison and in the later part of this music, he reprimanded our people for being afraid to stand out for their right. below is the excerpt of the compositions: nelly uchendu‟s compositions “be a true nigerian and make a new nigeria,” according to ibekwe (n. d). are other musical works through 205 which the composer motivated the youth to be patriotic, to love the country and to avoid being avaricious in other to make nigeria great. below are the excerpts of the compositions: be a true nigerian be a true nigerian today if we love our country we will make a greater progress all those things we talk about will one day be forgotten only you can make a great nigeria come let us make a great nigeria sacrifice to build a great nigeria make a new nigeria be a true nigerian today, do everything right always be patriotic you will see you too can make nigeria great don‟t be avaricious, don‟t ever mislead we must contribute now to the growth of our country with good sanitation and excellent behavior let us be proud now to make nigeria great (pp. 167-168). music composer as an educator nigerian composers have also educated the youths through their musical works and sensitizing them to know the implications of their restiveness both on themselves and on the society. the music of nneka and timaya above are good examples on this point. also, agu‟s composition “udo amaka” is another song that could be used to educate the youths to always seek for peace and unity. again, the various anthems (national, states and schools) and some marching songs that are usually sung in various schools are means of educating 206 and inculcating moral values in these anthems and songs to the students who are also parts of the youths. below are some examples of the music: music composer as a watch-dog nigerian composers have played the role of a watch-dog through their music to create awareness of the goings-on in the society. composer as a watch-dog according to onuora-oguno (2010) is 207 “refers to one that guard against loss, waste, theft or undesirable practice.” (p. 157). okafor in ibekwe (n. d) buttress this in the work “the role of music and musicians in promoting social stability in the country” stating that: a musician shares a role of keeping a watchful eye on the goings-on in the society. he is therefore, a social critic and guides his people according to the prevailing norms. he foresees and he reflects. he has his hands on the social control lever. what it implies is that musicians are the society‟s spokes-men, the defender of the defenseless and pointers to social order. (p. 169). example of such musical works on this point is that titled “government of crooks” according to oikelome (2010) through which fela anikulapo kuti championed the message of the niger delta. the music read thus in pidgin: all of us know our country plenty plenty oil e dey. plenty things wey dey for africa. petroleum is one of them. all the places that get the oil o. now pollution dey for the place o. all the farm don soak with oil all the villages don catch disease through the work, fela was able to communicate and create the sense of patriotism that reinforced the will of many other musicians and various groups from niger delta and beyond to attend to the problems of militancy and deprivation in niger delta. another musician who created awareness of the goings-on in the society is timaya, one of the prominent musicians of bayelsa state in niger delta. the excerpt below is an example of the music in pidgin (oikelome 2010): 208 well e bin happen for bayelsa oh nineten ninety nene oh ten thousand soldiers for road iyo ask them where them dey go them say them dey go bayelsa oh which place for bayelsa oh one village they call odi oh na im them enter our village and rape our girls and make us homeless oh {chai} them kill our mama iyo them kill our papa iyo them kill our brothers them kill our sisters and make us homeless oh… i say government them bad oh (p. 92). the awareness created by these musicians resulted that attention were given to some of the problems that brought about youth restiveness which actually helped to calm the youths of niger delta. music composer as a character molder listening to certain musical compositions by the youths helped them to re-direct their life styles for good. for example, at the time patty obasi composed the song “nwa mamiwota” was a time when many young girls lived as if they own their lives as well as the world. as a consequence of their wayward live, some of them get into trouble and they seek for solution through various violence means. with this music, patty was able to get some of them back into living good lives. also, in the same line is nelly uchendu‟s music “waka about” in which she advised young girls never to marry a “waka about.” waka about in this context could be men with violent attitude such as armed robbery, kidnapping, prostitution, trouble shutting etc, who can never remain at a place or a peaceful environment. through this music, nelly 209 uchendu created the awareness in men that marriage could become a difficult issue for them if they do not re-direct their way of life. below is the excerpt of the two compositions: music composer as a job provider nigerian composers have also addressed the issue of unemployment among the nigerian youths through their musical works. in this direction, several youths have engaged themselves in the business of performing the composed songs through dancing as market or business promoters. also, some have involved themselves in selling musical work like dvd and cd. this is confirmed in ibekwe (n. d) who observed that: ….music and musicians have provided a very big relief and succor to many who engage themselves in one aspect of music business or the other for their livelihood. many young boys and girls have become 210 amateur musicians just to make both ends meet; some are involved in the sale of musical works. even many of the school leavers have taken the dancing as market or business promoter instead of staying idle and causing trouble in society (p. 172). it is noteworthy to mention that prof. alvan-ikoku nwamara, a nigerian composer and a professor in the department of music in nnamdi azikiwe university, awka plays an outstanding role as regard creation of job for the youths. he does this by co-opting the students into performances of music compositions of various kinds to keep them busy and help them earn some amount of money for their upkeep. music composer as a promoter of peace and unity another important role played by the nigerian musician is that of propagation of message of peace and unity among restive youths through music compositions. oikelome (2010) pointed out how nneka in his composition appealed to the warring youths of the niger delta region “to stop the war and violence and embrace the methods employed by gandhi and martin luther king jnr.” the music read: stop the violence in the niger delta remember there‟s a law called karma sins of the fathers was very popular nollywood made a great flick, i admire but for real, our kids don‟t have to suffer for mistakes we made when we taught we was stronger violence aint gonna make it any better stick to the ways of king martin luther civil disobedience might make thing clearer gandhi used it in india 211 and king in america didn‟t do much but the future was certainly brighter speak for the masses cos we all brothers mess the government who be making things tougher just live your life and keep chasing that paper i speak my mind aint got time for any haters it‟s time for a change people of niger delta (p.93). on the other hand, kefee another popular musician through his musical work “alright and wado” expressed the hope that peace and tranquility will one day return to niger delta if the youths can keep positive outlook. i bring you greetings from my country nigeria in africa land of culture and heritage so ready for this new age … i have a dream that some day that under the sun we‟ll live as one we‟ll be our brother keeper yeh,yeh niger delta we say wado …to my people in niger delta eh praying for peace i‟ve got good news for innocent prisoners crying out for justice your day will come things are going to get better i know they will. 212 music composer as potential builder several musical concerts aimed at bringing out the potentials in some of the youths have been organized. in these concerts, different musical compositions, instrumental as well as vocal are usually performed. the concert often gives youth the opportunity to showcase their talents either as instrumentalist or vocalist. at the end of the concert show, some youths who are outstanding in their performances are usually picked up by some philanthropists who attended the concert and are engaged in meaningful activities. a typical example is that which oguoma (2010) explained in a work “owerri traditional music performance: a social melting pot for human development.” according to oguoma, the youths are engaged in useful activities through various skills acquired by participating in a music ensemble called „abigolo‟. she added “through the skill, the youths…become self-reliant. the youths are gainfully deployed, and their leisure time effectively occupied, so that no room is allowed for such vices and maladies as robbery, kidnapping and duping” (p. 147). music composer as poverty eradicator poverty is one of the causes of youth restiveness as mentioned earlier. music composers have helped to an extent to solve the problem of poverty among the youths through their musical work which they perform to promote peoples business and they are being paid for. they also perform jingles composed by musician which they are being paid for during election to get supporter for parties. these are sources of earning money for their up keep summary youth restiveness, some of the possible cause factors in nigeria has been discussed. the youth as the necessary group for a nation‟s development and security has been looked into. the nigerian composers‟ roles in curbing youth restiveness in nigeria through their musical works have also been discussed. from all that was discussed, 213 it was discovered that nigerian music composers have been able to some extent control the youth in their restiveness but more efforts need to be made in order to continue checkmating youth restiveness through musical works. to do this, the under listed recommendations are to be considered. recommendations from all that has been said, it could be seen that nigeria composers are in the fore front to curbing youth restiveness and contributing to national development in nigeria through their musical compositions in this 21st century when nigerian politics is experiencing moral decadence. to continue this work, the following suggestions and recommendations will be of great help. nigerian system of education should separate music from other combined subject in the curriculum both for primary and secondary schools and make it a compulsory subject so that by learning music theory, the pupils as well as students will begin from their tender age to compose songs that will help to educate the society. they in turn by engaging in music composition will make a better use of their leisure time. nigerian government should endeavor to invest more in training of music composers who will create more musical work that are aimed in curbing youth restiveness since it has been observed that music is the best means of communicating to the youths. more recreational centers should be established in various places in the country where youths are to be entertained by the composers at least once every week. this will help to distract the youths from carrying out violent activities. 214 politicians should commission the composers to compose jingles to be used during election and engage the youths to perform them rather than encouraging them into violent actions. there is the need for composers to create more musical works that would sensitize the youth on the negative consequences of their restiveness both to themselves as well as society at large. more music students should also be encouraged to delve into the area of composition since this area helps in a greater way to control restive youths. conclusion information so far has shown that composers have made great contributions in curbing youth restiveness. it would therefore, be of great importance that they are encouraged and supported both by the government and individuals; financially and otherwise. composers on their part should also put more effort in the production of such musical compositions that could be used for curbing youth restiveness. more works should be done in terms of job creation, poverty eradication, promotion of peace and unity through music. references anasi, s. n. i. (2010). curbing youth restiveness in nigeria: the role of information and libraries. library philosophy and practice (e-journal). 388. retrieved july 5, 2019, from http://digitalcommons.unl.edu/libphilprac/388 ejumudo, k. b. o. (2014). youth restiveness in the niger delta: a critical discourse. sage open. retrieved july 5, 2019, from doi:10.1177/2158244014526719sgo.sagepub.com ibekwe, e. u. (n. d.). the role of music and musicians in promoting social stability in the country. unizik journal of arts and http://digitalcommons.unl.edu/libphilprac/388 215 humanities ujah. retrieved july 5, 2019, from http://dx.doi.org/10.4314/ujah.v14i3.10 nigeria-youth (n. d.). a report. retrieved october 15, 2019, from http://saharareports.com/article/nigeria-youth-and-nationaldevelopment nwamara, a. o. (2016). contemporary african art music for christian worship in igbo liturgy. deutschland/germany: lap lambert academic publishing oguoma, p. u. (2010). owerri traditional music performance: a social melting pot for human development. awka journal of research in music and the arts ajrma, 7, 136—153. oikelome, a. o. (2010). music as tool for conflict resolution in the niger delta. awka journal of research in music and the arts ajrma, 7, 83-101. onuora-oguno, n. c. (2010). the musician as a watch dog in a democracy: echoes from songs of patty obasi and ozoemena nsugbe. awka journal of research in music and the arts ajrma, 7, 154-160. onwuekwe, a. i. (2007). the composer: a force to be reckoned with in music education of the nigerian child. awka journal of research in music and the arts ajram, 4, 27-37. the new international webster‟s comprehensive dictionary of the english language encyclopedic edition (2004). u.s,a: typhoon internaltional corporation. ukpong, e. (2006). musical composition and social commitment in nigeria. a journal of the association of nigerian musicologists (janim), 2, 97-123. http://dx.doi.org/10.4314/ujah.v14i3.10 http://saharareports.com/article/nigeria-youth-and-national-development http://saharareports.com/article/nigeria-youth-and-national-development awka journal of research in music and the arts (ajrma) vol. 16, september 2023 278 music, family and conflict management: examinining the impact of vocabulary in selected yoruba songs dr. olusegun stephen titus department of music, obafemi awolowo university, ile-ife, nigeria segungeneral@gmail.com & dr. oluwabunmi tope bernard department of linguistics and african languages, obafemi awolowo university, ile-ife, nigeria bunmibernard@oauife.edu.ng & folashade ajedo department of linguistics and african languages, obafemi awolowo university, ile-ife, osun state, nigeria. keepdvow@gmail.com & dr. deborah lawal federal college of education, abeokuta, ogun state, nigeria lawaldeborah2@gmail.com abstract scholarship on conflict management abounds. however little research exist on the housewives’ songs of insults. some families in some cultures of africa where a man has more than one wife sometimes degenerate to conflicts due to space, place and relationship enstrangement. the theme of these songs ranges from the non-verbal acts, culinary (in)ability and even the sexual life of the cowife or the husband. the study employed ethnography and lyrical analysis to examine songs by house wives in some yoruba communities in southwestern nigeria. we argue that songs could be used to explain family conflict, communicate political dissastifaction, and explain environmental issues. we also argue that these songs can degenerate to cause conflict, especially in families, which is the core focus of this study. introduction conflict could be described as a situation or condition of disharmony in an interactional process. titus (2015) in his study of the music featured in the ‘bring back our girls campaign protest’, alludes to the role music plays in socio-economic activities in nigeria. music was used as a protest tool during the kidnap of the chibok girls who were kidnapped in the northern part of nigeria by boko haram religious extremists. also, another study by titus (2017) examines the pivotal and centrality of music in ‘occupy nigeria protests.’ music was used to convey the people’s agitations and dissatisfaction with the government. the protesters can be heard singing at the top of their voices and intermittently about:blank about:blank mailto:keepdvow@gmail.com mailto:lawaldeborah2@gmail.com awka journal of research in music and the arts (ajrma) vol. 16, september 2023 279 chanting their requests. national issues such as corruption, fuel scarcity, environmental injustice and restitution for land, insecurity, infrastructural deficiencies, incessant strickes in educational sector, and so on, have birthed some of the songs we listen to today. musicians continue to use music as an channel to bring to fore the situation of the masses. banks (1984) claims that a situation of conflict is one in which the activity of one is actually or forcibly imposed at unacceptable costs, materials or psychic, upon another. for conflict to occur, banks puts forward three required factors which are salient to the issue at stake: the status and legitimacy of the parties, the clustering of interested parties, and coincidence of cleavages within a community. these factors determine the extent to which conflict can stretch. conflict is not limited to any level of interaction. in other words, it can occur at any level of human interaction although it is most obvious when manifested in violent activities. furthermore, while examining the universality of music, ayorinde & ajose (2022) explored its transformative attributes. they posit that music does not just shape peole’s ideas, but that listeners are prone to give subjective meanings to the music they listen to. boyce-tillman (2015:41) observed that the intercultural relationship between western music and folk materials from other cultures of the world which were borrowed for composition is symbolic as it portrays the need for people of different descent to see the need for peaceful coexistence just like the harmonious melodies from intercultural comusical co positions. music has continued to play front row roles in conflict situations in many countries. for instance, the music of black south africans was birthed from the south african apartheid (gray, 2015), the famous usa civil rights movement had notable that were composed by former slaves (whitehead, 2015). abi-ezzi’s (2015) discourse on the award-winning saxophonist and clarinetist gilad atsmon shows the use of music to promote peace and to fight against and resist oppression. according to abi-ezzi, atsmon, a jew, uses his songs to fight for the right and freedom of palestinians, whom he sees as being oppressed by jews. abi-ezzi concludes that there cannot be peace in the face of oppression, and therefore resistance to oppression through music may lead to peaceful coexistence. again, galtung (2015) notes that music has been used as an agent of peace and unity in different places and in different situations. in africa and specifically among the yoruba people, studies have been documented on the relationship of music and peaceful coexistence (ogunrinade & oluniyi, 2021; emielu, 2010). it has been established that some yoruba vocabularies related to music, peacebuilding and conflict management are still under-researched. four of such were examined in this paper. similar to what olarewaju (2010) did by examining political campaign songs and how they engender violence and conflicts, this study examines vocabularies in yoruba music in relations to peacebuilding and conflict management. the study argues that this can help stakeholders such as counsellors and spiritual leaders on conflict resolution strategies. yorùbá ethnic group, yorùbá language and yorùbá proverbs awka journal of research in music and the arts (ajrma) vol. 16, september 2023 280 yorùbá ethnic group is one of the three major groups in nigeria and they are mostly domiciled in the southwestern part of the country. however, they can be found in different states in nigeria and other parts of the world too (usman & falola, 2019; ojo, 2008). the language they speak is yorùbá with different dielctical forms which is named after the group. yorùbá language is a tonal language. in the language, there are expressions like idioms (àkànlò èdè) and proverbs (òwe). idioms and proverbs are drawn from the experiences and happenings of the yorùbá society (opoola & faniran, 2020; apter 1991, waterman 1994). yorùbá idioms are paraphrases that are sometimes used to make sayings sound less offensive. therefore, as the society that uses them yields to generational changes, the idiomatic expressions become more dynamic, accommodating more expressions. proverbs are choice-phrases or sentences drawn from the wisdom in the culture, traditions, experiences, and worldview of a society. africans and particularly the yorùbás, believe that because proverbs are extensions of their belief and practices, bernard (2015) posits that “they [proverbs] are also ethical sayings with elements of complete reality” (p. 48) that are used to make conversations easier, concise and culturally relevant. this is in line with adegboyega (2017) who explains that “… proverbs are believed to be ‘conversational condiment’ used to flavour speech taking into consideration its cultural and moral impact.” (p. 23). that is why yorùbá proverbs are referred to as the “horses of speech” because they make it easier to communicate with people who are rooted in the knowledge of the culture from which a particular proverb is drawn. yorùbá vocabularies, peacebuilding and conflict management vocabularies are intentionally and strategically used for various purposes among the yorùbás. one of such purposes is peacebuilding. to the yorùbá, the need for peace and peacebuilding cannot be overemphasized. they believe that without harmony, there is bound to be a breakdown of law and order in the society and once this is left unchecked, anarchy will be inevitable. thus, the constant clamor for peace and peacebuilding. peace according to goodman and hulme (1999), is “not purely about an absence of physical violence but is intimately connected to the analysis and practice of social and economic development.” (p. 13). in tandem with this viewpoint, one can agree that for a society to develop, there is a need for peace. in the same vein, we cannot be oblivious of the fact that once in a while, there is always a breakdown in communication which often leads to conflict. in the yorùbá worldview, there are binary complementarities (ilesanmi 1989) which opine that there is an opposing side to everything. for example, day complements night, male complements female, conflict complements peace, and so on. there are some yorùbá proverbs that back the idea of binary complementarities like (tibi tire la dá ilé ayé) “good and evil exist in this world” and (ènìyàn kò lè gba ire kó má gba ibi ọjọ̣ kan) “one cannot enjoy continuous goodness without experiencing tribulations.” these expressions reinstate the belief of the yorùbá that there are good and evil in this world and experiencing the negative allows people to appreciate the positive. even though it is generally conceived that conflict is negative, it is a normal part of human social interaction which contributes to development and social stability that is why the yorùbá will say (ṣẹ̣ mí n bi ọ̣ ni oògùn ọ̣rẹ̣) “friendship lasts when parties do not hold grudges but ask for explanation when they feel offended”. this expression is a proof awka journal of research in music and the arts (ajrma) vol. 16, september 2023 281 that conflict, when approached the right way, leads to better relationship and peacebuilding. whereas, holding grudges for a long time without asking for an explanation can lead to violent conflict which is always chaotic. therefore, where there is peace, there will be conflict so that we can build, preserve and appreciate peace. when there is conflict, there is a need for conflict management and peacebuilding in order to avoid total chaos. among the yorùbá, there is a proverb that corroborates this, that (àdúrà kí a máà tẹ̣ ni a má ń gbà, bí a bá wá tẹ̣, àdúrà kí a máà kú ni ó kù) “we pray to not be ridiculed, but when one falls into ridicule, one prays that it does not lead to death”. this proverb clearly states that one cannot completely determine how situations will turn out but one can manage bad situations and stop it from escalating into worse. in the yorùbá society, the issue of conflict management is communal therefore, everybody is expected to play a part in ensuring it. but in conflict management, the place of experience that comes with adulthood, is not overlooked. that is why the yorùbá will say (ohun tí àgbà rí ní orí ìjókòó, ọmọde kò lè rí i bí ó bá gun orí ìrókò) “what an elderly sees from a sitting position may not be visible to a child even after climbing an ìrókò tree”, which simply means that experience comes with age. an inexperienced youngster may likely jump into conclusion and create more chaos than an elderly who can judge a situation better by applying the wisdom that was acquired through experience. therefore, elders are trusted to handle conflict management and thus this proverb, (àgbà kìí wà lọ̣jà kí orí ọmọ tuntun wọ̣) “an elder cannot be in the market and allow the head of the newborn to bend.” allowing the “head of a newborn to bend” means the elders have slacked in their duties as leaders in the society. this is because it is commonplace in yorùbá society to find newborns carefully strapped to their back of mothers for warmth and safekeeping. however, within the first three (3) months of a baby’s life, the neck needs constant support because the neck-bone is not fully developed so, when the mother is unaware that the neck of the baby strapped to her back is bent, it is the duty of an on-looking elder to make sure the neck is straightened. it is the same way with conflict or violent conflict, elders are saddled with the responsibility of making sure that conflict does not escalate. music and songs are part of the daily lives of the yorùbás and they have songs for every occasion. according to beier (1956:23), in a typical yorùbá setting, “everyday life is also accompanied by a great deal of impromptu singing, a kind of musical thinking in which the singer puts everything to a tune, which happens to pass through his head.” which means songs are used as a medium of expressing deep emotions be it happiness or sadness. they are also used to express the peace of mind or conflict towards another person. therefore, one of the ways through which the yorùbá detect that conflict is looming is through songs and a common yorùbá proverb confirms it, that (orin níí ṣaájú ọ̣tẹ̣) “songs herald hostility.” in ancient times, hostle situations such as war, is announced through songs. these songs are used to mentally prepare and rouse the warriors for war and songs are also sometimes used to instill fear into the opponent (agu 1991). one can say that wars are fought and won with the aid of appropriate music. the yorùbás try to avoid confrontations are much as possible but despite this, protest songs still exist for a reason. they exist as a pointer to the fact that friction will always occur in a society awka journal of research in music and the arts (ajrma) vol. 16, september 2023 282 made up of different people and the need for conflict resolution will consistently be at the front burner. regarding this, ogunrinade & oluniyi (2021) opined that: there cannot be the need for the pursuit of something that is readily available either at hand or within range. the social status of the nigerian communities is of a great concern especially now that there are a lot of inter-societal hullabaloos and unfriendly engagements. this is obvious when we look at the nigerian society today with the level of crime and conflicts disparaging every nook and cranny of the country. in the very recent past (18th and early 19th centuries), the yorùbá people could boast of a better community, in terms of peace and conflict stability. the story, however, is now a different one compared with the situation on-going today. many factors may be responsible. in the period earlier mentioned, traditional music was of great help. this is owing to the fact that the people are constantly in contact with the bulk of traditional repertoire as available. the lyrics thus do the magic (pp 227-228). most of the songs and vocabularies used in this article are basically related to family relations and conflicts. polygamy is traditionally practiced among the yoruba people and where you see a monogamous family, you are likely to find many extended family members living together. the song selected are sung when there is conflict in the family and this can come up any time of the day since most of the traditional families work basically as agriculturalist and hunters. bóyá ọlórun á ṣe é, bóyá ọlórun á ṣe é, may god make it possible, bóyá ọlórun á ṣe é, may god make it possible, enìkan á sọ̣rọ̣ tó jẹnu baba ẹ̣ lọ. for someone here to vituperate bóyá ọlórun á ṣe é. may god make it possible. the above song excerpt starts out with the singer praying to god to allow someone or anyone within their vicinity to lambaste him so that he can retaliate. this is a clear indication that the singer is asking for trouble. the yorùbá see it as the height of disrespect to talk smack about other people’s parents which is what the singer did in the third line of the song just to really work the nerves of his opponent into conflict. this kind of song is always nipped in the bud by elders that are present before it ends in fullblown conflict. one of the intelocutors who grew up in a polygamous home mentioned that it was common to hear songs like this from the childen of the other wives. and when he tries to defend his father’s dignity by retaliating, the blame is laid on him. the song is a taunting song used to instigate fighting. meaning-making is subjective in yoruba households. a particular song may likely have different meanings during a conflict as opposed to how it will be perceived when there is no altercation. for example, a person who is referred to as a tortoise may lay claim to the positive attributes of the tortoise in yorùbá folktales, such as, clever and playful. but in a situation where conflict is brewing, only the negative attributes such as indolence, thievery, and sluggishness comes to mind. this is to say that conflict changes the meaning of words and a yorùbá proverb captures this clearly; “ìjà ló dé tí orin di òwe, awka journal of research in music and the arts (ajrma) vol. 16, september 2023 283 ijó làá jó sorin tí ò bá sí ìjà” (conflict gives a different meaning to songs, when there is no conflict, songs are usually danced to). as earlier discussed, songs are infused into daily activities of the yorùbá so, most times, the yorùbá show displeasures through songs as the case may be. the use of songs to show displeasure is not restricted to gender, it is practiced by both male and female. a man who is peeved at his wife may choose to sing orlando owoh’s “ìyàwó ọ̣lẹ̣lẹ̣” to air his anger” má pa mi o! má pa mi o! do not kill me with your troubles ìyàwó ọ̣lẹ̣lẹ̣ beautiful wife má pa mi o! do not kill me with your troubles ìyàwò àsìkò the wife about town ìrìn gbéregbère to mí rìn yìí, your incessant outings, kò má tẹ̣ mi lọ̣rùn o é. are unbecoming. the song excerpt above opens with the husband asking his beautiful wife not to kill him with her troubles and attitude. in the song, the troubles caused by the wife may not be directed at the husband but to others who feel offended by her nuances. they may choose to continuously report her to the husband (since in yorùbá culture when others feel affronted by either the husband or the wife, they report to the spouse) and this can be psychologically disturbing for the husband. the husband fears that the reports he is receiving about his wife will eventually be detrimental to his health, which is why he calls out to his wife to abstain from such acts. the song could also mean that the husband is just complaining about the incessant misunderstandings between him and his wife. so, when the wife hears her husband singing this song, she knows there is conflict. however, still referring to her as “beautiful” meant that the conflict is a process towards building a better relationship because a conflict that will end in violent conflict may necessarily start with names-calling rather than terms of endearment. this explanation is in tandem with the experience of mr lawani who witnessed severally the rancor between his father and mother. as a thirteen year old boy, he was widse enough to discepher the meaning of the songs his mother sang whenever his father returned from the farm. with his legs gently rocking left and right, mr lawani recounted how his mother would sing songs that tells the story of a woman who caught her husband in the arms of another woman and how the man was eventually striped bare of his wealth by his ale (mistress). kò lè bú mi kórí ó wú kò lè bú mi kórí ó wú o è é è you cannot spite me and i will be impressed, kò lè bú mi kórí ó wú. you cannot spite me and i will be impressed. kò lè bú mi kórí ó wú o è é è you cannot spite me and i will be impressed, kò lè bú mi kórí ó wú. you cannot spite me and i will be impressed. èyí tó ṣe pump lẹ̣nu bí ti kẹ̣kẹ̣ , her mouth resembles a bicycle pump, tó ṣe àyà bí tòròmọ adìye, and his chest resembles a chick’s breast. kò lè bú mi kórí ó wú o. you cannot spite me and i will be impressed the song above is a song that is common among yoruba polygamous families. conflict sometimes come up due to interpersonal relationship and the fact that all the wives awka journal of research in music and the arts (ajrma) vol. 16, september 2023 284 mostly live together with the husband in the same house. songs are therefore used derogatorily to describe the physical shape of the older or younger wife. in the song, one of the wives sing about the body shape of the other and compares it to a bycycle and a chicken. another song about mens abuse of female partner and the songs about such actions is given in song below. páńdukú èèyàn tí mò ń pọ̣nlé o páńdukú èèyàn tí mò ń pọ̣nlé o, a worthless person that i am according respect , páńdukú èèyàn tí mò ń pọ̣nlé. a worthless person that i am according respect. páńdukú èèyàn tí mò ń pọ̣nlé o, a worthless person that i am according respect, páńdukú èèyàn tí mò ń pọ̣nlé. a worthless person that i am according respect. o rí mi nílẹ̣ yìí, o tún fìlà ṣe he sees me, and he resets his cap, kí ni ń ó wa fòkú èèyàn ṣe? what will i do with a walking corpse? páńdukú èèyàn tí mò ń pọ̣nlé. a worthless person that i am according respect. the song examines the interaction between husband and wife. the song generally refers to men who abuse women either verbally or psychologically. it is a taboo for woman to beat men in yoruba land but if a woman decides to express her anger in songs, it is not frown at. the song talks about the worthlessness of a man that constantly abuses his female partner. these songs were composed as retailiation. men who abuse their wives are referred to as walking corpses and as worthless individuals. our engagement with the interlocutors revealed that these songs sometimes degenerate to physical assaults. as mrs ajayi (personal communication) reiterates that “songs of assults and insults are common among couples in traditional yoruba setting”. these songs sometimes lead unresolvable conflicts and finally, to divorce. another interlocutor, mrs abiodun (personal communication) asserts that “the songs texts carries weight and even the mode and tone sequencing can be more painful than the texts itself, because the songs are sometimes accompanied by gestures of mockery.” this shows that these songs are conflict loaded and not as innocent as their melodies sound. they can generate conflict in families if care is not taken. conclusion in this paper we have shown how musical texts and yoruba proverbs are used as vocabularies in songs about peace and conflict. this is a signifier of the impact of words in conflict generation and peacebuilding. it is critical to carefully choose our words especially in polygamous families and households where peace is strained. this study also shows that as much as conflict can generate from the words used in a sing, peace can also be achieved by the text of a song. while this study only focuses on the family setting, there are several yoruba vocabularies found in political/ election songs, religious songs that needs urgent engagement. our selected songs show that song meanings could bring hostilities and conflict because of there intrinsic meaning and interpretations especially when there are existing misunderstanding among co-wives, spouses, neighbours and also extended families that live together. references abi-ezzi, k. 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(2015). we shall overcome: the roles of music in the us civil rights movement. in o. urbain (ed.) music and conflict transformation: harmonies and dissonance in geopolitics, 78-92. cpi group uk, ltd. https://doi.org/10.1080/18125980.2016.1249163 http://hdl.handle.net/2027/spo.4761530.0008.003 99 the composer and the performer in the african music interpretation dr. festus ife olisaeke federal college of education pankshin, plateau state abstract there is a clear distinction between the roles of the composer and that of the performer in western music interpretation as against the practices in african music. in the western music, the composer most of the time creates music for different media even when he cannot manipulate any of the instruments of the media, thereby leaving the interpretation to the performer. this practice is equally responsible for the situation whereby a composer may not have the opportunity of listening to or hearing his music performed in his lifetime. is this practice obtainable in african music and to what extent is it practiced? who does it better in the interpretation of african music – the composer or the performer? these questions and more are considered in this paper and the answers realized are utilized in proffering solutions to understanding and enhancing relationships between the composer and the performer in african music where the composer is not the performer. introduction performance is a term used in music to denote the exposition of a musical composition for general consumption after several days of rigorous practices. appreciation of any performance is usually aesthetically motivated. therefore, before a performance is undertaken, strenuous efforts are made in bringing lots of factors to bear on its preparations. with this in mind, it is usually difficult to awka journal of research in music and the arts (arma) vol. 10 2014 100 tell who is at best to interpret music between the composer and the performer especially with the knowledge of the fact that the creator of the music is the composer. this analogy is made in the context of african music performances especially as many authorities already have different theoretical views concerning performances in african music. in the western music tradition, the roles of the composer and the performer are not contested even when sometimes the composer acts as the performer. performance is the link between the composer and the audience. examples abound in music history books about composers who never listened to some of their music in their lifetime. this is because there were no interpreters to perform the music, as performers were few then. nettl had observed that “in a literate musical culture, music is usually written down, and a piece conceived by a composer need never be performed at all during his lifetime, it can be discovered centuries later by a scholar and resurrect it (nettl 1973:3-4). through performance what the composer has intended should be heard is brought to life and the medium of communication is through the performing musicians. glennon (1980:117-118) had observed:“a composer may apply himself to an orchestral work for a year, perhaps several years, but it will remain unheard and unknown until an orchestra performs it in the concert hall or in the recording studio… even then, the composer is to a great extent at the mercy of the conductor to interpret every bar as he planned it, and the musicians‟ ability to carry out faithfully the conductor‟s instructions.” in music performance, the helmsman behind the production is usually the conductor. talking about the role of the conductor in music production, glennon continued to observe that “a musician who possesses no more than adequate skill as a performer may succeed as a conductor because of his knowledge, his personality, and the magnetism necessary for inspiring his players (or choristers) to give reality to this direction (p. 113).” the composer and the performer in the african… 101 earlier in the history of music especially in the baroque and classical periods, composers were usually the performers as many of them were virtuosos of some sorts and most of their compositions were realized out of the on-the-spot improvisations. that is why a large chunk of the original manuscripts of their compositions were notated with figured bass indications. where music was notated for other performers‟ especially orchestral music, the number of performers then was minimal. however, with improvement and production of new instruments and with music developing into complexity, the number of players gradually increased, giving performers (led by conductors) much task to perform in its interpretation. the composer then began to battle with keeping pace with creation of new materials to meet the demands of the rising number of performers, thereby reducing his (the composer‟s) involvement in interpreting his music. the audience at the time helped in no small measure in their preferences. audiences of the classical era differed from those of our time in one important respect. their attention was directed mainly to the hearing of new works by living composers; whereas our public shies away from contemporary music but flocks to hear the standard repertoire reinterpreted by one virtuoso or another. the star of the classical scene was the creator of the music. the spotlight in our scene belongs, as far as the big public is concerned, to the performer (machlis 1955:216-217). performance in music over the time was facilitated by the resurgence of one whose primary aim was to direct the performance, called – the conductor in the nineteenth century as against the earlier practices where the first violinist, the pianist or the composer beat the time to keep the rhythm together. encarta 2009 observed that “in the 19th century conducting gradually became a full-time virtuoso profession. this was partly the result of efforts by the composer-conductors to dr. festus ife olisaeke 102 achieve higher standards of performance; but it was also an outgrowth of the new aesthetic ideals of 19th century romanticism, which elevated music to a higher position in the arts than it had held before”. in consideration of the above facts, it can be stated that whereas the composer wielded much authority and was deeply involved in the performance of his compositions in the earlier stage of music history, his position in that regard began to wane in the contemporary periods, leaving the interpretation to the performers to bring out the intentions of the composer. the western composer is happy with this trend as the interpreters who are professionals seem to do it better that the composer would have done, given the need and interest of the composer to turn out more volume of works. what is the situation in african music? are there standard standby professional performers readily equipped with what it takes to interpret and perform any form of african music composition? will the creator or composer of african music be satisfied with the interpretation the performer gives his compositions? what of the barriers to appropriate interpretation, if any? to be able to consider these questions, it is expedient at this point to look at certain factors as they apply to african music. performance in african music performance in a general perspective has to do with practical exhibition of a work of art applying various techniques including body gestures, manipulation of assisting aids with purpose of satisfying the aesthetic needs of the audience or listeners. in performance the intention of the composer is interpreted. whereas in most performances, the ideas which may or may not have been preconceived and written down are interpreted by the producer through the actors, in music the composer is the brain power behind the creativity while the conductor supervises the production or performance. merriamthe composer and the performer in the african… 103 webster (2006:1356) sees performance as “the execution of an action, something accomplished; the action of representing a character in a play, a public presentation or exhibition”, while hornby (2000:864) defines it as “the act of performing a play, concert or some other form of entertainment”. in africa, performance of music may not be viewed in the same manner as obtained in the western world. while both satisfy the same purposes, the modalities differ in many respects. while in most european nations, music composition and its performance is individualized, in many african societies, it is a communal activity. suffice to say that in the western world, a composer may write, say a piano sonata and then presents it himself or gives a performer to present without involving another person. even in the case of a composition involving the orchestra, selected professionals in the various instruments are assembled, and with numerous rehearsals perform the music without the composer‟s input. but many african music situations are marked by spontaneous performances as occasion warrants involving almost everybody present. nketia (1974:21) had observed that in traditional african societies, music making is generally organized as a social event. public performances therefore, take place on social occasion – that is, on occasions when members of a group or community come together for the enjoyment of leisure, for recreational activities, or for the performance of a rite, ceremony, festival or any kind of collective activity, such as building bridges, clearing paths, going on a search party, or putting out fires – activities that in industrialized societies, might be assigned to specialized agencies. in african music the composer is directly subsumed in every performance such that in most cases he may not easily be singled out as the composer. music participation being open to every member of a dr. festus ife olisaeke 104 community is responsible for competence in different aspects of music making by individuals gifted in these aspects including playing of certain musical instruments and in dancing. “competence in aspects of musical arts performance is a life skill that is available to every member of a society right from birth. this ensures that everybody has free access to the benefits of active participation (nzewi 2003:18).” the place or venue of performance also has its significant contribution to music interpretation in both cultures. while recital halls and theatre houses provide convenient loci for the western audience, okafor and ng‟andu (2003:180) observed that “the home, the village square, the shrine etc, traditionally provided the theatre for the recital or re-enactment of spoken or musical tales.” it should also be noted that african music is dominated by more of choral music with instrumental accompaniment than instrumental music alone. these different forms of choral/instrumental music however involve large number of participants thereby making its performance all-involving. agu (1999) has outlined these forms to include call and response, call and refrain, solo and chorused refrain and mixed structural forms. the composer and the performer in african music we have already observed the position of a performer in music interpretation. however, it may still be necessary to add here that the performer brings out the intentions of the music creator or the composer and tries to interpret every detail as written down. in doing so, he may sometimes add his own feelings in the interpretation either knowingly or not, after all he is a human being with his own feelings. in music composition that involves many performers there is always someone that directs the performance the conductor. like said earlier, he is the helmsman behind every music performance. the composer on the other hand is the one who writes the music. he articulates the musical sounds on paper applying every necessary the composer and the performer in the african… 105 rudiments and elements of music theory in order to make some musical sense. lexically, the word „to compose‟ is derived from the latin word „componere‟, meaning „to put together‟. it is the organization and structuring of preconceived or intuitively generated musical ideas into an acceptable form that satisfies human musical aesthetic needs. ukpong (2006:98) observes that “the composer organizes a preconceived musical cell into a highly structured logically creative network of ideas to evolve a gamut of musical work. it may be “oral composition” or “written composition” that follows some conventional techniques and styles”. nzewi (1997:26) in his creative theory has outlined four stations of creative logic to include creative philosophy, creative intention, creative rationalization and creative fulfillment as traditional artistic vision of creative logic. these four levels of creativity are involved in music composition. hurd in onwuekwe (2006:231) had observed that one method of composing is that composers work in different ways, entirely according to temperament. some like to improvise at the piano, jotting down ideas as they go. some like to work out their ideas on paper, going over them again and again until they reach a satisfactory shape. some prefer to do all the works from memory only picking up a pen to write down the finished piece. and some, perhaps, the majority combine all three approaches. however, no matter the process adopted by a composer, composition of music involves a lot of self attachment that needs no distraction. before going further on this discourse it is pertinent to observe that there are two groups to be considered (1) preliterate and (2) literate african groups and composer-performance situations. preliterate groups include african musical practices in a pure unadulterated setting while literate group involves those musical practices that have been polluted or affected by alien cultures. in the preliterate african setting, music composition takes a different approach, which is still practiced today in many remote african societies and carried to the cities by neo-africanists. it is an oral tradition which is part and parcel of african musical culture, and dr. festus ife olisaeke 106 may continue to subsist any other alien practices. composition of music in this milieu is mostly spontaneously generated within the performance arena. on the part of the instrumental accompaniments, the leading instrumentalist communicates with one another imitating the spoken language of the songs. suffice it to say that every phrase of the song is delineated in speech surrogate by the leading instruments of the ensemble, sometimes in call and response pattern. by speech surrogate is meant the ability of an african instrument that is not wholly conceived as melodic instrument or with limited tones, to replicate or imitate certain tonal levels of the spoken language as used in songs, by application of special techniques by an expert player. drum is an example of such instruments capable of this feat. akpabot (1998:24) had observed that “the hourglass drum, flute and xylophone have been identified as instruments which are sometimes constructed to function as speech surrogates”. in this case the master instrumentalist, by his creative extemporization serves the dual function of the chief composer and the performer. this is because his extemporization can be seen as a new creative device that gives the collective composition a unique character. music in a real african traditional society also takes the form of composer-performer involvement setting. in this situation when a particular group gathers to make music, it is all-involving. naturally there is always a leader, but he doesn‟t have the monopoly of providing the songs. within the group, individuals create songs out of the eventsituation and everybody is entitled to be part of this creativity. this is in line with the belief of herbst et al (2003:143) that all beings with a modicum of musicality and an iota of imagination have the ability to be musically creative, that is, to conjure up a simple musical structure which could be a melody, with or without words, or a rhythm phrase. composing music is within reach of the creative spirit residing within each one of us and should not be the exclusive privilege of the few. there is great joy in producing a fresh ordering of sound, and it is often the unfettered mind that has the freedom to create music of great worth and beauty the composer and the performer in the african… 107 when a song is composed by someone in the group it will undergo restructuring and modification by many inputs and addition of instrumental accompaniments which may provide a major deviation as it was from the initiator until it reaches a form that will be acceptable to the group. strumpf et al (2003:119) are of the view that “for most african children, music surrounds their lives in perhaps a more total and significant way.” continuing, they further observed that “in african music making there is seldom a non-participating audience. the expectation that all should participate in music making at cultural events is learned very quickly”. in line with the above position, the same authors had observed that “members of the performing groups often compose with a „give-and-take‟ approach governing the whole process and therefore a single individual is not credited as the sole creator of the work (p. 121). this has been the practice and is also responsible for the generally accepted opinion that folk music is not credited to a particular composer. even when a single person composed a music, the fact that it was not written down with the appendage of the composer‟s name, but rather passed on from generation to generation through oral tradition and perhaps mutilated in the course of its transmission is enough to deprive the owner of any claim to its creativity. the point of argument here is that in most typical african traditional/folk music, there is usually no known composer. what this portends to performance is that except where a group appoints someone as a leader based on his musical pedigree evident in his degree of participation and obvious musical talents, no one claims superiority of direction on account of his ownership of the music, rather everyone contributes his own idea in bringing the performance to an acceptable level. on the other hands, in the literate or modern african music situation, there has been a tremendous change from what was the practice. the ability of someone to commit his creativity to paper through acquired knowledge of notation system has enabled the dr. festus ife olisaeke 108 society to recognize composers as known individuals. herbst et al (2003:146) observed that written composition within africa by african composers is by definition a result of the process of acculturation provoked by colonialism. while written composition has been a driving force for western art music since the establishment of the staff notation system in 1600, there has been a noticeable move towards the development of written music composition in africa that was introduce by the christian missionaries in the form of hymns. in this new milieu, there is the composer and there is the performer. who does it better? unlike in the western practice where a composer writes and piles up his compositions without bothering much about its performance, african composer believes that music should be kept alive through performance. he writes music and ensures its performance either by direct participation or by encouraging performers through supervision, provision of logistics and other enablement. as a matter of fact, he does not feel comfortable not hearing his music. this is one of the reasons for the event-situation that is characteristic of african music. in every music composed, there is a purpose for its creation. contrary to the old practice of spontaneity associated with music creativity in africa, the modern composer sits down and articulates his music after he has been consulted and given the theme to do so. as he writes, he thinks of the performer/s or the ensemble that would be used to interpret the music. knowledge of the performers and their ability enables him to know the degree of technicality to adopt in writing the music and the level of difficulty/simplicity to be applied. in the argument concerning who interprets musical composition better between the composer and the performer, one may easily jump the composer and the performer in the african… 109 to the conclusion that since the composer is the creator of the music, he is in a better position to give proper interpretation to it. it should be borne in mind that a performer is trained for performance, to interpret music as written. it has been earlier observed that a performer applies his personal feeling in the course of interpretation, in addition to the composer‟s feelings that are already written down, thereby incorporating two ideals. this is expected to produce better results than one person‟s idea written and interpreted. this is the principle on which african music is predicated in the preliterate society which still subsist every other alien musical practices. but are there professionally trained performers in african music today? if there are, what level of support do they receive? shall we therefore go back to uphold the composer-performer relationship as obtained in the true unadulterated music setting of the preliterate africa? nzewi was right when he observed that “professional composers and performers who make a living from their art are yet to emerge on the modern african literary music scene because there are as yet no professional institutions and no governmental, public, private or commercial agencies… to support full-time african classical composers and performers (nzewi 2007:106)”. well, the above observation by nzewi is a hamstrung to the general growth of music education in africa but the point of argument is that in a true african music situation, there is no clear distinction between the composer and the performer. the composer is part and parcel of performance. even in this present literate african society where composers write down their music with acceptable music notations, yet performances of such music without the composer‟s involvement is a practice that would take time to wane. with notation, music can now be performed even after the composer‟s death, but still, interpretation of such music is at the discretion of the person interpreting. it is not arguable the fact that there are certain musical and nonmusical nuances that are not easily notated, and when certain uncommon signs are used by a composer, its interpretation are usually dr. festus ife olisaeke 110 difficult, and may be given to various mutilations in the attempt to decipher them. when we talk of music in africa, it does not end with choral and instrumental music but also involves dance music. even though scholars like meki nzewi and others have tried to create and establish certain notations for dance steps and instruments of indefinite pitches, yet we are aware that those theories and hypotheses are not yet fathomable, practicable, accepted and widespread. this therefore poses problem to interpretation of such music without direct supervision of the composer or someone he had taught the interpretation. conclusion we have seen that in african music the performer is not quite removed from the composer. the composer is intimately involved in the production of his works. where he is not the active performer, he supervises the entire production. we have also seen that in a typical african setting, the composer accepts criticism and welcomes suggestions from the participating performers as interpretation and performance is all-involving. this helps in giving the composition a thorough treatment that makes it easily acceptable to the society, but shall we continue that way in this modern society characterized by professionalism and division of labour? we need a change – to train professional performers of african music. this paper also highlights the fact that music composition is kept alive by performance, for without performance there is no music. music is dead without performance. to an african, music composed and piled up waiting for a scavenger to resurrect it one day is not his idea of making or creating music. it is really pathetic that african mode of music performance has been eroded by western civilization through globalization, but we cannot lose all. a stitch in time saves nine. and more still, technological advancement is equally having its toll on music the composer and the performer in the african… 111 composition and performance since someone can now sit in his bedroom or office compose and produce music that would have taken hundreds of people to do. nzewi et al (2007:106) had observed that “the modern recording and editing technology is beginning to encourage technological composition and performance in which the human performer with modern training becomes increasingly redundant and unemployable”. having considered the above observation, this paper deems it fit to suggest that this technological breakthrough in music should be churned by those who mean well for the growth of music in africa. the inherent joy of participation in music performance and production cannot be overemphasized. compare yourself as a composer who sits in your room/office and with the aid of one of the music software produce your music, with the same music learnt by various instrumentalists and presented in a concert hall. imagine the joy and exhilaration that would greet such performance in a concert hall even when the computer would have given you more refined sound quality. such an atmosphere cannot be compromised. have you imagined that a skilled violin player would interpret your music better that the computer, because his soul and feeling would be translated into his playing technique thereby injecting life into it much more than the computer that obeys some commands and gives you a straight-jacket soul-less output. in the same manner, a skilled notched flute, xylophone or skin drum player would equally interpret any music if given enough training and exposition. there is therefore the need to encourage and train music performers to acquire enough skills of interpreting african music instead of exerting unnecessary resources in developing music software that would generate african musical sounds. dr. festus ife olisaeke 112 references agu, d.c.c. (1999). form and analysis of african music. enugu. new generation books akpabot, s.e. (1998). form, function and style in african music. ibadan. macmillan nig. pub. glennon, j. (1980). understanding music. london. macmillan. herbst,a; zaidel-rudolph, j; and onyeji, c. (2003). written composition. in anriherbst, mekinzewi& kofi agawu (eds). musical arts in africa: theory, practice and education. pretoria. university of south africa. pp 142-178. hornby, a.s. (2000). oxford advanced learners dictionary. oxford university press. merriam-webster (2006).websters new encyclopedic dictionary. springfield. fed. street press machlis, j. (1957). the enjoyment of music. new york. w.w. norton & co. inc. nettl, b. (1973). folk and traditional music of the western continents.prentice-hall, engelwood cliffs. new jersey nketia, j.h.k. (1974). the music of africa. london. w.w. norton & co inc. nzewi, m. (1997). african music: theoretical content and creative continuum. culture – exponent definitions.oldershausen.institutfűrdidaktikpopulärermusik. nzewi, m. (2003).acquiring knowledge of the musical arts in traditional society. in anriherbst, mekinzewi& kofi agawu (eds). musical arts in africa: theory, practice and education. pretoria. university of south africa. pp 13-37. the composer and the performer in the african… 113 nzewi, m and nzewi, o. (2007). a contemporary study of musical arts: informed by african indigenous knowledge system, 3. the foliage: consolidation. ciimda okafor, r.c. and ng‟andu, j. (2003).musical storytelling. in anriherbst, meki nzewi& kofi agawu (eds). musical arts in africa: theory, practice and education. pretoria. university of south africa. pp 179-194. onwuekwe, a.i. (2006). the composer‟s commitment to social changes in nigeria: the case of the national anthem. nigeria musicology journal, 2.association of nigerian musicologist. pp 226-245. strumpf, m; anku, w; phwandaphwanda, k; and mnukwana, n. (2003).oral composition. in anriherbst, meki nzewi & kofi agawu (eds). musical arts in africa: theory, practice and education. pretoria. university of south africa. pp 118-141 ukpong, e.b. (2006). musical composition and social commitment in nigeria. nigerian musicology journal, 2.association of nigerian musicologists. pp 97-123 vaugn, genevieve (2009). “conducting”. microsoft encarta 2009 [dvd], redmond, wa; microsoft corporation, 2008. dr. festus ife olisaeke 73 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music of other world cultures in a digital-age: synopsis of four countries as studied in the department of music, nnamdi azikiwe university, awka umeojiaka, david sopuluchukwu, phd department of music nnamdi azikiwe university, awka sd.umeojiaka@unizik.edu.ng abstract this study examined the music of other world cultures as studied in the department of music, nnamdi azikiwe university, awka, anambra state, nigeria. the departmental handbook captures music of world cultures as a first semester course in year three for the undergraduate regular academic programme. prior to exposing students to this course of study, they had earlier been exposed to courses such as african music studies i and ii as well as some courses in western music history ranging from medieval, renaissance, baroque, classical and romantic periods. studies in african cum western music taught within the first two years serve as foundation to the music of world cultures which is later taken just once in the first semester of year three. in as much as african american music as complimentary to music of world cultures is also taught in the second semester of year three, it is not enough compared to the enormous number of courses offered in african and western music which run from year one to the final year. in his contribution towards proffering solution to the above academic gap as well as to provide an accessible teaching material in that regard, the researcher discussed the music of four countries cutting across the americas and asia . data collection was based on both digital and analogue literature research methods. the outcome of the findings shows that music of various countries of the world are borne out of their resource materials which range from geographical, agricultural, ecological, occupational and religious features etc. conclusively, the study discovered that through acculturation and inculturation, various countries of the world are musically intertwined. the study recommends the extension of the present inquiry to other countries of the world which are not mentioned in this research hence the extant investigation could not accommodate the whole truth envisioned to be addressed in the study. key words: music, world cultures, digital-age and synopsis. introduction music of world cultures has to do with exploration of music of various countries of the world. this means that the study exposes the students to understand various continents of the world using the world atlas in pointing out the locations of these countries in their independent continents. the study captures among other factors how the geography, occupation and religion of a people can influence their kind of music. in a broader sense, the study educates the students and musicologists on how natural features such as ecology, climate, rivers and mountains found in a particular area determine the availability of their instrumental resource materials as well as the kind of music genre performed by them. this means that the link between nature and music is evident based on the fact that different types of music often use location or geography as part of their lyrical/instrumental resources. taking the african music as an example, among other benefits, the study of african music is designed to expose undergraduate music students and music scholars in general to the major classifications of mailto:sd.umeojiaka@unizik.edu.ng 74 awka journal of research in music and the arts (ajrma) vol 17 june 2024 african musical instruments especially by sachs and hornbostel who classified african musical instruments into four broad groups in (1983) namely: idiophone, membranophone, aerophone and chordophone. these instruments are constructed with available resource materials within the african localities. in addition to the above classification of musical instruments, there are five groups of subsaharan african musical instruments: membranophones, idiophones, chordophones, aerophones, and percussion. (https://en.m.wikipedia.org.wiki accessed 29th may, 2023). western musical instruments in the other hand are classified under the string, woodwind, brass and the percussion families. (https://classhall.com/lesson/classifications-western-musical-instruments accessed 8th june, 2023). synoptically, this study investigated the music of the hebrews, americas, arabs and chinese. statement of the problem the researcher noticed a deficiency in allocation of space in studying “music of other world cultures” in the department of music nnamdi azikiwe university, awka. considering the number of countries and topics to be covered under the course, the researcher noticed an academic gap that needed to be filled. he also noticed lack of a handy lecture material in the teaching and learning of the course. to solve the above problem, he deemed it beneficial to delve into this study to come up with a harnessed and accessible material for studying the course. the study discussed the music of four countries cutting across three continents of the world. objectives this study which presents a survey of music in selected four countries of the world drawing from areas including the hebrews, americas, arabs and chinese has its objective as enabling students/scholars to develop the ability to read and understand, identify, and work conceptually with elements of music such as rhythm, melody, harmony, timbre, texture and form of world music cultures. musicologists through this study will develop an understanding of and the ability to read and realize a range of musical styles and genres prevalent in the cultural, historical and theoretical analyses of the countries discussed in this paper. methodology data collection was based on a hybrid method using both the digital library/analogue library approaches hinging on both online sources and the analogue literature reviews/findings. theory the theory of ‘adaptive musicology’ okeke (2020) in his theory of adaptive musicology posits: the potentiality to excel in a given musical instrument is traceable to the individual’s adaptive features. that is, the capacity to adapt successfully to the learning and mastery of a given musical instrument is native to the individual. because every musical instrument poses peculiar challenges in learning, it becomes necessary for the learner to be prepared for peculiar demands and to choose the musical instrument/s that he or she can naturally adapt to. the piano demands long, thin, and strong fingers and learners with shallow and short breaths, under-bite, and cleft tongue should be guided away from brasses and woodwind because of their demands for good breathing, tonguing, and embouchure. (p. 86). https://classhall.com/lesson/classifications-western-musical-instruments 75 awka journal of research in music and the arts (ajrma) vol 17 june 2024 drawing from the above theory, it is arguable that the ability to excel in one area of musicology or the other is innate to any prospective student of music. this translates to the fact that it is counterproductive to expect every music student to excel in all aspects of musicology when they can excel in a given area. students who find it difficult to adjust to practical music can still excel in other areas that are not mostly practically demanding like historical musicology, ethnomusicology, music therapy, music education etc. this means that students who lack knowledge in psycho-motor ability could be guided to explore opportunities in theoretical courses like the ‘music of other world cultures’ which the researcher considers as a gray area that needs to be given a rightful place in the curriculum. music in a digital age the book merchant of venice… as cited by okafor (2019) has it that: there is hardly a universally satisfactory and acceptable definition of music. this is because music deals with emotions and consequently affects not only individuals but even groups and sub-groups of people differently. technically, music is a system of expression which uses sound, rhythm and time. its effect is perhaps its most important feature and the very reason for its existence. (p. 1). he further cited shakespear who opines: the man that hath no music in himself, nor is not moved with the concord of sweet sounds, is fit for treasons, stratagems, and spoils; the motions of his spirit are dull as night, and his affections dark as erebus, let not such man be trusted. mark the music. (p. 1). blacking in okafor (2019) notes: people compose or make music to achieve certain emotional ends. that is partly why it is described as a humanly organized sound. we may appreciate or recognize music in the sounds of birds and some animals, but it is only in a human being who can consciously and intellectually organize sounds to produce music intended to effect other human beings in a particular way. (p. 1). looking at the above definitions of music, one will understand that animals and human beings are musically inclined. in some world cultures there are animals that are notably known for their musicality. for instance, a specie of bird popularly called “nightingale” is endowed with the ability of making sweet songs, mostly singing at nights. in agreement with the above, kwakpovwe (2023) noted: the nightingale bird also called numinous nightingale is a small bird best known for its powerful and beautiful song. nightingales are able to produce over 1000 different sounds, compared with just 100-340 by other birds. this is because the part of the brain responsible for creating sounds is bigger in the nightingales than in most other birds…those who have studied this bird, say it continues to sing even after the sun has gone down why other birds are quiet because of the night, it sings. (p. 63). human beings found in different countries of the world are also gifted with the ability of performing music in line with their music cultures. for example, scholars have noted that those who live by the river sides perform water-music, those who live near very tick forests produce their musical instruments using logs of woods, those who are mainly warriors perform war music, those who engage 76 awka journal of research in music and the arts (ajrma) vol 17 june 2024 in fishing perform music in line with their occupation, the various religions of the world are mostly influenced with music genres prevalent in their domains. this is why the music of the arabs dominate the islamic religion, western music dominates the christendom while chinese/indian music mostly influence shintoism and hinduism. there are pockets of religious practices like the african traditional religion among others that basically carryout their worships using the music of the people who dominate their religion. looking at the above definitions, one would simply understand that no culture of the world prohibits music because music serves as a major culture indicator. the identity of a people is easily determined from their kind of music. the above argument is not far from the definition of music which says “music is a universal language of the soul.” on the foregoing however, scholars agree that not every individual appreciates music but it is difficult to say that there is a culture that completely detest music. for any music culture to stand the test of time in this 21st century, it must be digital. tunde adegbola during his keynote address to the association of nigerian musicologists (anim) in her conference held in 2023 at ibadan, he said “digital approach to the ways of doing things has brought changes in human understanding. revolution is gradually taking place in all human endeavours because man is gradually replacing the use of analogue to the digital, music education inclusive. he climaxed his argument by saying “as you plan for food, you also plan for data, this is to enable you suit and be useful in the new ecosystem.” an unpublished paper presented by onuora-oguno during the 2023 anim conference at ibadan captured gabriel marcel’s theory of the “broken world” who observes that science and technology are both useful and even destructive depending on the use. gartner (2003) states “digitalization is the use of digital technologies to change business models and provide new revenue and value-producing opportunities” (accessed 10th august, 2023 from https://www.gartner.com/en/informationtechnology/glossary/digitilization ). in this 21st century, digitization has become a transformative force in changing virtually all the activities of man such as agriculture, administration, economies, entertainment, industries, modes of worships as well as education. this means that the potential for a digital world is vast. narrowing it down to music education with regards to the study of “music of other world cultures”, students could easily access lecture materials online through the means of digitilization. music of world cultures according to merriam (1964), a music-culture ultimately rests in the people themselves-their ideas, their actions, and the sound they produce… (pp. 32-33). titon (2008) et al opined that a component model of a music-culture is divided into four parts: ideas about music, activities involving music, repertories of music, and the material culture of music. (p. 18). in furtherance of the above, titon et al discussed six basic repertory parts of music when they wrote: style which includes everything related to the organization of musical sound itself: pitch elements (scale, melody, harmony, tuning systems), time elements (rhythm, meter), timbre elements (voice quality, instrumental tone color), and sound intensity (loudness/softness) all depend on a music-culture’s aesthetics… genres are named, standard units of the repertory, such as “song” and its various subdivisions… most music-cultures have a great many genres, but their terms do not always correspond to terms in other music-cultures…. the words (or lyrics are known as its text. any song with words is an intersection of two very different and profound human communication systems: language and music…. the composition of music, https://www.gartner.com/en/information-technology/glossary/digitilization https://www.gartner.com/en/information-technology/glossary/digitilization 77 awka journal of research in music and the arts (ajrma) vol 17 june 2024 whether planned or spontaneous, is bound up with social organization…some music cultures divide songs into those composed by the people and those “given” to people from deities, animals, and other nonhuman composers…. how is music learned and transmitted from one person to the next, from one generation to the next? …some music-cultures transmit music through apprenticeships lasting a lifetime…. movement involves a whole range of physical activity accompanying music. playing a musical instrument, alone or in a group, not only creates sound but also literally moves people-that is, they sway, dance, walk, work in response…sometimes the movement is quite loose, suggesting freedom and abandon, and at other times, as balinese dance, it is highly controlled, suggesting that in this culture controlling is beautiful and admirable. (pp. 26-29). the above suggestions depict that various cultures of the world hardly perform music without the elements of music coming into play. these elements of music were encapsulated summarily on the above citation. on the light of exploring the music of several ethnic groups in their cultural contexts, students and music scholars should be made to understand major world cultures through music. in view of the above, the synopsis of the music of the following peoples of the world are discussed thus: the hebrews (israel): israel stands at a crossroads of europe, asia and africa. geographically, it belongs to asian continent and is part of the middle east region. (https;//embassies.gov.il/mfa/aboutisrael/maps/pages/israel-and-the-region.aspx#:~:text= accessed july 17, 2023). according to worldmeter.info “the current population of israel is 9,065,266 as of saturday, july 15, 2023, based on world meter elaboration of the latest united nations data.” (accessed july, 22, 2023 from https://www.worldmeters.info/worldpopulation/israel-popupulation/). scholarly, the music of a people is hardly studied independent of their geography and population hence the above analogy. historically, the music of israel is an amalgamation of both jewish and nonjewish music traditions that have come together over the course of a century to create a welldefined musical culture. to seek original stylistic elements that would define the emerging national spirit of the israeli music, reference must be made to the biblical era which credits the psalms as the major book of the writings that contains the jewish music genres. in psalm 121 for instance, david said “i will lift up my eyes unto the hills from where cometh my help…” (bible encyclopedia). in psalm 23:1, david said again: the lord is my shepherd, i shall not want. he makes me lie down in green pastures; he leads me beside the still waters. he restores my soul; he leads me in the paths of righteousness for his name’s sake. yea, though i walk through the valley of the shadow of death i will fear no evil; for you are with me; your rod your staff, they comfort me. you prepare a table before me in the presence of my enemies; you anoint my head with oil; my cup runs over. surely, goodness and mercies shall follow me all the days of my life; and i will dwell in the house of the lord forever. nkjv, (maxwell leadership bible, 2nd edition). the above psalm shows how geography, occupation and the jewish religion influenced david’s compositions. it is important to note that the psalms serve as the hymn book of judaism hence david as the chief composer of his time was greatly moved in using the natural and occupational features of his locality in his compositions. psalm 150 is another good example that depicts that the hebrews https://www.worldmeters.info/world-population/israel-popupulation/). https://www.worldmeters.info/world-population/israel-popupulation/). 78 awka journal of research in music and the arts (ajrma) vol 17 june 2024 of davidic era produced their musical instruments using the available resource materials in their area by capturing: …praise him with the sound of the trumpet; praise him with the lute and harp! praise him with the timbrel and dance; praise him with stringed instruments and flutes! praise him with loud cymbals; praise him with clashing cymbals... (ps. 150; nkjv). the music of the hebrews has its origins in the biblical tradition which shows the existence of religious music sung at the synagogue and domestic prayers, and of secular music. while some elements of jewish music may originate in the bible (biblical music), differences of rhythm and sound can be found among later jewish communities that have been musically influenced by location. (en.m.wikipedia.org). the use of cultural features, locations, and occupations etc. as part of music lyrics or practices was found to be true in a variety of countries and styles of music. (for example, a geologist plays the guitar near a river. (https://www.geographyrealm.com). as has been said above, david as the major composer of psalms centered on the geographical and occupational features of israel and other resource materials around his locality in his compositions. summarily, jewish music has a distinct middle eastern sound, with the use of modes, quarter tones, ornamentation, and increasing/rapid tempi. religious music is mostly unaccompanied vocal singing/chanting. (https://www.rachehocking.com.au/music-of-a-culture-jewish-music,html accessed 8th june, 2023). jewish contemporary musicians according to edubirdie.com: beginning in early biblical times, jewish music was traditional religious cantors that were sung in synagogues. then jewish music evolved into more secular music such as klezmer, classical or israeli pop rock of today. jewish music has been evolving with new musicians rising and sharing their music with a new generation of fans, most modern-day jewish musicians were heavily influenced by the jewish musicians of the past. of the many jewish musicians over the years, three of them have had a significant impact on jewish culture in the last century: debbie friedman, shlomo carlebach, and matisyahu. while each musician has a unique biography and influence on the jewish music industry, matisyahu has had the most….all three of these jewish musicians also have traditional jewish lyrics in their songs that convey a similar message to a jewish audience even though they may have a different rhythm or background….friedman and carlebach were both more traditional and spiritual with their musical interpretation of jewish music using guitar, drums or acapella, while matisyahu did a more modern and secular approach to jewish music with rap and reggae. carlebach and friedman’s music is still played in synagogues and used during prayer today, while mastisyahu is a more mainstream genre of music, not played in religious building.(https://edubirdie.com/examples/most-influential-jewish-musicians-in world/accessed 13th june, 2024). it is important to note that all three of the above named musicians had their roots in the synagogue. debbie friedman who was born in 1951 and died on january 9, 2011 is known as one of the most prolific female jewish musicians who was part of the reform movement between late 1960s and early 1970s. she originally started singing in the synagogue as a quasi-folk singer. she had passion for both https://www.geographyrealm.com/ 79 awka journal of research in music and the arts (ajrma) vol 17 june 2024 instrumental and vocal music. shlomo was also a jewish prolific writer of religious songs. he belonged to the 20th century and was popularly known to his followers as reb shlomo. he reigned for forty years as a rabbi (religious teacher), a composer and a singer hence he was called “the singing rabbi.” he was born in 1925 and on october 20, 1994 of a heart attack. he is remembered today of the legacy he left on spiritual music which is still played in jewish synagogues. matisyahu who was born on june 30, 1979 first emerged in 2004 as a modern jewish musician. his appearance album “shake off the dust…arise” featured the combination of rap lyrics with reggae beat in the background expressing the glories of judaism hence he had his beginning from the jewish religion. this new approach of his, created an interesting mashup of music. having came into prominence in 2004 when he released his first album, he began touring around the world with his music as a singer and song writer. the three of them have great passion for music and their jewish ancestry cum heritage. the elements of music in traditional jewish and israeli music include: melody: originally, often modal, swinging between major and minor with guttural diction. recently, among other styles, the jewish melodies usually have balanced phrases with notes in bars, conjunct melodic shape of phrases, melodies are decorated and ornamented when repeated. rhythm: jewish rhythms, meters, and tempos are always heard through offbeats, syncopations, common meters of 2/4 or 4/4, varied tempos e.g., with steady or fast beats, accelerando rallentando). their music ensemble can accelerate and decelerate. structure and texture: common textures and structures include: verse-chorus structure, musical compositions revolve around heterophonic, polyphonic, antiphonic and homophonic textures. instrumentation and timbre: the human voice, lyre, zither and harp (string), tambourine (percussion), ram’s horn, trumpet, pipes i.e., aerophonic (wind) instruments of all kinds. having briefly x-rayed the music of the hebrews as one of the oldest kinds of musical culture, let us look at the american music. (https://www.rachehocking.com.au/music-of-a-culture-jewishmusic,html accessed 8th june, 2023). 1. the americas the location called america today covers the landmass comprising the totality of north and south american continents. the united states popularly called the u. s. a.; canada, mexico, jamaica among other countries is located in north america while brazil, argentina, colombia etc. are located in south america. according to homework.study.com “as at 2021, the combined population of both north and south america is approximately 1. 03 billion. the population of north america is well over 550 million, and the population of south america is about 480 million. the most populous country in the americas is the united states followed by brazil. (accessed july 23, 2023 from https://homework.study.com/explanation/approximately-what-is-the-population-of-north-andsouth-america-combined.html#:~:text=). having the above background in mind, it is important to discuss few american musicians. three selected american musicians musictheory.com has it that: american music is vastly diverse, representing a melting pot of ethnicities, beliefs, and ideas. through migration, the us has a proud history of welcoming every conceivable culture across its border. today, american music’s out-sized influence on world culture is undeniable….louis armstrong is a jazz trumpeter and vocalist, he was born in the jazz-rich soil of new orleans, louisiana. he began his professional career playing in brass bands or riverboats. in https://homework.study.com/explanation/approximately-what-is-the-population-of-north-and-south-america-combined.html#:~:text= https://homework.study.com/explanation/approximately-what-is-the-population-of-north-and-south-america-combined.html#:~:text= 80 awka journal of research in music and the arts (ajrma) vol 17 june 2024 20s, he developed his unique style while fronting his chicago group the hot five. his approach to jazz took a more focused approach on individual improvisation, something rarely seen before. he also became known for scat singing during performances…his influence over how jazz is composed, played, and sang is unmatched. bob dylan began his music career in the burgeoning folk scene of greenwich village in new york city. he fashioned his playing style after a famous american folk singer woody guthrie. dylan would compose several iconic message songs during the civil rights movement. among the most famous of these was “blowing in the wind.’’ these songs signaled his change from a folk singer to a modern songwriter. his lyrical imagery and mercurial style influence music to this day. elvis presley known as the “king of rock and roll,” was born in tupelo, mississippi…as one of the earliest performers on the legendary sun records label, elvis brought traditionally black music to a white audience. his rockabilly sound captivated teenagers and shocked adults. he immediately became a sex symbol. elvis starred in dozens of films on his way to becoming an early example of hyper stardom that would pervade american culture by the end of the century. even in the twilight of his career, he was beloved. (accessed june 13, 2024 from https://hellomusictheory. com/learn/from/famous american-music/). with regards to music culture of the americas, nettl (2005) reported “three asian styles may have influenced north american music across the bering strait… all featuring pulsating vocal technique… the areas of greatest musical complexity in north america were influenced by the boundary between the northward and southward influences. in the northwest (mexico), bird shaped whistles are examples of musical instrument. (pp. 133-160). nettl refers to the style of the great basin area as the oldest style and common throughout the entire continent before mesoamerica (a historical region and cultural area that begins in the southern part of the north america and extends to most of central mexico, belize, and guatemala etc.). he furthered by saying “in those days lullaby, gambling and tale genres were known around the continent. the above styles that featured relaxed vocal technique may have originated in mesoamerican mexico and spread north particularly into the california human and eastern music areas. these styles also feature “relative” rhythmic simplicity in drumming and percussion, with isometric material (equally measured beats) and pentatonic scales in the singing, and motives created from shorter sections into longer ones.” archaeological evidence prove that american music came with the arrival of european explorers. the europeans (british) came to america with their religion (gospel of christianity) at the same time colonized and converted them to the new religion. in this case, christian music (gospel music) influenced their type of music. however, musical instruments and pictographs depicting music and dance have been dated as far back as the 7th century in america. archaeological evidence also shows that musical instruments in north america date to at least the archaic period (ca.8000 -1000 bc), which includes instruments such as turtle shell rattles. (en.m.wikepedia.org accessed 26th may, 2023). antonin dvorak an american composer maintained that the future of american voice in music lay in african american and native american music and supported their growth. in his study to discover “american music” he found out that native american and african american musical roots are rather different, they share similar characteristics such as featured pentatonic melodies and complex rhythms. as a matter of fact, the music of europe, west africa, north africa, asia, as well as the https://hellomusictheory./ 81 awka journal of research in music and the arts (ajrma) vol 17 june 2024 countries in the middle east (southwestern-most part of asia at the crossroads between asia, africa, and europe) influenced/influences the music of the americas. european stream influenced american pop music on melody, harmony and verse structure. church hymns was first influenced by european. william billings and lowell manson are two great examples. the church music they composed had some instinct features that are similar to european music, such as strong melodies, four-part singing and chord progressions. (bartleby.com.). texture wise, american music is influenced by the music of europe which largely has four parts and rich harmonic structure. influence of african music on the american music (afro-american people of the u.s a.). it is very difficult for cultures to develop without unification of other cultures that have been in existence before them. since various cultures of the world do not develop in a vacuum, roots of certain traits are easily identified. in the study of music cultures, the interdependence of countries in relation to music cannot be neglected. nettl and behague (2014) opine “afro-american folk music in north and latin america is one of the truly important developments in the history of world music which was initiated by the forced migration of great numbers of africans as slaves, into various parts of the americas” (p. 222). many of the dominate traits found in in north america and latin american music can actually be traced back many generations to the african slaves brought to those countries. (https://www.123helpme.com/essay/influence-of-african-music-in-north-america-286310). with influence of enslavement, african-american music emerged as a unified term covering a diverse range hence it has been said that “every genre that is born from america has african heritages.” it has also been noted “african music, on the other hand is different from european music. it has a strong sense of rhythm, which means it uses heavy beats in music. also, in african music, you have the freedom to change or add the melody or rhythm.” (bartleby.com). african music usually is about daily life and it conveys life events. jazz music, blues music, and gospel music found today in america all grew from african roots. spirituals, work calls and chants coupled with makeshift instruments morphed into blues rhythms and ragtime which paved the way for jazz, and elements from all these styles influenced rock and roll and hip-hop music. (https:// hediasporacollective.com). the african spirit is also felt in latin america (brazil). samba’s infectious rhythm grew out of african religious traditions that originated from congo. “…because samba is so catchy and uplifting, it became a huge part of brazilian celebrations and serves as the symbol of the country today. the ska and reggae (country and rock music have their origins in africa. (hediasporacollective.com). a methodist at an 1819 camp meeting had this to say about singing among african americans and its influence upon whites: the slave songs which are also called jubilees and sorrow songs from which spirituals were created out of spoke directly to, the black experience in america prior to the emancipation proclamation of 1863 that declared all the slaves free not only laid the musical foundations for most popular forms of music in later american historyincluding the blues, and jazzthey also influenced the practice of american religion. (https://www.digitalhistory.uh.edu). the work songs, dance tunes, and religions music of the african slaves influence the music of america. these work songs, dance tunes and religious music-and the syncopated, swing, remixed, rocked, and rapped music of the slave descendantswould become the lingua franca of american music, eventually influencing americas of all racial and ethnic backgrounds. (accessed may 27, 2023 from https://music.si.edu >story>musica). the banjo, now central in american folk music, is an instrument https://www.123helpme.com/essay/influence-of-african-music-in-north-america-286310 https://www.digitalhistory.uh.edu/ https://music.si.edu/ 82 awka journal of research in music and the arts (ajrma) vol 17 june 2024 brought over to the americas by the african slaves. (accessed may 29, 2023 from https://exploringgafrica.matrix.msu.edu>). people of african origin were among the earliest nonindigenous immigrants of the present-day america. the rich african musical habits such as their work songs, dance tunes and religious music and accented, rolled, remixed, rocked, and rapped music of african roots developed into parts of american music found almost in all races and ethnic nationalities in the modern america. music of the arabic peoples according to study.com: there are 22 arab countries. these are: algeria, bahrain, comoros, djibouti, egypt, iraq, jordan, kuwait, lebanon, libya, mauritania, morocco, oman, palestine, qatar, saudi arabia, somalia, sudan, syria, tunisia, the united arab emirates, and yemen… many arab people trace their lineage to these countries. the total population is 503,44,167 as of 2023. one could define “arab countries” in a number of ways, but the simplest and generally accepted method is to consider the states that are members of the league of arab states (las)…. all the countries in the league of arab states have arabic as at least one of their official languages, and their population is largely identified as arab. apart from shared language, many arab people also identify as muslims with over 90% of the population. the next largest religion practiced by the arab is christianity, but less than 5% (accessed july 18, 2023 from https://study.com/academy/lesson/arab-history-identity-culture-people.html). arabic music includes several genres and styles of music ranging from arabic classical to arabic pop music and from secular to sacred music. arabic music whilst independent and very alive, has a long history of interaction with many other regional musical styles and genres. it is an amalgam of the music of the arabs in the arabian peninsula and influenced by ancient egyptian, ancient greek, persian, kurdish, assyrian, turkish, indian, north african music (i.e. berber), african music (i.e., swahili), and european music ( i.e., flamenco). according to en.m.wikipedia.org: arabic music or arab music… is the music of the arab world with all its diverse music styles and genres. arabic countries have many rich and varied styles of music and also many linguistic dialectics, with each country and region having their own traditional music. arabic music has a long history of interaction with many other regional music of all the people that make up the arab world today. music of the middle east which could also be referred as the music of the arabs influence the music of other countries of the world especially the american music in a number of ways such as, musical instruments used, the ethnomusicology and the song writing process. despite three major languages and associated cultural differences of the arabic, turkish, and persian speaking world, their music can be seen as a single great tradition because of the unifying element of islam. historically, islam as a religion found music as problematic, however, they permit relatively little religious ceremonial music and has not held back secular music and has even enriched it with a strong religious strain. among the muslims, only those following certain practices, such as sufism, have used music (and dance) for worship; within the mosque, however, activities resembling music (but which are not considered music per se) generally have been limited to the call to prayer (adhan) and the chanting of the quaran… (britanica.com). https://exploringgafrica.matrix.msu.edu/ https://study.com/academy/lesson/arab-history-identity-culture-people.html 83 awka journal of research in music and the arts (ajrma) vol 17 june 2024 (sufism is mystical islamic belief and practice in which muslims seek to find the truth of divine love and knowledge through direct personal experience of god). on the influence of the arabic (middle eastern) music on the americas, prezi opines “western music is very connected to the rich history of arabic music. (https://prezi.com >middle eastern...accessed 2th may, 2023). he noted that many western musical instruments are direct descendants of arabic stringed and reed instruments as well as the use of complex melodies and improvisation in performance. bagpipes, guitar, flute, oboe, tambourine, viols and most zithers used in america today have middle eastern origin. what types of music emerged because of arab american music? hip-hop, rap, and cultural movements came into being as a result of arab influence on the music of the americas. “…most popular and blatantly recognizable blend of arab music with the american musical identity lies within the culture and style of hip-hop. (https://www.arabamerica.com). the majority of musical instruments used in european medieval and classical music have roots in arabic musical instruments that were adopted from the medieval arab world. (https;//en.m.wikepedia.org. wiki). during colonization, the europeans migrated into america with their music. through acculturation, the music of the arabs which had already been found in europe were transferred to the americas. to show that various world music cultures are intertwined: arabic music whilst independent and very alive, has a long history of interaction with many other regional musical styles and genres. it is an amalgam of the music of all the peoples that make up the arabs in the arabian peninsula and the music of all the peoples that make up the arab world today. it also influenced and has been influenced by ancient egyptian, ancient greek, persian, kurdish, assyrian, turkish, north african music (i.e., berber), african music (i.e., swahili), and european music (i.e., flamenco). as was the case in other artistic and scientific fields, arabs translated and developed greek texts and works of music and mastered the musical theory of greeks (i.e., systema ametabolon, enharmonium, chromatikon, diatonon). such inter-influences can often be traced in language; for example, the word shir (poetry in arabic) bears much similarity to its equivalent in other semitic languages (such as shur in aramaic and shir in hebrew), and shiro in babylonian. afar music is similar to the music of ethiopia with elements of arab music. the somali oral traditions include an array of poetry and proverbs, much of it devoted to the lives of sufi saints. afar oral literature is more musical, and comes in many varieties, including songs for weddings, war, praise and boasting. (bgkamusic.com accessed 30th may, 2023). the texture of arabic music is majorly emphasized on melody and rhythm, as opposed to harmony. however, there are some genres which are polyphonic, but typically, arabic music is homophonic. three selected arabic musicians according to thenationalnews.com “bu kolthoum is a syrian artist with a great voice and beautiful lyrics…everything he does is organic and spontaneous. his work has been an inspiration to many….lilian chlela is a veteran of the labanese indie music scene and one of few female producers. she just released a new album called safala and it is full of her experimental electronic music and sophisticated production. she is also a keen collaborator and has worked with everyone from jazz musicians to hamed cinno from mashrou’ leila.” daboor and shabjdeed …”this duo is among voices of the youth and they demonstrate their resistance https://prezi.com/ https://www.arabamerica.com/ 84 awka journal of research in music and the arts (ajrma) vol 17 june 2024 against israeli occupation through art. their style, way with words and technique are great. they are an inspiration for the arabic hip-hop scene and artists definitely worth following.” (accessed 16 june, 2024 from https://www.thenationalnews.com/arts-culture/music/the21-arab-independent musicians-you-should-be-listening-to-right-now-1.1002985). music of the chinese china is a country in asia. asia is the largest and most populous continent, home to the largest russian and most populous china nations. asia is the largest of the world’s continents, covering approximately 30 percent of the earth’s land area. (https.//education.nationalggeographic.org accessed 2/6/ 2023). according to new world encyclopedia: music of china dates back to the dawn of chinese civilization with the documents and artifacts providing evidence of a well-developed musical culture as early as the zhou dynasty (1122 b. c. e.) in ancient china, music was regarded as central to the harmony and longevity of the state. chinese traditional music is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. the scale has five notes. bamboo pipes and qin are among the oldest known musical instruments from china; instruments are traditionally divided into categories based on their material of composition; skin, gourd, bamboo, wood, silk, earth/clay, metal and stone. chinese orchestras traditionally consist of bowed strings, woodwinds, plucked stings and percussion. chinese vocal music has traditionally been sung in a thin, non-resonant voice or in falsetto and is usually solo rather than choral. all traditional chinese music is melodic rather than harmonic. chinese vocal music probably developed from sung poems and verse accompanied by music. (accessed on 15/6/2023 from https://www.newworldencyclopedia.org.org/music-of-china). looking at the above, one will easily understand that chinese musical instruments are categorized under eight different classifications namely; silk, bamboo, wood, stone, metal, clay, gourd and skin. there are however, other traditionally grouped instruments that do not fall within the above groupings. the new world encyclopedia also records that “after the period of dynasty, china metamorphosed into a republic era (1912-1949) during this period, the new culture movement of 1910s and 1920s evoked a lasting interest in western music with a number of chinese musicians returning from studying abroad to perform western classical music, composing work based on western musical notations system. characteristically, the texture of chinese traditional music depended on the scale of five notes usually performed with solo instruments in small ensembles of plucked and bowed strings, flutes, and various cymbals, gongs, and drums. the melody is usually solo with the bamboo pipes among the oldest known musical instruments. musical instruments are traditionally divided into categories based on their material resources such as: skin, gourd, bamboo, wood, silk, earth/clay, metal and stone. chinese orchestras traditionally consist of bowed strings, woodwinds, plucked strings and percussion. vocal music is sung to a thin, non-resonant voice or in falsetto and is usually solo rather than choral. by way of acculturation, western music influenced the chinese traditional folk music which was melodic and not harmonic especially after the establishment of the republic of china in 1911. both western classical and popular music as performed today in china were adapted from western music culture. the chinese popular music which was regarded as “yellow” music was denounced by the government which promoted revolutionary songs because they considered “yellow” immoral. the introduction of rock music was however https://www.thenationalnews.com/arts-culture/music/ https://www.newworldencyclopedia.org.org/music-of-china 85 awka journal of research in music and the arts (ajrma) vol 17 june 2024 delayed until 1990s because of cultural revolution that censored the kind of music genres imported into china from other world cultures. three most famous musicians from china according to pantheon.com lang lang; born 14 june 1982 is a chinese pianist who has performed with major orchestras around the world and appeared at many leading concert halls. active since the 1990s, he was the first chinese pianist to be engaged by the berlin philharmonic, the vienna phiharmonic and many of top american orchestras. in 2000, a chicago tribune called him “the biggest, most exciting young keyboard talent i have encountered in many a year of attending piano recitals.” toshiko akiyoshi, born 12 december 1929 is an american jazz pianist, composer, arranger, and bandleader. akiyoshi received fourteen grammy award nominations and was the first woman to win best arranger and composer awards in down beat magazine’s annual readers’ poll. in 1984, she was the subject of the documentary, jazz is my native language. in 1996, she published her autobiography, life with jazz, and in 2007 she was named an nea jazz master by the u. s. national endowment for the arts. fou ts’ong ; born 10 1934 -28 december 2020) was a chinese-born british pianist who was the first pianist of his national origin to achieve international recognition. he came to prominence after winning third prize and the polish radio prize for the best performance of mazurkas in the 1995 v international chopin piano competition, and remained particularly known as an interpreter of chopin’s music. (from https://pantheon.world/profile/occupation/musician/country/china.accessed 6 june, 2024). chinese popular music as yellow music (pornography). the new world encyclopedia has it that “music in china is dominated by the state, as the television broadcasting, media, and major concert halls are all controlled by the communist party. the government chose not to support chinese rock, by limiting its exposure and airtime. as a result, the genre never fully reached the mainstream. contemporary china has a high rate of piracy and difficulty enforcing intellectual property rights. as a result, record companies often make the decision to release new chinese music albums in taiwan or hong kong first; normally there is a delay before the products are released on the mainland, with occasional exceptions, such as the work of cui jian, which was released in taiwan, hong kong and the mainland simultaneously. (https://www.newworldencyclopedia.org/entry/music-of-china#traditional-music3/7annualevents such as the midi modern festival in beiling keep music culture alive accessed july 25 2023 from ). conclusion the outcome of the findings shows that music of various countries of the world are borne out of their resource materials which range from geographical/topographical features, agriculture, ecology, occupation, religion etc. conclusively, the study discovered that the four countries discussed in this paper are musically connected. this means that through acculturation and acculturation, various countries of the world are musically inseparable . for example, the music of the americas are influenced by the african slaves taken to the americas by their slave masters. the activities of the european christians who evangelized the americas and other continents of the world also influenced https://pantheon.world/profile/occupation/musician/country/china. https://www.newworldencyclopedia.org/entry/music-of-china#traditional-music 86 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the aboriginal music of their host countries. the islamic music overshadowed the music genres of the countries conquered by islam vice versa. recommendation the study recommends the extension of the present inquiry to other countries of the world which were not mentioned in this research hence the present investigation could not accommodate the whole truth envisioned to be addressed in the study. references gartner, g. (2023). information technology glossary. gartner glossary. kwakpovwe, c. e. (2023). our daily manna: a daily devotional booklet for champions, volume 23 section 7, 8, & 9 july-september 2023. lagos: our daily manna. maxwell, j. c. (2007). the maxwell leadership bible, 2nd edition. nashville: thomas nelson. merrian a. p. (1964). the anthropology of music. northwestern. university press. nettl, b. (2004). the study of ethnomusicology: thirty-one issues and concepts. illinois: university press. okafor, r. c. (2019). popular music in nigeria. enugu: new generation. okeke, i. n. (2020). on the theory of adaptive musicology, hofa: journal of multidisciplinary research, 5.1 titon, j. t.; cooley, t. j.; locke, d.; reck, d. b.; schechter, j. m.; stock, j. p. & sutton, r. a. (eds.) (n. d). world of music an introduction to the music of the world’s peoples (5th ed). schirmer: cengage learning. titon, j. t. et al (2008). worlds of music: an introduction to the music of the world’s peoples (5th edition). shirmer:cengage leraning. internet sources https://www.gartner.com/en/information-technology/glossary/digitalization retrieved 8:00am,2023-10-08 (https://classhall.com/lesson/classifications-western-musical-instruments accessed 8th june, 2023 https://www.123helpme.com/essay/influence-of-african-music-in-north-america-286310) (https:// hediasporacollective.com) (https;//embassies.gov.il/mfa/aboutisrael/maps/pages/israel-and-the-region.aspx#: ~:text= accessed 17th july 2023) (https.//education.nationalggeographic.org accessed 2/6/ 2023). 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(https://pantheon.world/profile/occupation/musician/country/china accessed 16 june, 2024). https://music.si.edu/ https://exploringgafrica.matrix.msu.edu/ https://study.com/academy/lesson/arab-history-identity-culture-people.html https://classhall.com/lesson/classifications-western-musical-instruments https://www.geographyrealm.com/ https://www.digitalhistory.uh.edu/ https://hellomusictheory.com/learn/famous-american-musicians/). https://www.thenationalnews.com/arts-culture/music/ https://pantheon.world/profile/occupation/musician/country/china). tonemic substitution 244 awka journal of research in music and the arts vol.15 (2021) 244 sustainability of music for tourism development in nigeria ifeoma p. okechukwu & eunice u. ibekwe ph.d. abstract his research investigates the sustainability of music for tourism development in nigerian society. as such, music seminars, workshops, symposia and performances in and outside the country involve tourism which enhances material development. as a matter of fact, when music is well and duly sustained for tourism development, life will be more meaningful and attractive for travelers, transporters and tourist centres. moreover, for tourism and tourists’ movements, the main need is for the travelers/guests to get satisfaction as well as security to be ensured. likewise, there is serious need for quality improvement purposes for the nation’s development through tourism. however, the issue on how to handle and make music sustainable and useful in making tourism worthwhile has not been given credit and worthy recognition in nigeria. therefore, the work sets out to do an investigative study on how the sustainability of music can be of immense advantage for tourists in particular and tourism in general. the work hinges on the theories of sustainability, socio-cultural and tourism basis. data collected was made through library, interviews and internet assets. from the findings, proof was made that when music is well sustained in life ramification for travelers and their agents, life t awka journal of research in music and the arts (arma) vol. 15 2021 okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 245 will be more attractive and enjoyable because music is life for the africans at large and nigeria in particular because they appreciate music a lot in all their events from cradle to grave. key words: sustainability, music, tourism, development. introduction music and tourism are inseparable, and both go on with life as long as the movement of people on transit in the air, sea, rail and on the word from one place to the other with their musical equipment is concerned. as such, music is a socio-cultural phenomenon which leads to crosscultural music interaction of people from far and near through tourism. consequently, music is applicable in all spheres of life and gives quite a nice spices to life activities including tourists, their materials, touring agents, terminals, destinations and their agents for national development. therefore, its sustainability and retention especially in the areas of travel is very important and cannot be over-emphasized. during transportation; drivers/passengers, captain/crew, pilot/passengers or cargo planes make use of music for their journeys to be enjoyable and stress free as well as knowledge acquisition, awareness and dissemination of information and for communicative purposes. as such, music is highly enjoyable during local and advanced movements and/or compounded travels across the globe because music awakens weak spirit and depressed souls through entertainment. subsequently, the sustainability of music for tourism development is a phenomenon associated with industrialization and modernity which ranges from internal entertainment to broader/external pilgrimages. as a result, music which may be in form of song, dance or instrumental is sustainable towards achieving national development. odogbor (2008) infers that; music occupies a vital place in the life of every nigerian. its importance informs its integration into the day-to-day activities. even in the contemporary nigerian society, music okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 246 functions in one form or another in the life of the individual groups or the entire society (p. 67). likewise dance as an aspect of music can be a viable means of enhancing tourism for national development through inter-cultural relationship. folorunso and olusola (2021) state that; intercultural relationship is another great influence of nigerian dance. it causes people from every area, irrespective of age and sex, coming together to agree on a concept of dance. this has brought many communities in nigeria to sustain their relationship which most often lead to marriage among members, educational development, technology, infrastructural development, etc (p. 329). subsequently, the sustainability of general music content and its broad areas as in traditional, western and popular music areas attract and involve tourism from every area so as to enhance national development. ogisi (2008) posits that; contrary to expectation, the regionalization of the civil service did not reduce the migration of individuals to various parts of the country rather it stimulated migration to the newly created regional and divisional administrative headquarters that were developing into urban centres. thus, popular music and musicians in general had a wider patronage to contend with. thus, began regional trends in nigerian popular music. musicians who performed in such milieu had to sing in the lingua franca of the area so as to attract patronage (p. 82). theoretical framework the study hinges on the theories of sustainability, socio-cultural and tourism back-ups. the theory of sustainability states that, it is the long-term viability of a community’s set of social institutions or their societal practices which is a form of intergenerational ethics in which okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 247 the environmental and economic actions taken by present persons do not diminish the opportunities of future persons to enjoy similar levels of wealth, utility or welfare. for further clarifications, the theoretical dance sustainability rose to prominence with the modern environmental movement, which rebuked the unsustainable character of contemporary societies where patterns of resource use, growth and consumption threatened the integrity of future generations. as such, there is need for the sustainability of music for tourism development in nigeria to enhance smooth and peaceful co-existence of individuals as well as the generational continuity of the society. socio-cultural theory on its own states that both social and cultural interaction play important roles in the development of higher order thinking skills in human being as seen in the case of tourism. moreover, human development and learning through music and tourism originate in social and cultural interaction. in other words, the way people interact with others through musical tours and the culture in which they live shape their mental and social abilities. as a matter of fact, the environment (surrounding) where the culture exist and the people that operate within that environment with selective norms, values, traditions, which make up and/or form the socio-cultural behaviour that positively attracts cognitive, affective and psychomotor domains of musical activities for sustenance. the socio-cultural theory was propounded by a russian psychologist known as gygotsky in 1978. with special reference, allman (2020) posits that gygotsky (1978), a russian psychologists and founder of socio-cultural theory believed that human development originated in social and cultural interaction (p. 1). the topic on tourism theory was propounded by raymond cuervo in 1967 in his assumptions, he states that tourism is a set system whose function combines travel with communication and that such okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 248 communication system is capable of transmitting positive and useful information to promote world peace. the system is based on five (5) prominent elements as follows:  the traveler-generating region (the origin or environment where the traveler usually lives)  a transit region that connects the region to the destination (on movement by means of rail, road, air or ship/boat).  the tourism destination region.  the tourist himself/herself and/or itself.  the tourism and travel industry (tourist information centres, accommodation, lodging establishment, etc.) the theories when related to the topic portrays that music as a sociocultural agent, phenomenon as well as performance, and an instrument of sustainability for tourism development in our society. as such music and tourism are bonded for better society. therefore;  music for sustainability  tourism for traveling, traveler, movement, tours, communication, socialization  society community, culture, environment, etc the task ahead the modern trend in the area of sustainability of music for tourism development has many challenges facing it especially in these contemporary times. as a matter of facts, the issue is now on how music can be sustained to enhance tourism for national development. therefore, the task ahead is the way forward for enforcement or reinforcements that music should be devised to encourage tourism in order to propagate progressive national continuity across present and future generation. in other words, the importance of keeping and using music in our tours and national performances so as to encourage our nation grow with stability in social, cultural economic, historical, educational, etc. in other to carry the task ahead to achieve the set okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 249 objectives, music should therefore be encouraged and placed for sustainability as regards tourism development in the following areas: socio-cultural carnivals and music festivals: through cultural music carnivals, the sustainability of music for tourism development should be enhanced because different towns, states, groups, dignitaries and individuals will travel from far and near to grace the occasion. moreover, patronage to some musical groups and scholarship awards will keep music to the desirable standard good for tourism. in addition, tourism centres, hotel accommodations, transportation, etc. will also get their amusement parks ready and/or renovated to welcome and make lodging accommodation conducive for performers and tourists. vidal (2012) states that; “cross-cultural music interactions should be promoted through musical tours and musical concerts” (p. 209). it enhances social interaction of individuals. odogbor (2008) posits that; socio-culturally, traditional music helps promote group sentiments and the people’s ideals. during traditional festivals and other social gatherings for example, music generates an atmosphere of conviviality where boundaries based on sex, age, status, etc. are blurred into significance, and everybody celebrates as an entity. this is capable of providing forum for mending broken relations and providing common ground for development, (p. 69). organizing conferences, seminars, workshops and symposia: with annual attendance of music conferences, seminars, workshops and symposia, music will be sustained for tourism development in nigeria. as such, concerned individuals will travel from their abodes to lodge at the conference, seminar and symposia centres. such travels give room for social interaction and discovery of some talented musicians for self-reliability that leads to independent job opportunity. vidal (2012) okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 250 postulates that; “annual music festival should be organized and held in all categories of music as a means of discovering and identifying future talents” (p. 208). music competition in all levels of education: music competitions should be organized and advertised to all the levels of nigeria education. winners should be awarded with gifts, laurels and talented individuals discovered for scholarship awards and academic excellent performance. this will install and inculcate better life in the individuals because the spirit of life is the spirit of music. vidal (2012) postulates that; “all over the areas inhabited by the peoples and societies of nigeria the spirit of life is the spirit of music” (p. 81). provision of well-equipped ict centres: lodging accommodation of conference centres, halls and hotels should be well equipped with ict gadgets for travelers who may want to use them. hotel rooms and ict rooms should be furnished with air-condition and well-constructed furniture for visitors as well, for music sustainability to beep up national development. transport facilities and security consciousness: for music to be sustained as regards tourism development in nigeria, good transport facilities should be put in order to avoid accidents, plane crash, shipwreck, etc. similarly, security consciousness should be maintained for travelers, hotel lodgers, and equipment of any kind. amusement parks should be well tidied up by attendants, to suit the standard and the requirement needed for the tourists gathering. benefits of sustaining music for tourism development in nigeria we derive numerous benefits from the sustainability of music for tourism development in nigeria. some of the benefits are: 1. economic benefit okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 251 2. music globalization 3. music for tourist attraction 4. academic/intellectual/educational improvement 5. socio-cultural exposure/interaction 6. area or place indicator economic benefit sufficient economic help is being derived from the sustainability of music for tourism development because performers make a lot of money and earn their living through music tourism. echezona and okezie (2018) posit that; the diverse cultural music has become part of the tourist industry and almost on daily basis, some performance or the other is carried out in different areas of the country in celebration of one festival event or receiving important foreign dignitaries (p. 114). through music for tourism people will be gainfully employed and engaged in musical work and its performances for self, group or community’s reliability. globalizing music the world has become a global village through music and its sustainability enhances tourism development. therefore, during musical tours, culture of different people’s music are portrayed. johnson in echezona & okezie (2018) infers that; tourism and globalization says that performance or composition of a culture’s music is not limited to the inhabitants or migrants of that culture, but is increasingly part of an array of artifacts readily consumed within globalized culture. continuing . . . therefore, nigerian music consumable as a tourist product could position her for globalization and leaves its imprint in the world of music (p. 115). okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 252 music for tourist attraction psychologically, music by nature draws and commands attraction. people travel to places for music entertainment, performance, sight-seeing and/or for popularity. hearing the sound of music attracts physical engagement. the sound of musical instrument is a powerful agent and point of attraction during musical display. music artistes through their performances draw souls to hear and commend their work of music composition. music as an academic, intellectual and educational empowerment music trains people to be cognitively, affectively and psycho-motive alert wherever they are. the africans in their communal way of sharing and enjoying music are serious music activists through their day-today performances. they sing music, they ring music and they play music all through their life time and even to the grave with music through dirges. socio-cultural interaction/integration during music tourism, people interact with each other during performances and entertainments, seminars and symposia. they also feel free to make friends without minding where the person comes from. as such music tourism is a social and cultural unifier. musicians travel to foreign land and their audience also travels to watch them, observe them and copy their styles of dance performances. some receive awards and become popular as world figures. culturally, they share and portray their diverse cultural heritage for world exposure and consumption. area and/or place indicator sustainability of music for tourism development is a place or area indicator. towns, villages, cities, states and locations are made known and popular through music tourism. many musicians had gone and known okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 253 places as a result of music tourism. some of them have risen to level and are where they are today because of music tourism. through music tourism, knowledge of some distant areas is exposed for acknowledgement. geographically, some areas could not have been exposed if not for the sake of music performance and performing musicians that come from such timid and remote areas, as regards traditional, western, and popular music performances. therefore, there is every need to sustain music for tourist development in nigeria. summary and conclusion from the study, it is seen that the sustainability of music tourism for national development should be encouraged by individuals, government sponsors and the entire society. music makes every place and its atmosphere good and attractive naturally. it changes things and life for better. therefore, with tourism by its side, the nation will achieve greatness for the present and up-coming generations. as such, when we sustain music for tourism the nation will be grown and developed socially, culturally, economically, intellectually, historically, therapeutically, physically, recreationally, religiously, morally and educationally so as to achieve all-round greatness in the country, nigeria. references echezona, a. u. a. & okezie, k. (2018). the role of music to tourism development in nigeria. journal of tourism and heritage studies (jths). 7, 110 – 117 folorunso, d. j. & olusola, s. a. (2021). musical art education, 20th century nigerian dance styles and the morality of nigerian youths: in i. o. idamoyibo’s festschrift (pp. 315 – 322). odogbor, p. o. (2008). towards the sustainability of nigerian traditional music: the role of the music educator. awka journal of research in music and the arts (ajrma). 5, 67 – 80 okechukwu, i. p. & ibekwe, e. u.: sustainability of music for tourism development in… awka journal of research in music and the arts vol.15 (2021) 254 ogisi, a. a. (2008). the bustling fifties and popular music in nigeria. awka journal of research in music and the arts (ajrma). 5, 81 94 vidal, a. o. (2012). selected topics on nigerian music. ile ife: obafemi awolowo university press. 232 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music and its therapeutic roles on the exceptional people in oyo state: a survey of oluyole chesire home, ibadan paul adebanjo ba(ed) ekiti state university, ma (. ed) university of lagos email:pobymusicconcept@gmail.com abstract exceptional people suffer various health issues which range from stress relief to mental, emotional, and behavioral disorders. these people need effective strategies such as motor skills, social/interactive skills, and cognitive skills to support them in their interactions and communication with others in society. the study explored the roles of music therapy on the exceptional people of oluyole cheshire home in ibadan. it developed better communication, socially interactive, psychomotor, and cognitive skills for clients through the aid of songs accompanied by musical instruments to treat clients. it employed a qualitative design method, dividing ten exceptional people into two groupsvof five clients each; and these include the mentally retarded, emotionally disturbed, physically challenged, hearing impaired, and partially sighted. these clients were treated with music. the first group was used as the control group; the second group as the experimental group. the control group was compared with the experimental group to determine the impacts of music. a comprehensive analysis of comparison, personal observation & feedback from questionnaires gathered from the respondents were used to ascertain the effect of music on the participants (clients). it was discovered that music, particularly when used as therapy plays significant roles by providing an amazing way of captivating the attention of exceptional people and inspiring them on social interactive ability, communication skill, psychomotor ability, and cognitive ability. keywords: cheshire, clients, exceptional people, music therapy introduction music has many historical meanings and definitions over the world to sooth types, purposes, and circumstances. music creates moods, feelings, and emotions which spring forth from the human brain. it, therefore, has significant therapeutic effects on exceptional people when is used as a treatment. the mental analysis of the human brain reveals that music stimulates part of this organ such as food, drugs, and sex do (steve .f june 2006 ,canadian geographical magazine). hence the paper is concern with the roles of music therapy on exceptional people. it is therefore imperative that this paper begins with a background on a case study to evaluate the impacts of music therapy on the exceptional. thus this study explores the roles of music therapy on the exceptional people at oluyole chesire homes in ibadan. brief history of oluyole chesire home oluyole chesire home comprises a home and a special school for its exceptional people. oluyole chesire's home ibadan which is the first home to be established in nigeria came into being in june 1959. it was established by the late justice sir adetokunbo ademola. it was initially situated in a rented house at college crescent, along the then ijebu bypass which is now known as the obafemi awolowo way, oke-ado, ibadan. later in 1968, the home moved to its present location near the polytechnic, ibadan, sango-eleyele road. oluyole cheshire home was established to serve as a home away from home. the home provides in a manner compatible with the ideals of the founder, for care, 233 awka journal of research in music and the arts (ajrma) vol 17 june 2024 treatment, education, and maintenance of physically handicapped and mentally retarded persons. since its inception, the home has continued to take care of disabled children, most of who were abandoned and found on the streets by social workers and sympathizers and brought to the home. as a result of the godly vision and positive influence of the home on the exceptional people in the society, it gained support from philanthropists and has expanded to the establishment of other branches across a few states in nigeria. exceptional people these are people above average or persons who need special educational help because of mental or physical challenges. the exceptional people concerned in this study include the mentally retarded, emotionally disturbed, physically handicapped, hearing impaired, and partially sighted. these exceptional people need special education services and treatment to improve their health. special education according to the national policy on education (1981;20) is defined as the education of children and adults who have learning difficulties because of different sort of handicaps such as blindness, partial sightedness, hardness or hearing impaired, mental retardation among others. some of these abnormalities which emanated from circumstances of birth, inheritances, mental and physical health pattern have caused some persons unable to cope with the conventional education. the exceptional persons also include specially gifted who are intellectually precious and find themselves insufficiently challenged by the program of the normal school and who may take to stubbornness and partial resistance to it. herward and orlansky(1980) defined special education as “ the individually planned and systematically monitored arrangement of physical settings and special equipment and materials, teaching procedures and other interventions designed to help exceptional children achieve the greatest possible self-sufficiency and academic success”. though music is effective in teaching any child, it is of particular value in the training program for retarded children. hurban (1975) asserted that “because most children love the music they respond quickly to it and focus rapt attention on musical activities.” statement of the problem some of the persons who can be relevant in the society are abandoned because of their ailments which range from stress relief to mental, emotional, and behavioral disorders. the attitudes of society at large towards exceptional people especially the disabled according to kirk (1975) are in three categories: i. first stage: the disabled were neglected, ridiculed, and even destroyed at birth. ii. second: this referred to era of missionaries which is characterized by the active participation of christian bodies and individual philanthropists in the care and education of the disabled. iii. three: this is characterized by the active involvement of the government in the education and care of the disabled. hence this paper provides music as a treatment to these ailments and explores the roles of music therapy on exceptional people and if these roles are obtainable. since music therapy had been justified from different historical knowledges, this paper mapped out its evidence and effects on exceptional people. objectives of the study this paper aims to examine the roles of music therapy on exceptional people as it impact their social interactive, communication, psychomotor and cognitive skills. hence, objectives of the study are to, 234 awka journal of research in music and the arts (ajrma) vol 17 june 2024 a. examine the roles of music therapy on the exceptional people; b. examine how exceptional people can respond to music; c. evaluate the effects of music therapy in improving the health challenges of exceptional people; and d. suggest music therapy as a treatment that can be used to enhance the attention and concentration of exceptional people for classroom activities. theoretical framework the paper adopted the medical theory of four bodily fluids propounded by hippocrates (400bc) as stated according to gouk & horden (2000) since perfect health is a result of balance among four bodily fluids. research questions in specific terms the study would be guided by the following questions derived from the objectives: a. what are the roles of music therapy in exceptional homes? b. what are the behavioral reactions and responses that exceptional people give during and after music therapy sessions? c. what are the effects that music therapy creates in improving the health issues of exceptional people? d. how can the use of music therapy enhance the concentration of exceptional people for classroom activities? operational definitions of terms sekere is a yoruba traditional musical instrument consisting of a gourd surrounded by a net of the bead. it was twisted, shaken, and slapped by two of the clients, to enhance concentration and psychomotive ability during the music therapy session. clients to exceptional persons who need treatment. respondents as used in the paper refer to participants in the survey and exceptional persons. therapy this can generally be defined as a curative treatment of diseases. mereni (2004) “therapy comes from the greek word: therapia which means healing in the same sense as treatment of disease a curative intervention to heal the sickness or restore health. bram (1847) explained therapy as the “treatment of disease by various approaches”. it involves the management and care of the patient to combat a mental or physical disorder. music therapy the american music therapy association (1998-2019) supports music for all and applauded the efforts of individuals who share their music-making and time and says the more music the better our health. this implies that music improves our health status. however, clinical music therapy is the only professional, research-based discipline that actively applies supportive science to the creative, emotional, and energizing experiences of music for health treatment and educational goals. 235 awka journal of research in music and the arts (ajrma) vol 17 june 2024 mereni (the component in music 2004, p. 1) asserted that the therapy proposed by juliette alvin the founder of the british society for music therapy, is that it is the controlled and reasoned use of music in the treatment and rehabilitation of those affected by physical, mental and psychic ailments of various sorts. he says controllability is one of the principal mark of the scientific process and that controllability is one of the major differences between the chance of healing one can gain from a musical activity and a music therapy intervention. he remarks further that it is also one of the major differences between music therapy as a scientific practice and the traditional music healing practiced in various cultures of the world today. from the remarks above, it is deduced that professional music therapy is scientific while music healing as it is presently is yet to lend itself to a scientific process. it is important to add here that the arts have always been the foundation of science and so within the framework of this discourse, the scientific process should be seen to include the humanities and the social sciences since the client’s cultural values and social practices are important healing. alvin (1975) pointed that music therapy is the controlled use of music in the treatment, education, training, and rehabilitation of individuals with physical, emotional and mental disorder. obidike (1998) work examined the use of music, chants, and associated rituals in bringing about healing. selected songs were notated and translated into english to enhance the readers' appreciation of the song texts to be able to have a good idea of their relevance in healing. the yoruba community of western nigeria was used as a case study. myths and narratives on the healing power of music are numerous in most cultures. the tale of saul and david is one of the earliest histories where music was used as healing. david played the harp for king saul when he was often depressed by an evil spirit as the scripture verse stated “and it came to pass when the evil spirit from god was upon saul, that david took an harp, and played with his hand :so saul was refreshed ,and was well, and the spirit departed from him”(king james bible,1994,1samuel 16v23”. thus, we can deduce that music purifies the soul, heals the heart, refreshes the brain ; and improves individuals’ health condition. methodology this study employed a qualitative design method. ten (10) of the exceptional people were divided into two groups five (5) clients per group; these include the mentally retarded, emotionally disturbed, physically challenged, hearing impaired, and partially sighted. these clients were treated with music. the first group was used as the control group; the second group as the experimental group. the control group was compared with the experimental group to determine the impacts of music. a comprehensive analysis of comparison, personal observation & feedback from questionnaires gathered from the respondents were used to ascertain the effect of music therapy used on the participants (clients). it was discovered that music, particularly when used as therapy plays significant roles by providing an amazing way of captivating the attention of exceptional people and inspiring them on social interactive ability, communication skill, psychomotor ability, and cognitive ability. to ascertain the reliability of the instrument intended to be used, a pilot study was conducted on ten (10) numbers of exceptional people whose age ranges between 18-43 years. these exceptional people were divided into two groups of five participants each. five numbers of exceptional people were used in this study as the control group; they were compared with the experimental group to observe the behavioral and emotional changes of the exceptional people before the music therapy session, during the music therapy session, and during the behavioral situations/ responses after treated with music. 236 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the researcher also adopted reversal design method in collecting data. a(baseline period) b(experimental period)-a(baseline period). according to paul c. cozby (1977:185) this design, called aba requires that behavior be observed during the baseline (a) period and again during the experimental (b) period, and also during a second (a) baseline period after the experimental has been removed. the researcher used a recorder instrument to snap and record all the data gathered in the fieldwork the pictures tagged "a-c" below review the emotional state of the exceptional people before, and during the music therapy session a. b. c (i) c(ii) picture a reviews the loneliness and boredom situation of exceptional people before being treated by music. picture b reviews the reactions, expressions, responses, and moods that were shown on the clients' faces during the music therapy session. these include dancing, clapping, and screaming as a result of the joy that radiated within. and the dumb among them attempted to talk! picture c-cii review the behavioral changes after treated by music. after comparing the behavioral situation of these exceptional people before the music therapy session with the behavioral changes after the music therapy session. the following results were collated: these exceptional people gained more confidence to communicate with themselves. the emotionally disturbed among them gained concentration after the music therapy session. they were more energized and their mood changed from loneliness to a sense of belongingness just to mention but a few. thus, it is deduced that the research instrument is reliable since the positive responses, reactions, and behavioral changes meet the purpose of the research work. hence, this ease the main research. data analysis & discussion of findings the study attempted to: 237 awka journal of research in music and the arts (ajrma) vol 17 june 2024 1. examine the roles of music therapy on the exceptional people in the case study centers, 2. explain in detail who the exceptional people are 3. evaluate the effects of music therapy in improving the health challenges of exceptional people. 4. suggest music therapy as a treatment that can be used to enhance the readiness and concentration of exceptional people during classroom lessons a comprehensive analysis of comparison of the music therapy session, interview, observation, and questionnaire was used to gather information from the participants. the behavioral changes, emotional states, and moods of clients before the music therapy session, during the music therapy session, and the behavioral states/responses after being treated with music were observed. activities session one: this session lasted for about about 10-15 minutes. clinical aims: this session aims to know the following: i. if clients could easily remember the lyrics of the songs played both as a piece of vocal music and as instrumental music and if they could respond and sing along to the tunes of the songs ( this helped the researcher to find out the cognitive ability and communicative ability that music therapy enhances) ii. if clients could move, or shake any parts of their body to the music heard (this helped the researcher to find out the psychomotor ability that music therapy provides) iii. if clients could through demonstration, touch, and excitement, interact with one another, with their patrons, matrons, and the researcher during the music therapy session ( this helped the researcher to deduce the interactive ability that music therapy provides) songs utilized in this session include, i. omo mi seun rere tie adara o…by christy essien-igbokwe ii. bata mi adukokoka, tinbakawe mi…by princes bummi olajubu iii. awon omo alaigboran po nile iwe… iv. eko darapupo by bunmi olajubu the musical instrument used includes: i. electronic keyboard ii. saxophone iii. drum iv. sekere participants in this session were ten (10) in counts. five (5) of the participants were used as the control group the remaining five (5) were used as the experimental group. the five participants (5) in the experimental group were treated with songs that were performed both in vocal and instrumental music types. one of the students who fall into the category of the physical challenge (has a stroke on his legs) as a result of his passion earlier before the music therapy session began, was instructed to beat the sekere which was accompanied together with other instruments during this session. the pictures below show the moods and responses of the clients during this study. session two this session lasted for just 10 minutes. this session is not the main procedure designed for data collection of the paper though. but came up as a demand from the remaining large numbers of 238 awka journal of research in music and the arts (ajrma) vol 17 june 2024 exceptional people and their respective patrons and matrons in the case study home, it, however, came up shortly after the main procedure designed for this study. this is to establish the fact that music stimulates excitement in exceptional people. all the exceptional people in this case study center were entertained by music. the following songs were used: i. glory be to god in the highest hallelujah ii. eko darapupo by bunmi olajubu iii. bata mi adukokoka, tinbakawe mi…by princes bummi olajubu these songs were collectively selected and accompanied by musical instruments to beautify the performance. the pictures below illustrated the excitation and joy of all the participants collectively after the study. a. b. picture a shows the general mood of clients /students at the beginning of the therapy session while picture b shows the mood during the music therapy session. research findings table one & two below summarizes the findings gathered before and after the music therapy session using qualitative analysis. table one summarized the behavioral observation before and after the music therapy session while table two summarized the feedback effects of music therapy deduced from the questionnaires given to be answered by the management of the case study center. behavioral observation analysis table categories of the clients used as the control & experimental group degree of impairment before music therapy degree of impairment after music therapy effect of music therapy on the clients mentally retarded aggressive mild calmness calm emotionally disturbed proactive mild calmness concentrate physically handicapped intimidation self-confident self-discovery hearing impaired indifference to sounds mild movement to rhythms positive partially sighted unable to recognize things ability by recognizing by touch positive 239 awka journal of research in music and the arts (ajrma) vol 17 june 2024 summary summary of questionnaires used to evaluate the effects of music therapy on clients after the study respondents questionnaire s 1st respondents 2nd respondents 3rd respondents 4th respondent s 5th respond ents needs for music therapy high high high high high impart of music therapy positive positive positive positive positive music therapy succession positive positive positive positive positive the emotional state of clients before music therapy weak weak weak weak weak the emotional state of clients after music therapy improv ed improved improved improved improv ed discussion of findings the purpose of this discussion is to evaluate the roles of music therapy on exceptional people. roles of music therapy on the exceptional people the following questions were raised earlier and the answers are given in this heading, 1. what are the roles of music therapy for exceptional people? table two 240 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music therapy plays a significant role which enhances the effective communication skills, motor skills, social interactive skills, and cognitive skills of exceptional people within society. music therapy also provides stress relief and manages the behavioral disorderliness of exceptional people. 2. what are the effects and responses that music therapy creates on exceptional people during and after music therapy in agreement with the discovery of dr. florence nweke (rejuvenating the memory of the elderly people through music february 4, 2018), it was discovered that during these music therapy sessions, participants regained their memory of the selected songs and simultaneously recalled the lyrics of these songs that were first played as instrumental music off hand. this study also discovered that the physically challenged, and the emotionally disturbed in the research danced and responded perfectly to the tunes and rhythms of the selected songs cheerfully and actively. one of the physically challenged (crippled) among the participants who was instructed to play the sekere, played the instrument perfectly. this is to unveil the facts that there are so many talents, and skills that are hidden within these exceptional people but these endowments are denied and lost as a result of abandonment and attitude of the society towards these special people. this concurs with the first stage that kirk (1975) categorizes the attitude of society at large toward exceptional people, that "the disabled were neglected, ridiculed and even destroyed at birth.” 3. how does the use of music therapy improves the health issue of exceptional people? the researcher compiled the results of the study and used a qualitative analysis to explain the behavioral reactions of the exceptional people and responses from questionnaires after the music therapy session in accordance to paul c. cozby's (1977:185) reversal design method called aba. a refers to the baseline period (which was used as the control group in this study). this requires that behavior be observed during the baseline which was used as the control group in this study. b refers to the experimental period (which was used as the experimental group in this study). this also requires that the behavior be observed during the experimental period. a refers to the baseline period. (this repeated a requires that the behavior be observed during a second baseline period after the experiment). it was observed that all the participants in the experimental (b) group having been compared with the control group (abaseline period) before and after the music therapy session, the experimental group (bexperimental period) were livelier than those in the control group (a) during the music therapy session and after the session. observations deduced that participants were energized, strengthened, and gained more passion for living.the emotionally disturbed participants who could not relate at length were motivated and started communicating. many of them could easily remember and interpret the memory of the songs during music therapy sessions. 4. how can the use of music therapy enhance the readiness and concentration of exceptional people for classroom lessons? hurban (1975:40) stated that "most of these people love the music they respond quickly to it and give total attention to musical activities. however, it was also ascertained in this study that most of these exceptional people during music therapy sessions gained concentration. thus, music therapy is an important tool that can be used to enhance the readiness and concentration of exceptional people for classroom activities. conclusion 241 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music is very adaptable and can be used to meet the different needs of the exceptional persons that attend music therapy. having scrutinized the roles of music therapy on exceptional people, results reveal that exceptional people who suffer loneliness, abandonment, several behavioral disorder, and health issues can also improve through music treatment. the roles that music therapy plays in exceptional people have been examined in the study. the paper thus supports the advancement of using music to improve the client's communication skills, social interaction skills, motor skills, and cognitive skills. it is recommended that music therapist will be given a right-hand fellowship in the medical community thereby allowing the exploration of music therapy as another solution to health and well-being across the globe. references american academy of child adolescent psychiatry. (n.d.). work fact sheet. american art therapy association. (n.d.). about art therapy. american psychiatric association. (2002). diagnostic and statistical manual of mental disorders (4th ed.). armstrong, t., & darrow, a. a. (1999). research on music therapy and autism. alvin, j. (1975). music therapy. hutchinson. bram, m. (2005). official definition of music therapy. journal of american music therapist association. florence, n. (2018). rejuvenating the memory of the elderly people through music. university of lagos research report online journal. gouk, r., & horden, p. (2000). music healing in cultural context. the history of music therapy since antiquity. hippocrates. (400 bc). the legacy of humoral medicine. ama journal of ethics. herward, w. l., & orlansky, m. d. (1980). the study of special education service delivery on the academic performance of students with hearing impairment. (link unavailable) pg.40. kirk, j. (1975). cited –john ajewole special music education june 2012. mereni. (2004&2005). music therapy, scope and conference. national policy on education. (1981;20). omobiyi-obidike, m. a. (1998). music and healing among the yoruba. art in the service of medicine, african notes, 22(1x2), 1-53. pellitteri, j. (2002). the consultant's corner: music therapy in the special education setting. journal of educational & psychological consultation, 11(3/4), 379-392. pratt, r. r. (1991). music education and medicine. music educators journal, 77(5), 31-37. pronovost, w. (1961). the speech behavior and language comprehension of autistic. retrieved november 4, 2006. cobzy, p. c. (1977). reversal design method. methods in observational research, pg. 184. steve, f. (2006). mental analysis of the human brain. canadian geographical magazine. winifred, g. (2009). rapt; attention and the focused life. published by penguin press hc. tonemic substitution 158 the role of music in sermonizing among selected church denominations in nnewi metropolis, anambra state, nigeria david sopuluchukwu umeojiaka ph.d. abstract his study investigated the role of music in sermonizing among three selected church denominations in nnewi metropolis, anambra state, nigeria. the research focused on the perspectives of selected preachers from st. paul‟s anglican church nnobi representing the anglican church, st. mary‟s catholic church nnewi representing the roman catholic church and save the lost mission inc. in nnewi representing the pentecostal church. the study explained why sermonists irrespective of church denomination use music in their sermons. the method of data collection was based on interview and observation. the subjects of the study comprised two preachers and selected congregation members of the concerned churches cutting across gender and age brackets. the researcher in his findings arrived at the fact that the use of relevant music (songs) in church sermons plays vital roles in motivating and arousing the minds and emotions of listeners prior, during and after sermons. in summary, he concluded that sermon preachers of all denominations should endeavor to use relevant songs in their sermon deliveries for reaching and winning of souls for christ. the study recommends that further studies should be extended to other church denominations like the cherubim and seraphim, celestial church and other white garment churches as well as other indigenous and orthodox churches to authenticate the outcome of this research hence the study did not t awka journal of research in music and the arts (ajrma) vol. 14 2020 159 necessarily exhaust the whole truth intended to emerge in the subject matter discussed. introduction the positive role of the use of music in preaching church sermons has been doubted over the years among scholars especially amidst preachers of various church denominations. the need to prove or disprove this controversy prompted the researcher in carrying out this research. some preachers have also disputed the extent to which music in sermonizing can affect the spiritual lives of christians. the perspectives of preachers and congregations of three selected church denominations in nnewi metropolis have been ascertained in this paper to specifically arrive at a reasonable conclusion. it is hoped that the preachers of today through the outcome of this study will understand that effective church sermons could be preached using relevant music. this means that a goal set in a particular sermon could be achieved using good songs at its delivery. this study has also been considered to be very important in christendom because it helps to explore the role of music in church sermons among church denominations hence it will increase the body of christian knowledge generally. in consideration of music as a powerful means of preaching the word of god, preachers of various church denominations will benefit from the outcome of this research, if convinced and thereafter, may decide to give music its rightful place in their various sermon deliveries. the study concentered on the perspectives of preachers and congregations of the three selected church denominations in nnewi metropolis namely; st. paul‟s anglican church nnobi representing the anglican church, st. mary‟s catholic church nnewi representing the roman catholic church and save the lost pentecostal church nnewi representing the pentecostal church. 160 the study observes that music could be utilized in all spheres of life; in sports, in teaching, in preaching/sermonizing and so on. the basic joy of christian faith makes music an important ingredient in preaching the word of god. the status of music as a universal language offers an outstanding vehicle for communication of any message, and more particularly, the message of the eternal gospel. concept of sermon according to homby (2015), “sermon is a talk on moral or religious subject, usually given by a religious leader during a service.” (p. 1011). the researcher sees sermon as “an admonition on a text of the bible delivered as part of church service from the pulpit or any other platform in a christian gathering from where the congregation could be preached to.” sermon in this study is used synonymously with all kinds of speeches by preachers of all denominations using bible texts made in the church and any other public place. in this study, the following words are synonymous with sermon; “preaching”, “the gospel”, “homily” or “the word of god”. concept of sermonist the term sermonist is defined as a person who delivers sermons, a person who adopts a preaching attitude. accessed 2nd september 2020 from https//www.thefreedictionary.com in this study the term sermonist is used interchangeably with “preacher”, “priest”, “rev. father”, and or “pastor” as the case may be. concept of congregation merriam-webster‟s dictionary, online edition defines the word congregation as “an assembly of persons: gathering especially: an assembly of persons met for worship and religious instruction.” retrieved 2nd september, 2020 from https//www.merriamwebster,com 161 in this study the term congregation is used synonymously with the words “audience” “listeners” and “learners”. the concept of music defining music, oshionebo and akazue in umeojiaka (2015) opine: “a simple definition of music is any agreeable sound. a more technical way of defining music is that music is the art of combing sounds into a composition, having structure and continuity.” (p. 70). this implies that music consists of tones, and also has pitch. it is the quality of this tone and pitch that gives each sound a distinct quality, distinguishing it from another sound. this simply means that not every sound is musical. music consists of tones, and that it uses these tones to communicate to its audience as opposed to literature which uses its language to communicate to the listeners. in his own view, agu (2008) sees music as “the expression of man‟s deepest self. “(p. 216). ibekwe (2010) states “music is an age-less tradition which cuts across all generations. its longevity is sustained by its unqualified relevance to life of the people.” (p. 34). ojakovo (2010) notes “music, is one of the most important means of disseminating information on human thoughts, ideas, emotions, traditions, norms and values. it raises several issues of social importance within a given society.” (p.104). ibekwe (2010) further explains “music in african context can be summarized as „human intent expressed into action to communicate ideas, portray culture, symbolize events, socialize people, and stimulate emotions and other related functions.” (p. 35). agreeing with the above, gaston in mbanugo (2009) says “music has penetrating powers that strikes a common chord in the hearts of all human beings irrespective of country or state of origin. music is nearly always an expression of goodwill reaching out to others, powerful expressions of interdependence of mankind.” (p. 120). the above explanation categorically portrays that the use of relevant music (songs) in church sermons can aid in deepening the thoughts and emotions of christian worshippers to feel the presence of god during 162 church gathering. in theological context, the book entitled „the theological resource team of global anglican future conference (gafcon)‟ (2008) explains music as: a vehicle of self-expression in many situations…a vehicle for conveying god‟s majesty and compassion, as well as the great acts and truths of faith. music is always placed within a wider liturgical context, whether it is that of hearing the word, celebrating the eucharist, morning or evening prayer, or some other antiphons, the hymns, responsorial, litanies, acclamations, greetings and responses, and even the prayers, may all be greatly enhanced by music being sung. (p. 80). in support of the above opinion, nwokenna in umeojiaka (2015) writes: the positive influence of music on our overall well-being has been recognized for centuries. links have been drawn between music and our whole development; physical, mental, social, emotional and spiritual… music is a reflection of our social relationships per excellence. it helps us understand those „perceptible patterns‟ in life itself having the potential to represent forms of human interaction from the most elemental to the most complex. (p. 45). considering the above, the researcher is convinced that one cannot talk about church sermons as a means of winning souls without making reference to human psychology. in human psychology, the aspect the deals with learning and memory has a lot to contribute regarding music and church sermons especially as it concerns winning of souls. dennis (2015) says “encoding is the process whereby information is thought to be put into memory: storage relates to the methods assumed to be involved in the retention of information; retrieval 163 relates to the processes of recovering of stored information from memory. “ (p. 147). for church sermons to be effective in soul winning, the researcher strongly agrees with dennis in his assertion “encoding, storage and retrieval enhance learning.” for the congregation members to spiritually be connected to the word of god, the human mind needs to be conditioned to an emotional state that will allow for the penetration of the word of god. this means that during church sermons, spiritually motivating songs can induce the audience to be sober in their reflections. one major thing that is needed in sermonizing and winning of souls has to do with being connected to the spiritual realm which will lead to soberness, penitence and proper internalization of the word of god. the use of spirit filled music in sermonizing can help to achieve the above. role of music in sermonizing: discussions and analyses information leading to the analysis of this study was sourced from 66 people who acted as respondents to the questions of the study. among them were six sermonists, two from each of the three selected church denominations. sixty members of the congregation also formed part of the respondents; hence twenty persons came from each of the three denominations. the findings were based on the research questions as follows: question 1: of the church seasons of the year, which one do you feel most comfortable to use songs in your sermon and why? the six sermonists interviewed in this study to a very large extent agreed that in their sermons irrespective of church season, they feel very comfortable to use songs in preaching the sermon. however, they added that each season has its special mood. for example, a priest from the roman catholic church did say “the lenten season requires penitential songs while that of resurrection demands the use of praise songs in preaching the resurrection message”. in addition, the two priests from the roman catholic church reiterated “the use 164 of songs is seldom employed during homilies in celebrating the mass.” to them homilies in the mass do not require much musical embellishments because a homily in the mass means breaking the word which needs no distraction. meanwhile, they emphatically noted that apart from homilies in church worship there are still many other avenues where songs could be used to preach the sermon in the roman catholic church. in this case they made mention of the “adoration service”. they said “the use of relevant choruses goes a long way in making the hearts of congregation fertile to be receptive to the messages of the adoration‟‟. one of them added “adoration is normally held on tuesdays very early in the morning, this is where people are allowed to pour out from the depth of their minds their various needs in prayer. this means that every rev. father on duty at every adoration must look for the best way of meeting the spiritual needs of the people.” on the light of the above, a priest from the anglican denomination in agreement with their roman catholic counterparts said “music is a very important instrument and ingredient in church sermons….to preach with effective songs is like putting salt in a food, without salt in a food, the food will not be palatable.” in support of the above view, another preacher from the anglican church said “in my sermons, i bring in songs such as hymns and choruses to drive home my points depending on the topic of the day”. having this in mind, the two preachers from the anglican denomination agreed during different interview schedules that they use songs in almost every of their sermons. but particular reference was made to special revival programmes like the mid-week revivals (wednesday prayers) and during other end of the month programmes as well as during outdoor crusades. when the two pastors from the pentecostal church were interviewed, they indicated that they do not operate based on church seasons but 165 they agreed that there were times in their churches when they emphasize on a particular event that happened in the life of jesus christ, such as christmas and easter. nevertheless, they agreed that the use of songs in a no small measure facilitate their congregation in appreciating their sermons. for instance, one of them said, “in 1986 when i answered the altar call, it was the song by the preacher after his message that touched me to step forward to receive jesus christ‟, he added: “that day, i shed tears when the man of god sang with a solemn voice which mellowed my heart and made me to be under anointing weeping for my sins…” on the part of the congregation, the two different groups from the selected churches that is; the adults and the youths agreed that they feel very much at home whenever they were preached to using songs that are relevant to the topics of the sermon. to them, music in sermons has some captivating force that appeals to the minds and souls. during the period of participant observation by the researcher, after a revival programme in one of the anglican churches, a youth, responding to interview with the researcher said “you could see the mood in which i operated when the preacher was singing during the sermon today… sincerely speaking, the message intended for today‟s sermon was well assimilated because the song rendered by the preacher cut my whole being.” the researcher rightly observed that one of the ways to reach souls in church sermons is through the use of spirit filled songs by the preachers to minister to the members of their congregation. question 2: do you think that music can assist in achieving the goal of sermons? the six sermonists interviewed agreed that music assists to a very high extent in achieving the goals of church sermons. one of the interviewees (preacher) said, “it is hard for me to sermonize without using relevant songs to introduce, emphasize or draw conclusions 166 during my sermons.” in the case of the congregations, most youths cutting across the three selected churches agreed that the use of songs at sermons goes a long way in catching their interests. they reiterated their appreciation of sermon with the use of relevant songs irrespective of the church season. the adults however, explicitly explained that the use of music to a very high extent make them appreciate sermons. having this in mind, one of the sermonists from the anglican church emphatically said, “i was able to memorize the books of the bible at heart during my days in sunday schools because the books of the bible from the old testament to the new testament were set to music or what you may call rhymes. i can‟t say for sure what you people call it in music terms but i know we used to recite the books of the bible using music because we used to tap our feet and sometimes used our fingers to make some rhythms as we sang it joyfully”. still on the use of music to achieve sermon goals, one of the pentecostal pastors interviewed in this research did say, “in my house, many a time, i always use cane on my children to force them to maintain some silence at home. these children would always heat up the entire house and that of the neighborhoods chanting in unison all that they were taught in sunday school. they vocalize all these in form of songs. i believe that they do not just enjoy the singing alone but one or two points from the lyrics of the songs could be registered in their sub conscious minds…” in the opinion of the researcher, when the above is done, learning could be said to have taken place and as such the message of the gospel would have been fully internalized. question 3: what kind of songs do you consider favourite for sermon delivery? the six sermonists interviewed in this study agreed that songs from biblical texts were their most favourites in preaching the sermon. nevertheless, one of the adult members of the congregation from the anglican denomination said “songs derived from secular texts like 167 one of the songs by late osita osadebe impressed him greatly when a priest delivered his sermon in a burial service in a particular place. “mak‟ojo ayi g‟ebi…” (whether good or bad, we shall survive). he added that to him “songs sometimes are sermons in themselves… issues that bother on socio-political and religious lives of the nation may be addressed when they are set to music, especially when good preachers apply them in their sermons.” in a contrast view, some members of the congregation from the pentecostal denomination disagreed totally as to whether secular songs have anything to do with church sermons. to them, lyrics of the songs to be used in sermonizing must be purely biblical, coming from either the old or new testaments of the scriptures. however, the majority of congregation members from the roman catholic church agreed with the view of their anglican counterpart who said that “secular songs can sometimes be appreciative in sermon deliveries.” they also agreed that songs from biblical texts have much to do with the appreciation level of the sermon with special reference to soul winning. generally however, the congregations of the three selected denominations no doubt agreed that music has a lot to do with the appreciation level of listeners as well as facilitates in soul winning when effectually utilized. question 4: does music play any role in congregations’ appreciation to sermons? the six interviewed sermonists from the three church denominations agreed that the use of music in sermonizing makes people understand the message of the sermon better. they agreed that music uplifts morale and heighten attention. one of the sermonists from the roman catholic denomination said “songs in sermons are as appetizers in food”. meanwhile, an adult member from the pentecostal denomination said “songs in sermons arouse interest of listeners prior, during and at sermon conclusions”. yet another youth member 168 from the anglican denomination did say “the use of befitting songs in the middle of sermons helps to emphasize or re-emphasize the aims and objectives of a particular sermon topic.” both groups that form the congregation in this study unanimously agreed that songs in sermons make the minds of the congregations ready for what the preacher may want them to understand in the course of delivering the sermon. to them music in sermons boosts the interest and morale of listeners and at the same time, mellow their emotions to answer the altar call. they all agreed that the use of music in sermonizing makes points in sermons to be driven home very easily. apart from the points made by the respondents, the researcher in his own observation notes that the use of songs in sermonizing appeals to the inner minds of the congregations hence it helps to convince the worshippers in religious gathering conscientiously to be receptive to the messages of the preachers. he observes that music gingers the congregation to listen with apt attention during church services. it serves as a communicative medium that facilitates the congregation to properly digest the messages intended for every sermon. question 5: about how many times do you sing in a sermon? although in different interviews, the six sermonists in their responses agreed that they sing songs as many times as possible while delivering a particular sermon depending on how the holy spirit moves them. however, there were different emphases made by different preachers. for example, one of the pentecostal pastors in an oral interview with him said “i prefer introducing my sermons with the use of songs especially the songs which in themselves reflect on the message of my sermon topics.” on the above point, one of the sermonists from the roman catholic denomination said, “did you see me sing as many songs as possible during my adoration homily today…? at least i know that i sang up to three different choruses during my preaching … one was before i 169 introduced my sermon topic, the other one was when i was trying to emphasize on the need of glorifying the name of the lord in times of his blessings, while the third song was at the conclusion of my sermon this morning.” in agreement to the above, one of the pentecostal pastors explained “as you could see today, i used a chorus to start today‟s sermon, so singing of songs either prior, during or after sermons are sometimes spontaneous…” considering the above points, the two sermonists interviewed from the anglican denomination in different interviews agreed that songs could be used to prepare the minds of worshippers before sermons. in their words they said, “this is why in the anglican church we have what is called the “hymn for sermon”. however, one of them said “in choosing the hymn for sermon, you must read the bible passages slated for the day, study very deeply the scriptures before choosing a suitable hymn that would reflect on the theme of the sermon.” he further explained “even when a preacher does not want to choose a hymn for sermon from the hymn books, he is left with the choice to sing any suitable chorus (song) that may portray the message of the intended sermon topic.” it may interest you to note here that, the sermonists from the angilcan denomination did not end their points at hymns or songs for sermon introduction alone, but they furthered to agree with their roman catholic and pentecostal counterparts to say that “songs could be used either for introducing, emphasizing and concluding sermons as the case may be”. question 6: do you think that the songs you normally use during sermons are relevant to your sermon topics? the six sermonists interviewed in this study unanimously answered “yes” to the above question. authenticating the above response, the researcher succeeded in observing them preach in their various 170 churches at least, an hour and half on two different visits. during this period, the researcher noted that each sermonist preached two sermons on a different visit using songs. these sermon topics and songs used in delivering their sermons served the purpose of softening the minds and emotions of worshippers in church services and as such makes for effective sermon deliveries and winning souls for christ. music as a means of communicating god’s word it has earlier been noted that music is indispensable in all affairs of man; the christian church is not exempted. it features predominantly in all segments of christian activity hence music means a lot to the church in preaching of god‟s word. making contribution on the above, umeojiaka (2015) notes “no activity is performed in christian churches without a befitting piece of music. considering music as an indispensable tool in reaching souls at church sermons, preachers of all denominations find music as a useful instrument very positive in preaching the word of god.” (p. 2). the respondents interviewed in the course of this study were of the view that christian churches of all denominations should invest money in training and re-training their pastors, choristers, organists and musicians to attain higher levels to ensure efficiency and effectiveness in their deliveries. the preachers also need basic orientation and training in music to make for the required outcome in their sermon deliveries. when the word of god is accompanied with relevant songs, the extent of captivating the minds of listeners is on a great positive. for example, one of the rev. fathers from the roman catholic denomination points out “music being very instrumental in preaching the word of god was the major means of evangelism in the orthodox churches that first came into nigeria during the advent of christianity.” the researcher observes that in recent time, music continues to be the sharpest means of preaching the gospel and in winning of souls both for the new generation churches and the already established orthodox churches. 171 today, some of the fastest growing churches throughout the world have their momentum propelled by the atmosphere of good music. this means that the effect of music in church sermons cannot be over emphasized owing to the fact that music is the most vital agent of effective communication during the church missionary era and in the cotemporary church. having the above in mind, murdock (2000) explains: sometimes a preacher may not be extra ordinary in his preaching skills. he may not possess a good personality, but his ability to perform good music may create the most incredible climate for his preaching. the people may want to return again and again, week after week to enjoy his services solely because of the role which music plays in preaching the word of god. the power of music in preaching the word is so enormous that the ministry of music preceding the word usually determines how the people will receive the message. (p. 72). with the above point in view, the researcher is of the opinion that “music is a form of attraction that compels the congregation to be apt to the word of god.” at this juncture, it is important to note that music in church sermons can play active roles in soul winning when evangelical/sacred music is indigenized. orakwe (2019) defines sacred music as “that which is being created for the celebration of divine worship… endowed with a certain holy sincerity of form.” (p. 2). the researcher sees the need to explain that christianity in nigeria especially in igbo land spread rapidly when religious (evangelical) music got indigenized. indigenization of evangelical music onuora – oguno (2004) writing on indigenization of evangelical music notes: 172 …another group existed who wanted the indigenization of nigeria music…. churches were reviewing their mode of worship to suit the temperament of nigeria worshippers; traditional instruments were integrated more into worship in the mainline churches. as the pentecostal church movement gained prominence, singing of choruses and dancing which hitherto was forbidden in the mainline churches became fashionable. (p. 147). the researcher observes that the recent freedom in the use of indigenous songs or choruses to deliver sermons came into being as a result of the efforts made by the indigenous africans, especially those of them from the main line churches in nigeria. one of the priests interviewed from the anglican denomination in the course of this study said “shortly after the independence, the struggle to inculcate the nigeria mode of worship was advocated and later gained prominence...” today, preachers of all denominations benefit from the use of employing indigenous choruses in preaching the word of god in a divine worship as well as in open crusades. this means that nigerian preachers of today hardly preach without using relevant indigenous songs in driving home the points in their sermons. music and evangelism in igbo-land many ethnomusicologists have from time to time point at music as one of the means of propagating the christian gospel. starting from the bible days to the present day, music has been seen as a veritable instrument in preaching the christian message of salvation. the colonial masters did not only see music as a powerful tool in their colonial role but utilized music as a serious tool for catching the interest of their converts during their missionary works and evangelism especially in igbo-land. taking the niger mission for instance, the villagers rallied round the missionaries on hearing their 173 evangelical songs. this was reported to be one of the major ways that helped the church missionary society (c.m.s) to create fertile grounds in making their early converts. the roman catholic church and other churches that came into the igbo-land after 1857 also used music as one of their veritable tools in evangelization. before the advent of christianity in igbo-land, the people had music integrated in all their affairs, be it social or religious. taking the religious aspect as an example, music was considered a sine-qua-non in all the activities that have to do with worshipping of god. eventually when the missionaries came into the igbo-land, they knew that music will go a long way in helping them plant christianity in igbo soil. in their bid to actualize this set goal, which was “christianization of the igbo-land”, okafor (2005) observes: the igbos have had long contact with the european traders, adventurers and missionaries through the coast. but systematic evangelization of igbo-land could be said to have begun in 1857 when the church missionary society (c.m.s) sent a nigeria convert, the rev. samuel ajayi crowther, to evangelize igbo heartland and the stretch of country leading to the niger delta. the roman catholics followed with a team which landed in onitsha in 1884. between these two major denominations, evangelization and education of igbo-land had begun. they both used the school system to reach the people and win converts. (pp. 253-254). in as much as the early missionaries used music as a sharp tool for the christian gospel, yet some scholars are arguing its effectiveness in the modern church where the youth see music as a jamboree and mere entertainment. against this backdrop, morganthaler in umeojiaka (2015) writes: music is one of the most strongly debated in churches today, especially in an era where the average church membership spans multiple generations, each with their 174 own preferences. debates over the effect of music in preaching the gospel more than any other issue… reveal such diversity within the church. when seeking to reach the lost, christ commanded his followers to make disciples, he did not, however, say only through certain means. the scripture shows that music serves an important role in worshipping god and promoting the truth. furthermore, music is commonly known as the universal language, due in large part to its prominence in nearly every culture. (p. 37). this means that the role of music in sermonizing has been an age long practice which has great effect on the appreciation level of listeners to sermons. even though some people who are not musically enlightened might debate the extent of music‟s usefulness in sermonizing, yet it is established from the scriptural perspective that music serves an important role in worshipping god and it promotes the truth of christian message. music as a universal language in this case comes into play because of its penetrating power in mellowing the mind as well as catching the interest of listeners during church sermons. music as a means of sermon delivery today as history discloses, music has the potential of proclaiming the gospel in an effective non-confrontational method, except for the traditional controversies that unavoidably arise. when music in sermons loses its spirituality, it becomes mere enjoyment, entertainment, motivational platform for speakers or noise. today, some preachers see music in church sermons as mere aesthetic music. aesthetic focuses on the musical style rather than the lyrics; it asks whether the music is entertaining or not. some argue that music that entertains is too secular for sermonizing and soul winning. however, 175 frame (1997) distinguishes entertainment from amusement in his defence of contemporary worship as he writes: music that is entertaining is of a high quality, skillfully played and memorable, it brings its text to dwell in the heart and mind. this differs from mere amusement, he argues, in that entertaining christian music keeps its vertical and horizontal purposes” in the forefront; it relates both to man and to god. (p. 60). making reference to the affective role of music in sermonizing today, terry (1997) opines: when one thinks of music being affective, one often thinks only that it stirs the emotions of the listeners. in preaching the word, music is affective when it presents the gospel in a way that motivates the listeners to respond. they may respond by rejecting the gospel, inquiring further about christ, or accepting jesus in faith, but a response to the gospel is necessary. (p. 57). making his contribution jourdian in umeojiaka (2015) says: three factors must be considered when discussing affective music. first, no one song need express every aspect of the gospel message. people rarely listen to only one song and those that do are generally responding to the aesthetics rather than the lyrics. whether in church or an evangelistic event, individuals will hear multiple songs, allowing each song to convey one or a few aspects of the good news. second, not every song must directly reference christ. songs that address issues individuals face, such as temptation or depression, can be used to convey a message of hope that will inspire the listener to inquire about the source of hope. third, the setting of the music-worship 176 service or evangelistic event-will impact the style of evangelism. (p. 41). however, hustad (1981) delineated two styles of evangelism as: impressive or expressive…. if it is impressive, it is prophetic; it preaches the gospel just as surely as the minister who occupies the pulpit. if it is expressive, it provides a medium for a christian to worship his god or to state his christian faith [emphasis in original]. in other words, music will evangelize directly or indirectly. the former occurs in evangelistic events, the latter in worship service. (p. 80). the researcher is strongly convinced that the use of music in sermonizing is putting the round peg in a round whole. it will be a right move in the right direction if the cotemporary preachers can adopt this approach in delivering their sermons in a positive dimension not as a mere entertainment or jamboree. when the above is effectually followed, church sermons would continue to make great impacts on the lives of the church members. summary of findings and conclusion church sermons should be preached with the use of relevant songs because through the result of the findings in this research, it was observed that the use of music in sermonizing goes a long way in catching the interest of the congregation in appreciating the sermons by sermonists the more. in this study, music has been proven to be very effectual in preaching of the word of god. the importance of music in preaching the word of god was brought to bear. this research exposed the efficacy and effect of music in reaching and winning souls for christ during church sermons. the documentation of this finding has in no small way added to the literature of church music. in the light of the above, the researcher cannot claim to have covered every bit of information surrounding the truth of the 177 subject matter discussed. so, the researcher recommends that: further studies on the role of music in reaching and winning souls at church sermons be continued by scholars of similar interest hence the researcher concentrated on the selected three major church denominations in nnewi metropolis i.e. st. paul‟s anglican church, nnobi, st. mary‟s catholic church, nnewi and save the lost mission (pentecostal church), nnewi. recommendations 1. the research should be extended to other church denominations like the salvation army, the white garment churches, grail message etc. by so doing, more information may either come out with viewpoints supporting or disproving the result of this research with a different strand point of opinion. 2. preachers of all church denominations should embrace the use of relevant music (songs) as a veritable means of reaching and winning souls for christ. 3. the church should invest tangible fund in training and retraining of her pastors and musicians. 4. preachers of all church denominations should be given the required orientation and training on the proper ways to use music (songs) in their sermons to enable the church win more souls for christ. suggestion for further studies this study did not necessarily exhaust the whole truth intended to emerge in the subject matter discussed. he therefore believes that there could be more to be said about the role of music in church sermons having in mind some denominations he could not reach. if researches are made covering more churches and greater geographical areas, more truthful results may be achieved – hence the researcher believes that what he has done and said in this study 178 is not all and all and may not have provided enough information on the subject matter discussed. therefore, he suggests that further researches touching the areas he did not trace could be carried out by other interested researchers. references agu, d. c. c (2008). advancing music scholarship in nigeria contemporary music theory, pedagogy and creativity. awka journals of research in music and the arts (ajrma). 5, 216224. frame, j. m. (1997), contemporary worship music: a biblical defense. phillipsburg, nj: p&r publishing. homby, a. s. (2015). oxford advanced learner‟s dictionary of current english. new york: oxford university press. hunter, g. c. (1996). church for the unchurched. nashville: abingdon press. hustad, d. p. (1981). music evangelism: bach as missions outreach. missiology 9, 213-218. ibekwe, e. u. (2010). musicians and the philosophical dimension of african man. awka journal of music and the arts (ajrma) 7. 34-42. mbanugo, c. e. (2009). music research: its status in the global village. interlink. a journal of research in music and the arts. (ajrma) 6, 120-134. merriam-webster‟s collegiate dictionary. https//www.merriam.webstercom/congregation murdock, m. (2000). the young ministers‟ handbook. benin: word of faith publications stores. ojokovo, g. o. (2010). popular music: harnessing nigerian traditional culture in rebranding nigerian image. awka journal of research in music and the arts. vol. 7,104-119. okafor, r. c. (2005). music in nigerian society. enugu: new generation books. 179 okeke, m. c. (2015). spiritual songs in church sermons. ekwulobia, arunne digital press. onuora-oguno, n. c. (2014). in furtherance of music education and national development in nigeria. the need for resolution of dissonances african musicology: past, present and future in mama african musicology @ 70: a conference book in honour of professor mosumola omibiyi – obididike. african musicology: past, present and future”, university of ibadan, nigeria. orakwe, j. t. (2019). composing music for the liturgy: basic requirements. a lecture presented at the conference of the national catholic liturgical music council of nigeria. (nacalimcon). onitsha, nayostace-blossom enterprise. terry, j. m. (1997). church evangelism: creating a culture for growth in your congregation. nashville: broadman & holman. thefreedictionary.com https//www.thefreedictionary.com//sermonist the theological resources for a pilgrimage to a global anglican future (2008). a handbook of the theological resource team (gafcon). london: the latimer trust. umeojiaka, d. s. (2015). „the role of music in sermonizing.‟ unpublished master‟s thesis, department of music, nnamdi azikiwe, university, awka. tonemic substitution 216 effective use of staff notation as panacea for sight-reading phobia among youth based choirs in abakaliki olusola samuel akintunde & nnamdi chiedu onuora-oguno ph.d. abstract here are two most popular systems of notation in music, namely tonic solfa notation and staff notation. most nigerian church choirs and secular choral groups adopt tonic solfa in learning songs. this they believe is relatively easier than staff notation. however, some choral groups encourage their members to learn sight-reading of staff while some find this acceptable method of learning songs difficult. most disturbing is the fact that many choral groups that face this difficulty are made up of young people. majority of them passed through basic schools where they offered music. it becomes a problem when young people who are expected to invest their youthful strength, inquisitive attitude, and adventurous character in exploring the benefits and time saving advantages of sight-singing detest it. this study is aimed at investigating how effective music teachers use staff notation in teaching songs in secondary schools. and its attendant effect among choral/singing groups made up of young people. the researcher employed the survey method of research in this study. instruments used for data collection for this research was questionnaire and observation. the questionnaire was distributed to music teachers, secondary school students that offer music and some choristers of youth based choirs. the study shows that despite the fact that many music teachers are familiar and good with staff notation as a method of teaching and learning songs, they seldom use it. the t awka journal of research in music and the arts (ajrma) vol. 14 2020 217 teachers believe that using sight-singing method to teach songs consumes time. however, whenever it is used, it is introduced to the students in a wrong manner which denies the students the pleasure of learning songs with it. the study recognizes the need to decondition the mind of young choristers from the belief that staff notation should be for classical music only. the study concludes by advocating the gradual introduction of sight-singing in teaching students. starting from familiar songs like folk songs and rhymes. keywords: staff notation, tonic solfa, music education, phobia introduction singing/song rendition is a vital aspect of worship in religions all over the world. the christian religion has so many denominations, each denomination with their own preferred type of music. while some preferred pure classical music and negro spirituals, others prefer 20th century compositions of popular gospel musicians. in all these denominations, the choir is in charge of leading the church in song renditions be it hymn, anthems or special presentations at all services. however, the choirmaster/music director is the focal man in choosing, teaching/preparing and conducting the choir. the choirmaster discharges his/her duties based on his abilities and experiences. the emergence of the choirmaster is dependent on the structure of the church. some churches are lucky to have trained musicologist as their choirmaster. in some churches, choirmaster/music director emerge based on the trainings received in the church over the years while some appoint anyone who has vast knowledge of different christian songs and ability to pass the song across to others by way of teaching. to buttress the above, olorunsogo (n.d), quoting okafor (2001), omibiyi (1975), vidal (1977), identified four types of musicians in nigeria: 218 (a) the traditional master musician who trains his own people mainly by apprenticeship, (b) the trained musician in the western education system who knows all the rudiments and the rules and who has certain objectives he wishes to attain, (c) the untrained talented musician and (d) contemporary musicians that learn through video and compact disc and television programmes.(pg. 18-19) the different categories of training the choirmasters/music directors had, presented different ways and methods of teaching songs. for those trained in the western form of music, they find it easier to adopt and encourage reading of staff as a viable method for teaching songs while the untrained find succor in solfeggio as a method of teaching songs. however, empirical evidences show that many choirmasters who jettison the use of staff reading in their song teaching had at one time in their basic schools passed through trainings on sight singing/reading. education acquired is not only for the present. knowledge is transferable. when we are faced with a situation whereby a supposedly acquired knowledge is detested by the learner, then there is a problem. it could be said that learning did not take place. the ultimate aim of teaching is for the learners to learn. to achieve this, there must be a technique/methodology to get the attention and interest of the learners, and make them learn. (esimone, 2015:164). to buttress this, ugwu and ekezie (2016), submits that: an age long battle engaged by educators have been how to teach well for the learners to learn hence curriculum planners involving every discipline representative are working round the clock to enhance teaching 219 methodology so as to achieve the sole aim of teaching (p. 119). why the study? this study is carried out to: a) assess the extent at which staff notation is used in teaching songs in secondary schools. b) investigate the reason why young singers develop a phobia for staff notation. c) suggest pedagogical approach(es) to overcome sight-singing phobia among young singers. concept of staff notation staff notation is one of the systems of music notation developed for the purpose of documenting songs and musical compositions, while the other is tonic solfa notation. staff notation was developed by guido d‟arezzo. the invention of the staff is traditionally ascribed to guido d‟arezzo in about the year 1000, although there are earlier manuscripts in which neumes (signs from which musical notes evolved) are arranged around one or two lines in order to orient the singer. guido used three or four lines of different colours. a four-line staff is still used to notate plainchant (www.britannica.com/art/staff). presently, staff is made up of 5 horizontal lines and four spaces on which musical symbols called notes are written to represent the pitch and duration of sounds. concept of music education encyclopedia americana (1980), describes education as “any process by which an individual gains knowledge or insight or develops attitudes” (p. 642). stemming from the description above, music https://www.britannica.com/biography/guido-darezzo-italian-musician https://www.britannica.com/biography/guido-darezzo-italian-musician https://www.britannica.com/art/neume https://www.britannica.com/art/plainsong-music http://www.britannica.com/art/staff 220 education can then be described as any process by which an individual gains musical knowledge or insights or develops musical attitudes. note that, this process may be formal or informal. in addition, adeogun (2006) opines that: music education either formal or informal refers to the sum total of all skills, knowledge, principle and strategies which a music practitioner needs to acquire in order to be effective and efficient. therefore music education encompasses the totality of learning experiences meant for the all-round development of an individual or group of individuals (p. 105). furthermore, speaking on education, nnamani and odunuga (2005) asserts that: the function of education is both social and individualistic and its social function is to help each individual become a more effective member of the society by passing along to him the collective experience of the past and the present. its individual function is to enable him to lead a more satisfying and productive life by preparing him to handle new experiences successfully (p. 13) music is a well-established medium of instruction which over the years has contributed to the growth and development of the child. music develops man‟s emotion, intellect and moral principles. music as part of general education transmits the cultural heritage of the people. it aims at developing musical intelligence, aptitudes and skills. esimone, (2015) believes that: music is very important; its importance in the day to day living of man is unquantifiable. it is a gift from god through which we strive to express our joy for the 221 things that are real to us and our longings for the things that might be (p. 169). music is a part of the world around us, a part of man‟s physical and emotional growth. man‟s struggle for existence throughout the centuries has always been accompanied, communicated and extended by music. from the most early, to the most sophisticated cultures, music has been a focal point in rituals and significant events in man‟s personal life (bergethon, 1977, p. 3). the development of music in the history of mankind in general and specifically in the african context provides for centuries of recorded information of man‟s striving toward a better and richer life. therefore, as an important feature in man‟s life, music serves as a social and historical tool preserving the culture of the past, and enlightening the future course of music in a contemporary world. ajibulu (1999) submits that “the school, in the modern day setting, has become a place where pupils can learn of the past and present, and become a vessel for future development in music” (p. 221). music in the school curriculum provides learning experiences that will promote growth and development in music skills, competencies and attitudes; build positive self-concepts; establish high standards and quality of music literacy; and develop aesthetic sensitivity to the expressive element of music. (ekwueme, 1982; omibiyi; 1972). concept of phobia phobia is a type of anxiety disorder that causes an individual to experience an extreme irrational and often unreasonable fear or aversion for object, situation, concept or person. the word „phobia‟ came from the greek word phobos which means fear (www.healthline.com/health/list-of-phobias). in other word, phobia is a persistent, excessive and unrealistic fear or aversion for an object http://www.healthline.com/health/list-of-phobias 222 or situation. the development of phobia is attributed to a stressful situation or a frightening experience. in education, phobias occur as a consequence of learning experience. phobias develop when fear responses are reinforced. lisa frtscher (2020) in her article titled „theories on how people develop phobias‟ submits that factors that promotes the development of phobias can be classified into three categories, namely biological, learning-based and psychoanalytic (www.verywellmond.com/theories-on-the-development-of-phobias2671514). phobias are classified into three different categories which are: i. social phobia – extreme worry about social situation ii. agoraphobia – fear of large crowd iii. specific phobia – fear of a specified situation. this study is categorized under specific phobia. it is important to state that any object or concept can become an object of aversion to anyone at any point in time. this means that the list of types of specific phobia can be unexhausted. the names are most times formed with the fear object as prefix and the word phobia as suffix. in some cases, it could be the greek word of the fear object that will be used as prefix and the word phobia as suffix. concept of choir a choir is a group of singers prepared to render singing functions at events of worship services. in the western musical tradition, choirs are basically of mixed voices in which the music is divided into four parts of soprano, alto, tenor and bass (s. a. t. b). however, there are still some other choirs namely: children choirs, female voices, male voices. (ekwueme, 1993: 4). significance of the study this study is significant such that it: http://www.verywellmond.com/theories-on-the-development-of-phobias-2671514 http://www.verywellmond.com/theories-on-the-development-of-phobias-2671514 223  will redirect secondary school teacher‟s usage of staff notation in song teaching.  it will diffuse young people‟s biased mind on the concept of sight-reading and encourages them to effectively use it in song learning and teaching. research questions 1. how effective is the use of staff notation in teaching songs among secondary schools in abakaliki? 2. to what extent are students interested and motivated in learning songs using staff notation? 3. to what extent is staff notation used in learning songs among youth based choir groups in abakaliki? population of the study the population of this study is as follows: i. music teachers in secondary schools in abakaliki. ii. secondary school students in abakaliki where music is offered and iii. youth based choir groups within abakaliki town. the total sample used for this study stood at one hundred and sixty (160) randomly selected respondents – 10 music teachers, 100 students and 50 young choristers. the table below shows the list of secondary schools and choir groups used for the study: s / n name of school no of respondents name of choir no of respondents 1 fountain of knowledge international school, abakaliki 2 teachers 20 students living faith church choir, abakaliki 10 choristers 2 blessed martins 2 teachers redeemed 10 choristers 224 international school, abakaliki 20 students christian church choir, abakaliki 3 csmt, abakaliki 2 teachers 20 students bethel city choir, abakaliki 10 choristers 4 hope high british international school, abakaliki 2 teachers 20 students all saints youth church choir, abakaliki 10 choristers 5 redeemers international school, abakaliki 2 teachers 20 students christ embassy choir, abakaliki 10 choristers table 1: list of schools and choirs used as sample in the study validation of the instrument the instruments for data collection was presented to two music lecturers for content and face validity. methodology the study was essentially a survey which sought to find out the extent at which sight-singing as a system of song learning and teaching is effectively used in secondary schools in abakaliki. and also its attendant effect on youth based choral groups within abakaliki town. instrument for data collection the instrument used for this study was questionnaire. three (3) questionnaires were prepared, targeting the three categories of the respondents; i.e music teachers, secondary school students and choristers. data were also collected through direct observation and participation. 225 method of data collection the questionnaires for teachers and students were physically distributed and collected while the questionnaires for choristers were electronically administered through google forms. method of data analysis the data collected were organized in tables and analyzed using mean deviation of the 4 point scale on strongly agree (sa), agree (a), strongly disagree (sa) and disagree (d) with the points in descending order of 4, 3, 2, 1. decision scale: 1-2.49 disagree, and above agree. research question 1 how effective is the use of staff notation in teaching songs in secondary schools in abakaliki? table 2: effective use of staff notation in teaching s/ n questionnaire items sa a sd d mean decision 1 i always employ sightreading when teaching students new songs 1 2 1 6 1.67 disagreed 2 students learn new songs faster through sightsinging 1 1 7 1 2.22 disagreed 3 sight-singing arouses the interest of the students during learning 2 5 1 2 2.7 agreed 4 sight-singing is time consuming 7 2 1 0 3.6 agreed 5 sight-singing is stressful for students 8 1 1 0 3.7 agreed grand mean 2.77 agreed 226 table 2, as presented above shows the responses of respondents on the effective use of staff notation in the classroom. also, on the table is the mean rating of the responses and the decisions taken. the table clearly shows that despite the teachers accepting the fact that sight-reading arouses the interest of the students, they seldom use it when teaching songs. their reason is that, it is time consuming. fig. 1: mean deviation of responses on effective use of staff notation research question 2 to what extent are students interested and motivated in learning songs using staff notation? table 3: level of students’ interest in using staff notation s / n questionnaire items sa a sd d mean decision 1 we always learn songs with staff notation in my school. 15 18 58 9 2.39 disagreed 2 sight-singing is very interesting 21 28 44 7 2.63 agreed 3 learning songs with staff notation helps me to learn faster than other methods 5 6 76 13 2.03 disagreed 4 i prefer sight-singing method to rote learning 6 5 83 6 2.11 disagreed 227 while learning songs 5 with the knowledge of sight-singing, i can learn other songs on my own 4 2 88 6 2.04 disagreed grand mean 2.24 disagreed table 3 above presents the responses of students on how interested they are in the use of staff notation in learning songs. the table shows that the students find sight-singing very interesting, but they have little knowledge of it. they disagreed on having it as a method of learning songs. fig 2: mean deviation of responses on level of students’ interest on the use of staff notation research question 3 to what extent is staff notation used in learning songs among youth based choir groups in abakaliki? table 4: use of tonic solfa among youth based choirs s / n questionnaire items sa a sd d mean decision 1 i have been in the choir for over five years 43 4 3 0 3.82 agreed 2 i am very much aware of staff notation 37 7 3 3 3.56 agreed 228 3 i have learnt songs with staff notation in time past 6 8 17 19 2.02 disagreed 4 we always learn songs with staff notation in my choir 3 8 26 13 2.02 disagreed 5 learning song with staff notation is a very easy method of learning songs 7 4 33 6 2.24 disagreed 6 learning songs with staff notation should be limited to classical music alone 41 5 3 1 3.76 agreed 7 older choristers have interest in sight-singing more than the young choristers 39 7 2 2 3.60 agreed 8 i prefer learning songs with staff notation 4 1 43 2 2.14 disagreed 9 i will accept sight-singing as the only method of teaching songs in my choir 3 2 41 4 2.08 disagreed grand mean 2.81 agreed table 4 above shows the extent at which sight-singing is used among youth based choir. from the responses, it can be deduced that the choristers have no interest in sight-singing. although many of them have spent over five (5) years in the choir, they believe the use of sight-singing should be limited to classical music. discussion of findings empirical evidences presented in this study and observations by the researcher show that the teachers believe that sight-singing is time consuming. and based on that notion, they jettison the usage. they would rather use rote learning method. this is the genesis of the phobia that is exhibited towards sight-singing by young choristers. the researcher observed that, it is not that the teachers do not use sight-singing at all. due to the type of educational organization they work (private school), sometimes they are constrained to use the rote learning method because of time. this happens during the 229 preparation for end of session party, christmas party or any special occasion. however, the experience is not palatable for the students at all. the reason for this is that the students are not used to solfeggio, their sight-reading ability is very slow and the teacher has a task to teach them songs within a limited time frame. this makes the process cumbersome and the learning experience boring. the students go away with the impression that learning songs with staff notation is a tedious process. they become aversed to sight-singing/reading thereby developing a phobia towards method. the responses from the respondents show that they all agreed that sight-singing is a very interesting method on one hand. on the other hand they all rejected the use of it in song teaching and learning. the question is: how do you hate what you like? it only shows that the problem is not staff notation, but the individuals‟ impression about sight-singing. classical conditioning theory as panacea knowledge is transferable. knowledge gained during a learning process is not limited to the classroom. it rubs off on the individuals‟ future endeavors. when the learning process is made interesting the students learn and the concept learnt is retained and probably advanced. contiguity is very vital in teaching and learning process. from the foregoing, it is evidence that contiguity process has been hampered. to correct this, is the application of ivan pavlov‟s classical conditioning theory; an associative learning theory. in his words, ugwu (2005) says „(ivan) pavlov, a russian psychologist, interested in how organs of the body functions, and the reaction of organisms to environmental stimuli, propounded the theory of classical conditioning in 1909‟(p. 9). reflex (an unconscious action performed as a response to a stimulus) is the fulcrum of pavlov‟s theory. he categorized reflexes into two viz: physiological (unconditioned) and psychic (conditioned). physiological being an innate reaction and psychic which 230 is as a result of acquired behavior or accumulated experiences (ugwu, 2005:10). pavlov conducted an experiment using a dog, a bell and meat powder. all these were placed in a soundproof room to avoid distraction. the experiment was in stages with the aim of observing different reflex actions: stage i: meat powder was presented to the dog which made the dog to salivate. this shows a natural reflex action because it is natural for a hungry animal to show its need for food. unconditioned stimulus (ucs) unconditioned response (ucr) (meat powder) (salivation) stage ii: a bell was sounded and the meat powder was presented simultaneously. this elicits salivation from the dog. the sound of the bell (conditioned stimulus) has now been paired with the meat powder (unconditioned stimulus), but the result is still as of stage i. this is the stage of conditioning. conditioned stimulus (cs) + unconditioned stimulus (ucs) unconditioned response (ucr) (bell) + (meat powder) (salivation) the process in this stage was repeated over and over again. stage iii: in order to verify if the dog will salivate without the presentation of meat powder, pavlov sounded the bell without the meat powder. the dog salivated. this shows that the dog has been conditioned to the sound of the bell. conditioned stimulus (cs) conditioned response (cr) (bell) (salivation) this process was repeated a number of time. the dog salivates less at every repeated process until it stops. this is called the level of extinction. 231 this theory can be used to extinguish phobia in the use of staff notation in learning songs by young choristers. this can be achieved by adopting the maxim of teaching from: known to unknown simple to complex and concrete to abstract denis (2007) notes that „extinction of a fear or phobia can sometimes be accomplished by pairing the conditioned stimulus with a pleasurable stimulus‟(p. 127). the perception of many music teachers is that sight-singing should be for „big‟ or western songs. music teachers must be dissuaded from this perception. the usage of staff notation should be to learn songs that the students are familiar with. not necessarily western compositions or songs written in foreign languages. folk songs or popular music which they are very well familiar with can be notated and taught using the staff notation. the will sing it and see that sight-singing can be done with any song. the familiarity of songs in this case will bring pleasure in the learning process. it will diffuse the mind of the young choristers, and they will be exposed to the great benefits inherent in the use of staff notation. a singer who is capable of sight-singing pieces of music is more universal in performances. the first entry requirement by most choral groups that participates in international musical competitions is a flawless sight-reading ability. these are opportunities that our youths are expected to explore. however, they must be equipped to be qualified for such exposure. conclusion learning, both formal and informal is progressive. every learner‟s wish is to attain the peak of the learning process. however, when there is a disconnection along the line, achieving greatness becomes a mirage. frustration sets in and this leads to irritation. everyone derives pleasure in singing. religious rites are not complete without songs. in a nation like nigeria where there is proliferation of 232 churches, the need for choristers cannot be overemphasized. these choristers are expected to perform different genres of music at different religious worship occasion and gathering; which means, they must be ready to learn a great number of repertoires. for a fact, it is not all the songs that can be learnt through rote learning method. any group of singers that have bias towards other methods of learning songs will only have their repertoires on a genre of music. having understood the fact that this problem originates from the classroom learning process of the supposed young choristers, there is need to relearn the method in order to maximize the benefits therein. correcting the exhibited phobia towards sight-reading is not by running away; rather, it is by constant usage of the method in a controlled setting. the aim is to decondition the mindset of the young singers towards staff notation. references abiodun, f. (2019). choir management in nigerian schools: consequences of pedagogical methods. https://www.accelerandobjmd.weebly.com/issue4/choirmanagement-in-nigerian-schools-consequences-of-pedagogicalmethods. adeogun, o. a. (2006). towards a philosophy of music education in nigeria. interlink: a journal of research in music, 3, 104115. ajibulu, s.d. (1999). teaching and administering in the nigerian education system. (eds) kayode ajayi, ajibade, e. s. & aniemeka, n. e. abeokuta: verity printers limited. bergethon, b. & boardman e. (1977). musical growth in the elementary school. (2nd ed.) new york: holt, rinehart and winston. denis, c. (2007). psychology and the teacher. london: bloomsbury academic. http://www.accelerandobjmd.weebly.com/issue4/choir-management-in-nigerian-schools-consequences-of-pedagogical-methods http://www.accelerandobjmd.weebly.com/issue4/choir-management-in-nigerian-schools-consequences-of-pedagogical-methods http://www.accelerandobjmd.weebly.com/issue4/choir-management-in-nigerian-schools-consequences-of-pedagogical-methods 233 esimone, c. c. (2016). music: a viable tool in teaching & learning in early childhood education. awka journal of music and the arts (ajrma), 11, 164-178 ekwueme, l. e. n. (1993). choir training and choral conducting for africans. lagos: lenaus advertising & publishing ltd. ekwueme, l. u. (1982). content and relevance of music education in nigerian primary schools. (unpublished master‟s dissertation). university of lagos. nnamani, s. & odunuga (2005). teaching music in nigerian schools. a practical approach. abeokuta: kappco ltd. olorunsogo, i. a. o. (n. d). music directing and the ministry of music. abeokuta: kappco. omibiyi, m. a. (1972). a model of african music curriculum for elementary schools in nigeria. (unpublished doctoral dissertation). university of california, los angeles. ugwu, a. b. c. (2005). human learning process. enugu: fred ogah publishers. ugwu c. a & ekezie l. n. (2016). teaching of music as an aspect of performing arts in the contemporary: a survey of meki nzewi‟s approach. awka journal of music and the arts (ajrma), 11, 119-134. www.britannica.com/art/staff (accessed on 13th july 2021) www.healthline.com/health/list-of-phobias www.verywellmond.com/theories-on-the-development-of-phobias2671514 http://www.britannica.com/art/staff http://www.healthline.com/health/list-of-phobias http://www.verywellmond.com/theories-on-the-development-of-phobias-2671514 http://www.verywellmond.com/theories-on-the-development-of-phobias-2671514 48 alaga iduro and alaga ijokoo nuptial performances: the music, the drama olufunmilola t. oladipo abstract he alága ìdúróand the alága ìjókòó are two important people that conduct contemporary yorùbá traditional wedding ceremonies, known as engagement.they are indispensible personalities in yoruba traditional marriage ceremonies; they coordinate the proceedings of engagement ceremonies. music, dance and dramatic displays are prominent features in their performances. they display various body messages and sing various songs to communicate and also mark the different stages of traditional engagements. the article discusses music and dramatic displays in alaga iduro and alaga ijokooyoruba traditional marriage ceremonies. it examines their various dramatic displays at different stages of engagement ceremonies, their roles in educating couples about rightful behavioural traits in marriage. introduction alaga (iduro and ijokoo) are masters of yoruba traditional marriage ceremonies.they are important personalities in that conduct yoruba traditional marriage ceremonies. the alaga ijokoo is the marriage coordinator that represents the bride‟s family, while the alaga ijokoo represents the groom‟s family.the alaga iduro leads the groom‟s family members to the venue of the engagement ceremony. the alagaiduro and alagaijokoo engage in musical and dramatic displays to entertain, educate and conduct yoruba traditional marriage proceedings. oladipo (2015:239) reveals that the alágas are necessary human resources that add fun to yorùbá wedding ceremonies; although their "dramas are unscripted," they engage music, dance and drama aimed at t awka journal of research in music and the arts (ajrma) vol. 13 2019 alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 49 marriage negotiations quite effectively. dance, music and drama are closely related. music, like language, has the potential to communicate, although not as direct as spoken words. music and dance may bring about dramatic expressionto reveal episodes with various storylines and may be included in performances (nketia 1982:218). drama is a means of expressing creativity, providing entertainment, education and communication (ezeajugh and ibeli, 2012:318). music making may be combined with dramatic performance or set of symbolic action done with or without costumes; these are performed where the audience is present to watch them perform. music during events like these is used to communicate or reveal dramatic actions. musical performances in the african society provide an opportunity for partaking in community life and as a means of communication (nketia, 1982:22-29). nketia noted that: music may be integrated with events, either to set the mood for the actions or to provide an outlet for expressing the feelings they generate. it may also be used to continue or heighten the dramatic action; hence, it may punctuate statements of prayer, or provide a continuous background of ordered sound. (nketia, 1982:189). creative application of music and drama as instruments of performance by alaga creativity in any work of art is dependent on imagination, originality and exposure. dramatic creativity in the performances depends on the ability of an alága during engagement ceremony, to be able to combine drama and music effectively. the alága (yorùbá traditional marriage coodinators) have in their repertoires different songs for different stages of traditional engagement ceremonies. music and drama performed at different stages depends on the dexterity of the alága `idúró and alága ìjókòó performing at the engagement ceremony. through creativity, each alága tries her best to add glamour to her performance. from the beginning of engagement ceremonies to the alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 50 end, dramatic negotiations are employed.the scenes of the dramatic performance of the masters of ceremonies are divided into three: the arrival of the bridegroom‟s family members, the arrival of the groom and the arrival of the bride. dùndún ensemble is the most eloquent of the or b membranophone instruments, which imitates the yó dialect (oladipo 2014:160, vidal, 2012:43). investigations show that membranophone instruments such as dùndún and gángan are instruments played during engagement ceremonies. these instruments have contributed to effective dramatic dialogue and negotiations between alága ìdúró and alága ìjókòó during engagement ceremonies. the following is also a dramatic negotiation that took place between the alága ìjókòó and the alága ìdúró and groom‟s family members at the entrance of an engagement venue. at the entrance of the venue of the engagement, the alága ìjókòó, as is their usual practice, placed three bowls, told the family members of the groom to drop money into the bowls. the alága ìjókòó was so funny that she made the guests at the engagement to laugh with ease. she said she remembered that when she was in primary school and names of pupils were called out from the class register and when her name was called she would say „present ma'. she told the family members of the groom to line up and as she called them, they dropped money into the three bowls and answered, "present ma", before they were allowed to go in. they had to give amounts of money substantial enough as toll fare. she started by calling the groom's father, who said, "present ma" and then dropped money, called the groom's mother, who also said "present ma". she went on to call the groom's sisters, brothers, friends, housewives and other well-wishers, who likewise dropped money into the three bowls. the alága ìjókòó gave the orders through singing, while the dùndún talking drummer drummed to the rhythm of her song. the drama goes thus. song texts and translation alága ìjókòó: b o ko alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 51 groom‟s father present ma alága ìjókòó: ya o ko groom‟s mother present ma alága ìjókòó: gb n o ko groom‟s elder brothers and sisters‟ present ma alága ìjókòó: b r o ko groom‟s younger brothers and sisters‟ present ma the actions stated above are the dramatic negotiation between the alága ìjókòó and the groom‟s family members. music and drama as means of entertainment by alaga african theatre is participatory; everybody present at a socio-cultural occasion plays one role or the other. it is encompassing, the nature of african performance and aesthetics necessitates that everyone present is a player in one way or the other. the audience feels connected with the actions going on and is entertained. this brings about a response from them. the response of the audience could be laughing, dancing and singing (ekweme 2014:429). educative drama and music during engagement ceremonies táíwò (1980) defines education as a continuous process which requires formal and informal means of transfer of knowledge, values and norms of the people in society.every society has its system of educating and inducting the younger ones into the society, to produce responsible adults. given this, fáfúnwá (1974) defines education as "the aggregate of all the process through which a child develops abilities which are of positive value to society" (fáfúnwá, 1974:3). research findings reveal thatcoordinators of engagement ceremonies use music and drama to educate and expose societal values and culture. african theatre summarizes the social lives of a group of people; it encapsulates their lifestyle, economic life, marriage relationship, beliefs and their various activities as regards their moral/social ethos (ekweme, 2014). alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 52 a similar view to ekweme‟s assumption on african theatre was discovered.alága ìdúró and alága ìjókòó, through their dramatic presentations, educates the audience present at engagement ceremonies on acceptable behavioural traits of the couple one to another and yoruba other values. a practical example was when a bride was told to show off her engagement ring to the audience. the song the alága ìjókòó sang was educative and she adopted the competitive style of negotiation. the alága told the bride to show off her ring to other ladies who were present at the engagement ceremony. this would make girls who were not patient enough for an engagement ceremony to be conducted for them (that is, girls who eloped with men without parental blessings) to be envious of the bride. below is a dramatic song that also teaches patience to other girls who might have been planning to elope with men and also evokes in them the desire to want to wait for the day of their engagement ceremony. the following educative song, which teaches girls patience, moral values and the belief of yorùbás in the importance of parental blessings and the submission to one's parents, sang by an alága ìjókòó at an engagement ceremony goes thus: a rùn song texts and translation sako o sako sí won lórùn sako (2c) show off your ring to the disobedient girls (2ce) alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 53 torí to gbó ti daddy/ mummy because you were obedient and submissive to daddy/mummy sako o sako sí won lórùn sako show off your ring to the disobedient girls (2ce) another educative song recorded is as follows: á ì a‟ e g é „ song texts and translation bá yìí là ún se igbèyàwó omo tó gbóràn this is how we celebrate a submissive and obedient daughter. musical and dramatic performance at the arrival of groom’s family the alága ìdúró leads the groom‟s family members into the engagement venue with the singing of various songs and choruses. at the entrance, after the groom‟s family members might have sang and danced satisfactorily, the alága ìjókòó welcomes them on behalf of the bride‟s family members and this conversation usually takes place: alága ìjókòó: who are you and why are you here? where are you from? what have you come here to do? it is an obvious fact that the above questions are meant to add flavour to the engagement ceremony because months before the occasion the bride and groom's family members have been planning. it is the engagement day, they are dressed in various attires, seated and already awaiting the arrival of the groom's family members. the dramatic nature at this stage of engagement ceremonies is that the alága ìjókòó knows who they are therefore, asking them such questions is dramatic. the alága ìdúró replies, “ e are from the alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 54 family of oyeleke of ibadanland: we have come to take a beautiful rose from your compound; we mean your beautiful daughter. we have come to ask for her hand in marriage”. alága ìjókòó: thanks for coming; i want to go in to give your message to our daddy and mummy. i want to go in to ask them whether you are the visitors we have been expecting. (the alága ìjókòó goes in and kneels before the father and the mother of the bride). alága ìjókòó: “mummy and daddy, there are some visitors outside; they said they are from the family of the oyeleke of ibadanland. are they the visitors we have been expecting? should i allow them in? the ride‟s parents: they are the people we have been expecting. please allow them in. it should be noted that all these conversations are in yorùbá language. conversation or negotiations are done both verbally and musically; the researcher discovered that the lyrics of songs are the medium of communication at different stages of musicodynamic negotiations and dialogues. it is a usual practice at every engagement ceremony, for the alága ìjókòó to place three bowls at the entrance of the engagement venue. these bowls represent wealth (owó), children (o mo ) and good health (àlàáfíà). the bowls are placed there by the alága ìjókòó for the groom‟s family members to drop money in before they are allowed to enter the venue of engagement ceremonies. the significance of these bowls is what the alága ìjókòówishes for the couple in their home. alága ìjókòó allows groom‟s family members in, only when she must have been satisfied with their singing and the money they have contributed. the groom‟s family members led by the alága ìdúró kneel before the bride‟s parents, other family members and friends. the alága ìjókòó negotiates with groom's family members; she commands them to greet in english language and yorùbá language andbride's alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 55 parents' native dialect. the greeting goes thus: „good afternoon sir, good afternoon ma, good afternoon friends, good afternoon unborn babies, and good afternoon well-wishers'. e káàsán s , e k s n m , e k s n yin r , e k s n oy n in , e k s n af nif re". these greetings are part of the dramatic and musical display. it was stated earlier that negotiation is sealed when an agreement is reached between the negotiators. after the greetings, the alága ìjókòó tells the groom‟s family members to sit down at the reserved seats opposite the bride‟s family members. musical and dramatic performance at the arrival of groom the presence of the groom is usually announced with various dramatic presentations. when the alága ìjókòó sees the groom, she goes to him to sing, “ ou are welcome in the name of the ord”. he then puts out her hand in an attempt to shake the groom, but the groom having been warned by the alága ìdúró that he must not shake the hand of the alága ìjókòó, quickly prostrates. this scene is a demonstration of the yorùbá culture of respect for in-laws. the alága ìjókòó representing the bride‟s family must be respected by the groom.the following is a dramatic negotiation that ensued between an alága ìjókòó and the alága ìdúró, bridegroom and the friends of the bridegroom in an engagement ceremony. the alága ìjókòó instructed the bridegroom and his friends to drop money in the bowls and as they did, they and the alága ìdúró were told to sing: “daddy, mummy lajumoke la dìb f n‟. meaning "daddy and mummy we are casting our votes for olajumoke". the alaga instructed them to sing it repeatedly severally. as the groom and his friend dropped money, they continued singing with drummers beating the ìyá-ìlù dùndún drum (mother drum of talking drum) to the rhythm (m:d:. m:d:. r:m:r:m:r: d:d:. m:) of the song. the instruction of the alága ìjókòó was a display of dramatic creativity. the money the bridegroom and his friends dropped was significant to casting of votes during an election. alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 56 the alága ìjókòó gives the groom and his friends' lots of orders. she tells them to match, chest in, chest out, breath in and breathe out. all these orders are meant to add fun to engagement ceremonies. she showcase various dramatic displays to create fun such as shown in plate 2 where the alága ìjókòó tells the groom and his friends to stretch their hands and match. all these actions are part of the dramatic negotiation.communication could either be verbal or nonverbal. these dramatic orders are forms of verbal and non-verbal negotiation. the alága ìjókòó negotiates with the bridegroom and his friends and they carry out the orders. alágaìjókòó commanding the groom and his friends the alága ìjókòó tells the groom that he will prostrate to the bride's parents and family members as a sign of courtesy for 103 times, but the groom's family members can bail him out by contributing money substantial enough, instead of prostrating for 103 times so that he will only prostrate three times. the alága ìjókòó sings several songs telling the groom‟s family to contribute money. the groom and his friends prostrate twice, after which, the alága ìjókòó sings a song commanding the groom's friends to stand up. the dramatic performance at this stage reveals the yorùbá culture of marriage. the third time the groom prostrates, he prostrates alone. the alága ìjókòówould thenask the groom a very important question „s o b b f e , b o b b f e ‟ meaning, did you beg before marrying your bride alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 57 or not? the groom will say „mo b b f e ‟ meaning, „ begged to marry her‟ and begged her parents and her family members before emi agreed to marry me. in the picture below, the alága asked the bridegroom some questions. these were to add glamour. their conversation was as follows: alága ìjókòó: ko ìy w s o b b f mi, b o b b f e meaning: did you plead with kemi and members of her family to marry her or not? bridegroom: mo b b f e meaning: yes i pleaded. alága ìjókòó: is your plea from the depth of your heart or somebody forced you to marry her bridegroom: the plea is from the depth of my heart, nobody forced me. alága ìjókòó: s o fi ìd b l f b o fi ìd bálèf e meaning: did you prostrate and beg her to marry you or not bridegroom: mo fi ìd b l f e meaning: i prostrated and begged her to marry me alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 58 the alága ìjókòó is seen in the above picture asking the bridegroom “did you plead with the bride and her family members before you got married to kemi or not? the alàga ìjókòó then sings the following song of negotiation and entertainment: jéjé la jókòó song texts and translation j la j k t b b yí ò from your free will, you have come to ask for our daughter‟shand in marriage gbo d yá in future ko w so p b b m a lo you must not say, baby, i do not want you again j la j k t b b yí ò from your free will, you have come to ask for our daughter‟s hand in marriage the family members would then pray for the groom. the alága ìjókòó sings a song to instruct the groom to stand up and sit on the laps of the bride's parents. the groom is later instructed to go to his parents to prostrate before them as a sign of appreciation for taking care of him. musical and dramatic performance at the arrival of the bride the bride is brought in by her friends. the alága ìjókòó and alága ìdúró sing various songs to welcome the bride; she kneels before her parents to pray for her. the researcher observed that the alága alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 59 ìjókòó sings and dramatises at this stage and then tells the bride to sit on her parents‟ laps. the proposal is given to the bride's mother and the acceptance to the groom's mother. they both go to present the letters to their respective husbands and one of the bride's younger sisters reads the letter of proposal. these actions are part of the nuptial negotiation. during one of the engagement ceremonies attended, the alága ìjókòó told the guests at the engagement to contribute money to buy a pair of glasses for the girl that was to read the proposal. another dramatic way of negotiation the researcher observed is the alága ìjókòó telling the groom‟s mother to strap the bride on her back with a wrapper and the bride‟s mother to strap the groom on her back. the alága ìjókòó then sings songs that portray that the women had just given birth to babies. the alága ìjókòó thengreets both mothers on the birth of their new babies. the bride is told to kneel before the bridegroom, the bridegroom prays for her and gives her money and according to the alága ìjókòó, the money is meant for cooking. the groom carries his wife and places her on his parents‟ laps. n or b land, the husband is the crown and headof the wife according to mustapha (2009). this belief of the yorùbá is revealed when the bride is told to kneel before her husband for prayers. the bride and groom's family sit facing each other. the side of the groom, although in the same venue is regarded as the groom's family house, while the side of the bride is regarded as the bride's family house. all these are elements of theatre, although everybody present is a participant while the alága ìjókòó and alága ìdúró are the principal actors. according to fadipe (2012), in the past, housewives from the wife's family escort the bride into the groom's house and one of the housewives from the groom's family receives the bride and carries the bride into the groom's room after satisfactory displays of singing alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 60 and dancing by the groom's housewives. during engagement ceremonies, the alága ìjókòó instructs the groom to carry his bride and place her on his parents‟ laps. the different stages of the oruba traditional engagements are marked with various dramatic displays. conclusion alaga iduro and alaga ijokoo are very important personalities in the performance of yoruba contemporary marriage ceremonies. to set the mood for engagement ceremonies, masters of ceremonies engage various songs and gesticulations in nuptial negotiations. their roles in exposing yoruba cultural values cannot be underestimated. through music and dramatic performances, they entertain, educate and sustain yoruba culture. songs used by alaga iduro and alaga ijokoo expose the yorùbá culture and norms and have helped in conforming to societal beliefs. references ajibade, g. o. (2009). finding female voices. a social-cultural appraisal of yorùbá nuptial poetry. department of linguistics and african languages, ile-ife: obafemi awolowo university press. ekweme, o. (2014). functionality and actor–training in nigeria. freedom, self-determination and growth in africa, owete k. i., emmanuel, m., danfulani, u. h. d., s. fwatshak and a. agwuele. eds. berlin: mediateam it educational publishers. chapter 23: 405-423. ezeajugh, u. and bali, n. (2012). dramatic parables as catalyst for good governance in nigeria: a paradigmatic appraisal of a parliament of vultures, hope of the living dead and moruntodun. the humanities and good governance. a. b. c. chiegboka, t. c. utohezeajugh, e. c. ibekwe, c. c. nwosu, n. c. onuora-oguno and k. l. nwadialor. eds. nimo: rex charles & patrick ltd. fadipe, n. a. (2012). the sociology of the yorùbá. f. o. okediji and o. o. oladejo. eds. ibadan: ibadan university press. alaga iduro and alaga ijokoo..... olufunmilola t. oladipo 61 fafunwa, b. (1974). history of education in nigeria, london: george allen and unwin ltd. mustapha, òyèbámijí (2009). èkó èdè yorùbá tuntun iwe keji; ibadan: university press ltd. nketia, j. h. k, (1982). perspectives on african musicology. african and the west: the legacies of empire. i. j. mowoe and r. bjornson. eds. new york: greenwood press. oladipo, o. t. (2014). philosophy of construction and performance of african musical instruments: a tribute to j. h. kwabena nketia. west african journal of musical arts education 2. 2:158-166. oladipo, o. t. (2015). yorùbá traditional marriage masters of ceremonies as agents of continuity and change in yorùbá nuptial performance. journal of the yorùbá studies association of nigeria. 1:233-252. taiwo, c. o. (1980).the nigerian education system: past, present and future.london: butler and tanmer ltd. vidal, o. a. (2012). foreign impact on nigerian music. (19th century). selected topics on nigerian music. f. adedeji. ed. ile-ife: o. a. u. press. 84-98. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 38 an assessment of the worship of ayelala (goddess of justice) deity and the ilaje kingdom of ondo state prof. sarwuan daniel shishima department of religion and cultural studies benue state university, makurdi sshishima4@gmail.com 08067077822 & bukola abosede folaranmi department of religion and cultural studies benue state university, makurdi iyafola@gmail.com 08034401625 abstract 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. introduction this study seeks to provide the general background of the worship of ayelala (goddess of justice) among the people of ilaje kingdom. the work provides information on the origin of ayelaladeity, the process of membership initiation and the place occupied by ayelala in ilaje kingdom. this is to provide a clear understanding of the circumstances and dynamics that have characterised the evolution and worship of ayelala in ilaje kingdom and beyond. ayelala (goddess of justice) deity and the ilaje kingdom of ondo state in yoruba land, many deities are known as orishas. these orishas include osun (deity of love and sensuality), oya (deity in charge of the wind),yemoja (deity of fertility), ayelala(deity of justice), aja (deity of the whirlwind and forests),oba (deity of rivers), etc. among these deities, orishaayelala has maintained a feared position within the ilaje ethnic group of nigeria for centuries. she is the orisha of justice and vengeance. she is a powerful and sacred deity. ilaje people respect her for her role in punishing crimes and ensuring justice is served (aderibigbeand aiyegboyin, 2017). ayelala is known to be an effective deity that punishes crimes of various types. sheis a powerful and widely respected deity because of her capacity and witches caught up in her clutches are known to confess their sins in the open. she is one of the rare females who are venerated in yorubaland as ancestors. the “deified ancestors were human beings who had lived extra-ordinary and mysterious lives on earth, so much that when they died they were deified as god” (aiyegbeni johnson, oral interview). adewale (1988), reports that “an average traditional ilaje man/woman will mention ayelala at least three times daily.” ayelala as a fearsome deity is the terror of liars, immoral people and doers of other forms of evil. hellgren mailto:sshishima4@gmail.com mailto:iyafola@gmail.com https://goddessgift.com/goddesses/oba/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 39 (1988), avers that “ayelala is powerful and a widely respected goddess because of her capacity to mete justice to witches, wizards, thieves etc.” in ilaje kingdom, anybody that dies through ayelala is defiled and his/her corpse is expectedly taken to a designated forest to be abandoned. “even the person’s properties either bought or acquired through other means with his/her name, are also discarded in the forest” (adepoju linus, oral interview). in the event that anybody is indebted to the victim of ayelala, such debt must be paid by the debtor to the priest of ayelala. on the contrary, the debtor could send the money to the relatives of the victim, or drop it where it can be seen by relatives of such victim. if the debtor fails to act in this way, he/she invites the wrath of ayelala, who hates injustice and cheating (abayomi fakunle, oral interview, 2024). the ilaje have a rigid conviction in the anger of the supreme being and deities upon the wicked members of the society. once there is an accusation, a misunderstanding, or a grievance by one person or party against another as a result of perceived foul play, the concerned person or people revert to ayelala where vows are made and oaths taken to unfold the truth and punish the offender. anyone who then goes contrary to the vows taken or take the oath in falsehood will be appropriately dealt with appropriately (abiodun grace, oral interview, 2024). origin of ayelala deity there are various myths that try to explain the origin of ayelala deity. this study chose for narrative here the most popularly recounted of the myths. traditionally, iya adeleke reports that ayelala as a word was a form of exclamation in the past among the ilaje people, literally meaning, “this world is mysterious” (oral interview). within this context, when people were confronted by any phenomenon that they could not explain, they expressed their surprise by exclaiming ayelala. however, ayelala in the context of this study is a local goddess who has been worshipped in ilaje and surrounding environments of yoruba land. it is widely held that ayelala was a slave woman who was initially a trader in herbal medicines and devotee of many divinities. it was during the course of her trading activities that she got to the riverine area of the present ondo state. at the onset, she was faced by a lot of difficulties in her quest to interact with the local people because of dialect barrier. as a result of this, people were apprehensive of her intentions and made life difficult for her (adewale 1988). the woman was lucky and ran into a helper who adopted her and kept her in safe custody. in order to repay the kind gesture of her helper, the woman subjected herself to all forms of menial jobs. it was during her interaction with her helper that it was deduced that the woman came from ona ‘ke, a corruption of the yoruba word, llu-oke. hence, to refer to anyone to come from ona-ke means saying that the person comes from either kwara state or ekiti state. thus, no one can say with all precision her place of origin since there is no documentary evidence to authenticate the various information gathered. tragedy struck when ayelala was made to bear the consequences of the sin of another who had run to take asylum among the ijaw. the woman had desecrated the land, causing an epidemic to befall the people. her asylum in ijaw land caused serious disaffection between the ijaw and the ilaje. before sacrificing ayelala, a covenant of reconciliation and ritual kinship was made between the ilaje and ijaw on the following terms, among others – “ayelala was to kill any member of the parties to the covenant who plans evil against one another; ayelala was to punish with death, any member of the two groups who practices stealing, sorcery and witchcraft against each other” (afolabi, 2020). ayelala as a person was known to be a gentle lady. she was easy going, understandable, lovely and kind. an incident happened in which she was unjustly accused of evil doing. she was neither tried nor her voice heard. she was later buried alive according to oral literature. as she was about to be buried alive she shouted “ah! aye yi ma la la o” (ah! this world is not alive) which has been shortened as “ayelala”. after her death, the truth of the incident was unraveled to the people and they felt bad by what they did, they later made serious efforts to pacify the said lady by naming a junction after her “ayelala junction” in ilaje local government of ondo state (oral interview, 2024). the process by which ayelala became deified is not quite certain. however, her deification has popularly been linked with manifestations and fulfillment of what she promised before her death that anyone who contravened any terms of the covenant between the ilaje and ijaw would be killed by her. dayo narrates that “soon after the covenant, one aluhuri died instantly because he demanded more than the recommended amount from an ijaw man who committed adultery with his wife. hence, ayelala struck him” (oral interview, 2024). with this happening and awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 40 various subsequent manifestations, the people came to believe in the potency of ayelala which led to her deification. from then onwards, whatever was believed to prompt judgments and incur the wrath of ayelala, such as the violation of any covenant was taken seriously by the people since the fear of ayelala was instilled into the minds of the people. even in ordinary day to day life activities of the people, they are careful not to deal fraudulently. for instance, in the process of sharing anything between two people, it is easy to hear one say, temiju tire lo (mine is bigger than yours) and his/her partner to answer reassuringly ayelala e ma ni pa e (the goddess will not kill you). this is to clear the air that one does not have any grudges against the other and thus there is nothing for the goddess to avenge (oral interview, 2024). membership of ayelala (goddess of justice) cult basically, membership of ayelala is predominant among the ilaje and ijaw people. however, in contemporary times, people who are neither ilaje nor ljaw have been found to embrace membership of the ayelala cult. these people who have heard of the fame and power of ayelala and who have come to revere her, seeking and trusting in her protection against attacks of adversaries would acquire the cult in their communities. to become a member of the ayelala cult, one would be required to supply, among other things, “three to six yards of white cloth, a cock, one lump of native chalk, four bottles of gin, kolanuts, live cowries and nine shillings (now ten thousand naira) to be divided equally between the ilaje and ijaw priests” (ajalaolu, oral interview, 2024). with the presentation of these items, the would-be member is then initiated by the priest in charge of the particular shrine into the cult of ayelala. as practiced by the adherents and devotees of other deities, the devotees to the cult of ayelala also perform various ritual sacrifices. the sacrifices which are offered to ayelala are not restricted to only the priests and priestesses. instead, any initiate is eligible to lead in the offering of sacrifices. for instance, “if anybody is being punished by ayelala and the offender happens to confess, anybody around who knows the articles of the sacrifices as well as the procedures could lead the sacrifice and it is believed that ayelala would pardon such offender” (ologbosere oni, oral interview, 2024). the formula for the sacrifice is unique and requires some items to be used. these items have to be provided before the commencement of the sacrifice. the items required are “a bottle of palm oil, a lump of native chalk, kolanuts of four parts, some tubers of yam, a white cock and one clay pot” (aremuosifo, oral interview, 2024). the articles are laid before the shrine of ayelala. adekunle balarabe narrates the process: the person to lead the sacrifice draws seven lines with the native chalk; he then breaks the kolanut which he/she throws on the ground to determine the success of the sacrifice. if in the process of throwing the kolunuts, three pieces out of four opens, then it is believed that it is a sign of acceptance by ayelala. he/she therefore calls the name of ayelala three times and makes the supplication of making the sacrifice known to ayelala. he/she places the head of the cock in the space between the big toe and other toes and stretches the neck in order to cut the head; he/she later leaves the body of the cock to struggle indicating that ayelala has accepted the sacrifice (oral interview, 2024). after the sacrifice, the carcass of the cock is cooked and eaten by initiates present, accompanied by pounded yam from the tubers of yam presented. however, before anybody eats the food, the small clay pot is provided where some pieces of yam are mixed with the palm oil and the head of the cock is placed on a designated spot for ayelala. this portion meant for ayelala is placed before the statue of ayelala in the shrine. when this is done, other people can eat the remaining portion. after the eating, they sing and clap to the song: ilaje english ayelalaigbokoko the mighty and awesome queen okekelukeobaobinrin she was who early in the day ajifotin we bioyinbo bathes in gill like the white man opobodudu the aged black woman aja ni 'jo olorangbagbe she who can never be guilty aja majebi when she takes action ukuapa ma han death which has absolute right. ayelalaigbokoko the mighty and awesome queen (ayenuro ayenuro, oral interview) initiation rites into ayelala (goddess of justice) cult the initiation into the ayelala cult involves the confession of belief in ayelala by an intending member, awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 41 accompanied by the priest stating the usual standard of conduct demanded of all the devotees of ayelala. the intending member vows that he/she would observe the code of conduct. a white cock is then killed and the blood is spilled on the five cowries of the main emblem of ayelala which are specially concentrated and wrapped in a piece of white cloth which are then delicately placed in a white bowl. gin and kolanuts are served; and merriment takes place among the people present. the emblem of the goddess is now presented to the initiated member who takes it away and establishes a centre of worship in his/her place of abode. in this way, the area of jurisdiction of the goddess extends (olagokeayodele, oral interview, 2024). plate 1: emblems of ayelala source: field trip by the researcher, 2024 whenever any initiate from the communities where the shrines are located takes oath or makes a covenant to ayelala, it automatically becomes binding. the ritual takes the form as follows: a shallow hole is dug in the ground, water is poured into it, and a kolanut split and cast into the water. the two people who are entering into covenant kneel face to face with the hole in between them. then one says: “oh earth, come and preside as we make this covenant. ifi should break the covenant, may i be carried away by the earth (may i disappear from the surface of the earth)”. then he or she stoops down and sips some water and eats a piece of the kolanut. the second person does exactly the same and the covenant is thus concluded (onunwa 84). these items are significant to the oath taking. the water signifies the abode of ayelala. it indicates the presence of the deity as a witness to the oath. the kolanut shows the agreement between the parties involved and the earth invoked is the arbiter of the covenant.the two parties agree on the terms of covenant and enter into a ritual kinship. the terms and conditions of the covenant are varying. those who are involved must be faithful and honest to the terms of the contract or bear pain of the displeasure of ayelala which is believed to involve the loss ofthe covenant breaker. in addition, members of the oath or parties to the covenant are expected not to plan evil against one another or risk being killed by ayelala. similarly, any ilaje or ijaw who is wronged and calls on ayelala to avenge the wrong, and it is believed that ayelala will speedily do so. in the case of accusation of adultery, the offending man would not be killed but be made to pay to the wronged man the sum of twenty five shillings (five bags of cowries), or its equivalent as deciphered by the priest or priestes in contemporary society as satisfaction. anything other than that would incur the displeasure and wrath of ayelala. it is believed that anyone who swears falsely by ayelala or breaks an oath or covenant made before ayelala will come under her judgment and punishment, which involves developing swollen face, hands, legs and stomach before death (femi oguntwase, oral interview). plate ii; image of man struck by ayelala at orioke source: field trip by the researcher, 2024 notably, the cult of ayelala is stronger in towns and villages situated close to rivers and seas. the belief generally is awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 42 that it is in such places that her influence is greatly felt. in such areas, even if there is no ayelala shrine, when a person who believes in her powers seeks vengeance on an evil doer against him/her, what he or she does is to report that matter to ayelala by taking a halfpenny (or a hundred naira note) and casting it into a river, stating his or her complaint, which is then believed to have been conveyed to ayelala. in some cases, where the complainant desires a quick action, he or she fastens the fee to the tail of a live fish called belebele which is customarily used for this purpose. this fish is thrown back into the river with the belief that it would swim rapidly with the message to ayelala (ogundele deji, oral interview, 2024). 1. symbol of ayelala deity there are some symbols and materials involved in the invocation of ayelala deity. some of the material required for the invocation of ayelala deity include: a cock or duck, white cloth, seven needles, seven parrot feathers, seven alligator peppers and seven native chalks. all these items are concealed in the stomach of the cock or duck and wrapped with the white cloth. the cock will be eventually soaked in the ayelala water and a curse will be pronounced on the evil doer. when the evil doer is caught by the deity he or she will swell as the cock or duck swells in the water. ayelala is highly praised and highly revered (olatunji fred and ola jideofor, oral interview, 2024). the emphases on the number of items as seen above signify the days of the week. it is an indication that ayelala is ever watchful and will respond to anyone that invokes her at any time. in other words, ayelala never sleeps in the face of evil.ayelala shrines are typically located on the outskirts of communities, usually close to rivers or streams. according to adewale, “these shrines are adorned with palm fronds, white cloths, cowries, pots, calabashes, and various symbols associated with her presence” (88). plate iii: a smaller movable shrine of ayelala source: field trip by researcher, 2024 the ayelala deity is venerated by initiates in shrines with the insignia of the deity and other paraphernalia hung or kept strategically around the shrine. the shrines are usually located at the outskirts of towns or villages, preferably close to a river or a stream. according to adeleke, “these shrines are adorned with palm fronds, white cloths, cowries, pots, calabashes, and various symbols associated with her presence.” olori-ayelala or iya-ayelala are priests and priestesses responsible for conducting rituals, performing sacrifices, consulting oracles, and administering oaths in the name of ayelala. afolabi reports that “the veneration of ayelala encompasses a range of rites and ceremonies, each serving distinct purposes such as invoking her power, seeking her protection, appeasing her, or requesting her favour.” the rituals could be analysed as indicated below. i. ebo ayelala (offering ritual): this is a ritual that involves making various offerings to ayelala in order to seek her blessings or forgiveness. the common items used for such ritual include such “white animals as chickens, goats, sheep, or cows, in accompaniment of items like kola nuts, gin, palm oil, salt, honey, and other objects deemed pure and pleasing to her” (olagoke patrick, oral interview). the sacrifice is placed on a mat or tray and transported to her shrine by the priest or priestess, who recites prayers and praises dedicated to her. ii. ofo ayelala (oath ritual): this is a form of oath taken in the name of ayelala deity in order to solemnly affirm the truth or fidelity of a statement or action by a person. olu osibanjo narrates that “participants typically hold a knife or razor blade in one hand while touching a container of water, such as a pot or calabash, with the other. during the oath-taking, individuals declare statements like, ‘if i lie or betray this oath, let ayelala kill me’ or similar affirmations” (oral interview). this oath is held by adherents to be absolutely binding and irreversible once it is taken. in case they are violated by anybody, the consequences are usually severe. iii. aro ayelala (invocation ritual): it is a ceremony that involves “pronouncing curses in the name of ayelala against individuals who have wronged or offended others” (adeleke, 2005). in this ritual, the name of the offender is written on a piece of paper or a leaf and placed inside a vessel filled with water at ayelala's shrine. https://1.bp.blogspot.com/-ibdtrhjxmfs/v7qqujih4ri/aaaaaaaaah0/kpg8kutebgemjursdz-gocaguzssstlnqclcb/s1600/ayelala.jpg awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 43 the person issuing the curse utters phrases like, “ayelala, i call on you to punish this person for what he/she has done to me” or similar declarations. the curse is believed to be potent and inescapable, resulting in various afflictions or misfortunes imposed by ayelala upon the offender (olusegun abdul, oral interview) iv. ifa ayelala (ritual for request of favours): this is a divination conducted in ayelala's name to expose the truth in hidden situations or to ascertain the cause of a particular problem. under this divination, sixteen cowries are cast onto a wooden board or mat and interpreting the patterns they create (in the absence of cowries, the same number of palm nuts could be used). the priest/priestess beseeches ayelala, saying, “ayelala, i ask you to reveal the truth or the cause of this problem” or similar invocations. ifa ayelala is regarded as accurate and trustworthy, capable of unveiling concealed secrets or mysteries under ayelala's guidance (raheem, 2021). conclusion this paper has situated the locus of ayelala (goddess of justice) within the gamut of traditional religion in ilaje kingdom. ilaje is a kingdom that migrated from ile ife and settled in their present homeland. they are traditionally religious, with ayelala being one of the popular deities worshipped in the land. even though the univocal origin of ayelala does not exist, there are agreements on such as issues as her being female, her prowess in punishing offenders and her capacity to uphold justice. references adeleke, d.a (2005). “even the gods are fools.” orita: ibadan journal of religious studies. vol.11, no.31. adeleye, j.o. 2024). lusola. “a philosophical reflection on aje (witches) in yoruba 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(2017). an introduction to african traditional religious study and practice. ijebu-ode: atansek press. adewale, s.a. (1988). the religion of the yoruba: a phenomenological analysis. ibadan: np. afolabi, o. (2020). yoruba religion and culture: a geographical analysis. london: university of london press. cordeiro-rodrigues, luis and agada, ada. “african philosophy of religion: concepts of god, ancestors, and the problem of evil”. philosophy compass.https://doi.org/10.1111/phc3. 12864 (2022). retrieved 09/03/2024. web. ekeopara, c. a. (2005). .african traditional religion: an introduction. calabar: natos affair. hellgren, r. (1988). the good things of life: a study of the traditional religious culture of the yoruba people. sweden: plus ultra. igboin, b.o. 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(2011). the study of african traditional religion and its challenges in contemporary times. ibadan: spectrum. osunwole, s. (1991). “witchcraft and sorcery: yoruba beliefs and medicine”. orita: ibadan journal of religious studies. 23. 2. raheem, o. and famiyesin, m. (2021). “controlling the boundaries of morality: the history and powers of ayelala deity”. yoruba studies review. university of florida george asmathers libraries. vol. 2. no.1. taiwo, m. t. and taiwo, v.o. (2020). “religious sectarianism in yoruba land and threats to its millennial tribal union”. randwick international journal of social science (riss). 1. 2. ushe, m.u. (2013). fundamentals of african religion. germany: lambert academic publishers. https://doi.org/10.1111/phc3 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 44 list of informants sn name age sex occupation place date 1 deji thomas 60 m village chief aheri 12/02/2024 2 adepoju linus 68 m elder etikan 14/02/2024 3 abayomifakunle 50 m high chief mahin i 23/02/2024 4 aiyegbeni juliet 60 f priestess mahin ii 16/03/2024 5 adelekeosundare 55 m trader mahin iii 19/03/2024 6 abiodun grace 67 f priestess mahin iv 19/03/2024 7 olatunji fred 54 m educationalist ugbo i 19/03/2024 8 ola jideofor 65 m chief priest ugbo ii 23/03/2024 9 tomolojutunji 50 m civil servant ugbo iii 23/03/2024 10 babatundebukky 56 f teacher ugbo iv 24/03/2024 11 oluwafemi ade 40 m farmer ugbo v 25/03/2024 12 ajayifaseun 50 m trader ugbo vi 25/03/2024 13 amotoson silver 52 m teacher aheri 26/03/2024 14 okosunadebiyi 69 m elder etikan 26/03/2024 15 fabiyi philip 50 m herbalist mahin i 27/03/2024 16 olapupoadeniyi 57 m elder mahin ii 27/03/2024 17 ibeyeibeji 42 m trader mahin iii 27/03/2024 18 aiyedatiwa john 61 f fisher mahin iv 28/03/2024 19 oladeleaiyegbeni 39 m student ugbo i 28/03/2024 20 bashirudimeji 41 m fisher ugbo ii 29/03/2024 21 tunde peter 53 m herbalist ugbo iii 29/03/2024 sn name age sex occupation place date 22 olagoke patrick 56 m fisher ugbo iv 30/03/2024 23 oluosibanjo 51 m trader ugbo v 12/04/2024 24 olusegun abdul 57 m herbalist ugbo vi 12/04/2024 25 iyaadeleke 59 f priestess aheri 13/04/2024 26 femi oguntwase 41 m pastor etikan 14/04/2024 27 ogundeledeji 51 m herbalist mahin i 14/04/2024 28 ajalaolu 59 m herbalist mahin ii 16/04/2024 29 olagokeayodele 48 m patient/teacher mahin iii 16/04/2024 30 aremuosifo 39 m farmer mahin iv 19/04/2024 31 adekunlebalarabe 60 m elder ugbo i 19/04/2024 32 babajidedayo 50 m pastor ugbo ii 19/04/2024 33 gbonkabasorun 66 m lecturer ugbo iii 23/04/2024 34 titiayenuro 44 f house wife ugbo iv 23/04/2024 35 akeem funmi 53 f student ugbo v 23/04/2024 36 adeolaolakunle 22 m trader ugbo vi 25/04/2024 37 olufunmilayoabiodun h. 39 f teacher aheri 25/04/2024 38 daposeyi 41 m teacher etikan 25/04/2024 39 abiodunmakinde 50 m village chief mahin i 26/04/2024 40 olusolafaseun 56 m elder mahin ii 26/04/2024 41 adetusaojo 70 m high chief mahin iii 12/05/2024 42 olu patricia 65 f priestess mahin iv 12/05/2024 sn name age sex occupation place date 43 ayo bamidele 55 m trader ugbo i 12/05/2024 44 oluwose lucy 51 f priestess ugbo ii 14/05/2024 45 ehinmowoadetusa 59 m educationalist ugbo iii 23/05/2024 46 kalejaiyefabiyi 48 m nurse ugbo iv 26/05/2024 47 ogunbiyibamaiyi 39 m civil servant ugbo v 26/05/2024 48 ogunkunle isaac 60 m elder ugbo vi 27/05/2024 49 femi ogundele 57 m ayelala priest aheri 28/05/2024 50 adeanifoogunleye 65 m fisher etikan 28/05/2024 102 textual interpretation of indigenous yoruba songs used in worship in the redeemed christian church of god loko, omolara olasunbo department of music, adeniran ogunsanya college of education otto/ijanikin lagos abstract the use of figures of speech is quite prominent in indigenous music of the yoruba culture. the same is true of indigenous yoruba music in the redeemed christian church of god. the ability to use these figures of speech in composition for church worship is an index of the composers’ competence in yoruba language. this paper is aimed at interpreting the texts of some selected yoruba songs used during worship in the redeemed christian church of god. this is done with the purpose of identifying and describing various figures of speech in these selected songs. among the figures of speech that are in frequent use are repetition, metaphor and personification. however, the paper discussed the various categories of indigenous yoruba songs in the church. introduction euba (1988) opined that the yoruba have through the ages consistently promoted religion through music and some of the best examples of yoruba music are those connected with religion. in modern times, some of the exciting new types of yoruba music are those used in the african churches, such as the cherubim and seraphim church, the christ apostolic church and the redeemed christian church of god to mention but a few. in an attempt to make christianity more attractive to the indigenous populations, the new african churches have taken into consideration african culture and religious consciousness. they believe that the practice of christianity in nigeria should be reflective of the cultural environment in the country. of particular importance in this regard is the employment of a musical liturgy that is rooted in traditional african practices while retaining important features of imported european liturgy. what makes services in the redeemed christian church of god more lively and inviting is the musical element accompanied by enthusiastic communal singing of songs and texts based on various themes, arranged to express the worshippers’ feelings at different levels of human emotion. indigenous yoruba music features prominently in the worship practices of the church and are derived from two main sources, viz: (i) songs with melodies adapted from traditional sources. awka journal of research in music and the arts (ajrma) vol. 9 2013 103 (ii) new compositions and arrangement of songs. the tonality of african music has been addressed by several scholars like laoye (1966), nketia (1975) and euba (1977). nketia (1975) noted that the most far-reaching influence on african music is exerted by the verbal text to which songs are set. african traditions deliberately treat songs as though they were speech utterance. in the same vein, laoye (1966) and euba (1977) explained that the yoruba language is tonal and musical in such a way that whenever the yoruba words are not correlating with musical tones, the correct pronunciations of the words can no longer be retained and the meanings of the words are lost. to prove this, in earlier studies, attention has usually been paid to the intonation of texts. this is because it is believed that distortion of the intonation of the tones of words might create lots of problems for the listeners. following this, the present study is an in-depth interpretation of the texts of selected indigenous yoruba songs used in the worship by the redeemed christian church of god, with particular reference to their lyrics and melodic contours. brief history of the redeemed christian church the redeemed christian church of god, one of the largest and fastest growing pentecostal churches in the contemporary world started in 1952 with just 12 members. at that time, it was known as the “egbe ogo oluwa (the glory of god’s group) it was established by rev. josiah olufemi akindayomi. he was formerly a member of the cherubim and seraphim church. he left the church in 1952, with twelve others with whom he started the redeemed christian church of god. the first redeemed christian church of god was located at no. 9, willoughby street, ebutemetta. soon, the house for worship became too small, congregation was less than 100, and this necessitated relocation to no.1, cemetery street, ebute-metta, now 1-5 redemption way, which also serves as the headquarters. according to the founder, the lord required the church to make holiness its focus and teach the whole counsel as written in the holy bible. the present name of the church was divinely revealed to the founder, rev. akindayomi with a clear mandate that the church should go to the end of the world to prepare the people for the lord. before rev. akindayomi died on nov. 2, 1980 at the age of 75, god revealed that his successor would be “a man of books’ (well educated). pastor e. a. adeboye was consecrated as the new leader of the redeemed christian church of god in january 1981. since 1981, an open explosion began with the number of parishes growing in leaps and bounds. at the last count, there were about 20,000 parishes of the church worldwide. one of the well-known programmes of the church is the holy ghost service, an all night miracle service that holds on the first friday of every month at the redemption camp at km. 46, lagos ibadan expressway. the average headcount of those who attend the service is in millions. indigenous yoruba songs in r.c.c.g. the root of indigenous yoruba songs in the redeemed christian church of god could be traced to when the founder of the church rev. josiah akindayomi left cherubim and seraphim church in 1952. he formed a group which is now known as the redeemed 104 christian church of god. most of the members who attended the prayer meetings were members of the cherubim and seraphim church that were used to singing indigenous yoruba songs. the indigenous music has always been an important part of worship in the church as it constitutes one of the elements of attraction of new converts to the church. the liveliness that this music brings to church worship had become irresistible in all the parishes. many of the indigenous yoruba songs in the church derived their melodies and rhythms from yoruba culture while some have european influences both in melody and harmony. many employ a style which is midway between singing and speaking (speech song or chant) a style found in the praise and worship session. indigenous yoruba songs in the redeemed christian church of god is categorized into three namely: native airs, anthem and choruses. i. native air: ofosu (2001) described native airs as “songs with indigenous flavouring which encourages maximum participation of the congregation. they are usually songs composed by pioneers of indigenous yoruba music in the church in contrast to hymns.” ii. anthems: these are indigenous songs rendered specially by the choir during church service of any type to illustrate and reinforce the scriptural message for the day. iii. choruses: these are short indigenous yoruba songs of praise and adoration aimed at the revival of congregation through participatory action. some of the indigenous yoruba music in the redeemed christian church of god are yoruba tunes to which christian texts have been written while some are songs with newly composed texts and melodies. the practice of adapting existing melodies to sacred texts is known as contrafactum. it is vocal composition in which the original text is replaced by a new one, particularly secular text by sacred text, or vice versa (apel, 1969:203). in the same vein, omojola (2001) opined that adaptation of yoruba tunes to christian texts, is a device which helps to consolidate the christian faith of new converts who, before their conversion to christianity, have sung the same songs during traditional yoruba religious activities and relished the idea that they could still sing the same set of songs within the context of their new faith. songs with newly composed texts and melodies are composed by contemporary musicians in the church, using african elements such as praise, poetry, proverbs, rhythms and accompanied by a combination of both african and western musical instruments. sometimes, poetical form of singing, such as oriki (praise poetry) is used. most of the songs are in the standard dialect of yoruba; many a time other dialects such as ekiti and ijesha are employed. textual interpretation of selected songs there is no doubt that there exist clear indications on the differing role of song texts in religious composition. adedeji (2001), while discussing the purpose of text in musical composition, observed that the purpose of nigerian gospel music is ecclesiastical, the content 105 is mainly gospel and didactic. boyer (1979) also noted that the texts of the songs are based on the trinity; they speak of blessings, sorrow, woes and lamentations. song texts exist as essential medium for meaningful worship of god in the redeemed christian church of god. in writing texts for songs used in the church, various themes have been explored by composers based on things happening in the church, society, faith in god, moral values, personal experience in life and so forth. adedeji (2001) also noted theological subjects, such as praise and worship, prayer and spiritual solution to problems and other socio-political themes. the texts in this collection are especially arranged to express worshippers’ feelings at different levels of human emotions. selected songs for interpretation shall be examined under the following themes: adoration and thanksgiving. (1). olori kokoro baba fi fun mi kokoro to nsi lekun ire gbogbo ona toti ti mo mi ba mi si won, k‟ogo re yo laye mi. translation father, give me the master key the key that unlocks the door to goodness, all the doors shut against me unlock them, and let your glory rise in my life. “the master key” is a metaphor (comparison between two things). the composer compares god’s showers of blessings to a key. since god can bless one at anytime and in any manner he wishes; the act is comparable to what could be accomplished with a master key which is believed can open any door. when god blesses anyone, it is as if a master key has been used to open the door “of goodness” in this respect. (2). o ye kaadupe, o ye kaadupe ara nsan, ategun nfe iji nja ko gbe wa lo oye kaadupe translation let’s be thankful, let’s be grateful the thunder rumbles, the wind blows the storm rages, … we should be thankful. o ye kaadupe, o ye kaadupe is a repetition used to emphasize the importance of such thanks. the lines that follow make it clear that the repetition is worth the while, considering the storm of adversities which rages unabated, leaving the singer unscathed. little wonder, 106 parallel phrases ara nsan, ategun nfe, iji nja are placed side by side. such parallelism gives force to the need for gratitude. (3). oluwa, eyin l‟atobiju aribiti, arabata, eyin l‟atobiju aribiti, arabata, eyin l‟atobiju oluwa translation lord, you’re the greatest you’re indescribably great you’re indescribably great, oh lord aribiti, arabata a pun (play on words) the meaningless words aribiti, arabata are used in an attempt to create a picture of indescribable nature of the majestic god. hence, there is a play on words, or rather on certain sounds in the syllable, of the two words aribiti, arabata, resulting in a change of tone, adding to the beauty of the musicality of the stanza. (4) eyin ni baba to to baba e yin ni baba to ju baba lo translation you’re the father who is really a father you’re the father greater than any father. the figure of speech employed in this song is repetition (saying the same thing again and again). the composer is expressing the distinctive, unparallel role of god as not just a father like other fathers, but as the father, the ultimate one. (5) emi o mo emi o mo o gang an o gang an ibi ti nba ti mo pe mi wa translation i do not know i do not really know exactly where to begin expressing my gratitude. repetition is used in this song; indicating how overwhelmed the composer is by the showers of god’s blessings. the composer in effect is saying “he is short of words” with respect to describing how he feels about god’s goodness. 107 (6) ola l‟e wo „laso ogo l‟aso ileke iyin l‟egn lesin awamaridi le l‟edumare translation you’re clothed with honour your outer garment is glory you ride on praise as on a horse the almighty is unfathomable “ola… laso ogo laso ileke iyin …. lesin” this is metaphor. clothes cover the human body and beautify it. god’s glory, honour and praise beautify god and set him on high even as clothes do to the body of the wearer. the horse is a traditional means of transportation. but when a king rides on a horse, he flaunts his wealth and glory. in the same vein, when we praise god, it is as if god rides on a horse. such praises flaunt god’s wealth, glory and honour and heralds them. (7). meloo ni maa ro ninu ore ti baba se meloo ni maaso ninu ore ti jesus se ore re ma po oju yanrin okun lo meloo ni maaro, afi kinsa ma dupe ore re ma po oju yanrin okun lo meloo ni maaro afi ki nsama dupe translation the father’s goodness is beyond what i can recount jesus goodness is beyond what i can recount your goodness is more abundant than the sound of the sea how do i recount it; except to give thanks meloo… meloo …. this repetition emphasizes how awed the composer, when he contemplates the breath of god’s goodness. conclusion this study has demonstrated that there exists numerous indigenous yoruba music in the redeemed christian church of god employing the use of figures of speech. though a few 108 song texts have been selected in this study, a number of figures of speech have been identified. prominent among the identified figures of speech are repetition, metaphor, pun and parallelism-is repetition, a figure of speech used primarily for emphasis. the study has made clear how an analysis can shed light on a practice. it is hoped that this paper will stimulate scholars to redouble their efforts at serious studies of more textual interpretation of indigenous songs in church worship. references adedeji, f. (2001). definitive and conceptual issues in nigerian gospel music. nigerian music review, 2, 46-55. apel, w. (1969). contrafactum. harvard dictionary of music, 203-204. cambridge, m. a.: the belknap press of harvard university press. boyer, h. c. (1979). contemporary gospel. the black perspectives in music. spring, 7(1), 5-8. euba, a. (1986). yoruba music in the church, the development of a new african art among the yoruba of nigeria. african musicology: current trends. 2, 42 – 53. euba, a. (1988). the music of yoruba. essays on music in africa. bayreuth: iwalewa haus universitat bayreuth. laoye, o. a. (1966). music of western nigeria. the composer, 19, 34-41. nketia, j. h. k. (1975). speech and melody: the music of africa. chichester, sussex, great britain: r. j. acford ltd. ofosu, j. o. (2001). kirimomo music: a christian native air genre of the urhobo of delta state of nigeria. unpublished ph.d thesis of university of ibadan. omojola, b. (2001). african music in christian liturgy: the yoruba tradition. nigerian music review, 2, 80-96. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 63 adaptation of the egwu ogene in a digital world: a study of ejyk nwamba mr.chiedozie kenechukwu onuora-oguno e-mail: onuoraogunochiedozie@gmail.com & professor eunice ukamaka ibekwe department of music, nnamdi azikiwe university, awka, anambra state e-mail: eu.ibekwe@unizik.edu.ng abstract this paper explores the transformation of the ogene, a traditional igbo melo-rhythmic instrument within the digital landscape. ejyk nwamba, renowned as an ogene master, provides a unique perspective on this evolution. the ogene, classified as an idiophone, holds deep cultural roots and serves both musical and non-musical functions within igbo society. however, in the digital era, cultural music faces challenges of commercialization, visibility, and authenticity. globalization has changed the dynamics of traditional music, altering performance, social context, and audience. digitalization has digitized traditional music, offering a global reach but also a commercial focus, potentially compromising authenticity. this study examines how the ogene music has adapted to the digital world, exploring its cultural, social, and economic evolution. it raises questions about cultural identity and authenticity in a digital society and seeks to provide recommendations to preserve the cultural integrity of traditional music. ejyk nwamba's journey as an ogene musician offers insights into these transformations. recommendations for preserving cultural music in the digital age include education, marketing and promotion, and the establishment of digital archives. these efforts aim to ensure that cultural music remains authentic and thrives in a digital economy. introduction the ogene instrument is a melo-rhythmic instrument of the igbo people in nigeria. from the classification of instruments postulated by sachs and hornbustel, (1940), the ogene instrument can be classified as an idiophone. ibagere (1994 p.91) defined idiophones as a group of self-sounding instruments which produce sound when they are struck, scratched or shaken. to give it a historical background, it is widely believed that the ogene is forged by indigenous blacksmiths of the present-day awka, anambra state, as the ogene is purely made from iron. the instrument is relatively shaped like a cone and is hollow inside (nnam, 2021). the ogene is played by striking it with a stick and while it is a rhythmic instrument, it produces melody. nzewi (2000) in nnam (2021), explained it in this manner; the ogene, perhaps, is the most important metal instrument of the igbo people and it has a lot of cultural attachments. the roles it plays in the societal delegations of the mailto:onuoraogunochiedozie@gmail.com mailto:eu.ibekwe@unizik.edu.ng awka journal of research in music and the arts (ajrma) vol. 16, september 2023 64 igbo people are grouped into two; (1) the musical functions and (2) the non-musical functions. in the non-musical functions of the ogene, it is explored in these ways; 1. spreading of information: from literary accounts of the traditional igbo society, the ogene is the tool of the town crier. coupled with the town crier's voice and his feet, information is disseminated across the village and the community where he resides. 2. divination: nnam (2021), states that; the native doctors or chief priests use the ogene as a communicating tool to call the spirit of the gods and these instruments are attached to the staff of the chief priest when they hit it on the ground for it to stand if the gods are present in the area. (p.201) the esoteric nature of these sounds have been left to only be understood by the diviners and dibias who use them. egwu ogene the role of the ogene musically, is widely known across the igbo community. as an original genre of the igbo culture, it is known for its captivating rhythms, percussive beats and a unique instrumental ensemble. warner (2020), described egwu ogene in this manner: ogene, what a sound! ogene music is a dynamic performative ensemble form distinctive to the igbo people, language and cultural practices of today's south-east nigeria. named for the ogene bell, one of the central instruments to the form, ogene music encompasses rich call and response songs of marriage, praise, police and military encounters, moral and political situations, birthday celebrations, dedications and funerals, proclamation poetry and more. there are different sizes and pitches of the ogene as earlier stated and this provides for a variety of sounds in the music. the music is characterized by complex and polyrhythmic patterns. in an instrumental ensemble, multiple ogene bells can be played together, creating intricate interlocking rhythms and this rhythmic complexity is a distinct feature of the egwu ogene. egwu ogene is mostly played in ceremonial festivities and social gatherings. the egwu ogene performance is characterized as high-energy, lively and engaging. the is represented in the ilu igbo that says 'ejiro ogene edu onye ujo' which literally translates to 'the ogene is not used to accompany a coward' ogene music, with its vibrant character, evokes feelings of bravery and jubilation. (nzewi, 2000). he went further to describe the performance in this way; although the music is of primarily contemplative conception, its effect compels action, which can be expressed in bold dances gestures by the performers as well as the stimulated listeners. (p.26) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 65 the ideal ensemble setup of egwu ogene comprises the ogene bells, the ichaka (rattle), okpokoro (woodblock) and the oja. this ensemble is not rigid and is subject to addition of more instruments or subtraction. while this genre of igbo music has deep historical roots, egwu ogene has evolved over time. the impact of globalization, specifically westernization, is evident in the performance of the music as contemporary ogene musicians have incorporated modern instruments and recording techniques into egwu ogene blending tradition with the innovations of the modern world. non-musical functions encompass its role in information dissemination and divination. the ogene's esoteric sounds are central to rituals performed by diviners and dibias. musically, egwu ogene, characterized by captivating rhythms and complex polyrhythmic patterns, is played in ceremonial festivities and social gatherings, evoking feelings of bravery and jubilation. conjoined ogene bells. background of the study the nature of the egwu ogene serves its cultural purpose diligently. the instrument however has remained the way it is all through its history and some will agree that the way it is and the roles it plays are not subject to change. the effects of globalization have changed this narrative through the way the systems of living for most cultures have evolved in different ways. so there is technically an update on the cultural values of these instruments. for one, the fact that the society we are currently living in now is considered a digital society and these traditional instruments have now encountered other forms of use, whether it is in the choices of songs during performances or in the way they are broadcasted through the world. changes in musical cultures are complicated because they involve changes in the performance, social context, audience and the overall nature of the music. statement of problem awka journal of research in music and the arts (ajrma) vol. 16, september 2023 66 the existing problem subjective to this study is that the ogene music and cultural music generally have not identified the exact means in which to fully integrate itself into a rapidly changing world which is mostly digital. it also identifies with the challenge of the egwu ogene remaining authentic in this new world. purpose of study the purpose of this study is to understand how the ogene as a cultural instrument has fitted into this digital world and how it has evolved culturally, socially and economically. by understanding the roles it plays, the study now seeks to postulate recommendations and in turn provide the ground for thought on the subject. for example, in this digital world, has the ogene lost its identity and cultural authenticity? research questions 1. how has the ogene evolved culturally, socially and economically? 2. what are the key elements and characteristics of ogene and its music? 3. how has ejyk nwamba’s music contributed to its globalization? research objectives 1. to know the cultural significance of the ogene within the igbo community. 2. to know the factors that have contributed to the digitalization of the ogene with a focus on ejyk nwamba’s career. 3. to propose recommendations on the integration and promotion of ogene as a cultural asset, into the digital economy. digitalization digitalization is the use of digital technologies to change business models and provide new revenue and value-producing opportunities. (gartner, 2023). in the 21st century, digitalization has become a transformative force, changing the nature of industries, economies and society. this involves the process of digitization and has been driven by the advancement of technology. the potential for a digital world is vast. as shown by parviainen, tihhinen, kaariainen and teppola (2017), by digitizing information-intensive processes, costs can be cut by up to 90 percent and turnaround times improved by several orders of magnitude. going further, parviainen et al (2017) added that replacing paper and manual processes with software allows businesses to automatically collect data that can be mined to better understand process performance, cost drivers, and causes of risk. streamlining it to music entails the conversion of traditional analog music formats into digital ones and therefore changing the way music is being created, distributed and experienced. digital recording technology has made it easier for artists to capture and manipulate sound with precision without necessarily learning how to play and perform music formally. digital audio workstations (daw) and virtual musical instruments have created a world where musicians can exploit these sounds to create music in a digital realm. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 67 on first glance, a digital economy seems ideal but like man-made inventions, poses some concerns. in a digital economy, music can be shared to digital platforms and made available for streaming and public consumption but while this offers a global reach for music, cultural music may struggle to gain visibility amongst mainstream commercial content. ferguson (1992:73), opined that globalization conflates the normative and descriptive, and consequently carries ideological as well as temporal, spatial, historical and geopolitical implications. this means that there is a commercial focus on music and cultural music may be forced to shed some values so as to conform to commercial and socio-economic standards of the day. this invariably means that the music is bound to lose some authenticity. ejyk nwamba and his ‘ogene ndigbo’ crew. ejyk nwamba ejike benedict obiano known globally as ejyk nwamba or ogene master, is a nigerian musician resident in anambra state. one of the front men in ogene music, which is of course popular in eastern nigeria, ejyk nwmba is considered as one of the best ogene musicians in the igbo land. ejike hails from nkanu east in enugu state, south-east, nigeria. he started his career in the church as a performer in the early 2000s and he of course, learnt how to play the ogene by rote. he said this in an interview by vanguard. (2023); "music began for me at a young age. i have always had passion for music and cultural beats. i learnt to play many cultural instruments myself. i learnt from watching other people play." he has his own ogene troupe which he refers to as ‘ogene ndigbo’. warner (2020) said this about the musician; one of the hardest working ogene crews i’ve come across in my online wanderings is “ogene ndigbo by ejyk nwamba” who, as they proclaim, aim to bring ogene to the world. always filmed outdoors, with no electronic amplification and in a single uncut shot, each video blasts along for 15 minutes or more with the group occupying and enlivening urban street, farm track, parking lot, hilltop, bamboo grove, mine spoil mountain and big-house awka journal of research in music and the arts (ajrma) vol. 16, september 2023 68 courtyard. they offer birthday wishes, praise to important people, and dedications to car makers or a local malaysian mini-mart with equal ebullient energy and flair. he went further to add; they’re not only masterful exponents of the tightly knit music, song and dance skills of their igbo cultural form but have mastered the art of performing to the unseen worldwide audience behind and beyond the video cameras to which they passionately gift their remarkable music and proud culture. we should all be thankful. (retrieved 1:00am, 2023-09-23) this was exactly how ejyk nwamba came into mainstream media. in addition to that, he recorded covers of songs that were popular already in the global world and on digital platforms. ejike in an interview with guardian news (2023) said this; "the challenges i faced at the beginning of my music career was getting people to accept my genre of music. when i started out, my genre wasn't widely recognized and accepted. artists before me were always seen as local and not given their due respect. i thank god that has changed" while this is a concern for most traditional musicians, the existence of social media was key to ejyk nwamba’s success. the ogene musician put up videos of his performances on his social media pages and then in 2020, he released his debut ep aja welewele, which became an anthem in the eastern part of nigeria and catapulted him to limelight. (tribune, 2023). since then (2020), he has collaborated on songs with mainstream musicians like kolaboy and zoro. he has also featured on a comedy skit for the popular comedian, chukwuemeka emmanuel, popularly known as brainjotter. the video skit has up nine hundred thousand and six views on youtube (retrieved 3:00am, 2023–09-26) here is an analysis of his most popular songs across three mainstream digital platforms. retrieved from youtube, youtube music and spotify, 2023-09-26. (3:50 am) name of song. youtube. youtube music. spotify ubor featuring zoro 128,000 225,000 150,428 gbawalum oji 179,000 269,000 22,500 kawaii 147,000 346,000 119,685 ogene cultural praise 202,000 765,000 90,980 across these three digital platforms, ejyk nwamba’s music is averaging over 500, 000 plays. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 69 ejyk nwamba currently has 98,007 subscribers on youtube (retrieved 6:39 am, 202309-25), 110,000 followers on instagram (retrieved 6:40 am, 2023-09-25) and 371,000 followers on facebook (retrieved 7:01 am, 2023-09-25). conclusion/recommendations this study underscores the importance of observing and assessing the ways in which cultural music can continue to resonate authentically in a rapidly changing digital world. ogene music, thriving in a digital world, requires a number of approaches that combine technology and cultural awareness. here are some important ways to solves these issues; 1. education: promotion of egwu ogene within communities to ensure that younger generations learn about the authentic nature of the music is important. this can include detailed music education programs on igbo-african music and community workshops that integrate culture into the igbo-african child. educating the younger generations on how to integrate their culture into the digital world is also important. 2. marketing and promotion: strategies should be developed to promote egwu ogene musicians on digital platforms. this includes making use of social media, streaming services and online forums to reach a more global audience. 3. digital archives: establishment of digital archives dedicated to preserving ogene music, and igbo cultural music is important. these archives can be used as valuable resources for research, education and cultural preservation. more can still be done and it is the responsibility of researchers, scholars and the government agencies put in place for cultural affairs to critically observe and assess the ways cultural music can remain authentic and thrive in a digital economy. the focus of this seminar is ejyk nwamba who is an ogene musician but of course, there are more profound cultural art and music imbued with its own philosophies and are being taken out of context in this digital world. the recommendations of this study also apply to them. references baltzis, a.g. (2005). globalization and musical culture. act musicologica, 77(1), 137-150. ibagere, e. (1994). "taxonomy of african traditional modes of communication" in tosanwumi, j and ekwuazu, h. (eds.). mass communication: a basic text. ibadan: caltop publishers. ferguson, m. (1992). the mythology about globalization. european journal of communication, 7, 69-93. lo-bamijoko, j.n. (1987). classification of igbo musical instruments, nigeria. african music: journal of the international library of african music, 6(4), 19-41. nnam, g.n. (2021). beyond ritual and entertainment: ethnography of egwu ogene in enugu south-east, nigeria. journal of nigerian music education 13, 190-215. nzewi, o. (2000). the technology and music of the nigerian igbo ogene anuka bell orchestra. leonardo music journal, 10, 25-31. parviahen, p., tihinen, m., kaariainen, j & teppola, awka journal of research in music and the arts (ajrma) vol. 16, september 2023 70 sachs, c. and hornbostel, e. v. (1940). history ofmusical instruments. london: j. m. dent. susanna. (2017). tackling the digitalization challenge: how to benefit from digitalization in practice. international journal of information systems and project management, 5(1), 63-77. online sources gartner, g. (2023). information technology glossary. gartner glossary. https://www.gartner.com/en/information-technology/glossary/digitalization retrieved 3:32 pm, 2023-09-21. guardian, n. (2023-01-02). ejyk nwamba opens up on humble beginnings. the guardian newspapers. https://guardian.ng/arts-2/ejyk-nwamba-opens-up-on-humblebeginnings/amp/ retrieved 5:30 pm, 2023-09-23. warner, g. (2020-07-10). ogene & oja: talking instruments of a playful igbo crew. garland magazine. https://garlandmag.com/loop/ogene-oja/ retrieved 1:00am, 2023-0923. vanguard, n. (2023-01-01). why i promote my culture through music. vanguard media limited. https://www.vanguardngr.com/2023/01/why-i-promote-my-culture-throughmusic-ejyk-nwamba/amp/ retrieved 5:40 pm, 2023-09-23. online, tribune (2023-02-04). "meet ejyk nwamba, the musician behind your favorite ogene songs". nigerian tribune. https://tribuneonlineng.com/meet-ejyk-nwamba-themusician-behind-your-favorite-ogene-songs/ retrieved 2:45 am, 2023-09-22. https://www.gartner.com/en/information-technology/glossary/digitalization https://guardian.ng/arts-2/ejyk-nwamba-opens-up-on-humble-beginnings/amp/ https://guardian.ng/arts-2/ejyk-nwamba-opens-up-on-humble-beginnings/amp/ https://garlandmag.com/loop/ogene-oja/ https://www.vanguardngr.com/2023/01/why-i-promote-my-culture-through-music-ejyk-nwamba/amp/ https://www.vanguardngr.com/2023/01/why-i-promote-my-culture-through-music-ejyk-nwamba/amp/ https://tribuneonlineng.com/meet-ejyk-nwamba-the-musician-behind-your-favorite-ogene-songs/ https://tribuneonlineng.com/meet-ejyk-nwamba-the-musician-behind-your-favorite-ogene-songs/ https://tribuneonlineng.com/meet-ejyk-nwamba-the-musician-behind-your-favorite-ogene-songs/ https://en.m.wikipedia.org/wiki/nigerian_tribune 234 advocating music as a tool for preservation of language isaac yekini-ajenifuja, department of theatre arts and music lagos state university, òjó & adéolúwa okùnadé, department of music, university of port harcourt abstract the ethos, norms, and values of each culture of the world are embedded in the language which is predominantly used by the people for communication. some of the languages today, especially in africa are fast becoming endangered. this is because the language of the colonial masters has taken over the indigenous languages in most african countries. consequently, such language (indigenous) remains on the path of extinction while the „masters‟ languages are given good recognition and generally accepted for use. considering the fact that the world is now a global village, no culture should be left unrecognized on the world map. music, which is a widely accepted means of expression, can therefore shoulder such language(s) to get a wider coverage and acceptability in the global world. this paper therefore, examines the role music plays in language and how music can be used as a tool for its propagation and preservation. introduction culture is a unique phenomenon that reveals the identity of a group of people. the people of the same culture are known to have certain things in common which includes belief, language, music, costumes among others. however, language and music are the major features in culture. they are fundamental because they are used as means of communication or interaction among the people, and also as basic elements of communal identity. for instance, people who cannot communicate or interact with one another definitely cannot live together. the union that exists among the people depends on the level of their communication. language can either be in verbal or sign communication. verbal communication is the composition or arrangement of letters to form words, words to form sentences, and the appropriate use of sentences to make good communication. in the use of language, the appropriate choice of words and sentences is also very important. the awka journal of research in music and the arts (ajrma) vol. 9 2013 235 people living in the same community over ages learn their language appropriately and also train their young ones to do the same. some of these languages are known globally while some are known only in their localities, especially communities that have oral tradition as major form of record keeping. on the other hand, music is a universal phenomenon just like language. it exists only in terms of social interaction and it is a learned behaviour. it involves the behaviour of learned individuals and groups of individuals (merriam, 1964). music is a part of culture that is given high profile especially among the africans. its uses are enormous, though it strictly depends on the societies. music is used as a means of transfer of values of a community from one generation to the other. its uses are not only seen as social interaction but as means of documentation of communal values. it involves all other areas of interaction in the communities such as religion, recreational and rites, among others. however, music remains the application of sounds that reflect the values of the society where it is established in order to stimulate the emotion of its audience to a reaction (yekiniajenifuja, 2004). arguably, language is a major factor in music. it is incorporated into music to properly touch the emotion of the people. although sound (instrumental) could also perform the same function but music with language (vocal) is more unique and fundamental to the people in terms of communication than music without words or text. this affirmation does not mean that instrumental music does not have its place in societies. there is instrumental music that communicates as well. if people can communicate and understand themselves in the local languages, there seems to be more confidence in the relationship that exists among such people in the global market. in this era where foreign civilization is introduced to africa by the colonial masters to the extent that english language has become a major tool of instruction and communication, and the indigenous ones become inferior, music can be used as a tool to resurrect these languages. the presence of the europeans in nigeria is still felt till date that most learned citizens are euro-literate cultured in european values traditions and concepts to the extent that the medium of communication in their households is the language of the „masters‟. the europeans have therefore succeeded in moving africans away from afro-literacy to euro-literacy. this has eaten so deep into the fabrics of the society that, most of the citizens have in one way or the other become eurocentric in their behaviours. the entertainment industry in nigeria is not absolved of this, as most of the artistes in this industry imbibe all sorts of foreign styles in their arts hook, line and sinker. however, interestingly enough, there are some popular musicians who are now making use of the indigenous languages in their music. the hip-hop musicians in nigeria for instance, are incorporating these languages that some of the vocabularies are now generic in the continent. the dearth of indigenous languages in nigerian society can also be traced to the introduction of the present „modern‟ educational system and approach of the missionaries and the colonial masters. for instance, fafunwa (1991) records that prior to 1925, the british government had no clearly defined policy on education on its african colonies. the best they could do that time reflected in the first statement made by the british privy council‟s committee on education in 1847 when it vaguely referred to the need for „securing better condition of life and development of the african as a peasant on the land‟. 236 the british government supported the mission schools who were the main proprietors, and the approach was western in everything. the school boys were encouraged and „brainwashed‟ to see themselves as europeans and therefore did everything in english ways, and considered the indigenous practices not only inferior, but satanic, barbaric, and idolatrous. the school boys were also used as choirboys in the church. they were introduced to english songs; hymns, anthems, for a very long time. this really ate deep like cancer into the pupils that everything about them must be english. the missionaries were also seen as super humans who did not belong to the homo sapiens specie. what is language? according to webster dictionary (1998) “language is viewed abstractly as a system of forms and conventions used for communication in a community”. primarily, language could be the use of words, their pronunciation, and the methods of combining them to make meaning to the community where it is established. language could also be in form of signs (arts) or symbols adopted by communities, and professionals for easy communication. in some world cultures, language and music are used as means of documentation and also as a means of expressing their values. in doing that, language becomes a major symbol of their communication. that is why akpabot (1986) says „african music borrows much from vocal music which in turn is tied to speech melody and speech rhythm‟. speech melody and speech rhythm are inter-related. language or its speech rhythm then becomes a major factor of consideration in music composition in africa. every community has its language and such language could be peculiar to it or relative to other close communities. for instance, the yorùbá, southwestern nigeria has a general yoruba language that is common to all, but each sub-ethnic group still has its own variety, which are derivatives of the central one. there are languages that have gained international recognition and uses, for example, english, spanish, french, german, russian, chinese, arabic, and portuguese. some have also gained regional identity such as hausa language which is widely spoken in northern nigeria and in some other parts in africa. the yoruba language is also widely spoken in western nigeria and in some other parts in africa, cuba, and brazil. but, there are some languages that are not known outside their domain, but through music such languages have become generic. through contemporary music, some vocabularies have become generic among societies outside the original speakers‟ environment. for instance, the word „igwe‟ emanated from the igbo of the southeastern nigeria, and today the whole of southern and eastern african communities have adopted this vocabulary. it is music and other similar arts that have brought this into the limelight. what is music? music is a common phenomenon in every culture. vidal (2002) identifies that “music is a play with sound, a paragon of the experience and activities of man; a reflection of those experiences and activities as well as a model to both”. music has proved to be a major fact in the life of man. it constitutes a means by which man expresses his emotions, feelings and sentiments. furthermore, man has also used it to nurture his growth, and transfer his 237 intuitions and values. in africa where music is functional, every activity and ceremonies go together with music. however, this made music to be an indispensable art in the culture. music could be in form of vocal, instrumental or both. the choice depends on its purpose or uses. in africa, instrumental music borrows much from vocal music (akpabot, 1986). however, vocal music is more in use and more meaningful because of its verbal way of communication. in the right perspective, the concept of music in africa is that of total art. it goes beyond the western concept of singing, or playing of instruments. the concept of music in africa incorporates other sister arts; dance, costume, mime, movement, poetry, hairdo, drama, and other arts that are imperatives to the artistic sensibilities of the community. relationship between language and music language and music are inseparable arts that cohabit in a way that three domains of man cognitive, affective and psychomotor domains of both performers and audience become active and functional. agawu (2003) submits: language and music occupy different levels in the hierarchy of modeling system. as the primary means of communication in the society, language is higher because it has conceptual priority over music. on the other hand, music, because it remains indispensable, and because it includes and at the same time transcends language„s more pragmatic function, often lead us into realms that are experientially higher than language (p. 2). these two arts are interwoven. language is used mostly in music to express its meaning and that is why scruton (1999) sees music as instrument of „language and emotions‟. music is divided into two; vocal and instrumental. vocal music extensively depends on language for its composition and usage. language is fundamental in vocal music and is also unique in its presentations. scruton (1999: 78) adds that: “it is language which provides us with an articulate picture of the world and which permits us to think abstractly, so emancipating our thought from present experience and present desire.” the local language adopted in music helps in the understanding of music to a large extent. music appeals to the soul through sound but language drives home the emotional thought sound carries. language and music have adopted almost the same form of structure. but mostly music borrows much from language. in the traditional african society music is expected to give information through either instrument or vocal means. language takes a very important place in dispersing of information than instrumental means. for any information to be passed across; language is very inevitable but instrumental music even though it also passes information, its use as a language medium requires a matured mind to understand its meaning. it needs a mature mind that is already friendly with that medium. the use of language in music depends on the poetic nature of a particular community and that is what contributes to the different music of different communities. in most cases, language is set to music and on the other hand music is also set to language. however, the rules or structure of language and music must be adhered to strictly.the poet must possess the power of imagination and expression through which he expresses praise, protest, evoking the ancestral gods, making suggestions for common good, moral advices, 238 imparting knowledge, and other dictates of the society. this area of values impacts more when it is set to musical forms. the retentive factor of the value is music or else it becomes a mere talk and can easily fade away or forgotten. it is more imperative in the traditional african society where oral tradition existed as a major form of documentation. music as a tool for preservation of language it is not an overstatement to say that language and music are two elements that are jointly used for the same purpose. music uses language as accompaniment in the dissemination of information to its audience. the integration of music and language does not only influence the mode of performance, but also influences the distinctive characteristics of a singing style and its harmony (addo; miya and potgieter 2013: 236). in other words, this retains the message of the music in the minds (lives) of the audience who are members of the society. in the traditional african society, poetry, proverbs, history, literature, were memorized and recited/performed as the case may be. the immediate post-colonial experience at the primary school level in nigeria also made use of the indigenous languages as instructional tools for the pupils. part of the methodologies then, was the use of songs as instructional materials. this initially helped in preserving the languages of the society. until, recently when all and sundry considered the „masters‟ language superior to the indigenous ones. since an average african child lives in music from cradle, it is paramount that the use of music without doubt, will not only preserve the language, but, in addition shall make it more popular outside its immediate domain. most of the folklores, tales and educative songs that are transmitted from generations to generations can still be used by the artistes if well handled that it will still appeal to the members of the society. though, the verbal meaning encapsulated in song texts may only be understood by the community that performs it or owns the language, because the hidden nuances of songs that incorporate proverbs, riddles and references are typical or unique to specific communities addo et al (2013:238). the fact remains, however, that values and ethos of the society which are healthier to the survival of the society at large are integrated in these materials. when the indigenous languages are used in popular music, artistic sensibilities become more tenable and attractive in a way that craftsmanship involved becomes more appreciated. nzewi et al (2001) summarize text in african music as occurring on the following levels: “song, being the vocal aspects of song; meta-song, being the language of instruments‟ visual poetry of dance, being the choreographed metaphor; extra-musical, being the symbolic.” again, the educational institutions in nigeria have roles to play in preservation of the indigenous language, especially at the primary school level. for instance, most of the nursery rhymes taught in the primary schools are not only in foreign languages, but also, strange to the culture of the environment. to buttress this, samples below compare the educational benefits the pupils would derive: rain, rain go away, rain, rain go away, come again another day little jerry wants to play. 239 òjó nro, sere ninu ile òjó nro, sere ninu ile ma wonu ojo, ki aso re ma ba tutu ki otutu ma ba mu e translation: it’s raining, play indoors it‟s raining, play indoors stay not in the rain to avoid wet clothing to avoid cold/fever the emphasis from the above is that the first rhyme in english language is mere entertaining, and this is more common of the rhymes that are not indigenous derived. most rhymes from african environment are not only educative; they are also beneficial in one way or the other to the growth of the child. rhymes remind and refresh minds of the children of the community about the dos and don‟ts of the community. civic education studies are taught through such rhymes. in the spheres of contemporary music, it is becoming more evident that nigerian indigenous languages are becoming more popular not only in the country, but outside the country as well. the popular midnight crew song that had fusion of both foreign and indigenous languages is so popular that the hit track in the music is the one that makes use of the indigenous language. most of the post colonial musicians in nigeria made use of the indigenous languages in their music, and till date the music remains evergreen, to the extent that the younger musicians are now remixing some of these hit tracks. conclusion it is imperative here to note that one major characteristic of homo sapiens is that they are both rational and social beings, among other things. this means that they live purposely in an organized socio-political environment, which is arguably induced by the need to attain some common good, pursue common interests, or for the purpose of self-preservation (fasiku (2008:83). this cannot be achieved however, if there is no cohesion among the members of the society. in the traditional african society the society leans on musical arts performance as one of the tools in achieving this common goal of the community, and this also involves the use of language of the community in transmitting these goals. the easiest way of record keeping in the traditional society is through music, especially vocal music. one of the means of keeping the norms and values that are healthy to the modern nigerian society therefore, is to encourage educational institutions, artistes and other art practitioners to make use of the indigenous languages in their works. it is evident that this effort has innate benefits in technological advancement of the developed nations. for instance, japan and china that are now becoming world leaders in technological advancement did not embrace foreign languages; before the technological advancement of these nations, their arts were not premised on foreign languages. 240 references addo, o. a., miya, f. and potgieter, h. (2003). integrating the arts. in a. herbst, m. nzewi, k. agawu (eds.), musical arts in africa: theory, practice and education, 238-261. south africa: unisa press. akpabot, s. (1986). foundation of nigerian traditional music. ibadan: spectrum books ltd. agawu, k. (2003). defining and interpreting african music. in a. herbst; m. nzewi; and k. agawu (eds.), musical arts in africa: theory, practice and education, 1-12. south africa: unisa press. fafunwa, a. (1991). history of education in nigeria. ìbàdàn: nps educational publishers ltd. fasiku, g. (2011). a philosophical understanding of ethnic grouping in nigeria. in a. alao and t. babawale (eds.), culture and society in nigeria: traditions, gender relations and political economy, 83-100. lagos: concept publications ltd. merriam, a. p. (1964). the anthropology of music. evanston; illinois: northwestern university press. nzewi, m; anyahuru, i. and ohiaraumunma, t. (2001). beyond song texts: the lingual fundamentals of african drum music. research in african literatures, 90-104. scruton, r. (1999). the aesthetics of music. britain: oxford university press. vidal, a. o. (2002). music, culture and national development”. a paper presented at adeniran ogunsanya college of education, otto-ijanikin, lagos. webster, merriam (1998) collegiate dictionary (10th ed.) massachusetts: encyclopedia britannica company. yekini-ajenifuja, i. a. (2004). structural organisation and musical style in the bata drum ensemble of the awori people in ijaniki, lagos state. unpublished masters‟ dessertation, obafemi awolowo university, ile-ife. 38 awka journal of research in music and the arts (ajrma) vol 17 june 2024 effect of adolescent growth spurt on students’ choice of music in secondary schools in idemili north local government area adaora. u. echezona department of music university of nigeria, nsukka email: adaora.echezona@unn.edu.ng 09029562557, 08061630959 abstract the study was on the effect of adolescent growth spurt on students’ choice of music in secondary schools in idemili north local government area. the design was a qualitative research design. two research questions guided the study. seventy-five students from three schools in idemili north of anambra state were used for the study. the class from which the students were elected is upper basic class 3. this is to ensure a true representation of the adolescents. twenty-five students (male and female) were drawn from each school. this accounts for adequate representation of the genders. all the schools are public schools and offer music as an aspect of cultural and creative arts up to upper basic class 3. the same curriculum is used in schools. these students were interviewed using an interview schedule to gather information from them. it was found that parents do not encourage their wards to be serious with music instruction. some of the parents do not even want their children to speak about music let alone choose it as their school subject. the parents are of the opinion that music is meant for unserious people and good for nothing students. even some students believe that they do not have good voice for music activities even to play the instruments is also a big problem. it was recommended that music teachers should take cognizance of students' individuality bearing in mind their developmental differences in teaching music in secondary schools. keywords: adolescence, growth, spur introduction music education in nigeria deserves critical approach to prepare the products of the system for effective practice. one of the objectives of music education is to provide students with both an understanding of and experiences in and with sound so that they can learn to express themselves musically, it stands to reason that students need to engage with both music conceptual knowledge and practice. most music educators agree on the intellectual and cultural importance of music. music joins languages, mathematics, science, the humanities, and the other arts disciplines both as a basic mode of thought and work and as an avenue for achievement. because music is both an expression of civilization and a unique form of communication with its own body of knowledge and skills. music learning not only increases knowledge and enjoyment of music but also enables the student to gain fuller access to the world. it expands individual potential. (the basic value of music study, 12/1999). no human society has existed without music, and many people experience music as a crucial aspect of their everyday lives. music offers numerous personal and social benefits, including improvement in cognitive-emotional awareness, enhanced self-regulating behaviour, and enhanced social responsibility (hargreaves and north, 1999; north et al.,2004). perhaps because music is one of the most demanding tasks for the human central nervous system, we are affected by it and intrigued by it (davidson et al., 2002). 39 awka journal of research in music and the arts (ajrma) vol 17 june 2024 much more than entertainment, early musical training helps develop the brain as involved in language and reasoning. there is also a causal link between music and spatial intelligence (the ability to perceive the world accurately and to form mental pictures of things). a study of the arts provides children with an internal glimpse of other cultures and teaches them to be empathetic towards the people of these cultures. in music, a mistake is a mistake; the instrument is in tune or not, the notes are well played or not, and the entrance is made or not. it is only by much hard work that a successful performance is possible. through music study, students learn the value of sustained effort to achieve excellence and the concrete rewards of hard work. music study develops skills that are necessary for the workplace. it focuses on "doing," as opposed to observing, and teaches students how to perform, literally, anywhere in the world. employers are looking for multi-dimensional workers with the sort of flexible and supple intellects that music education helps to create as described above. in the music classroom, students can also learn to better communicate and cooperate. with what all music brings us, music learning is our best choice for improving ourselves physically and spiritually (phillips, 2002). in the secondary school system, the students are at the developmental stage of adolescence or adolescence growth spurt. there is often conflicting interest both for male and female students in their choice of music as a school subject. statement of the problem adolescence is characterized by several cognitive, emotional, physical and attitudinal changes, which can be a cause of conflict on the one hand and positive personality development on the other hand. it is a distinct period of human growth and development situated between childhood and adulthood (caskey & anfara, 2014). puberty changes vary with gender. male and female students perceive these problems differently. the music teacher's understanding of the process can be helpful for both the teacher and the students. the ability of the teacher to reassure the students that the changes are normal growing traits that may not last forever can make a lot of difference. adolescence adolescence is derived from the latin word adolescence meaning to grow up. world health organization (who, 2014) defines adolescence as the period in human growth and development that occurs after childhood and before adulthood, from ages 10 to 19. it represents one of the critical transitions in the life span and is characterized by a tremendous pace of growth and change that is second only to that of infancy. adolescence is a transitional stage of physical and mental human development generally occurring between puberty and adulthood. biologically, adolescence can be defined as, the physical transition marked by the onset of puberty and the termination of physical growth; cognitively, as changes in the ability to think abstractly and multi-dimensionally; or socially, as a period of preparation for the adult role (anyamene, 2014). an adolescent is a person between the ages of 13 and 19. the end of adolescence and the beginning of adulthood varies by country and by function, and even within a single nation-state or culture, there can be different ages at which an individual is considered to be (chronologically and legally) mature enough to be entrusted by society with certain tasks. such milestones include but are not limited to, driving a vehicle, having legal sexual relations, serving in the armed forces or on a jury, purchasing and drinking alcohol, voting, entering into contracts, completing certain levels of education and marrying. 40 awka journal of research in music and the arts (ajrma) vol 17 june 2024 adolescence is usually accompanied by increased independence allowed by the parents, or legal guardians and less supervision, contrary to the pre-adolescent stage. the feelings of adolescents at a particular period depend on social pressures and societal norms which play a big role in pressuring how adolescents feel about their body image especially when the changes begin to take place. the home environment (parents) and the school environment (teachers) are very important for the behaviour and choices of adolescents. adolescents who have a good relationship with their parents and teachers are less likely to engage in various risky behaviours, such as smoking, drinking, fighting, dodging classes and loose sexual behaviours. adolescents are more flexible than younger children in conflict with their parents and teachers but more hostile and rigid compared to adults. the causes of conflicts are often about the extent of parents‟/teachers‟ control and supervision towards them, chores, school work, and their right to privacy. at this stage, many adolescents may view their friends and peer group as more important than their parents/teachers. puberty changes puberty is the process of physical changes by which young boys‟ and girls‟ bodies mature into adult bodies capable of fertilization through sexual reproduction. it is several years in which rapid physical growth and psychological changes occur, culminating in sexual maturity. the average onset of puberty is between 10 or 11 years for girls and 12 or 13 years for boys. every person‟ 's timetable for puberty is influenced primarily by heredity, although environmental factors, such as diet and exercise, also exert some influence. some of the most significant parts of pubertal development involve distinctive physiological changes in an individual‟ 's height, weight, body composition, and circulatory and respiratory systems. puberty begins with a surge in hormone production, which in turn causes several physical changes. it is also the stage of life in which a child develops secondary sex characteristics (such as a deeper voice and larger adam‟s apple in boys, and the development of breasts and more curved and prominent hips in girls) as his/her hormonal balance shifts strongly towards an adult state (anyamene, 2014). according to new zealand family planning (2016), these changes are caused by hormones which are chemicals produced by the body. during childhood, the most significant changes in the voice result from the rapid growth of the larynx, the vocal folds and the surrounding support structures. at birth, the membranous length of the vocal folds is around 2mm in males and females. before puberty, the larynx of boys and girls is about equal small size (www.familyplaning.org,nz). this explains why young choir boys of pre-puberty age sing soprano parts and other parts meant for a female until their voices get deeper at puberty. likewise, pupils (both boys and girls) in lower basic and partly upper basic classes in nigerian schools sing the same pitch without much difference in their vocal production. the voice box or larynx grows in both sexes but the growth is more prominent in boys causing the male voice to drop and deepen about an octave lower because the longer and thicker the vocal folds, the lower the fundamental frequency. the female voice also changes and can take up to four years to fully change and this generally begins between the ages of ten and fourteen (leedberg, 2012). at puberty generally, there is a remarkable increase in body size in both sexes. boys and girls differ in stature. girls experience their adolescent growth spurt and peak height velocity on average of about two years earlier than boys but the growth spurt of boys lasts longer and is worth more intensive than in girls. subsequently, boys tend to catch up and then pass the growth period of girls (booms, 1986). 41 awka journal of research in music and the arts (ajrma) vol 17 june 2024 research in the united states of america, korea and australia has shown that the societal norm is that girls should be thin and for those who are not as thin as others, self-esteem may take its toll‟ (chinappi, 2012). but in africa, the female gender due to the development of certain erotic parts of their bodies as puberty sets in makes them start feeling on top of the world whereas they are not adequately equipped for adulthood. they feel excited and eager to belong. the major landmark in girls during puberty is menarche, the onset of menstruation which occurs on average between twelve and thirteen years. to the boys, there is a general feeling of awkwardness as the changes do not come all at once. their major landmark is their first ejaculation at about an average age of thirteen and the voice break while other noticeable developments include; maturation of the secondary sex characteristics, development of facial and body hairs, pubic hairs, and development of the testes and muscles. both sexes experience a lot of pimples (acne) on their faces which diminishes at the end of puberty. these skin eruptions can plague the self-confidence of the male adolescent as painfully as that of the female adolescent. puberty starts at different times and lasts for different periods for everyone. this is sometimes very difficult for young boys and girls as some of their peers may have entered and completed puberty before they have even started (brown, 2013). adolescent growth spurt the adolescent growth spurt is the fast and intense increase in the rate of growth in height and weight that occurs during the adolescent stage of the human life cycle. this growth practically occurs in all of the long bones and most other skeletal elements. the human adolescent growth spurt is the rapid and intense increase in the rate of growth in height and weight that occurs during the adolescent stage of the human life cycle. the human adolescent growth spurt is noted in virtually all of the long bones of the body and most other skeletal elements. the major exception is the female pelvis, which follows a smooth and continuous increase in size until adulthood. no other primate species, including the chimpanzee, is known to have such a global post-pubertal increase in skeletal growth velocity. male chimpanzees usually have a spurt in body mass at puberty, due to rapid muscle growth. in humans, the hormones responsible for sexual maturation also cause adolescent growth spurt in stature and other skeletal dimensions and promote the adolescent life history stage. the growth spurt, which is a notable feature of the human adolescent growth stage, but not the only defining characteristic, begins on average at 10.0 years for girls and 12.0 for boys, however, there is considerable variation between individuals and populations. the intensity and duration of the spurt are, on average, greater for boys than for girls, and this accounts for the average sexual dimorphism of 11-13 cm in height between adult men and women. up to 10% of clinically normal girls, usually those who sexually mature at a late age, experience a small or absent growth spurt. the adolescent spurt and growth of the skeleton end at about 18-19 years for girls and 20-22 years for boys, and with this adulthood, or the reproductive stage of life history, begins. the adolescent growth spurt refers to the rapid increase in height and weight that begins with puberty, lasts throughout adolescence, and stops with the cessation of linear growth. the spurt precedes and follows a series of hormonal, physiological, psychological, and behavioural changes that turn juvenile males and females into reproductive adults. its age of onset will vary by sex, and across populations, and children in developed nations have experienced a secular reduction since the second half of the nineteenth century. the adolescent growth spurt may be species-specific and may have appeared with homo sapiens approximately 125,000 years ago in africa. 42 awka journal of research in music and the arts (ajrma) vol 17 june 2024 going through puberty can have a significant impact on athletic performance in both positive and negative ways. while increases in body size, hormones, and muscle strength can improve athletic performance, there may be a temporary decline in balance skills and body control during the ags. quick increases in height and weight affect the body's centre of gravity. sometimes, the brain has to adjust to this higher observation point, and a teen may seem a bit "clumsy." this phase is especially noticeable in sports that require good balance and body control (e.g. figure skating, diving, gymnastics, basketball). in addition, longer arms and legs can affect throwing any type of ball, hitting with a bat or racquet, catching with a glove or lacrosse stick, swimming and jumping. coaches and trainers who are aware of the ags can help reduce athletic awkwardness by incorporating specific aspects of training into practices and training sessions. theoretical framework there have been some propounded music learning theories which if carefully applied can go a long way in enhancing the situation of music teaching and learning among adolescents. a child-oriented theory evidenced in the works of rousseau, pestalozzi, frobel and john dewey cited in kodaly (1974) emphasized the quality of expression, feeling and involvement of the child in music performance. the teacher‟ 's attention should be focused on the student as an enjoyer, explorer and discoverer in music class rather than as an inheritor. this gives more latitude and greater relevance to the behavioural theorists who provide extremely useful ways of understanding how developmental changes in behaviour and thinking occur and why behavioural problems arise in some learners. once the teacher understands the developmental changes in the student and becomes his/her facilitator, adviser, and stimulator, the student rediscovers his/herself and moves forward. the traditional values theory by swanwick (1988) also focused on the students and emphasizes that learners need to master relevant skills and information as inheritors of a set of cultural values and practices in other to take part in musical affairs. kodaly (1974) philosophical view also falls within this theoretical framework. this theory stresses commitment to the value of active involvement of the students in learning especially in performing music. it is an ideal theory that will help the teacher go through the process of passing knowledge with confidence to the learner and at the same time render an advisory role to them. this also goes to buttress the cognitivist belief that understanding how learners think is crucial to understanding their development because learners‟ perceptions of events often determine how these events affect them. they emphasized that a teacher is expected to employ the discovery method of teaching. this will enable a learner to reorganize his perceptions and previous learning experiences to gain unique or discover new relationships for himself. studies have shown that adolescence in africa is reinforced by an active fantasy life; they strive to discover who they are as a person, their true personal characteristics, extracurricular interests, relationships and vocational interests and in the search for this unique social identity for themselves, they are frequently upset (lee, 2012). if the teacher does not do anything to bring the situation under control, the students may stray too much. many studies carried out in the area of improving students' attitudes towards music learning, especially in their adolescence stage point to the fact that music teachers have the potency to change significant psychological conditions of the student through their teaching and „provide a varied significant, and cumulative musical experience for every child (leonhard and house,1972). from the synthesis of maduewesi (1999a), ikibe (2002), obialor and uzoechi (2009) and ojukwu, (2013), the 43 awka journal of research in music and the arts (ajrma) vol 17 june 2024 following were deduced: it is the teacher’s responsibility to create or influence desirable changes in behavior or in tendencies towards behavior in his or her students; a teacher who understands that individual differences abound in the students can always apply methods that are expository and discovery oriented and can lead to self-discovery and self-assertion; it is necessary to make music lessons enjoyable and interesting through musical activities so that learner’s interest could be sustained and developed since their active participation help to create motivation and a sense of belonging; the teacher should employ active learning strategies and methods to enhance learning, by so doing the primary responsibility for creating and/or applying knowledge is placed on the shoulder of students; teachers should employ the ingenuity, natural and acquired experiences in exercising their duties in the classroom through the use of variety of learning principles and methods in other to sustain the students‟ interests in music; and there is need for the teacher to create an active classroom learning environment that will facilitate active learning and enhance transfer of knowledge. the review discussed some concepts, learning theories and some empirical findings relevant to this study. the conceptual framework was based on adolescents and the changes they encounter during puberty. it was discovered that the way these changes exert challenges in adolescents differs. in the theoretical framework, discussions were made on different theories that support the fact that teaching and learning should take cognizance of developmental stages in adolescents and therefore should be geared towards recognizing individual differences of the students. the empirical review showed some works of musicologists supporting that the teaching and learning of music are better approached from a practical angle involving vocal, instrumental and other aspects of applied music that require students‟ participation to a large extent. students' attitude towards music learning especially in their adolescent years is not encouraging, therefore, the theoretical review as already shown above and the result of studies carried out empirically point towards a music teaching and learning that needs urgent reappraisal and new commitment, especially on the part of the teacher to achieve all the intended goals. the purpose of this study is to explore the problems that male and female students encounter in music learning during puberty. during early adolescence, dramatic physical changes take place which include growth spurts, reproductive system development, the appearance of secondary sex characteristics, an increase in muscle strength and redistribution of body weight. this paper also seeks to investigate the methods needed at this stage for students; the development for effective teaching and learning and most especially the competencies of music teachers who execute the job of teaching musical skills. the need was therefore felt for a more thorough investigation into problems of this age as it concerns music teaching and learning. the findings from this study will serve as a valuable tool in solving the problems encountered by the classroom music teacher at this level of student’s development as they will draw useful inferences and utilize them for more effective teaching and learning. the result will be insightful towards providing a solution for both the male and female gender who want to take up a career in music. it will also offer solutions towards making the upper basic class students participate actively in the music class. in other to achieve a thorough empirical study, the following questions are postulated to help in the investigation: 1. what are the problems encountered by adolescents in secondary schools which hinder their active participation in music class? 44 awka journal of research in music and the arts (ajrma) vol 17 june 2024 2. what are the expected competencies needed by the music teacher who teaches adolescent students for effective teaching and learning to take place? methodology the design was a qualitative research design. seventy-five students from three schools in idemili north of anambra state were used for the study. the class from which the students are selected is upper basic class 3. this is to ensure a true representation of the adolescents. twenty-five students both (male and female) were drawn from each school. this accounts for adequate representation of the genders. all the schools are public schools and offer music as an aspect of cultural and creative arts up to upper basic class 3. the same curriculum is used in schools. these students were interviewed using an interview schedule to gather information from them. the answers provided by them were used in the discussion section. discussion it was discovered from the students that their parents do not encourage them to be serious with music instruction. some of the parents do not even want their wards to speak about music let alone choose it as their school subject. the parents are of the opinion that music is meant for unserious people and good for nothing students. even some students believe that they do not have good voice for music activities even to play the instruments is also a big problem. this is because ones need to be very skillful in play some of the music sophisticated instrument. it was also discovered that teachers that teach cultural and creative arts do not possess the competencies to teach music aspect of cultural and creative arts. this is because most of the teachers that teach cultural and creative arts are teachers that studied visual arts. most of them do not have knowledge of music let alone teaching it. the present study gives a picture of adolescents, ' music-learning activity during puberty. the study points out some implications. it shows that different genders and individuals react differently to the same content being presented in the class even by the same teacher. oraegbunam (1998) notes that individual differences in learning account for this differential attention to the instructional presentations. this provides imperative for music teachers to take cognizance of students' individuality bearing in mind that students come from different cultural backgrounds, social statuses, religious beliefs et cetera. ugo-okonkwo (2014) believes that for the individual learner to proceed at his/her pace, he or she should be treated as an individual. every person is a unique individual and shares unique characteristics that are peculiar to him/her. certainly, individual differences exist among individuals and between the genders. the differences are not only physical variations in height, weight or shape but also include variations in intelligence, temper, interest, needs aspirations, attitude, aptitude, et cetera (maduewesi, 1999b). problems associated with adolescents at puberty also vary with the genders and individuals. home environment, parents and teachers are still important for the behaviour and choices of adolescents. as can be seen in the analysis, 70% of the respondents can cope with the challenges of puberty because their parents assured them they would experience rapid growth during puberty. this calls for a good and close relationship between parents and their adolescent children. anyamene (2010) posits that adolescents who have a good relationship with their parents and teachers are less likely to engage in various risky behaviours since the topic of conflicts between them and their parents and teachers is often about the extent to which parents/teachers can control and supervise their chores, schoolwork, curfew and their right to privacy. the music teacher‟ 's understanding of the process can be helpful for both 45 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the teacher and the students. if the teacher does not do anything to bring the situation under control, the students may stray so much. the music teacher ought to understand this intense emotion and internal conflicts in the life of adolescent students and should provide opportunities for the students to think through their conflicts (ojukwu & esimone, 2014). from the analysis, teachers’ mastery of the subject matter, as well as the students they teach, are important issues affecting the teaching and learning of music in nigerian schools. there is a saying that no education in any nation can rise above the quality of its teachers hence, teachersare major determinants of their country‟s quality of education. as can be deduced from the study, the majority of music teachers lack what it takes to cope with adolescence when the puberty changes begin to take a toll on them. teachers behaviour can make students' interest increase or wane. as can be seen from the study, 83% of the students responded that the teacher became furious when they started dodging classes as the puberty changes persisted. an understanding teacher can put the opportunity to advantage by becoming friendlier with the students, discovering their challenges, advising, encouraging and assigning them to areas of music in which they have more confidence. this agrees with bearmon (2014) that learning is an intellectual process highly influenced by social interaction and situational context in addition to personal beliefs, dispositions and emotions. according to bearmon, adolescents’ learning involves interactive, purposeful and meaningful engagements rather than merely building on prior knowledge, getting them excited about a topic, reassuring them that they are capable of the work and keeping them on task. this goes to support bandura’s (1977) social learning theory in which bandura is particularly interested in the ways that people can influence the behaviour, thoughts and learning of others. the music teacher should understand that individual learners come from different homes, neighbourhoods, socio-economic classes, villages and towns and they belong to a different gender. the implication of this is that they react differently to the same content being presented in the class even by the same teacher. therefore, a music teacher should depend on many strategies and techniques to achieve set goals. this suggests that the end product of the learning for each of the learners is different and personal since learning is a personal affair. a music teacher should not treat the entire students in the class as an entity. he /she should treat each learner as a unique person and tailor the classroom instruction to take care of each individual’s potential, strengths and weaknesses. a teacher who understands that there are individual differences in students is expected to always apply mastery learning, that is, based on the principles that due to individual differences, learners learn at a different rate with different styles and that given enough time and the same opportunity in terms of materials, every child is capable of solving a given problem” (maduewesi, 1999b: 62) to institute lasting changes in the lives of the students, it is of great importance for music teachers to understand their period of adolescence and work towards making the students feel very special. this they can also achieve by constantly motivating the students. motivation is a potent tool in the hands of a music teacher. one vital motivational step in awakening the hidden potential in the students is for the music teacher to present the classroom as a place where dreams come true. students should be made to understand that these dreams are the seeds of their aspirations. buttressing the above point, ogunleye (2004) asserts that: motivational approach in the classroom should be based on the premise that when teenagers and young adults truly come to grasp themselves and whatever 46 awka journal of research in music and the arts (ajrma) vol 17 june 2024 impact their experiences of life bring to bear on their future, can they increase the control they have over their behaviour and can more easily modify and direct their energies when necessary (p. 59). an experienced music educator guides the students through a variety of classroom activities. the music teacher is expected to employ more practical music during this period. for the adolescent girls whose voices are more sonorous, the teacher gives more vocal exercises, singing and dancing to enable the girls to express themselves as they desire. but for the adolescent boys whose voices are squeaking and deepening, the teacher gives more instrumental work, indulging them in the school band playing and dancing where they will be more active. it is the responsibility of a competent music teacher to ensure at this period that nothing goes out of hand; and to strike a balance between the students‟ feelings, activities, escapades and their musical learning. the music teacher, maduewesi (1999a: 26) posits, “should know the needs and motives of children at different age levels”. the findings of the study showed that parents have great influence in their children study of music in secondary schools. students especially at adolescence stage do not regard music as an important subject in secondary schools. it was also discovered that the teachers of cultural and creative arts do not possess required competency to teach music aspect of cultural and creative arts. conclusions the findings of the study indicated that parents do not allow their wards to study music. they allow them just to study its aspect of it in cca because it is compulsory. the parents have very negative influence in their wards choice of music as a school subject. even the students which are in their adolescence stage of life do not like to engage in music activities. they like to choose subjects that will help them to study courses like medicine, law, pharmarcy in the university. it was also discovered that teachers do not possess adequate competency in the teaching and learning of music aspect of cca. this poses a lot of problems in the teaching and learning of music. the music learning has also influence among male and female students. female students do not engage in musical activities because of societal belief system. often the cultural society do not encourage females into engaging themselves in musical activities especially at the adolescence stage of life. the study accounts for changes in the lives of adolescent boys and girls and how these changes affect their music learning. the study will change as evident, some of the changes had a devastating effect on some of the students. however, some are not negatively affected particularly because they have been prepared to expect the changes. there is also a class of students who are not negatively affected. they are those who perceive that the changes put them in an advantageous position. recommendations the following recommendations were made. 1. music teachers should take cognizance of students' individuality bearing in mind their developmental differences in teaching music in secondary schools. 2. music teachers should be conversant with changes in the lives of adolescent boys and girls and how these changes affect their music learning. 3. a music teacher should not treat the entire students in the class as an entity. therefore, a music teacher should depend on many strategies and techniques to achieve set goals. 47 awka journal of research in music and the arts (ajrma) vol 17 june 2024 4. music teachers should understand that every person is a unique individual and shares unique characteristics that are peculiar to him/her. 5. to institute lasting changes in the lives of the students, it is of great importance for music teachers to understand their period of adolescence and work towards making the students feel very special. this they can also achieve by constantly motivating the students. references abrahams, f. 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(2004). uses of music in everyday life. music perception, fall, 22(1), 41-77. 103 basic techniques applied in junior secondary school clarinet teaching: a teacher’s perspective ogechukwu jacinta onyedum abstract nstrumental music learning is supposed to commence from childhood; as early as three years, as obtainable in the suzuki method of violin learning so that the learner can improve relatively faster. research has shown that students prefer music that they can watch, dance to and participate in, whereas the music taught in the classroom are mostly theory based in content and therefore is faced mainly with poor response of students while being taught in the classroom. through participant observation and consultation of relevant literature, this work investigated students‟ participation in music performance at st. jude private school, lagos; and tries to provide basic instruction that contains the concepts and fundamental knowledge of clarinet, skills, values and right attitudes towards instrumental music performance needed to play the clarinet. introduction music deals with the combination of different sounds that are pleasing to the ear. it is expressed by protnoy in idolor (2002) as: the combination of sound and rhythm by human beings to be sung or played on instruments with the task of pleasing the emotions and stimulating the intellect in accordance with the society‟s theoretical framework (p.54). in addition, onwuekwe (2017) noted that music is „the art of combining sounds or tones for reproduction by the voice or by the various kinds of musical instruments in rhythmical, melodic and harmonic forms to affect the emotions‟(p.2). in general, music can be i awka journal of research in music and the arts (ajrma) vol. 13 2019 basic techniques applied in teaching clarinet. ogechukwu j. onyedum 104 said to be a language that is universal which appeals to all when played rhythmically, melodically and harmonically in a way that it affects emotions. on the other hand, music teaching and learning are faced with miriads of problem; however, there are different measures that can be taken to enhance the learning of music in schools. learning is a fundamental process of life engaging, affecting all forms of behavior skills, knowledge, attitudes and personality. the term learning is very comprehensive and it covers a wide range of activities which cannot be explained within a limited frame work; hence the need to take a brief look at what it entails. the concept of learning learning as a concept is a worldwide phenomenon; practiced all over the world; taking place at all times and in all things. learning according to burns (1995) is “a relatively permanent change in behavior which includes both observable activity and internal processes” (p.12). in same view ekeruo, et al in sam (2006) support that “learning is a relatively permanent change in behavior,” but added that it is “as evidenced by a change in performance through practice” (p.21). music pedagogy music pedagogy according to ogbeide (2018:467) is defined as “the act or process of imparting musical knowledge and skills on students.” her definition highlights two key factsimparting musical knowledge and skills on students. in another earlier definition, ekwueme (2010) noted that music pedagogy is closely associated with the teacher, teaching methods, and learning environment, as well as the overall climate in which the process of education takes place. hence, from her view of music pedagogy closely associated with the teacher, teaching methods, teaching-learning materials, it therefore requires adopting the teaching method that will motivate and enhance what ojukwu (2011:58) termed the teacher-centered teaching known as expository method and the learner-centered teaching called the basic techniques applied in teaching clarinet. ogechukwu j. onyedum 105 discovery method. observing this method of teaching will enhance and motivate the learner‟s ability of engaging themselves in musical experiences and performances. in line with this, onyiuke (2003) noted that: within the music class the teacher should make adequate effort to establish a favorable musical knowledge, understanding and responsiveness. the teacher should provide both stimulating and challenging environment where the child [the learner] can explore to achieve his/her objectives (p.69). music pedagogy is the process of attending to the learner‟s needs, experiences, feelings and making specific interventions to help the learner improve maximally and be effective in learning particular things. thus, the efficacy of music pedagogy is that it is the process of music teaching, learning and training the learners/students in acquiring musical knowledge, skills, principles and values in order to be sensitive to music and be useful members of the society. performance pedagogy ekwueme (2012) defines performance as an act of doing or performing a task. his definition highlights one key factpreforming a task. the task might represent singing or playing musical instrument in a concert or having musicians performing before an audience. pratt (1995) in onyiuke (2006:40) had earlier posited that performance, whether by singing or playing an instrument, is one of the two principle means of developing and sharing musical skills, creativity and understanding. hence, performing by playing musical instrument is an effective way of developing student‟s musical skills and creativeness that enhance the development of musical understanding. campbell & scott-kassner (2010) assert that: making music is equivalent to playing musical instruments. because musical instrument are extensions of the musical self, when children play basic techniques applied in teaching clarinet. ogechukwu j. onyedum 106 they are often demonstrating what they know and can express musically. to play a musical instrument is to deliver to others ideas that are not easily expressed verbally (p.218). in the same vein, the playing of a musical instrument can precede and later coincide with the reading and writing of notation. nketia in ezeugwu (2016) agrees to this view as he states that performance opportunities provide the learner with “exposure to musical situations and participation more than formal teaching” (p.6). musical performances often attract wide and open participation and at such, when student participate practically with their musical instrument, it enhances effective learning. why count rhythms when they can be felt and played on a musical instrument? why learn staff notation when the symbols can be realized musically? a chinese proverb says “tell me, i will forget, show me i might remember, involve me and i will learn”. onwuekwe (2007) rightly observed that: learning takes place best when children are involved in the teaching-learning process. for the young learner, music should be the discovery of musical soundwhat it is like, what produce it, how he might respond to it, how it is organized and how he might manipulate it (p. 29). students begin to learn when they are deeply involved in the learning situation. for instance, in learning the clarinet, to get the students involved, substantial attention should be given to method of teaching and learning of how to play clarinet. it is essential to always have a starting point. for beginner‟s, learning should progressively be arranged from simple to more complex learning. to achieve this, the learners/ students must practice severally and master one task effectively before delving into another one. basic techniques applied in teaching clarinet. ogechukwu j. onyedum 107 theoretical framework this study is based on edward thorndike‟s connectionism theory (trial and error theory). discussing this theory, alao &ademiyi in agu & okpara (2017:29) observed the following: 1. law of readiness: once a person is motivated to embark on a task, doing it brings satisfaction to the actor or learner. 2. law of exercise: thorndike‟s promotes repetition because it leads to learned association. constant practice is needful if an action must be mastered and not forgotten. lack of practice leads to forgetfulness. 3. law of effect: thorndike is of the view that any action that produces satisfying effect will certainly be repeated. the music teachers must learn how to motivate students to learn and participate effectively in the learning process. this can also be achieved through operant conditioning learning theory propounded by b. f. skinner in modifying the students behavior through the use of reward, positive and negative reinforcement like commending any positive effort or improvement of the student‟s with positive remarks such as „very good‟, „good effort‟, „good attempt‟, „great‟, „well done‟, etc. while negative reinforcement should be administered with caution and as a last resort to avoid discouraging the students‟ effort of learning how to play musical instruments. the clarinet the first iteration of the modern day clarinet was invented around the year 1700. the word „clarinet‟ by itself always refers to the bb clarinet. however, there are several different types of clarinets and the most common are; bb clarinet, eb clarinet, a clarinet, the bass clarinet, the contrabass clarinet, the contra-alto clarinet and the alto clarinet. clarinets are used in all types of music and each clarinet has its own unique sound and, therefore, its own applications. however, for the purpose of this study and for a beginner, it is advised that you basic techniques applied in teaching clarinet. ogechukwu j. onyedum 108 start with the very common bb clarinet which is the best one to learn first and it will be the one you use the most by far. after that you can determine which other clarinet that will suit your individual needs clarinet accessories and setting up routine according to bennett (2006:6), it is important to know that your complete outfit should include: upper joint, lower joint, bell, mouthpiece, reed, mouthpiece cap, barrel, ligature, cork grease and pull-through cleaning cloth (see appendix). before you play you must learn how to set up your instrument to avoid damaging it. 1. it is important to make sure that the reed is good and swirl saliva around the reed to moisten it before you play. 2. connect the upper and lower joints using a twisting action and check the alignment of the joints. 3. twist on the bell, the barrel, and the mouthpiece. 4. attach the reed to the mouthpiece using the ligature and it should be tight enough to hold the reed firmly. the end of the reed needs to be exactly level to the tip of the mouthpiece. 5. gently push the mouthpiece onto the barrel with a light twisting action and make sure the cork is greased. it is important to spread a little grease on the cork from time to time and always use the pull-through cleaning cloth to dry your clarinet after playing, also wipe off excess moisture from the reed before replacing it on the mouthpiece. before playing the clarinet, there are basic techniques required for effective teaching and learning. basic steps applied in learning the clarinet clarinet playing is an observable behavior which takes its root from internal activities such as the rudiments of music before the actual playing of the musical instrument. the basic steps the researcher applies have to do with theoretical and practical methods, which includes; knowledge of rudiments of music, posture and holding the clarinet, breathing, embouchure and tonguing. basic techniques applied in teaching clarinet. ogechukwu j. onyedum 109 knowledge of rudiments of music here, the learner is exposed to good knowledge of basic rudiments of music. this is exoected to cover topics like lines and spaces, clef, note names, note values, their rests, ime signatures, bar lines, accidentals and so on. posture and holding the clarinet posture refers to the position of one‟s body when playing the clarinet either by standing or sitting. when standing, you stand in a relaxed, comfortable and upright way with the feet slightly apart. when sitting to play, sit upright and at the edge of the chair with your feet slightly apart. when playing the clarinet, the way and manner in which you hold it matter a lot. on holding the clarinet, bennett (2006) asserts that: the joint of your right thumb should be placed underneath the thumb rest half way down the clarinet and cover the thumb hole with your left thumb... the fingers of each hand should curl around the body of the clarinet to the front, making sure they do not push against any keys at the sides. when playing the clarinet, it is necessary to always held it at an angle such that your right thumb should be about fifteen centimeters or six inches away from your body bennett (pg.8) breathing breathing in the normal sense is made possible through the lungs. he, who breathes well, plays well. when breathing in and out, always use your diaphragm which is the muscle between the lungs and the stomach that causes your stomach to go out when breathing in and to go in when breathing out. to be able to control your breathing when playing depends on your effectively using your diaphragm than breathing with the muscles high up in your chest. bennett (2006:8) records that “a relaxed, controlled posture is essential for and correct breathing”. he, who breathes well, plays well. basic techniques applied in teaching clarinet. ogechukwu j. onyedum 110 embouchure according to bennett (2006), good embrochure would include turning the bottom lip in slightly so that it rests on one‟s bottom teeth; placing the mouthpiece in the mouth so that the reed lies on the center of your bottom lip with about a centimeter. then rest your top teeth on the top of the mouthpiece, and, while smiling slightly and keeping a pointed chin, close the sides of your mouth around the mouthpiece. it is necessary to note that the lips should form a firm, air tight seal around the mouthpiece and make sure that you don‟t puff your cheeks out when playing. tonguing tonguing is used to stop or release the air into the clarinet in order to produce sound. when tonguing, the tongue should touch the underside of the reed, near the tip. the following techniques are very necessary as observed by bennett (2006), in order to ensure a clean attack: i. breathe in and form the correct embouchure. ii. place your tongue along the underside of the reed so there is about a half a centimeter of contact, from the tip of the tongue to the tip of the reed. iii. start a note by releasing the tongue from the reed as in the word dee iv. while tonguing, make sure that the note should have a definite and tidy beginning. application of the basic steps the following techniques for teaching the clarinet was actively applied on jss 3 students of st. jude private school located at 5th avenue festac town lagos and the researcher. mr. odewumi e. o. is the music teacher. the researcher carefully observed the teacher who gave his full accurate support and rapport during the study. the materials used are a new tune a day for clarinet by ned bennett and learn as you play clarinet by peter wastall which are very essential for a beginner and achieving goals in performance. the excercises are as follows: basic techniques applied in teaching clarinet. ogechukwu j. onyedum 111 exercise 1: practicing of long notes daily; observing the rests and not forgeting to tongue each note. exercise 2: trying the exercise below and observing the rests; breathing in quickly during quarter-note rest. exercise 3: playing pieces containing e, d and c. exercise 4: teaching new notes f and g; observing dotted notes as explained before and tied notes which are the same pitch joined together to make a longer note. exercise 5: playing piece containing f. exercise 6: playing piece containing g. exercise 7: teaching new notes a and f# and introducing dynamics. taking note of the following: i. „a‟ is played by rotating your index finger upwards so the side of the finger opens the key. this will ensure smoothness when approaching „a‟ from lower notes. ii. rolling the index finger: without expression, music can be lifeless and mechanical. ways by which color is introduced in music is to play a piece by different levels of loudness. f stands for the word forte and means loud. p stands for the word piano and means quiet. exercise 8: playing of note according to the dynamics displayed underneath them. exercise 9: playing notes while observing the accidentals exercise 10: playing piece containing a and f#. exercise 11: teaching new notes b, a and g. exercise 12: playing of appegios etc. basic techniques applied in teaching clarinet. ogechukwu j. onyedum 112 summary generally, for effective teaching and learning during the training period, it is very important to evaluate each of the students individually or perhaps in groups to consider or ascertain their level of understanding and improvement in the performance practice. this view is supported by leonhard and house in mbanugo (2006), who observed that “evaluation is essential to high level of motivation in learning and the improvement of teaching methods…., evaluation should be comprehensive and continuous” (p.48). however, the impact of the teaching on the student learning needs to be ascertained. upholding the above view, onuora-oguno (2007:79) asserted that “evaluation is a process that involves an interaction between two or more individuals.” for effective evaluation, the following summary on guidelines for the teachers and students on the teaching and learning should be followed: to the teachers: 1. the students should be acquainted with the rudiments of music that is relevant for clarinet playing. rudiments of music are the foundation of clarinet playing. 2. before the commencement of a new lesson, the students should play their take home-work given to them to evaluate their level of understanding of the previous practice. 3. new notes should be introduced step by step with fingering exercises and playing pieces containing the new notes. 4. observing the above number three guideline, sight-reading exercise should be simple at this stage. try to motivate the students into reading the scores and playing them without writing the names of the lines and spaces on the scores. 5. the students should be motivated into playing shorter instrumental solos to help them develop a melodic memory. this will enhance their ability to remember melodic phrases. basic techniques applied in teaching clarinet. ogechukwu j. onyedum 113 6. the students should be exposed to scales and arpeggios and try as much as possible to play it from memory steadily and slowly. they should play within the range of the musical notes that they have been taught. starting from one octave and proceed to two octave. 7. the posture and diaphragm should be adhered strictly to. the student should stand with a relaxed posture and make serious effort to play with an open throat for it will improve their tone. 8. it is very necessary that the students own a tutorial book that you as a teacher is using to guide them which will enhance easy practice. all musical instruments require a degree of training before mastery. to the students/learners 1. the students must own a clarinet for a good performance practice, and must be ready to work with the music teacher. 2. the students must be conversant with rudiments of music relevant to clarinet playing. 3. it is very necessary to do every home-work given diligently and be ready to sacrifice time and energy to practice. 4. take your time and aim for a clear confident style. play a piece slowly and accurately than to bluff your way through it quickly or being impatience to play. 5. try to start every practice sessions with long notes to improve your tone and build up your strength. 6. practice your exercise every day to improve your dexterity (the skill in using your hands). don‟t play a piece nearly right, it should be completely right before you move on to the next. 7. practice your scales and arpeggios steadily and slowly to enhance your fingers flexibility. 8. the students must own a good clarinet tutorial book such as; a new tune a day for clarinet by ned bennett, learn as you play clarinet by peter wastall or any tutorial books your music teacher prefers that will enhance your practice. basic techniques applied in teaching clarinet. ogechukwu j. onyedum 114 9. practice makes perfect. make sure you practice not less than thirty minutes a day. use the right diaphragm for complete breath control. most importantly, relax whenever you are playing. recommendations music can only be learnt by active participation and lack of musical instruments poses serious problems to the students and the teachers. however, it is necessary that parents invest in their children‟s skills by providing them with musical instruments that will aid their active participation in performance pedagogy. the school management should institute an open policy for students to spend time before-or afterschool practicing; perhaps, few minutes during long-break period for students that are interested in practicing their musical instrument of becoming a proficient player. the association of nigerian musicologists (anim) in conjunction with the management and staff of music departments should set up a systematic plan that will enable the music undergraduate students go for i.t training in secondary schools. this will go a long way in exposing them to the students‟ practical musicianship performance , which in turn will increase the pupils‟ desire of studying the course as a career in future. conclusion the paper has looked at ways by which performance practice should be enhanced through learning basic techniques of playing clarinet among junior secondary school students which is also an introduction into learning how to play the clarinet for a starter using the researcher‟s experience at st. jude private school lagos. the study raised the proper methodology required for effective participation in students‟ performance towards their musical instruments. the outcome of the study shows high level of interest, rapport and active basic techniques applied in teaching clarinet. ogechukwu j. onyedum 115 participation that reviews the student‟s keen interest and ability to participate more often in performance pedagogy. in the same vein, it is very necessary that the students get what they deserve in terms of learning how to play their musical instruments and also participate in school musical activities. therefore, the teacher needs to encourage, motivate and rapport with the students to enhance their creativities and assure their personal life success. references agu, d. c. c & okpara, m. u. (2017). towards dispelling the phobia in nigerian women for keyboard playing: the learning theorists‟ approach. journal of nigerian music education, 9, 23-33. bennett, n. (2006). a new tune a day for clarinet. usa: boston. burns, r. (1995). the adult learner at work. sydney: business and professional publishing ltd. campbell, p. s. & scott-kassner, c. (2010). music in childhood. usa: schirmer. chukwu, s. k. i. (2006). the influence of background music on children‟s learning. awka journal of research in music and the arts .(ajrma). 3, 19-31. ekwueme, l. (2010). school music methods: a handbook for teachers. lagos: apex books limited. ekwueme, l. (2012).performance music programme: a suggested approach for effective music education for jss level. lagos: lenaus advertising and publishing ltd. ezeugwu, f. o. (2016). enhancing music education in nigerian schools using indigenous music performance. awka journal of research in music and the arts. ( ajrma), 12, 1-17. idolor, e. (2002). the theorist and the performer in music practice. in e. idolor (ed.) music in africa: facts and illusions. 54-63. mbanugo, c. e. (2006). music learning principles for individual performance studies: the nnamdiazikiwe university, awka approach. interlink: a journal of research in music.3, 41-53. basic techniques applied in teaching clarinet. ogechukwu j. onyedum 116 ogbeide, u. r. (2018).the contributions of female music educators to tertiary music pedagogy in delta state, nigeria. journal of the association of nigeria musicologists. (janim), 12, 465-479. ojukwu, e. v. (2011). dysfunctional music education in nigeria. unpublished doctoral dissertation in music. nnamdi, azikiwe university, awka. onuora-oguno, n. c. (2007). problems of evaluation in practical music at the tertiary level: the nigerian experience. awka journal of research in music and the arts (ajrma). 4, 77-82. onwuekwe, a. i. (2007). the composer: a force to be reckoned with in music education of the nigerian child. awka journal of research in music and the arts (ajrma). 4, 27-37. onwuekwe, a. i. (2017). a new comprehensive rudiments and theory of music.awka: netizens media. onyiuke, y. s. (2003). motivational as a valuable factor in nigerian primary school music learning. awka journal of research in music and the arts (ajrma). 1, 69-78. onyiuke, y. s. (2006). music pedagogy in nigeria: an appraisal of the primary schools curriculum and its implementation.awka journal of research in music and the arts. (ajrma).3, 32-46. wastall, p. (n.d). learn as you play clarinet. london: boosey and hawkes ltd. 70 music associated with childbirth: a case study of women’s participation in traditional songs in igbo land ubani, anozie u. department of music nwafor orizu college of education nsugbe. abstract one basic characteristic of nigerian culture is the integration of music in their social life. the musical culture of the igbo‟s in particular is rich and varied because it is associated with songs and dances, worship, occupation, rites of passages, rituals, childbirth and is functional. women are special creation instituted by nature for caring and procreation of children; the society relies so much on them because “no woman no cry (child).” music becomes a potential instrument in their hands for celebration of birth, entertainment and communication. this work is significant because the status of our mothers is enhanced, their efforts recognized and honoured. the thrust of this paper examines women‟s participation in traditional music associated with childbirth with a view to identifying them for posterity. introduction child bearing in igbo land is part of the matrimonial rites for both parents. it is in the lyrics of the songs sung at childbirth that one sees not only the value the igbo places on children, but also the igbo philosophy on motherhood and child bearing. continuity, both of the family and the community, can only be ensured through children. children must therefore be taken good care of and their mothers properly rewarded. on the above okechukwu (1999) affirms “for the igbo, to beget a child is to have fulfilled one self, and to have done the greatest service to the community. thus, the basic and most essential function of the wife is to bear children …” (p. 140). he further states that “any wife who performs this duty effectively has, in the eyes of the igbo, not only fulfilled herself, but done maximum service to her community. “such women traditionally are held in high esteem even if they do nothing else for the up keep of the family”. in a situation of a woman without a child, she would block for her husband the most authentic means of establishing himself as a full-fledged member of his community. women therefore, are highly honoured in our society. they were first teachers of music and usually encouraged young children to participate in folk lore and stories in songs. women chant salutations to announce the birth of a child and afterwards sing lullabies to them. they also sing as they carry out their house hold chores. this helps to implant the musical cultures in their children and to ensure the continuity of igbo music. this paper therefore, highlights women‟s participation in traditional music associated with childbirth in igbo land.  musical components and organization in nigeria, the relationship between music and dance as inseparable communicative artistic models cannot be overemphasized. music and dance therefore are two musical awka journal of research in music and the arts (ajrma) vol. 9 2013 71 components associated with childbirth. every song goes with a particular dancing style. in some parts of igbo land, these songs are accompanied with local musical instruments like small wooden gong (okpokolo), metal gong-single or double (ogene) membrane drum, (igba) pot drums and varieties of idiophone instruments. these instruments facilitate their dancing steps to rhythm. peggy (1976) in describing the rhythm of dance states that: the rhythmic patterns of nigerian traditional dances consciously express the social identity of the performers and implicitly reflect the physical conditions in which they live. the nature of the country, the climate, the work that people do...which become heightened and intensified into the rhythmic movement of their dances (p. 2). writing on the imports of music and dance to an african, amaduime (1987) declares that: african women (especially during the traditional times) participated actively in public rituals and ceremonies that incorporated dances and songs. this active involvement not only enabled them „gain access to the medium of communication‟, but also made them a part of the ideology making process (p. 62). dance and music as expressive tools of self realization and self-assertion that lend credence to them by their users moved spencer (1981), to put forward this suggestion of bailey: “one might view dance (as) a highly appropriate idiom (of expression), because it can display precisely, the power, initiative and coordinates discipline that gives strength,…it can be over-learning. (akunna, 2006: 6) music and dance are highly sensitive; they invigorate life and act as stimulant for healthy bodies. in igbo society, the organization for such ensemble is open for married women in every community. it is exclusively feminine in character and every village has a woman head and a soloist who directs and sensitizes others on their performance techniques. their guidelines are simple norms, which each participant most adhere to. where ever they go, kola nut and palm wine or mineral are presented to them with cash which people offer to them voluntarily. the relevance of the songs and dances music and dance are so functional in igbo traditional societies that when any music or dance is being performed, there are events going on. the importance attached to birth songs is much to be enumerated; the music and dances do not only provide for the release of emotion but act as social and artistic medium of communication. it can convey thoughts or matters of personal or social importance through the choice of movements, postures and facial expressions. enekwe (1998: 6) has rightly observed that “besides group dance offering an excellent social integration, it helps one gain new friends, strengthen family ties, develop group loyalty, social cohesion and group solidarity”. members of such organization enjoy and cherish performing and sharing common bonds and offers opportunity in sharing in 72 creative experiences and a good avenue for the expression of group sentiments. music and dance result in group participation; a forum for generating co-operation and sentiments. dance offers opportunity for freedom of expression and imaginative interpretation of rhythmic movements. music and dance of such promote cultural transmission and cultural identity. the people‟s imaginative potentials are transformed into kinetic energy through different dancing styles. songs and dance help develop and maintain physical fitness, body suppleness and function of the body system. performance of birth songs/discussions. the level of arts in a society reflects the level of development in that society. okafor (1994) added that “any society that wishes to develop fully must go into partnership, true partnership of ethos, with the artiste” (p. 1-2). in igbo musical culture, women have affiliations of two kinds, as married women to the village of their husbands and as daughters to the village where they were born. when a woman delivers a baby, women on the side of the husband alert the parents of the woman that gave birth to a child with a song no. 1. “uma mee”. this is a signal tune. the mother-in-law of the woman will carry powder as she communicates to people that her wife has delivered. she dishes out the powder to any woman that comes her way. see music (song) 1. the song is poetic, rhetoric and recitative. the soloist renders it in a declamatory style announcing the arrival of a new born baby. traditionally, a day is fixed for the ensemble of women to chant their songs of joy not only to inform their in-laws for the safe delivery of their daughter but to celebrate the birth. the following songs are accompanied with their traditional instruments to enhance their performance. for this paper, eight of these birth songs as practiced in igbo culture have been carefully selected for study. igbo translation uma mee… eziumamo a cry of joy for safety arrival of a baby. good thing has happened uma ziere ogeri yeziere, di ya an interesting thing has happened for the wife and the husband eziuma mee good thing has happened uma nwoke wo happy arrival of a baby boy uma nwanyi wo happy arrival of a baby girl! ezi uma mee. a happy arrival of a baby. 73 song no. 1. as seen above “uma mee” is significant. it signifies joy and happiness, an arrival of a new born baby, a prayer that has been answered. where the soloist meets two or more women, there would be yodeling and ululation to cadence their overwhelming outburst of joy. song no. 2 gini dim n’obi (what is in my heart). in igbo land, there is nothing that fulfils that objectivity of marriage than “a child”. an ideal woman feels alleviated and highly honoured when children come. overflow of joy fills the heart of all people at birth. the celebration of the child is the ultimate. the dance choreography is in circular formation while the dancing steps are same. the sense of balance and style of dancing amongst participants are the same. the mode of teaching and learning is through participatory observation. song no. 3. onurakwa nwa gbata (whoever hears the cry of a baby should come). child-bearing is a universal phenomenon, therefore whoever hears the cry of a baby should respond. this song helps to portray the importance attached to child-bearing in the igbo traditional society. ownership of a child is not restricted to the mother alone but a collective responsibility of all. song no. 4. titled “ihe ebuzo aju bu nwa” (what is asked first is the child). igbo translation call: gini dim n’ obi what fills my heart? resp: nma joy call: emepotum obi if my heart is revealed resp: ihe oma dim n’ obi odighi nkojo na dim n’ obi good things fills my heart there is nothing bad in my heart. nma joy igbo translation onuru akwa nwa mengwa ngwa ae whoever hears the cry of a baby should hasten up a-e onye nuru akwa nwa me ngwa ngwa, obughi otuonye new nwa whoever hears the cry of a baby should hasten up a-e not only an individual owns a child. 74 in igbo society, without the child there will be no family, no future generation, the future would be extinct. the child creates hope for continuity and becomes the essence of marriage. the song is in solo/chorus refrain pattern. the poem ihe oma na-adi mma (good thing is good) is set in solo/chorus refrain pattern on three count ( 3 /4) time signature. this song is a prayer offered to a pregnant woman so that she will deliver safely, to enable women eat and celebrate. the coming of a new baby promotes eating and drinking. song no. 6 “ezinne agamuyamu” (good mother, i will deliver) depicts readiness of a pregnant woman to safely and willingly deliver her baby. igbo translation call: ihe ebuzo aju nwokorobia ihe ebuzo aju n’obu nwa the first question to a young man is the child. the first question is the child. resp: ihebuzo ajuo, ihebuzo aju n’obu nwa the first question, the first question, is the child. call: ihe ebuzo aju nwa agboghobia ihe buzo aju n‟ obu nwa the first question to a young maiden is the child. the first question is the child igbo translation ihe oma na-adi nma ihe oma e (dc) good thing is good. yes, good thing (dc) onwu egbula nwayi n’afoime, komutarayi nwa death should not kill a pregnant woman so that she will deliver a child k’ayi taba okporoko ṅuba manya ngwo so that we will eat stock fish and drink palm wine igbo translation call: ezinne agamuyamu good mother i will deliver it resp: nwa biam nukwu a gamamu ya werere if the baby decends to my waist i will deliver it freely 75 womanhood indicates maturity, courage and determination in family up-bringing. conceiving and bearing a child demands readiness of a greater responsibility which are inbuilt in them by nature. the lyrics, omuru nwa leta nwa ya anya. (whoever owns a child should take care of her.) this song indicates important position a child holds in the community. the next song called ma obughi ma nwa, onye g’e-nyem? (if not for the sake of the child, who will give me?) this song exuberantly presents a catalogue of gifts a wife can receive or expect to receive after childbirth from well wishers; name them all. mothers are disposed to be honoured onye ga enyem (who will give me?) reminds the husbands of their position to reciprocate the supreme gift of a child with worthy gifts to the wife. each of the above songs has peculiar dancing steps and the compositions of the songs are spontaneous; the composers of the songs are not known since they are handed down from one generation to the other through oral tradition; and the people live with the music. structurally, most of the songs are in call and response, and solo/chorus refrain pattern. igbo translation o muru nwa whoever bears a child leta nwa ya anya should look after the child nwa b’ uwa oma the child is a good fortune. onye muru nwa whoever bears a child leta nwa ya’ anya should look after the child nwa biar’ ezije the child is welcomed. igbo translation call: ma obughi ma nwa if not for the sake of the child resp: onye ge’nyem? who will give me? call: ukwu george george wrapper resp: onye ge’nyem who will give me? call: pankeki power (pancake) including other items as one can imagine 76  impact of social change. in some localities in igbo land, the rendition of birth songs is in the decline owing to some religious beliefs, western influence and modernization. some religious believes abhor traditional dances and if the lyrics of songs are not christian based, they are regarded as fetish practices. western influence and modernization have affected our culture. records, vcd players and jumbo box music players are used to play music in child celebrations. lack of social interest in promoting our cultural heritage has deduced the imports of our social commitment. our birth songs are gradually forgotten and no longer in full practice.  birth songs and national development every woman in the world is a potential singer. women traditionally are happy when they deliver after nine months of pregnancy. nigeria as a nation benefits greatly in women‟s procreative potency because the population is enlarged and our generation extended with greater hope for the next century. women all over the tribes of nigeria have opportunities not only to be recognized or united but have a co-ordinate effort in building our socio-cultural heritage which calls for unity, peaceful co-existence in our different enclaves irrespective of tribal sentiments. because a child is a national cake that is celebrated by both sexes; more efforts should be made to promote child care, which would bring about reduction of infant mortality. healthy children would give birth to a healthy nation. birth songs should be part of traditional songs that are taught in schools, this will instill love and respect for mothers by pupils in schools. summary and conclusion childbirth is a blessing from god. every woman is satisfied because, the period of childbirth is a period of celebration, a period of plenty, a period of rest and comfort. women express their feelings through the medium of birth songs that uplift their spirit. the role of women in the society and their inclination to music and dance engenders healthy children and faithful women of our land. our cultural heritage should be propagated and maintained to ensure continuity and our regard for children inculcated. references amadiume, i. (1987). male daughters, female husbands: gender and sex in african society. london: zed books. akunna, g. i. (2006). protest in african women’s dances and songs: meaning and significance. a paper presented at the 6 th edition of the musicological society of nigeria (msn), nnamdi azikiwe university, awka. enekwe, o. o. (1998). theories of dance in nigeria. university of nigeria nsukka: afa press. okafor, r. c. (1994). the musicians in the nigerian society. journal of research in general studies (jorgs). okechukwu, u. (1999). women; marriage and child bearing in igbo traditional poetry. unizik journal of arts and humanities, 1(1), 15-27. peggy, h. (1976). dance in the living culture of nigeria. in s. o. biobaku (ed.). lagos: thomas nelson. 156 social media in music pedagogy: aid or impediment? emelda c. nnanyelugo abstract usic education incoporating social media is one of the most recent trends in the history of formal education system. this has faced a lot of criticism as to whether it is an aid or impediment; taking into consideration the economic situation of the country. adopting historical and survey designs, this paper seeks to ascertain the challenges and prospects associated with music education using social media, as it affects the students and lecturers alike. for the purpose of continuity or discontinuity, the paper suggests ways of critical examination of the right choice of social media platforms to either use or not in music education. the findings of this paper are hoped to add to the existing facts as it relates to the use of social media in music education. introduction music education in a formal school setting is an old practice which sprang out during the colonial era whereby structures were erected for the purpose of teaching and learning that involves the students and teachers. teaching and learning in those days under this given principles is what is known as formal learning setting. recently, there emerged a platform in which such teaching and learning also take place with little or no commitment on the part of both the students and the teachers. this paper seeks to identify the stand in the use of these social media platforms in the teaching and learning environment as they concern music education and to know actually whether the use really aids or impedes the learning process. m awka journal of research in music and the arts (ajrma) vol. 13 2019 social media in music pedagogy... emelda c. nnanyelugo 157 concept of music education education is the aspect of teaching and learning either in a semiformal or a formal setting. it is a basis or foundation of learning. okafor 1992 in alu and ugwu 1999 states that education is all those experiences of the individual through which knowledge is acquired, the intellect enlightened or they will be strengthened p85. nnanyelugo (2014) stipulated that “education is the impacting and acquiring of knowledge through teaching and learning especially…..in schools or institutions.” it is also a process by which a person begins to learn how to learn. in summary, education involves a teacher and a student in either formal or semi-formal environment with the aim of impacting knowledge into the learners from the teacher. music which is a compound of societal cultural demonstrative practice involves a group of societal cultural materials and elements which portrays the identity of a particular community. music according to adeogun (2012): is a product of people and societies. musical knowledge is a transmittable constellation of enduring socio-musical traits which codify, articulate and validate the unique practice of human group; its organisation depends largely on the use of society widely recognized theories of tonality and/or modality thematic structures, rhythmic patterns, tempo, timbres, use of language and musical instruments.in communicating ideas, thoughts contacts and meaning to members of the society. p85. music education deals with inculcating and transmitting the musical knowledge into the leaners from the teachers. according to ezeani (2004): it reflects the psychomotor domain which is the development of musical skills, the cognitive domain which focuses on the acquisition of musical knowledge and finally the effective domain which involves musical appreciation and sensitivity p 17. social media in music pedagogy... emelda c. nnanyelugo 158 therefore, music education is the impacting of musical knowledge and the essence of developing musical skills out of the students by the teacher and forcing and instigating the student‟s interest willingness into effectiveness to learning. music education recently could no longer be dependent on the physical human teacher and the familiar class room setting but look far beyond that therefore, the need to introduce the recent development in music education which involves the use of social media in music education. concept of social media the word „social‟ deals with human society and the individual or groups interactions as to what relates and concerns them and the rest of the individuals in the society whereas „media‟ is a platform whereby information and messages are passed or interacted or issues are discussed. media according to business dictionary.com; is a communication channels through which news, entertainment, education, data or promotional messages are disseminated. by implication, social media is a platform for communication and interaction of a group or between individuals or group. social media is a forum whereby people come together in one community which is the medium to discuss and interact issues concerning them as in the case of music, these social gathering and interaction with the aim of music learning, involves selection of favourable medium or platform which is most suitable for learning environment. there are several platforms which aim at teaching and learning; these platforms are not selected randomly for purposes of effective utility and services. its selection depends on the course of study and functionality as well as relevance to a target problem solving. methodology this work adopted historical and survey designs using in-depth interviews technique whereby questions pertaining to the problem under study were asked the students and music teachers in the tertiary education were music is thought for their candid opinion and observations. social media in music pedagogy... emelda c. nnanyelugo 159 population the population for this study is both the music students and teachers in the tertiary education in the eastern part of nigeria. with a target population of 350 social media users which includes the students and teachers from a selected undergraduate level which is between 300 to 400 level. the situation: challenges based on the present situation and trend, there are challenges which hinder the proper selection of social media platforms for proper music education as highlighted below: 1. risk of lifting unwanted materials which could cause obstructions in the teaching and learning environment. 2. wrong information on issues have become the order of the day on social media platform 3. laziness in investigating over things and issues before reaction or rather before jumping into conclusion and acceptance of wrong information without proper investigation 4. educational degradation; which implies improper scrutinization of the materials often uploaded on social media platforms and serious use of grammatical error in most of the social media platforms. 5. exposure to immoral views/practices and corruption. how do the above specified issues affect and address the problem of music education using social media: an aid or impediment? highlighting the challenges above will be most appropriate for a better understanding of the problem under study. let us take a closer look at these challenges listed above. social media in music pedagogy... emelda c. nnanyelugo 160 wrong information about issues and things social media is one of the new media platforms which allow the interaction between persons, groups, communities, societies and so on; to communicate and discuss issues concerning them. this privilege has been very beneficial to many and has erqually been misused by many users; by using it as an avenue for dissemination of wrong information. music is not left out of this menace as many aspects of music including historical aspects of music, musical practices, trends and performances have suffered great deal of misinformation. this ofcourse has led to students and teachers going by what some of the wrong information say without further consultation and investigation for authentication. this brings and causes displacement of knowledge; causing lots of contradiction of facts. it creates room for misunderstanding amongst the teachers‟ opinion and that of the students. laziness in investigation social media in music education provides quick answers to questions. but going by the issues earlier raised, it requires critical screening and a closer marking, because, a teacher who stumbles on some wrong information and posts without consulting an authority in the area; assumes quickly that his/her opinion is concrete. on the other hand, a student may stumble on it first and will end up having a contradictory opinion about what the teacher teaches. this brings about discrepancies in the teaching and learning as it concerns the subject of study for as long as it is not resolved and proper consultations made. it is therefore, advisable to prepare lectures with authentic backups from an authority (ies) in the area one teaches to avoid such incidents because it is very common with the advent of social media, new technology and modernization. social media in music pedagogy... emelda c. nnanyelugo 161 educational degradation this is a very crucial aspect which poses lots of harm and danger to the teaching and learning. the rate at which grammatical errors fly around on social media platforms has become unbearable and demands urgent intervention. in some cases, due to over familiarization within the group members, people post all manner of things in the name of short cuts and this has affected the way they write in serious academic settings and learning environments. it is disheartening that one would not find up to 10% of students and even teachers who take time to have a second look at what they write. it is also evident in some official write ups due to lassitude they have groomed themselves to, via social media platforms communication. another instance is when assignments are given and meant to be submitted through social media. teachers witness all kinds of grammatical blunders; such that they wonder if the students are not aware of the implications as marks attached to assigments involve the logic and the grammatical interactions. this is very serious and common these days with the use of social media unlike when things were done manually using paper and ink. the level of education is going down by the day and requires serious checkmating and restoration. also there are no room for editing and scraping what has been in view as scam news and fake information or even past events which are not supposed to still be in circulation are there. it is indeed a big problem which is gradually outgrowing the positive influence of social media on the teaching and learning environment. exposure to immorality and increase in corruption immorality has become the order of the day and this is widely circulted by social media usage whereby uneducative music and dance steps are spread like virus via this platform. instead of students logging in to search for useful educative documents, they stumble on those kinds of music to waste their time and data. youtube platform social media in music pedagogy... emelda c. nnanyelugo 162 has been misused by students as site for having access to contrabanned music which in turn does great harm to their mental and psychological judgements. manwhile this is a site where one can download useful musical videos for analysis, performances and tutorials of various musical instruments. you could now imagine what kind of person/student he/she will grow up to be; as it is said that “you are what you view.” aristotle (nd) in nnanyleugo, (2017) foundations of music education, informs that a person is what he/she watches. in his words, he stipulates that “if one listens to the wrong type of music he would become the wrong kind of person, on the other hand, if one listens to right kind of music he would become the right kind of person” therefore, social media with the aim of promoting education has not been able to attain this goal perfectly due to its porous and unchecked activities. it allows any sort of interactions, visual and audio displays without properly scrutinizing the educative implications of that which is uploaded for public view and consumption. also because of the corrupt nature of the heart of man, who sees every opportunity as one to introduce negativity to satisfy his/her quest for perpetration of evil. with reference to what has been observed by some researchers and scholars like masood badri, alliahl nauaimi, yang guang, asma al rashedi the negative effects of social media in pedagogy can come in many ways. according to informationparlour.com/article.ed. on the negative effects of social media in music education, students glue so much to their phones which makes them lose their sense of quick remembrance or recognition and assimilation to the physical class activities. such a student becomes a distraction and disturbance not just to him/herself, but to other students sitting beside them. social media in music pedagogy... emelda c. nnanyelugo 163 other instances specified is nonpayment of attention to details and research in the sense that, the utility of students retentive memory has declined tremendously recently to the disadvantage of their educational career. also abbreviations and shortcuts have displaced the usual way of writing while affects the students‟ performances and general educational standards. also, students‟ grades suffer and probably drop every time in the recent studies carried out as a result of constant and extensive use of social media platforms. (malaney, 2005, banquil et al, 2009, gafni and deri, 2012, junco, 2012,2011, ndaku, 2013, roius et al, 2011, paul et al, 2012, burak, 2012). prospects some scholars who have carried out similar investigations regarding the problem under study have some contrary views in terms of the importance of incoorparating social media in teaching and learning. in their views, borja (2005) notes that “teacher use blogs as teaching tools and reinforcement of skills, expressions and creativity;” while boyd (2008) supports that it is connectivity between students/teachers for academic purposes. english and duncan – howell, (2008) observes that social media help the teacher to be able to share course related materials with their students, create student groups, collaborate on projects, providing peer support and facilitating teaching. in addition, nnanyelugo (2017) believed that; social media is a platform that is conducive for teaching and learning especially the learning environment as regards music which helps in the strengthening of the students‟ interests in continuous struggle to develop themselves in musical instrument skills and also in compositional skill development for the betterment of the students and for a better presentation of musical ideals to the society‟s consumption. (p.144). these and many more are the expectations and the benefits of social media which authors have reported as positive and progressive; but its social media in music pedagogy... emelda c. nnanyelugo 164 unchecked and unsupervised nature has led to lots of lapses and misuse that has brought about negative utility. data presentation the data collected was analysed and presented in tabular form as seen below; s / n positive use of social media over 100% ag s. ag. negative use of social media over 100% ag s. ag 1 teacher use blogs as teaching tools and reinforcement of skills, 20 44 risk of lifting unwanted materials which could cause obstructions in the teaching and learning environment 34 61 2 for expressions and creativity. providing peer support and facilitating teaching. 15 56 wrong information about things and issues have become the order of the day on social media platform 39 58 3 to share course related materials with their students, create student groups, collaborate on projects, 29 44 laziness in investigating over things and issues before reaction or rather before jumping into conclusion and acceptance of wrong information 42 67 social media in music pedagogy... emelda c. nnanyelugo 165 this means that the percentage average of the negative influence of the use of social media in music education is of the ratio of 60% to 40% as against the positive influence of the use of social media in music education for strongly agreed analysing from the opinions of the interviewees. summary music education using social media has been seen and proven to be more of the negative than the positive in the sense that in as much as it is an aid to learning which could be positive or negative; it is also an aid to negative practices which impedes learning and is against the without proper investigation 4 helps in the strengthening of the students interest in continuous struggle to develop themselves in musical instrument skills and also in compositional skill development 23 41 educational degradation. this implies improper scrutinizing of the texts materials often uploaded on social media platforms and serious use of grammatical error in most of the social media platforms. 34 63 5 exposure to immoral views and immoral practices. 35 62 6 enables increase in corruption 26 72 total percentage 40% 60% social media in music pedagogy... emelda c. nnanyelugo 166 intended benefits of social media platforms for teaching and learning especially when music is concerned. this research found out the results of the previous researches of some scholars and researchers in the area of social media usage in music learning in which the results found were of negative influences. some of such findings like laziness on the part of both the students and teachers to actually investigate trends and happenings around the educational environment before putting up assumption and drawing conclusions on the matter, educational degradation, continuous drop of students grades, poor performance of students etc. these bad influences have more impact and are felt so strongly on education than the positive as was found in the cause of this investigation as reagrds teaching and learning music using social media platform. conclusion this paper concludes that social media in music education should be applied with caution and people should actually know that it is just a platform that only guides and should not be depended on totally for every fact. one should cultivate the habit of investigating properly into situations and events of society and not to forget the natural embellishment in human brain formation and the ability to always make reference to the formal educational ways. finally from the observations and information derived so far in the course of the study, this research work concludes that, music education using social media is an aid to an extent if applied with caution and an impediment when applied without any form of moderation and caution. references adeogun, a. o. (2012). musical integrity and the teacher in the nigerian community. nsukka journal of musical arts research vol.1. pp 81 – 95. social media in music pedagogy... emelda c. nnanyelugo 167 alu b. e. & ugwu j. c. (1999). the essential of philosophy of education vol. i. nsukka: prize publishes. aristotle, (nd). introduction, why study foundations of music education? history of music education. retrived march 14th 2018 from http://www.history.music.edu. banquil, k. chinua, n. a., leano, g. a., rivero, m. a., bruce, c. a., dianalan, s. n., matienozo, a. r. & timog, n. u. (2009). social networking sites affect one‟s academic performance adversely. retrived march 23rd 2018 from http://www.ust.edu.ph. borja, r. r. (2005). “blogs‟ catching on as tool for instruction. education week 25 (15), 1–17” retrived from http://www.education. boyd, d. (2018). taken out of context: american teen sociality in networked publics ph.d. dissertation. school of information, university of nigeria. california: barkeley, ca. burak, l. (2012). multitasking in the university classroom introduction. journal of scholarship teaching and learning. 6 (2), 1 – 12. english, r. m. & duncan–howell, j. a. (2008). facebook goes to college using social networking tools to support students undertaking teaching practice from j.onlinelearn.tech.4 (4),595-601. retrieved 02-05-2018 from http://joit.merlot.org/vol4no4/english-1208pdf. ezeani, l. u. (2004). principles and methods of teaching vol. 2. onitsha. west and solomon publishing co. ltd. gafni, r. & deri, m. (2012). costs and benefits of facebook for undergraduate students. interdisciplinary journal of informal knowledge management. 7, 45 – 61. junco, r. (2011). too much face and not enough books: the relationship between multiple indices of facebook use and academic performance. conput.hum. behave.28 (1)187 -198. junco, r. (2012). the relationship between frequency of facebook use participation in facebook activities and student engagement.conput.edu. 58, 162 – 171. malaney, g. d. (2005). students‟ use of the internet.journal of educationtechnology system. 33 (1), 53 – 66. http://www.history.music.edu/ http://www.ust.edu.ph/ http://www.education/ http://joit.merlot.org/vol4no4/english-1208pdf social media in music pedagogy... emelda c. nnanyelugo 168 ndaku, a. j. (2013). impact of social media on the students‟ academic performance. asian, j.hum. soc. sci. 2 (2), 1 – 7. nnanyelugo, e. c. (2017). music students‟perceptions of social media as a learning environment evidence from university of nigeria nsukka. international journal of communication. no, 2. nnanyelugo e. c. (2017). the negative influences of pop music on children. paper presentation at the asscociation of nigeria musicologists‟ conference, in the department of music university of nigeria nsukka. 2017. nnanyelugo, e. c. (2014). teachers factors military against the proper implement of the music aspect of the cultural and creative arts curriculum in nigerian secondary schools: a survey of nsukka urban, enugu state. unpublished m.a project in the department of music, university of nigeria, nsukka. paul, j., baker, h. & cochran, j. (2012). effect of online social networking on students‟ academic performance. computer human behaviour. 28, 2117 – 2127. rouis, s., limayem, m. & salehi–sangari, e. (2011). impact of facebook usage on students‟ academic achievement: role of self – regulation and trust. electronic journal research education psychology 9 (3), 961 – 994. www.bussinessdictionary.com www.informationparlour.com/article.ed. http://www.bussinessdictionary.com/ http://www.informationparlour.com/article.ed awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 49 dance as therapy in african music daniel ufuoma omaren department of music federal university lokoja email: daniel.omaren@fulokoja.edu.ng tel: 0703-261-4226 abstract 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. introduction nature has a way of making everybody to dance either consciously or unconsciously, the challenges and the vicissitudes of life have a way of pushing human being forward, backward, sideways and turning at different directions including moving the hands, legs and different body parts to measurable and immeasurable rhythm and pulsation. movement is one of the fundamental characteristics of a living thing. in the ancient greek society, music and gymnastics were part of basic education. in his reasoning, plato postulated that music enriches the soul while gymnastics develop the body. these together will result in a balanced person. african dance is as rigorous as gymnastics, displaying physical agility and coordination. this paper titled, “dance as a therapy in african music” examines african dance as an exercise and its healing potency. the value of dances in africa transcends entertainment and aesthetics. in recent time, the potency of music to facilitate healing has attracted scholarly interest among nigerian musicologists which has birthed the field of music therapy studies in some universities. the 2030 agenda for sustainable development, adopted by all united nations members in 2015, created 17 world sustainable development goals (sdgs). they were created with the aim of “peace and prosperity for people and the planet. sdg 3 which is “good health and well-being” is the focus of this study. the goal is to ensure healthy lives and promote well-being for all ages. music therapy foresees a holistic concept of health in the sense of health in the mind and body. music has the potency to attract a lot of attention in the mind and soul and also facilitate responses in the brain. in the prehistoric world, music had magic power among the greeks, people believe it could heal sicknesses, and purify the mind and body. music affects the cognitive, affective and the psychomotor domain of humans. similar power is attributed to music in the hebrew scriptures in the story of david curing saul’s madness by playing the harp (1 samuel 16:14-23). this corroborates one of the notable quotes of williams shakespeare “the man that hath no music in himself, nor is moved with the concord of sweet sounds, is fit for treasons strategems and spoils. the motion of his spirit are dull as night and his affection as dark as erebus. let no such man be trusted”. therefore, harnessing the potency of musical sound to prompt human responses will allow for skills development and for therapeutic function in certain distresses. statement of problem there has been silence on the healing potency of african music which may be have been assumed that every african should know about such information. when music students are taught courses in african music, little or no references is usually made about the healing potency of african dances. thus, the therapeutic nature of african music and dance needs to be properly investigated and documented. mailto:daniel.omaren@fulokoja.edu.ng awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 50 methodology the study relied on a mixture of methods to elicit data, which include manual library search for books, journals and other relevant materials. to enrich the quality of information, a deep internet search was also carried out to source for information about recent research on music therapy. relevant literatures were reviewed, field study where dances were performed was also carried out in federal university lokoja located in kogi state in the north central geopolitical zone of nigeria. the concept of music therapy historically, music has been known to as a powerful tool to heal and purify the mind and soul of man. the word therapy originated from the greek word “therapeia” which literally means “healing”, in other word, treatment of a disease. alvin (1975. p4) the founder of the british society for music therapy, postulated that music therapy is the controlled use of music in the treatment, education and rehabilitation of children and adults suffering from physical, mental or emotional disorders. wagram (2000) also opined that music therapy is the use of music in clinical, social and education or psychological need. in the same vein, mereni (2004) clarifies music therapy as an imperial study research in systematic musicology with necessary resources and relevant ancillary disciplines particularly, social and health sciences and aim at the practical exigency of health care giver. while addressing the use of music in healing in africa, nzewi (2002:2) clarifies that “preventive health includes scheduled and mandatory environmental cleaning avoidance rite to ward off evil forces (human and spirit mien), as well as constant musical arts theatre that coerces mass participation, annual group spirit purgation, music-drama (new year rites, compound hygiene etc.)”. in nigeria, mereni (1997) highlighted five healing aspects in his explanation of music therapy. these are: anxiolytic music therapy (aims to free one from fear, fright or anxiety), tensionlytic music therapy (aims to relieve one from physical and mental tension resulting from manual or spiritual labour) algolytic music therapy (aims to relieve physical pain) psycholytic music therapy (aims to loosen a person from the group of evil spirits) and patholytic (aims to relieve the grieve of bereavement). as opined by aluede (2009; 2010), there is either no need for a new term to qualify one of the general attributes of african music or that there is a need to carve out a more realistic name for music healing and healing activities with music in africa. the reasons for such opinions are based on the fact that that the concept, form and context of music healing in africa needs to be fully examined and distinguished it has been examined by scholars in ethnomusicology that in the african context, music in therapy is different from music as therapy. music in therapy addresses the use of music and other associated rituals in bringing about healing while music as therapy is about the sole use of music to bring about total well-being of the individual. the need for an encapsulating nomenclature to envelope the connection between music and health or music healing activities in africa has led to the term ethnomusic therapy. the term ethnomusic therapy will be partially discussed without talking about the cosmology and understanding of disease in africa. disease in african cosmology was explained by aluede (2008) who identified four kinds of causation of disease in esan as well as in yoruba cosmology which are: natural sickness, sickness caused by witches and wizards, sickness induced by the ancestors and sickness carried over from one’s past life. we can therefore say that not all sicknesses in africa are medical. dance and music are interwoven in africa. some of the fundamental elements of african music which include, singing, dancing, clapping and playing of musical instruments have proven from previous researches to improve the health of the participants. an approach to the study of dance as a therapy in african music in africa we do not only listen to music with our ears but with the whole of our body, including the mind and brain. a developmental approach that can be applied in this study is eurhythmics. also known as dalcroze eurhythmics, it is one of several developmental approaches including kodaly method, orff schulwerk and suzuki method used to teach music to students. eurhythmics was developed in the early 20th century by a swiss musician, composer and educator, emile jaques-dalcroze. eurhythmics teaches concepts of rhythm, structure and musical expression using movement, and is the concept for which dalcroze is best known for. it focuses on allowing the student to gain physical awareness and experience of music through training that takes place through all of the senses, particularly kinesthetic. dalcroze education has been in existence for more than a century. it features interactive games and exercises that help students learn to trust their ideas and develop their own intuitions. dalcroze education is a playful, experiential approach to teaching and learning music. it is a process for awakening, developing, and refining awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 51 innate musicality through rhythmic movement (often called eurhythmics), ear-training, and improvisation. eurhythmics makes participants to feel, express, and master the flow that is essential to music, dance, and the other performing arts. in a dalcroze eurhythmics class, students are moving in some way: in traveling around the room, or in gestures with hands, arms, heads, or upper bodies. their movements are responsive to the music in the room. the teacher is probably improvising this music at the piano or on another instrument. (sometimes recorded or composed music is used.) the task is typically to move in space using certain guidelines, specific to the musical piece. for example, the teacher may ask the students to walk around the room, stepping the beat. then, when the students hear a specific cue, they should clap the beat instead. the game continues, with the students challenged to find new ways to express the beat with their body. in the same vein, eurhythmics can be applied in the study of dance as a therapy in african music. participants should be taught different patterns to beats in african music as well as movements to the beat, students taking african music should be given the challenge to find different ways of expressing beats with their body. african music is highly rhythmic. the music either vocal, instrumental or a combination of both usually creates an association of rhythm with a physical experience in the body of the performers and participants, thereby reinforcing the awareness of the position movement of the body parts by means of sensory organs. in discussing the complexion of song-texts and healing in nigeria, adedeji and aluede (2020) established that music traditionally has been characterized not only by the sound but by action, and by interaction among makers of dance-music. this typically describes african music which is characterized by actions and audience participation. african music is closely related with dance based on a strong emphasis on rhythm and percussion. diverse forms of rhythm are the heartbeat of african music. african dance dance and african dances have been described by many art scholars, musicologists and scholars from in the social science. mackrell (2024) defined dance as the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. mackrell explained further that dance is a powerful impulse, but the art of dance is the impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. these two concepts of the art of ‘dance as a powerful impulse and dance as a skillfully choreographed art are the two most important connecting ideas about the subject. as expressed by monyeh (2007: 111), dance is an avenue for total expression of the natural and the supernatural, a masquerade in its performance communicates to the living and the underworld. in this case, there is the relationship with the world of the living and the world of the spirit. the body could make the invisible concrete thus creating a completely self-contained world for dancers in which they can perform physical feats and prowess which are far beyond normal daily occurrence or normal movement. harper (1997) opined that all african dances are closely knit to percussive music. a repetitive rhythm is initiated by a musical instrument and is then taken up by the dancer in a localized part of the body, such as the rhythmic beating of the feet or rapid constructions of the hips or shoulders from which the movement flows through the dancer‟s body. dance is always expression of emotion which gives a deep sense of pleasure to the dancer and the spectators the africans love to show their response to music through verbal or physical behaviour. the responses elicited reveals that the music and the dance serves as a singular degree as modes of expression of african feeling or as an accompaniment to social or religious activity. according to adekogbe (2023), dance in african context can be classified into traditional, modern and contemporary dances. he explained further that traditional dances are those dance steps that are created from local and indigenous ingenuity. traditional dances are the conventional and unconventional dance patterns, steps and moves and performance that have been passed from older generation to this present generation by our progenitors. every african tribe has its unique type of traditional dance practices and it has different function and meaning to the people that belongs to the tribe. for example, among the yoruba in the southwestern part of nigeria, the bata dance holds a significant place in their cultural and spiritual practice. modern dances involved dance steps created from individual’s or group’s creative ingenuity while contemporary dances are those dance steps modified from traditional dances. it has the combination of african and western dance styles elements. the contemporary dance is the present hip-hop music dance moves. they are popularized by popular musicians in their music videos and very awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 52 common in social centers like club houses and in modern parties, examples include, yahooze, skelewu, and gbese dance. some african traditional dances i. bata dance: the bata dance is a prominent traditional dance among the yoruba people of southwestern nigeria. it is very acrobatic and entertaining. the most important aspect of the dance is the drumming accompaniment from the bata drums. the dance is done in synchronization with beats from the bata drum which is characterized by expressive body movements and rhythmic relationship. prehistorically, the dance is believed to be a communication channel between sango (the god of lightning and thunder) and his worshippers. the dancers try to emulate his character by using their legs, hands and shoulder to express the dance. the gymnastics energy of the dance complimented by the thundering sound of the bata drums play tribute to sango. the bata drum ensemble comprises of three drums of different sizes (iya ilu bata, itotele and okonkolo). the largest which is iya ilu is usually played by the master drummer and sets the rhythmic activity for the ensemble and also depict the role of a mother instructing the children which are the itotele and okonkolo. the middle sized drum which is itotele, converses with the iya ilu while the smallest which is okonkolo keeps a steady rhythm. ii. umuoma dance: the umuoma dance is a cultural dance of the igbo people in the southeatern part of nigeria. as observed during the field study, the dance was performed by the students of federal university lokoja during ensemble examination in the first semester, 2023/2024 session. the dance is energetic with vigorous body movement with the rhythm of the pot drum, skin drum and gong accompaniment and the performers wear a costume made of the spotted skin of a leopard which depicts strength and energy. iii. atilogwu dance: the atilogwu is a spirited youth dance from the igbo ethnic group of nigeria that focuses on vigorous body movement and often include acrobatics. in igbo language, the worf “atilogwu” translates to “has magic”. the tempo of the dance matches the tempo of the music, which is dependent on the beat of the drum and a metal gong (ogene). the dance is usually performed during festivals awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 53 some contemporary african dances i. yahooze: yahooze is a song released by a nigerian recording artist, olu maintain which was officially released in october 2007. the music video was shot in nigeria with its unique dance movement. the dance style involves making a “v” sign with the index and middle fingers on both hands and throw them into the air while listening to the song. that is basically the “yahooze” dance which was made popular by olu maintain. ii. etigi/kukere: the dance became popular when iyanya released the video for his hit single, kukere. it is modernized from the traditional dance of the efik people of cross rivers state. iii. skelewu: the dance was popularized by davido in one of his musical tracks titled skelewu. the song gave the nigerian artist more recognition all over the world. it was played during the half time of spanish la liga match in 2013. iv. shakiti bobo: this dance style was popularized by the nigerian artist olamide african dance therefore can be described as the art of movement to the rhythmic pulsations of music particularly the percussive sounds, drums and idiophonic instruments. african dance encompasses a wide array of styles each with its own peculiarities and function. the dance of african people is intertwined with music and other form of arts such as theatre and visual arts. african dance is the various dance styles of african people that originates from different regions of sub-saharan africa which include the north africa, south african, east africa, west africa and central awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 54 africa. in traditional african societies, children begin to learn their traditional songs, rhythms, and dances from the early childhood age. many children’s games and recreational activities in africa include elements that enhances the understanding of the child in the aspect of rhythms and dances. the major element of african dance includes is the rhythm and musical accompaniment. there is a strong connection between dance and music. rhythm is the life wire of african dance. it is usually accompanied by beating of drums and percussive instruments that plays diversities or rhythmic structures. the therapeutics of dance in african music performing and listening to the music of africa which is characterized by a strong emphasis on rhythm presents opportunity for people to connect with one another and engage in dances that is physically challenging and also results in physical and mental and mental exercise. the findings from this research shows and describes some physical and mental health benefits of african dance african music, dance, drumming, have proved to be excellent tools for engaging in physical and mental therapy. an american professor of theatre/dance franklin (2013) describes some african dance physical health benefits: 1. warm-up: african dance, like other movement practices, requires students to warm up to lessen the likelihood of injuries, increase blood flow, and prepare the body for more movement. through the use of african and african-derived dance, roots of life participants are provided a structured warm-up and stretching period. the entire body is used in african dance; in many instances, the movement is highly aerobic and provides an intense cardiovascular workout. 2. body awareness: people learn basic dance language and how to control parts of the body, separately and together. 3. space, time, energy: space, time, and energy are fundamental elements of dance. african dance introduces these concepts to young learners. space is the area that the student uses to move. time is an integral aspect of west african dance that encourages students to practice listening and moving to a specific rhythm. energy refers to the quality of movement (sharp, light, fast, slow, etc.) 4. repetition: movements in african dance are repeated over and over and are completed in sync with the rhythm of drums. the repetition supports the learning process by allowing students time to catch on to the movement. likewise, atinuke (2003: 67-73) have shed light on the dynamics of african dance in the aspect of psychological behavior, therapeutic behavior and physical behavior. psychological behavior as an emotional experience, african dance affects the quality of life and adjustment of an individual's self-existence and life. dance creates the right atmosphere or mood or stimulates and maintains it. the application of experimentally derived principles of music and dance therapy to the treatment of psychological disorders has been proved to be very effective. the musical/dance therapy techniques differ from psychiatric methods, in that it controls the nature of the muscular contractions involved in terms of the consequences of the behavior. the kind of music that is played for healing is always slow, and it has the capability to create the right atmosphere for conscious processes, achieving new insight, or bring about fundamental personality change. in europe, according to valery (1983: 60), the art of dance is the expression and transference through the medium of bodily movements of mental and emotional experience that the individual cannot express by rational and intellectual means. woodward (1977:70-88), in discussing the ballet dance, reveals that the psychological appeal of the dance art are based on some major physical constituents such as body contact, mental stimulation, emotional mobility etc. therapeutic behaviour the healing dance has been the subject of several scientific treatises by social scientists. the vimbuza dance is a performance carried out for sick people in northern malawi, with drums of the ng’oma and mohambo type. the dance derives its name from a psychosomatic disorder called vimbuza in the chitumbuka language. the facial expression of the sick person reveals the psychological problem. the dance costume, consists of a skirt of fiber material bound round the hips, and an additional cloth bound round the waist at the top of the stomach, thus marking out the body area used in the dance. this is also evident in europe; private and public hospitals encourage the use of music and dance to eliminate the oppression of demons in psychosomatic disorder patient. physical behavior according to nketia (1974), affective response to music may be shown outwardly in verbal or physical behavior. the values of african societies do not inhibit this on the contrary, it is encouraged, for through it, individuals relate awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 55 to musical events or performing groups, and interact socially with others in a musical situation. moreover, motor response intensifies one’s enjoyment of music through the feelings, increased involvement and the propulsion that articulates the beat that physical movement generates. this is also a common characteristic of european dance because it is sometimes seen as an exercise, which gives mental poise, physical grace and fitness. according to langer (1983: 33), the relevance of the body to achieving athleticism in dance cannot be overemphasized, for the body must be patiently and properly trained to achieve the physical behavior in dance. conclusion in conclusion, 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. the trademark of a good african dance performance is being able to involve all body part in the enactment. every successful dance elicits and evokes feelings of elation, fulfillment and satisfaction. music and dance has healing propensities in africa and it may function in more ways yet to be discovered. therefore, the potency of musical sound to prompt human responses should be well harnessed for therapeutic purpose. references adekogbe, o.s (2023). breaking barriers and stimulating dance accompanimet to popular music in nigeria. journal of music and dance vol. 13(1). pp. 1-12. idamoyibo, a.a (2003). dynamics of african dance. humanities review journal. femi adedeji and charles aluede (2020). songs for living: interrogating the complexion of song-texts and healing in nigeria. contemporary dimension in nigerian music. a fetchscrift for arugha aboyowa ogisi. mereni a. e. (2004) music therapy in medical history. apex books limited. mereni a. e. (1996) “kinesis and katharsis” in birtish journal of music therapy, vol . 10, no.1. mereni, a. e (2007) music therapy: concept, scope and competence. lagos. apex books limited. harper, peggy (1997). dance, the living culture of nigeria (ed) saburi o. biobaku; thomas nelson; p.26-27. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 152 sacred ade-ileke isenbaye-nla oniroro: analysis of ona creativity to embellish yoruba history, philosophy and symbols opadosu james omoniyi department of fine and applied arts, federal college of education (technical) akoka, yaba, lagos doctoral student: department of creative arts, university of lagos, nigeria. iyiomoopa@yahoo.com & akande olasupo abiodun ph.d associate professor art history, department of creative arts, faculty of arts university of lagos, nigeria. akandeabioduno@gmail.com & adenle john oyewole ph.d associate professor of sculpture, department of creative arts, faculty of arts university of lagos, nigeria. jadenle@unilag.edu.ng abstract 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, keywords: ade-ileke isenbaye nla oniroro, onaism, icons introduction ade-ileke isenbaye-nla oniroro (huge conical beaded crown with veil) which drewal (1998, p. 201) tagged adenla is a sacred yoruba royal artistic headwear purposely designed to adorn the head of the king. it serves as an object of identity and a representation of the attribute of the sacred kingship (adediran 1998, p. 9; poynor, 2008, p. 239) adeileke (beaded crown), which represents a symbol of unity, leadership and political authority is made up of ade-ileke isenbaye-nla oniroro and ade-ileke kekere (small beaded crown) also named orikogbofo (coronet) (drewal 1998, p. 201). these two types of ade-ileke are symbolic of the hierarchies of the yoruba oba (kings) and are regarded as the most prominent and valued of the different yoruba ade (crown) (abiodun, 1994, p. 77; afolayan, 1998, p. 20). ade-ileke is a product of ona creativity. ona, according to babayemi (1992: p.1) is a yoruba word meaning art. iseona (work of art) is significant as a means of representing and preserving aspects of yoruba culture, especially from yoruba worldview, history, philosophy, religion, economy and social activities. ade-ileke remains an ever-living art object, which from the ancient yoruba society up to the modern and contemporary times, expresses the history, philosophies and cultural life of yoruba kingdoms and communities. the invention of ade-ileke according to yoruba mythology dates back to the time of oduduwa the acclaimed progenitor of the yoruba race. the commissioning and use of ade-ileke by the oba (king) continue to the contemporary time. beier (1981, p. 35) captures the art of crown making among yoruba asindemade (beaded crown makers), arguing out that commissioning and production of ade-ileke would not undergo the danger of extinction, in as much as the tradition of yoruba kingship exists. beier (1981, p. 35) posited that the oba would always add to his ade-ileke and other beaded royal treasures as desired. mailto:iyiomoopa@yahoo.com mailto:akandeabioduno@gmail.com mailto:jadenle@unilag.edu.ng awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 153 meanwhile, ona is expressed in different forms; visual and non-visual, images, signs and symbols. ona is visually rendered in different artistic expressions. also, ona is not restricted to visual arts imagery such as in wood carving, pottery, metal works (blacksmithing, goldsmithing, brass and copper casting), body marking, cloth weaving and cloth dying, sewing/tailoring and embroidery alone. it is also found in bead and beaded crown making as well as in dance, songs and singing, making of drums and drumming as well as poetry that characterizes the yoruba cultural cycle. interestingly, the visual and non-visual artists are known by names associated with ona. such names include gbenagbena (wood carver), onisona (craft worker), olonade (maker of art), onawumi (one who likes art) among others. other practitioners in the field of traditional arts and crafts such as weavers, calabash decorators, potters, blacksmithing, and basket weavers among others, are said to have ojuona (artistic eyes) (babayemi, 1992: p. 1). the implication, therefore, is that yoruba artists are well known in ona, which is not just “art for art’s sake” but expressions of yoruba philosophies, concept and ideas filled with meanings rooted in social, political, religious and other aspects of yoruba cultural beliefs. onaism, is a yoruba modern art movement founded by five graduates of the university of ife (now obafemi awolowo) in 1989 at ondo. the pioneering artists as noticed by azeez (2007, p. 82) include kunle filani, moyo okediji, tola wewe, bolaji campbell, and tunde nasiru who were later joined by other artists such as moyo ogundipe, tayo ojomo, don akatakpo and idowu otun among others. onaism agreed to deliberately project yoruba traditional icons, signs and symbols in history, philosophy, and beliefs, this has now been synthesized in modern and contemporary artistic renditions. it is a movement that explores the decorative motifs, ornaments, patterns and designs peculiar to the rich yoruba culture as posited by azeez (2007). adeyemi (2007, p 112) buttresses that onaism engages yoruba concepts of design and aesthetics in contemporary nigerian art manipulation. onaism can therefore be described as a projecting and synergizing movement infusing ancient traditional images, signs and symbols into modern artistic forms of expression such as painting, sculptures, ceramics, textile and graphic designs. many yoruba history and philosophies are connected through, songs, dance, drumming, and their poetry are expressed through ona in the form of icons, images, signs and symbols. the representations of which cut across many traditional art and craft expressions. emphasis on the representation and use of traditional icons, signs and symbols are evident in contemporary nigerian artistic expressions. unfortunately, yoruba artists are gradually declining as a result of assimilated foreign artistic concepts and influences. it is worth noting today that many young yoruba artists could not understand or articulate the complexity of the sophisticated concepts and philosophies underlying the yoruba worldview of arts in terms of its creativity, aesthetics, and functions (abiodun, drewal, pemberton 1991: 8) which are emphasized and symbolically represented through icons, images, signs and symbols expressed through different forms of yoruba art. modern and contemporary artistic training especially at the four walls of formal education did not emphasized the study of bead-making that serves kingship, traditional cults, groups, individuals and societies as an area of specialization. creation of synergy between educational institutions impacting art education and families of traditional crown makers which would enhance the documentation of processes and products of the art of bead making and its symbolism in the global world of art that has been neglected. this paper therefore aims to identifying and analyzing selected images, signs and symbols of ona expressed on adeileke isenbaye-nla oniroro to project ade-ileke as an instrument of recording, emphasizing and projecting yoruba history, philosophies, politics and worldview. this paper is significant to the younger generation of yoruba people who are not familiar with the history and relevance of ona (artistic embellishments and processes) as a movement and its iconographic representations on traditional ade-ileke isenbaye (ancient beaded crown) within the purview of their significance to the cultural values of the yoruba. it is also significant to the oba and his subject, the historians and the academic community as it projects the yoruba culture that is gradually and stylishly declining as a result of the acceptance and assimilation of foreign cultural values at the detriments of the yoruba history, philosophy, religion, economic and cosmological world view. theoretical frame work this paper is based on the theory of iconology, popularised by panofsky in 1932 which provides meaning to icons at three levels; primary or natural subject matter, secondary or conventional subject matter as well as intrinsic meaning or content (panosfky 1972, pp.7, 8). at the primary level, the theory emphasizes formal analysis of images signs and symbols beyond their facial values. elements of art such as line, shape, colour, texture and volume employed as tools awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 154 for representing objects are analyzed at the primary level. the secondary level of meaning refers to the motifs used at the primary level as images, stories and allegories associated with themes and concepts of icons with associated literary sources emphasized. the third level of meaning emphasizes intrinsic meaning of icons in the mind of people which are not documented. the second and the third levels of meaning of iconology are important to this study because they are precursor to the areas under investigation. ade-ileke isenbaye-nla oniroro: a product of ona the process of making ade-ileke isenbaye-nla oniroro as a product of ona is painstaking. drewal (1998, p. 64) emphasizes that the making of ade-ileke is slow, tedious and figuratively requires heavy work that could last up to six months. the process of making ade-ileke isenbaye-nla oniroro requires patience (suru), attentiveness (ifetisile) and finesse (finfin) in the setting of the beads. the rigour can be likened to the ona processes in wood carving. drewal (1998, p. 64) points out that beading is a medium of expression for cool and well-composed specialists like olokun (goddess of the sea, source of wealth, and provider of the glass and coral beads); the patron of bead makers and artists. other deities involved in making ade based on the material used include ogun, obalufon and obaluaye (drewal, 1998: 54). drewal reasoned further that, bead artists are masters of physical and metaphysical experiences by medium. the making of ade-ileke ienbaye-nla oniroro takes considerable time. it starts with the construction of a frame with silt palm reeds covered with layers of woven fabrics stiffened and secured with corn starch paste (agidi or eko). the inner part is laid with white cloth and sun dried while the eyes of the frontal face and other important features on adeileke isenbaye-nla oniroro are built in relief using cloth, starch and beads (beier 1981: 34). white cloth used denotes the colour of the beginning of life or existence, rebirth, purity, newness and renewal liken to shining stars and rebirth of the human soul to perform a different destiny as well as a representation of concealed powers of mothers (witches) (drewal 1998, pp. 64, 201; campbell 2008, pp. 46, 47). rituals before sewing of beads include prayers offered to ogun, the god of iron and patron of users of needles, and offering of gifts such as snail fluid for composure and tortoise for wisdom in carrying out the job which drewal (1998, p. 64) describes as made through “knowledge techniques and materials”. ileke (beads) and their importance the importance of ileke goes beyond its aesthetic significance in dressing and fashion, but its functional purposes are more visible in yoruba political expressions, especially in the hierarchies of yoruba oba and other royal and palace significance. the privilege of using ileke and objects made of ileke is also significant among representatives of the gods such as kings, priests, diviners and native doctors (lyndersay, 2011 p. 316). others include chiefs, individuals (ordinary or wealthy) as well as social groups who embrace the products of asinde (bead makers). decorative artistic expressions on the sculptures of ile-ife and esie are reflections of the importance of ileke in ancient yoruba culture (fagg 1980, pp. 9, 10). ileke, either local or foreign, traditional or modern, small or big come in colours that are significant in yoruba culture and worldview. ileke, produced in different types, sizes, shapes, colours and purposes are classified by name in yoruba land as captured in drewal (1998, pp. 17, 39, 47, 48). such names of beads include iyun (coral bead), okun (red stone bead) (p. 17), akori which drewal (p, 39) described as elusive, expensive and rare segi (blue/black glass bead) (p. 17), sese funfun (white variety), bebe and lagidigba (p. 17). drewal (1998) describes the colour of ileke to light as reflecting, transmitting and transforming (17). he emphasizes that the three chromatic groupings of the colour of ileke are (funfun (white), pupa (red) and dudu (black). these colours in the yoruba cosmos are significant in understanding yoruba art as they define and reveal the nature, character, or personality of things, persons and divinities (pp.18 & 20). lyndersay (2011, p. 313) in agreement posits that the three chromatic groupings are associated with tradition, symbolism and temperament. okediji in campbell (2008, p. 43) summarizes the hybridization of colour according to key english terms that exist today. for example, green is referred to as girini, blue is buluu and red is redi. however, campbell explains that despite the new development, his research conducted in 1993 proves that, the tri-colour categorization of the yoruba still holds. campbell (2008, p. 43) points out that pupa (red) stands for orisa gbigbona (temperamental orisa) known as awo pupa, and is represented in bright colours. dudu stands for orisa liloworo (“moderately warm and wildmannered orisa”) and is referred to as awo dudu, which are represented in tones of dark colours. while funfun stands for orisa tutu (cool and contemplative orisa) called awo funfun and portrayed in tints of white (campbell 2008, p. 43). for example, white stands for obatala (deity of infinite patience and calm), red for sango (deity of thunder), yellow awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 155 for osun (deity of osun river), blue for iyemoja (mother of waters), white with red stripes for orisa-oko (deity of farms) as identified by oyelola (2010, p.106). lyndersay (2011, pp 213, 216) paints that beyond the aesthetic level, the underlying nature and character of the wearer of colours either in objects made of ileke or dyed items are revealed. for example, lyndersay (2011, p. 316) records that red and orange in the category of pupa are linked with aggressiveness, blood and war, while cool greens, blue colours and black are mediating, as highlights of white, silver or pale grey are associated with age and wisdom (p. 316). in all, many colours of ileke as expressed on ade-ileke in yoruba culture are indicative of the oba as the father of all in his community, and giving insight into the nature of individuals that uses them as well as linking them with the deities using them as a means of identity symbolic representations on ade-ileke isenbaye-nla oniroro of omu-aran, aran-orin and arandun images, signs and symbols are significant ona (designs) represented on ade-ileke isengaye-nla oniroro. these ona convey significant meaning in yoruba royal and community cultural beliefs that are embedded in history, philosophy and worldview. some of the ona representations are noticed on the selected ade-ileke of omu-aran, aran-orin and arandun. these towns are communities of the igbomina group of yoruba. they are located in kwara state and osun state of nigeria that fall to north eastern part of yoruba land. ona in the form of images signs and symbols as represented on the selected ade-ileke nla could be classified under realistic and abstracted representations that take the form of zoomorphic, anthropomorphic, vegetal and basic design representations. plate 1. ade-ilekeisenbaye-nla oniroro plate 2. ade-ileke isenbaye-nla oniroro olomu olomu of omu-aran alaran of aran-orin source: the researcher, august 2023 source: the researcher, august 2023 plate 3. ade-ildke isenbaye-nla oniroro, alaran of arandun source: the researcher, august 2023 under the zoomorphic representations are depiction of buffalo and birds, human face as a feature of anthropomorphic representations, the floral design represents vegetal while the basic designs such as lines include vertical, horizontal awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 156 and zigzag lines. identified shapes include oval shapes, circles, triangles, and diamonds, among other shapes. for this paper; only birds, animal figures, human faces, veils and colours will be analysed. zoomorphic representation as ona on ade-ileke isenbaye-nla oniroro representation of bird and animal figures birds (plates 1, 2 &3): some animals according to olusola (2005, p. 157) are divine just like humans who are revered and honoured. they are regarded as sacred; neither can some of them be killed nor eaten. bird expressed on ade-ileke isenbaye-nla oniroro is significant in yoruba worldview and philosophy. bird is one of the major characteristic features of beaded crowns of omu-aran, aran-orin and arandun and some notable towns in igbominaland. thompson in beier (1981, p. 26) espouses that more of the interpretation of bird symbolism on beaded crown rests on conjecture because the precise meaning of the bird has not been given by any yoruba king consulted. thompson according to beier (1981, p 26) argues that beyond royalty, the bird could symbolize a witchcraft instrument of attack, pecking at the temple of their victim, but are dominated by the royal bird which looks down on them. among the yoruba, the bird is symbolic of the mystical power of the women's fold which could be positive or negative (drewal 1998, p. 202). the mother bird at the apex of the crown is believed to guard the substances planted at the apex of the coned crown on which the mother bird is mounted. these three oba, olomu of omu-aran, alaran of aran orin and alaran of arandun confirmed the presence of such substance in their crowns. they maintained that it is taboo for any oba to look into the inner part of ade-ileke isenbaye-nla oniroro pointing out that the consequence of such is death. drewal (1998, p. 202) emphasizes that the substance can protect the rightful wearer or destroy the person who wears the crown unlawfully. beier (1981, p. 26) believes that the oba could be blinded if he looks inside the crown. drewal (1998, p. 202) maintains that the oba rules with the support of awon iya (the mothers/witches represented as birds) whose role include “controlling, placing, protecting and sacrificing” to the crown. according to lawal (2012, p.14), the bird recalls the mystical creation of land on which oduduwa established ile-ife to mediate between heaven and the earth, while the mystical power (ase) enclosed in a calabash given to the first female enabled procreation and capacity to turn to a bird at night and do good or evil, a power believed to be manipulatable by the king for the good of all as explained by lawal (2012, p.14). the oba as expressed by beier (1981, p. 28), is a healer, who is familiar with the power of destruction and could control the power of the witches. the olomu of omu-aran also explained that the bird flies in the air and that the opportunity is limitless. he maintains that the oba operates in a limitless space in which one oba does not disturb the other. animal figure animal plays a significant role in yoruba proverbs, philosophies and worldviews. some animals are associated with man while some are associated with spirits. olushola (2005, p. 164) buttresses that, the relationship between yoruba hunters and animals is “deep, complex and mysterious.” some of the animals associated with royalty in yoruba land include ekun (lion), amotekun (leopard), okin (peacock), erin (elephant), esin (horse) and efon (buffalo). the main ade-ileke isenbaye-nla oniroro commissioned by the present olomu of omu-aran, his royal majesty, oba abdulraheem adeoti akolade agboluaaje exhibits the form of efon (buffalo) expressed in two dimensions (plate 1). the shape of the animal is formed with lines and represented at regular intervals round the crown as part of its embellishments. efon, emphasized by olushola (2005, p. 162) is powerful and heroic in character. the oriki (eulogy) of efon which olushola recalls, praises the animal as one that bleats as if it wants to rain and one that pursues one until refuge is taken on the tree. the efon is relevant to the lineage of olomu efon and not to the entire omu-aran as pointed out by olomu. the history of efon according to olomu is traced to his father who ruled in the 19th century. anthropomorphic representation of ona on ade-ileke isenbaye-nla oniroro humam face ade-ileke isenbaye-nla oniroro of aran-orin and arandun (plates 2&3) like any other yoruba conical beaded crown is embellished with abstracted representations of human faces. face representation according to lawal (2012, p. 14) is a typical face, frequently associated with oduduwa whom drewal (1998, p. 202) pin-pointedly acclaimed as the first to wear ade-ileke in yoruba land. the face expressed on ade-ileke isenbaye-nla oniroro as explained by lawal (2012, p. 14) indicates the continuity of office of the oba and as the all-seeing, an interpretation of pair of eyes on each of the faces. the faces on the ade-ileke isenbaye-nla oniroro of aran-orin and arandun are expressed round the crowns in an orderly arrangement, in varied sizes with bigger ones down at the lower part and the smaller ones at the upper part of the conical crown. the three vertical lines below the eye on each human face takes the design of “pele,” awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 157 a type of tribal mark associated with the igbomina people. drewal recalls that the faces are reverend as ejiogbe in okuku the divination sign of okuku (drewal, 1998 p. 202). representational veil ade-ileke isenbaye-nla oniroro is characterized by vertical chains of beads, known as veil that runs from the base or fringes of the crown down. it is designed to cover the face of the oba. the ade-ileke isenbaye-nla oniroro of omuaran, aran-orin and arandun(plates 1, 2 & 3) bear this type of veil which is called “roro” in the three palaces. the term roro informs the name given to the crown of the three communities known as ade-oniroro. drewal (1998, p. 202) explains that looking directly at the eyes of an oba when he wears a crown is a taboo. this taboo is also confirmed by omolewu (2017, p. 452). the veil conceals the face of the oba thereby making him more spiritual, protected, shielded and transformed into the level of the gods. basic design of ona on ade-ileke isenbaye-nla oniroro lines a line is an element of art used as embellishment. it is a a tool for expressing designs on ade-ileke isenbaye-nla oniroro (plates 2&3). line according to ocvirketal (2006, p. 74) performs expression of value and texture. the beads arranged in lines depict interesting textures that add value to the crowns. the feelings of the crown maker and the oba who commissioned the work are often expressed through the expressive use of lines. the beads are usually arranged in lineal order that showcases different types of forms and designs as executed by the bead artist in line with the desire of the oba who commissioned it. vertical lines: different types of lines have been used as sign or symbols on the ade-ileke isenbaye-nla oniroro of the three communities. three short vertical lines (plate 4) are skillfully arranged and expressed on the abstracted twodimensional human faces designed on the surface of the crown. the lines are indicative of one of the tribal marks of igbomina people named “pele” which some interviewees such as elder owolabi, a native of aran-orin suggest that, it could be marks on the face of oduduwa or some other great ancestors. plate 4. vertical lines zigzag lines (plate 5): this is another type of line that characterizes the face on the ade-ileke isenbaye-nla oniroro of aran-orin (plate 2) and arandun (plate 3). it is a motif often used on yoruba crowns. beier (1981, p. 28) espouses that either in short zigzag or in full one, such as the one that appears like entwined snake which beier (1981, p. 30) posits that some yoruba people interpret as abstraction of intertwined snakes biting each other tails. the zigzag is referred as interlace pattern. it appears frequently on many ade-ileke isenbaye-nla oniroro and other yoruba art, and more importantly its appearance on most sacred objects such as on some items of sango and oya who belongs to the royal personages as well as on beaded bags of diviners among others (beier, 1981, p. 28; drewal 1998, p. 202). it is symbolic in interpretation as an entwined snake. according to drewal, it suggests the competing powers of this world and other worlds and epitomises both tension and resolution of conflicts, the continuity and balance of existence in the realm of heaven and earth. he maintains that the acceptance of interlace whose origin is traced to the hausa, finds solace and “encapsulation in the fundamental yoruba philosophical concepts about the cosmos, forces within it and the mediating position of the sacred rulers”. beier (1981, p. 28) posits that interlace is clearly associated with royalty, or leadership with emphasis that each king is a part of unending eternal royal beings. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 158 plate 5. zigzag lines colour another element of art on ade-ileke isenbaye-nla oniroro of omu-aran, aran-orin and arandun is the use of colourful beads (plates 1, 2 &3). colour as a symbol is loaded with meanings. each colour of ileke on the crown relates to each other as they create a mood or elicit an emotional response which may change when it relates harmoniously with others (ocvirk 2006, p. 152). ocvirketal (2006, p. 168) argues further that an understanding of the use of colour is critical to their meaning. beads on their own carry colours that symbolize the characteristics of deities which the oba is inseparable from. obatala bears white colour, red for sango, yellow for osun, blue stands for iyemoja, while, white with stripes of red stands for orisa-oko. the strands of beads normally distinguish worshippers of different orisa (beier, 1981, p. 31). ade-isenbaye-nla oniroro and ade-odunibile of olomu of omu-aran, alaran of aran-orin and alaran of arandun bears varieties of coloured beads (plates 1, 2 & 3). the colours include white, brown, blue, red, yellow, black, and green among others. these colours are symbolic of yoruba beliefs, and philosophical worldviews. beier (1981, p. 31) buttresses that yoruba crowns are brilliantly colourful, pointing out that the presence of all colours on yoruba crowns indicates that the different cult groups are united in the person of the oba. more still, all tendencies and group activities are interwoven and interlaced to express unity and oneness of all in the community, as exhibited on the crowns. findings and recommendation ade-ileke which drewal (1998, p. 207) referred as adenla (conical beaded crown with veil) is known as ade-ileke isenbaye nla oniroro in omu-aran, aran-orin and arandun. the efon (buffalo) symbol on the ade-ileke isenbaye-nla oniroro did not only take after olomu agboluaje but recalls his history and contributions to omu-aran community. owing to the efficacy of the ade-ileke nle oniroro of the three towns omu-aran, aran-orin and arandun when in use, kolanuts must be broken in propitiation of that ade-ileke as the oba walks. the three vertical lines on the abstracted facial representation is associated with the pele tribal marks of the area. it corroborates the scholarly position holding to continuity in the culture of ade-ileke and oba among the yoruba, the use of beads and bead making artists cannot seize. all put together exposes the creativity embedded in ona and the ingenuity of the asindemade (beaded crown maker) in representation and conveying of history, philosophy and world view in iconic representation on the sacred ade-ileke. it is recommended that the royal use of ade-ileke must be recognized and respected as an important aspect of yoruba culture that projects and advance the position of oba and the community. bead making should be introduced in to the visual arts curriculum of the three levels of learning in the country. the youth should recognize and participate in festivals to increase the almost fading knowledge of the cultural life and believes of the yoruba community. conclusion ona, a popular yoruba word that refers to art and creativity played critical roles in the making of ade-ikeke isenbayenla oniroro which is an embodiment of images signs and symbols purposely designed and embellished on ade-ileke isenbaye-nla oniroro; a significant and more valued sacred object used in the oba’s palace. the process of production commences with the commissioning of the ade to the asindemade who practice without learning the art from in the four walls of the formal academic community but from a master artist who produces creative works in ileke. based on the theory of iconology, the researcher points out the importance of ileke with an emphasis that colourful ileke bears significant meanings on the ade-ileke isenbaye-nla oniroro of omu-aran, aran-orin and arandun, while the images, signs and symbols embellished on the ade-ileke isenbaye-nla oniroro of the three communities are carriers of awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 159 meanings that are peculiar to yoruba, history, philosophy and worldview. it finally projects its findings and recommendations. references abiodun, r. (1994). understanding yoruba art and aesthetics, the concept of ase. african arts. the james s. coleman african studies centre. university of california. los angeles. vol. xxvii. 3 adeyemi, i. f. (2007). facets of onaism in kunle filani. in b.a. ademuleya, a.o. onipede& w. a. azeez (eds). kunle filani. lagos. culture and creative art forum (ccaf). afolayan, f. (1998). kingdom of the yoruba: socio political development before 1800. in d. ogunremi & b. adediran (eds.), culture and society in yorubaland. (pp 14-26). ibadan: rex charles publication in association with connel publication. adediran, b. (1998). yorubaland up to the emergence of the states. in d. ogunremi & b. adediran (eds.), culture and society in yorubaland (pp 1-13). ibadan: rex charles publication in assocaition with connel publications. azeez, w. a. (2007). kunle filani’s leadership roles in art organizations and school administrations.in b.a. ademuleya, a.o. onipede& w. a. azeez (eds). kunle filani. lagos. culture and creative art forum (ccaf). babayemi, s.o. (1992). the oba (traditional ruler) as patron of arts and crafts in yorubaland. african notes. journal of the institute of african studies. university of ibadan. vol. xvi. 1 & 2. beier,u. (1981). yoruba beaded crowns: sacred regalia of the okuku of olotum. london: ethnographical ltd. campbell, b. (2008). painting for the gods: art and aesthetics of yoruba religious murals. eritrea: african world press, inc. drewal, h. j. (1998). patrons, artists, process, aesthetics. in beads body and soul (pp 32-51). california: ucla fowler museum of cultural history. drewal, h. j. (1998). patrons, artists, process, aesthetics. beads body and soul (pp 54-81). california: ucla fowler museum of cultural history. drewal, h. j. (1998). yoruba beadwork catalog. beads body and soul (pp 198-274). california: ucla fowler museum of cultural history. fagg, w. (1980). yoruba bead work. london. lund humphries publishers ltd. lawal, b. (2012). embodying the sacred in yoruba art. selection from the newark museum collection. kean university. lyndersay, d. (2011). nigerian dress, the body honoured: the costume arts of traditional nigerian dress from early history to independence. lagos: centre for black and african arts and civilization. ocvirk, g. o., stinson, e. r., wigg, r. p., bone, o. r. & cayton, l. d. (2006). art fundamentals theory and practice. tenth edition. new york. mc graw hill. olusola, g. a. (2005), animal in the traditional worldview of the yoruba. http://www.folklore.eelfolklore/vol30/olusola.pdf olusola, g. a. (2005), animal in the traditional worldview of the yoruba. http://www.folklore.eelfolklore/vol30/olusola.pdf omolewu, c.o (2017). taboo. in t. falola & akinyemi (eds). culture and customs of the yoruba (pp. 445-455). austin. pan-african university press. panosfky, e. (1972). studies in iconology, humanistic themes in the art of the renaissance. united kingdom: westview press, a member of the perseus books group. poynor, r. (2008). the yoruba and the fon. in m.b. visona, r. poynor& cole (eds.), a history of art in africa. london: laurence king publishing ltd. http://www.folklore.eelfolklore/vol30/olusola.pdf http://www.folklore.eelfolklore/vol30/olusola.pdf awka journal of research in music and the arts (ajrma) vol. 16, september 2023 133 bob marley and “black” civilisation: the question of criteria emaeyak peter sylvanus department of music, university of nigeria, nsukka email: emaeyak.sylvanus@unn.edu.ng abstract this article explores bob marley’s music and (black) civilisation, not necessarily to denounce it but, rather, reflect on what really its objectives were, its assumptions, history, and horizons of possibility. this approach, thus, begs the question of criteria. and so, we are concerned to know what black civilisation was and, within the context of bob marley’s music and persona, the perceived expectations of our own limits, horizons, and opportunities. in other words, the goal here is to interrogate our understanding of black civilisation, as well as what that civilisation has made of black people and their musical art. to do so, i will explore and synthesise the overriding constituted and perceived themes of black consciousness in bob marley’s music alongside a review of the extant literature on (black) civilisation. keywords: bob marley, black civilisation, music, the question of criteria author’s bio emaeyak p. sylvanus is a senior lecturer and former head of music at the university of nigeria, nsukka. he holds a phd in music from city, university of london, uk. his research interests straddle popular music, film music, and ethnomusicology. as the pioneer scholar on nollywood film music, dr. sylvanus has contributed several articles to high-impact journals in the arts, humanities and social sciences. his ongoing projects include film music archives and archiving practices in nigeria, as well as an extensive study of the interplay of popular music and aspects of public culture in nigeria. he is presently the associate editor of the journal of the musical arts in africa. introduction the decision to re-engage and reframe the issue of civilisation within the context of black music should generate some predictable responses, including umbrage and resistance. does black civilisation exist? if so, where does it reside? is it in the music of black people? is it constituted or a mere perception? to be clear, the aim here is not to denounce black civilisation but, rather, reflect on what really its objectives were, its assumptions, history, and horizons of possibility. this, in part, requires that we critically engage the question of criteria. theoretically, i am indebted to david scott for his notion of the “problem space,” which is brilliantly articulated in his book, conscripts of modernity (2004). scott’s is a major work of post-colonial/caribbean thought that is surreptitiously classic of black futurism or futurity in the sense that it is about how we understand the future following historical awka journal of research in music and the arts (ajrma) vol. 16, september 2023 134 events and texts, as well as how we evaluate them given their frontiers from “the tangible ruins of our present” (p. 29). the “problem space” is more or less about temporality and the subtle shifts therein. it is also about goals and expectations and the slow, arduous socio-political reality/transformation that the imagined revolutionary aspirations of many black societies encourage. what then is the implication of this for our argument here? to make black civilisation a “problem space” therefore is to engage its historicity, which is often amorphous and, arguably, susceptible to re-signification – never being quite what it was supposed to be, and yet always potentially becoming. it is to accept black civilisation as something very fluid: a constantly-shifting conjuncture of movements and affects, questions and answers, constructions and de-constructions, which are made possible through institutions, ideologies like cancel culture, icons such as bob marley, and all the interminable advances of modern time. for many decades, the metastasising notion called pan-africanism has not yielded the goals, values and commitments that could produce a creed for the black race. by contrast, this has sustained a strange counterpoint to the institutionalising of black (african) ideas and criticism in academia and pop culture in general. if so, there is a need to engage the institutionalisation (alternatively, appropriation or co-optation) of ideas and criticism of society and its values, particularly within black musical arts and pop culture. i personally wonder if pan-africanism and/or black civilisation is due less to their current station or stature, but more to the anxieties of a black intelligentsia that is uncertain of its relevance in the face of fragmenting social realities and disciplinary and socio-political concerns – all of which is steered by that omnipresent and powerful force of intellectualism. contextualising civilisation before launching into a discussion of bob marley and any nexus between him, his life and works and pan-africanism or afrocentrism, it is necessary to establish some context for the term “civilisation” and its meaning. in many of his published works, mohandas k. gandhi frequently refers to the concept of “civilisation,” which he categorises as both “modern” and “ancient”. he identifies and links the former (to which we all belong) with the industrial and technological advancement of the global north that had, in his view, reduced them to a state of “cultural anarchy.” gandhi’s opinions on the subject of civilisation changed considerably over time. in 1906, after the boer war and under the british administration of south africa, he organised protests against the segregationist black act and the subsequent asiatic law amendment act on the basis of “the universal values of civilisation” (discussed in du toit 2005). the phrase “universal values of civilisation” is instructive for our own conversation here, in part, because it suggests that there is only one civilisation – the human civilisation. in other words, civilisation should not be categorised and indeed discussed within the pieties of racial distinctiveness. if this is accepted, then the polysemy “black civilisation” becomes philosophically problematic: what does it really mean and represent? how is such a civilisation authentically black, and by what parameters? who has or has not decided on it, and why? awka journal of research in music and the arts (ajrma) vol. 16, september 2023 135 are the universal (and underpinning) values of civilisation, including the right to life, equity and justice, social order, freedom of expression, as well as the right to scientific exploration and artistic development, exclusively black? perhaps, to drive home the point i should reference edward carpenter’s (1921) text civilisation: its cause and cure wherein he elaborates on max nordau’s analogy between civilisation and disease. carpenter argues that civilisation would have the same destructive effect on people living closer to nature (i.e., the underdeveloped regions of the world) in much the same way as the sicknesses brought to them by the colonisers. for carpenter, this condition is linked to the desire for nations of the global north to realise a consciousness of “the self” – one which is backed by both the delphic aphorism “man, know thyself” and the advent of money in graeco-roman society (carpenter 1921: 24–25). enter carpenter (1921:4–5): the growth of wealth, it is shown, and with it the conception of private property, brought on very definite forms of social life; it destroyed the ancient system of society based on the gens, that is a society of equals founded upon blood-relationship, and introduced a society of classes founded upon differences of material possession; it destroyed the ancient system of mother-right and inheritance through the female line, and turned the woman into the property of the man. using greece as an example, the homeric age and the myth of the golden age gave way to an aristocratic or timocratical culture as evident in the conservative social thinking of plato and this in turn degenerated into a disorderly world in which the mob ruled. consequently, society descended into “caucuses and cackle, competition and universal greed, breaking out in cancerous tyrannies and plutocracies –a mere chaos and confusion of society” (pp. 32–33). in carpenter’s analysis, the homeric and spartan greeks occupied the position of “advanced barbarism” (p. 6), while the matabele in africa, for example, who were relatively unaffected by civilisation, were at the middle stage. carpenter’s essay then proceeds to document the extraordinary physical strength of these african people and their great social cohesion. he notes a “loss of unity” in societies that progress to a higher plane and traces the similarities between this process and scientific accounts of disease within living organisms and within the cosmos. if, by inference, this ancient african civilisation is what black civilisation implies, then it is a regression. conversely, a progression would focus on a discourse of african values and thoughts, industrial and technological explorations, as well as cultural expressions and their broad implications for our (post)modern society. it is within this “progression” that we can advance thoughts on black civilisation in relation to bob marley. in what follows, i present an overview of the life and music of bob marley and, consequently, show how the man and his music/struggle might be linked to such aspects as social structure, social identity, and afrocentrism. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 136 overview of the life, music, and times of bob marley in a narrative of jamaican trailblazer and reggae genre icon, bob marley, it is critical to note that his legacies portray a larger-than-life image – one that spans uncompromisingly anti-authoritarian revolt and liberation. robert nesta marley was born at the victoria jubilee hospital in kingston, the capital of jamaica on 10 february 1943, to cynthia llewellyn and norval sinclair marley, and died on 11 may 1981 in florida, usa. the circumstances that shaped his childhood and early development, including poverty and poor parenting, inadvertently worked to manifest his prodigy to the world. bob marley ended his formal education in 1959 after attending several schools. he invested his time playing football, hanging out with friends, and gradually demonstrating an interest in music. in 1960, bob marley began to develop his musical talent with his close friend bunny. bob and bunny began studying the art of singing with the jamaican recording artist joe higgs who offered them singing lessons, and would later add peter tosh (born macintosh) to the group. their singing style was imitative of fats domino, louis jordan, and the harmonies of curtis mayfield’s impressions (1963). at age sixteen, bob marley had his first musical breakthrough. he sang for producer leslie kong, who issued his first recordings, judge not (1962), one cup of coffee (1962), and terror (1962), on the beverley’s imprint. under the name the wailing wailers, the group (bob, peter, and bunny) released the single simmer down (1964), which brought them considerable success in jamaica in 1963. they also recorded for one of the three biggest producers of jamaican popular music on the island, clement coxsone dodd. the wailing wailers continued to have success with a series of solid-selling singles until the end of 1965 when it became evident that bob was the natural front man for the group. this led to friction and broke up the original three-member group. early in the year, bob met rita anderson (alpharita constantia anderson), whom he soon married and had three children, excluding many other children he had outside his relationship with rita. in terms of musical output, and considering his short earthly life, marley arguably outworked, outdid, and out-famed his contemporaries. he is identified as the direct forerunner of the global hip hop revolution and the face of roots reggae music. consequently, his rhythm section pioneered the standard roots reggae groove named “one drop” rhythm. to be clear, one drop rhythm differs from the type found in, say, the american rock and roll music. so, whereas the first may be achieved when the drummer accents only the third beat of a four-beat measure, the second typically accents the first and third beats. with most of his songs in standard verse-and-chorus form, marley’s prolific and imaginative music and lyrics maintain incredible cohesion. interestingly, bob marley was involved in all aspects of the creation of his music: from composing for all musical instruments and penning down the lyrics to editing and overdubbing processes that yielded the final product (see farley 2006; moskowitz 2007). commercially, bob marley influenced the marketing model of reggae through his first act of releasing a full-length lp. a change in the production, commodification and marketing awka journal of research in music and the arts (ajrma) vol. 16, september 2023 137 processes of reggae music soon followed between 1972 and 1973 with the release of catch a fire. in the succeeding years, the album became universally accepted as the first genuine reggae album in history. beyond its commercial impact, marley’s music has a universal quality that transcends race, colour, economic class, and language. in analysing marley’s global appeal, gilroy (2005) argues that “attention should be placed . . . upon the processes and mechanisms of identification. do people connect themselves and their hopes with the mythic figure of bob marley as a man, as a jamaican, a caribbean, an african or pan-african artist? he was somehow all of the above and yet more” (p. 240). within marley’s oeuvre, it is evident that he has established a canon that historians and social scientists can examine to find rich deposits of information. small wonder marley is heralded as the first international third world superstar, and frankly the only such star of his calibre. over the years, marley’s impact and legacy have been signified by, amongst other means, the sheer quantity of records sold. also, marley was awarded the jamaican order of merit and inducted into the rock and roll hall of fame. he has a star on the hollywood walk of fame and has received the grammy lifetime achievement award. irrespective of these and many other awards, it has been argued that time remains the true test of marley’s worth. four decades after his death (1981-2021), marley’s influence remains astounding. he had such a great significance and influence that his attempted assassination in 1976 was arguably politically motivated. this possibly explains why he is globally likened to a prophet, peacemaker, mystic, and universal symbol of true love. thus, as we evaluate bob marley’s legacy, there is a need to consider the elaborate profile that he constructed through his music. one of the underpinnings of that profile is the narrative of exile from and return to africa, which has since become a dominant theme in african-jamaican reggae songs. like bob marley, nearly all reggae songwriters and artists rely on one of the key tenets of rastafarianism, which is that africans are israelites. ontologically, this ideology subsists in interpretations of the bible (e.g., 1 kings 10:13). in other words, rastafarians (or ras/rastas) believe that jah (the short for jehovah or yahweh) will protect his chosen people in their exile, grant them victory over their perceived enemies, as well as deliver them from white captivity or in contemporary times white supremacy (which, in the music, is metaphorically babylon) and aiding their return to africa. in essence, africa is zion, the place where jah resides, and the promised land to which liberated black people will return. africa, therefore, is symbolic of paradise and of the ideals of liberation and freedom; it is the place of origin and place of return; a pre-colonial world as well as a better world to come; a faraway past and a yet an extended present. it is “homeland” not only in a physical sense, but also and more so in a psychological and deeply spiritual sense. if so, there is a need for some criteria for rationalising the link between rastafarianism (the embodiment of whom was and still is bob marley) and postmodern civilisation. the question of criteria awka journal of research in music and the arts (ajrma) vol. 16, september 2023 138 globally, the degree of reggae’s popularity is significant, and black africans are arguably among the biggest consumers of reggae per capita, particularly of bob marley’s music. this offers useful insight into notions of transculturalism, identity and representation in relation to reggae’s adoption and localisation in other contexts. for this reason, i shall propose some parameters for nuancing these insights. reggae genre, particularly roots reggae which bob marley promoted, owes its status as a “roots” music to africanjamaicans (the descendants of african slaves transported to jamaica as labourers on sugarcane plantations) who use this genre to articulate their african cultural roots. these roots are celebrated in band names (e.g., the ethiopians and the congos), in the lyrics of numerous reggae songs (e.g., marley’s war (1977), africa unite, and zimbabwe), and on album covers (depicting, for example, the african continent, african fauna, its people and the flags of various african nations). many reggae musicians have utilised various symbolic markers of africanity (i.e., practices and symbols for which africanness has been attributed or recognised) in order to construct and express african identities. these african signifiers can be loosely categorised into four types: the musical, symbolic, cultural, and linguistic (each of which will be discussed). for brevity, the reading of these symbols is deliberately narrow, focusing only on their potential african meanings. the position adopted here is somewhat extreme, and does not account for the semiotic ambiguity of these signifiers. i should emphasise here too that these signifiers can have a variety of meanings and applications—many (even most) of which bear no african associations whatsoever and, hence, the need to approach them as “universal truths” that serve a civilisation that is non-racial and non-categorical. for a deeper understanding of these identity signifiers, i should address the philosophical notion of identity itself. the following are some of my thoughts on identity, which i have articulated elsewhere (e.g., sylvanus 2019; 2020). identity has remained a fundamental subject matter in many disciplines. the earliest philosophers considered identity to be the first law of thought. identity derives from the latin idem meaning “the same.” but “the same” is not necessarily the meaning of identity. it would appear that the meaning of identity as a core and integrated phenomenon subsists in the word’s own etymology. logically, identity presupposes itself. in other words, it makes sense to argue about the uniqueness of “self” with reference to “otherness.” but the word uniqueness is indicative of difference. therefore, things are self-identical because, to an appreciable extent, they differ from other equally selfidentical entities. my understanding is that both sameness and difference are essential to the importance of identity. as such, sameness cannot be adequately discussed without reference to difference. yet identity neither strictly means sameness nor difference. my position is that identity is sameness, difference, and everything in-between, which then supports its discussion from two fronts: identity-in-sameness and identity-indifference. in this sense, identity becomes a matter of agency wherein difference is not the opposite of sameness but rather the absence of it. as an issue of agency, and according to anthony giddens, the study of identity has elicited paradigmatic shifts: first as “self-fashioning, agentive, internal project of the self;” then, as “the understandings of social and collective identity;” and lastly, the postmodern accounts awka journal of research in music and the arts (ajrma) vol. 16, september 2023 139 that treat identity as “fluid, fragmentary, contingent and, crucially, constituted in discourse” (giddens 1990: 31). so, the meaning of identity inheres in the three paradigm shifts. it is interesting that identity as a “project of the self” has endured centuries of human intellectualism. from a sociological perspective, and as a reflexive project between the self and others, giddens argues that identity has to be routinely created and sustained, constantly having to be explored and constructed as part of the reflexive process of connecting personal and social change. this implies that human beings are actively involved in constructing and de-/reconstructing their identities as their social circumstances change. more so, this self-versus-other occupation reflects not only the bifurcation between individual and group (or collective) identities but also the degree of tension in identity formation. such tensions make identity both pluralistic and fluid in nature. accordingly, we can speak of multiple individual and collective as well as relative and partial (african) identities. according to edward spicer, identity is a two-way adversarial process that often produces “persistent identity systems” (spicer 1971: 797). spicer uses the word “persistent,” which is, in my opinion, particularly instructive because, unlike sameness, the realm of difference is broad, boundless, and somewhat unreliable. so, within the context of this lecture, a persistent (african) identity system can only materialise when properties of identity (including internal material harmony, intensity, diversity, and reliability) are more or less the same (or identical) over time. in a discourse of this kind, culture cannot be overlooked. for many theorists of identity, the concept of culture in identity or identity in culture provides a link between individualism, a sense of sameness/difference, and collectivism. what then is cultural identity? cultural identity has been examined in two ways: as shared culture, which provides us with a stable, unchanging, and continuous frame of reference and meaning, and secondly, according to stuart hall, as “what we really are,” “what history has done [to us],” “what we have become,” and “the way we position ourselves within the narratives of the past” (hall 1990: 223). it is in this sense that we can consider an african (musical) identity that is based on a continent’s shared history; but more important, how that itself has been positioned within the narratives of “african/black music” as a response to what/who we really are and/or what we have become. to fully grasp this statement, we should have an idea of how these underpinning notions of identity have been theorised in music generally. in musical identities, for instance, macdonald et al., (2002) discuss the functions of music and the resulting identities from music and musical processes. specifically, the authors’ attempt to differentiate between “musical identities” and “identity in music” is clear. the former (from which the book takes its title) implies process: the means by which a musician constructs their identity. the latter (identity in music) suggests that culture is an important factor in defining (social) identity especially through categorisations of music. both tiers and postulations promote a dichotomy of identity between the “individual” (of creative intentions and skill acquisition) and the “communal” awka journal of research in music and the arts (ajrma) vol. 16, september 2023 140 (of collective thoughts on musical form, as well as social values and norms). by that formulation, it can be argued that (african) identity in the reggae music context can either originate from the singular or the collective. and so, the construction of singular and collective identities is a form of understanding and critiquing “who we are”— something that happens when such identities require modification or are being modified. below are some of the identity signifiers and practices that can be used in the construction and expression of black identities beyond the current context. african identity signifiers in reggae music although reggae musicians across the world have localised the reggae genre in important ways, this article focuses solely on the african musical signifiers that are present in locally produced reggae, as it is these that have potentially enabled the practitioners to form transcultural and transnational links with africans (and, by extension, with black people in the diasporas). reggae is often used as a generic term to describe jamaican popular music produced since the 1960s, for example, one-drop, rocksteady, ska, rockers, lovers, dancehall and dub. to be more precise, reggae is the form of jamaican music that was most popular from around 1969 to 1983, a period that has been subdivided into the early reggae period (1969–1974) and the roots reggae period (1975–1983). i am primarily concerned with the roots reggae style, which was globally popularised by artists such as bob marley. this particular style of reggae synthesised elements derived from many different musical styles, including: american rock ‘n’ roll, funk, rhythm and blues, jazz, country and western, blues, soul, gospel and latin american; trinidadian calypso; jamaican african-influenced traditional and folk forms, such as revival, kumina, rastafarian nyabinghi drumming, etu, gombay, jonkunnu, pocomania; as well as jamaican popular music such as mento, ska and rocksteady. the musical origins of roots reggae, therefore, lie predominantly in african-american and african-jamaican genres. roots reggae features several african musical signifiers, making it an ideal vehicle for the expression and construction of african cultural roots. hand drumming is perhaps the key musical signifier of africa and a crucial element of rastafarian nyabinghi ceremonies where such nyabinghi drums as funde, akete and bass dominate reggae music and give it its characteristic rhythmic patterns. other african musical retentions that can be found in reggae include the use of polyrhythms; call-and-response vocal interaction between the lead and backing vocalists; and the predominance of minor tonalities that are arguably derived from the pentatonic scales used in african traditional music. symbols the visual symbolism that is associated with reggae depicts colours and characters derived from flags, which function as important markers of identity. for example, the tri-colour of the red, gold and green along with the lion of judah symbol that is derived from the ethiopian national flag signify rastafarians’ ethiopian identity. the colour black, derived from marcus garvey’s universal negro improvement association (unia) flag has also become associated with both the rastafarian movement and reggae. scholars awka journal of research in music and the arts (ajrma) vol. 16, september 2023 141 such as chevannes (1995) have argued that these colours offer meanings that strengthen the notion of “africanness”: black is said to “symbolise the african people, red their blood, green africa’s verdant vegetation and gold africa’s mineral wealth” (pp. 15–16). these colours are commonly seen on items of clothing such as t-shirts and tams (knitted hats), which many ardent reggae listeners, musicians and sponsors wear. these symbols help to articulate aspects of african nationalism, the efforts on and around decolonisation, freedom from neo-colonial oppression, as well as connect their struggle to that of africans and black peoples worldwide. in this way, these symbols become important in constructing a transcultural link between people who share a love of reggae music and/or subscribe to the music’s spiritual and socio-political messages. the hair another key signifier for our conversation is the hair. scholars have purported various origins for the practice of wearing dreadlocks (uncut and uncombed hair), including the idea that this hairstyle was adopted in the 1940s as the result of african-jamaicans seeing photographs of africans variously identified as kenyan mau mau freedom fighters, somalis, and masais or ethiopian monks (chevannes 1995: 77). the perceived african origins of this practice enabled african-jamaicans who adopted this practice to affirm and strengthen their ties to their african cultural roots. for some rastafarians, the wearing of dreadlocks is not (only) a continuation of an african cultural tradition, but a practice redolent with african symbolic meaning: a visual representation of a lion’s mane and/or the crown worn by ethiopia’s haile selassie at his coronation. such african associations make the wearing of dreadlocks, among its many possible significations, a signifier of african identity. moreover, this distinctive hairstyle contravenes western european hair-grooming practices (that is to say, cutting, combing and washing with shampoo and conditioner). thus, the wearing of dreadlocks continually plays a part in the social othering of whites and the construction of black identities. language and texted music to nuance this signifier, we necessarily must implicate dread talk, jamaican patois and accents. many reggae artists have adopted elements from dread talk (also termed rasta talk, i-ance or i-yaric), which is the rastafarian jargon disseminated by popular reggae artists such as bob marley (chevannes 1995: 128). dread talk has three key characteristics, all of which can be found in most nigerian/african reggae song lyrics: the use of biblical proverbs and terminology; the modification of english words (e.g., using downpressor instead of oppressor, because ‘op’ sounds like up, thereby implying that oppression is positive); and the use of the first-person pronoun ‘i’ in place of all other pronouns. in addition to using dread talk, some nigerian reggae musicians have adopted the jamaican patois and even used jamaican accents in their pronunciation of song lyrics. the use of dread talk is prevalent in songs written and performed by rastas. for many reggae bands, dread talk plays a vital role in the expression and construction of their rastafarian identity. i should, however, note that non-rastafarian reggae musicians also use certain words and phrases derived from this lexicon, which indicates that dread talk awka journal of research in music and the arts (ajrma) vol. 16, september 2023 142 is, to some extent, an intrinsic element of reggae. in addition to enabling such musicians to articulate their rastafarian religious affiliation, these linguistic elements can foster other forms of belonging: a transcultural identification with african-jamaicans, or, in a broader sense, belonging to the reggae fan community or to a group of like-minded people who share the ecological, afrocentric, and/or socio-political views expressed in reggae songs. african/black transcultural identification is thus made possible, not only via the use of dread talk, but also and more so through the subject matter of several reggae songs. specifically, the lyrics of many of these songs (e.g., ras kimono’s under pressure) discuss the political causes of africans and indigenous peoples, and express a sense of solidarity. poverty, as well as its cause and effects, is a key theme in many reggae songs. some songs draw attention to the enormous disparity in the distribution of, say, nigeria’s national income between a wealthy minority and a poor majority, and speak of high unemployment, poor working conditions and low wages. while some song texts highlight the people’s inability to afford food, shelter and education, others discuss crime, police brutality and civil unrest. with respect to nigerian and indeed other african reggae listeners and performers for whom their socio-economic and physical locations are similar to those of african-jamaicans in kingston, this similarity promotes a transcultural affiliation of shared values and struggles. conclusion this article set out to interrogate black identity or civilisation in relation to music of bob marley. as bob marley sings in redemption song (1980), “[he] who feels it knows it lord,” some contemporary reggae musicians possess such feeling and knowing – one that corroborates hooks’ (1991) notion of the “authority of experience”. the authority of experience clearly underpins their affinity with jamaican roots reggae. and it is on the aforementioned criteria that we have discussed a notion of african identity through bob marley’s works and its implications for civilisation in the postmodern era. references carpenter, e. (1921). civilisation: its cause and cure, and other essays. london: george allen & unwin. chevannes, b. (1995). rastafari: roots and ideology. kingston: syracuse university press. du toit, a. (2005). experiments with truth and justice in south africa. journal of south african studies, 31(2), 419–48. farley, c. j. (2006). before the legend: the rise of bob marley. new york: harper collins publishers giddens, a. (1990). the consequences of modernity. cambridge: polity press. gilroy, p. (2005). ‘could you be loved?’ bob marley, anti-politics and universal sufferation. critical quarterly, 47(1–2): 226-245. hall, s. (1990). “cultural identity and diaspora.” in j. rutherford (ed.) identity, community, culture, and difference, 222–237. london: lawrence and wishart. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 143 hooks, b. (1991). essentialism and experience. american literary history, 3(1): 172–183. macdonald, a. r., d. j. hargreaves, and d. meill (eds.) (2002). musical identities. new york: oup. moskowitz, d. (2007). 1969– the words and music of bob marley. j. e. perone (ed.). connecticut: praeger publishers. scott, d. (2004). conscripts of modernity: the tragedy of colonial enlightenment. durham, n.c.: duke university press. spicer, e. h. (1971). persistent cultural systems: a comparative study of identity systems that can adapt to contrasting environments. science, 174(4011): 797. sylvanus, e. p. (2019). nolly–holly: negotiating identity in film music. popular communication, 17(3): 185–201. sylvanus, e. p. (2020). locating nollywood film music at the intersection of individualism and a commodified identity. black camera 11(2): 85–105. tonemic substitution 182 awka journal of research in music and the arts vol.15 (2021) 182 after-school musical training for students in tertiary institutions in nigeria: an evaluation of esm summer camp in mountain top university oluwatade joseph olubukola ph.d. introduction fter-school programme is a common phenomenon in every societal activity for learning. as official training is paramount in every developmental and educational sector, so also afterschool engagement is complementary. the programmes that is fixed for students outside the official academic period is conceived from different perspectives of training which are given different names such as asp-after school programme, ost-out of school time programme, catch-up programme etcetera. stanley, (2011) discusses meta-analysis of the impact of after-school programs on students reading and mathematics performance. while durlak.et.al (2010) analyses after-school activities that seek to promote personal and social skills in children and adolescents. after-school straddles so many facets of learning and disciplines, musical practice is not an exemption. the history of after-school is dated to late 1800s when activities in united states first appear as boys’ clubs (halpern, 2002). girls were invited to join, thereafter the clubs gave way to hosting centres where people could learn carpentry, art works other centres were playground for other activities. this after-school was later adopted in nigerian educational system. today, after-school activities have been a awka journal of research in music and the arts (arma) vol. 15 2021 olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 183 conceptualized for different arm of learning for societal development home and abroad. research has found that those students who participate in afterschool programs the longest (both in terms of frequencies and durations) make the biggest gains (goldschmidt et, al. 2007). the need for after-school training in many tertiary institutions in nigeria is geared by various situations that are rather beyond the control of students, parents and school management. some of the challenges are; insufficient resources or instruments for all students in category of skill acquisition. sometimes, lack of funds to pay students school fee causes late resumption whereby the student(s) have a lot to catch up for successful completion of the training for the session. there are several other factors that warrant school to embark on after-school trainings. there are unpredicted omen causing distraction in the society: strike and curfew due to riots or communal clashes interrupt the official academic calendar of schools and schedules of the periods of training becomes shortened. instructors and lecturers hardly complete the course outline for that session or semester. other than the above basic factors, some schools enrol their candidates for external assessment and consider after-school as a viable option to complement the knowledge acquired by the students during official hour. durlak et.al (2007) opine that ‘programmes that used evidence-based skill training approaches were consistently successful in producing multiple benefits for youth, while those that did not use such procedures were not successful in any outcome area… feelings and attitudes, indicators of behavioural adjustment, and school performance’. from this analogy, it would be observed that most of the practical course in music are evident based because of the practical reflection. this corroborates the opinion that after-school music olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 184 practices could adopt evident based skills. in the system of adopting after-school programmes in tertiary institutions, while some school earmark on programme as ‘catch-up’ training for their disadvantaged students to recover their lost grounds, other schools create a separate academic programme to run concurrently with the same time frame of after school hours. amongst other courses in tertiary institutions, music training is one of those that resume after-school classes because of its practicality. the pedagogical aspect of music training helps the cognitive and the psychomotor of the student at various level of development. music training after school hence, helps to further develop these various aspects of reasoning and retentiveness of skills. consequently, summer camp becomes a brand of after-school training at the end of the semester. some of the factors highlighted above affect many departments in school especially students who study music as their core course or play musical instruments as a general study; they would always need more time for practice and mastery. the mountain top university established an initiative for all its students to learn musical instruments. the initiative is captioned every student a musician (esm) as part of the extension of the department of music in mountain top university, the initiative (esm) as had tremendous impact on the students and the university. the esm organises summer camp as part of the after-school programmes that runs concurrently with other catch-up programmes of the university. this study hereby focuses on esm summer camp in mountain top university as a case study of an after-school musical training in tertiary institution. the problem huang (2008) states that ‘one mechanism in which after-school programs influence students’ academic achievement is through the olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 185 provision of homework assistance’ (p.2). in musical practices however, homework assistance might not be effective where the student is disadvantaged with lack of resources such as musical instrument for effective learning after school. this paper considers that music training in tertiary institution goes beyond the limited period provided for learning in class as more time is required for a better understanding of skills taught in class. this lack of continuity either in practice or further study by the students dwindles the expected result in the performance of the student at the end of the session or at the final year. this is more disadvantageous to students who resume late for lectures at the beginning of academic session. it is also applicable to those who cannot gain access to instrument for practice while at home. this challenge becomes a lacuna to achieving an excellent accomplishment of music studies in schools; consequently, affected students could not really graduate with the best of their ability. after-school musical training such as summer camp by esm in mountain top university is considered as a plausible idea to proffer solution. purpose of the study the purpose of this study is to: 1. provide a retrospective account of esm summer camp in mountain top university. 2. assess the impact of esm summer camp training and how it complements the knowledge acquired during periods of instruction in official academic sessions of mountain top university. 3. investigate the effectiveness of on-sight and online musical training of esm in mountain top university. 4. propose a model on the effectiveness of online and on-sight music training after school for students. olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 186 significance of the study this study will provide opportunities for students to maximize afterschool period to recover their lost ground or acquire more skills in music practices. the paper will serve as a resource material for scholars and music students. this study will yield a greater impact in the performance of student before and after graduation as the product of their institutions. research questions 1. what are the retrospective accounts of esm summer camp in mountain top university? 2. how does esm summer camp training complement knowledge acquired during period of instruction in official academic sessions of mountain top university? 3. how effective are on-sight and online musical training of esm in mountain top university? 4. what mode could describe the effectiveness of online and on-sight music training after school for students? theoretical framework this study hinges on huang (2008) theoretical logic model. it was propounded as findings from literatures to form basis for the establishment of 13 indicators of success in delivering quality content and maintaining effective functionality in an after-school setting. the indicators include: 1. setting of clear goals for content area practice (i.e., literacy, math, science, arts, technology, and homework help). 2. alignment of research-based activities to achieve goals. 3. alignment of practice content materials with state standards. 4. links between practice content activities and day-school activities 5. use of research-based curriculum and teaching strategies 6. provision of a positive programme environment. olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 187 7. employment of motivational strategies to engage students in learning 8. promotion of student engagement (e.g., encouraging meaningful experiences). 9. effective program management/support/resources (e.g., staff/student ratio, staff educational experience, ongoing evaluation). 10. provision of opportunities for student practice. 11. periodic evaluation to check program effectiveness. 12. periodic assessment to review student progress. 13. resetting goals according to assessment results. these 13 indicators were built into a logic model below to guide the validation process of identifying promising and exemplary practices. relevance to the study the indicators expressed in the above model are relevant to this theory because of they constitute factors that necessitate quality establishment of a standard after-school programme. setting of clear olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 188 goals for content area practice is the first to consider while setting up after-school program such as summer camp for music students. there is also the need to align new musical ideas researched with after-school activities to achieve the set goals. this becomes well defined in alignment of practice content materials with stated for the afterschool training. as stated by huang (2008), there must be a link between practice content activities and day-school activities which would reflect the point of intersection. this also reflects in the purpose of this study. the use of research-based curriculum and teaching strategies deals with the quality of content that are being taught in musical practices. it is expected to be in synergy with the course outline of the school academic programme. provision of a positive programme environment. relates to availability of conducive environment for learning in afterschool programmes. there is also the need to employ motivational strategies to engage students in learning; thi, couples with performance opportunities within and outside school help to promote students’ achievements as they are constantly engaged meaningful experiences. for a successful after-school training, effective program management/support/resources are important. this includes provision of instruments for training in after-school programme and availability of instructors to engage the students with their educational experience. periodic evaluation and assessment determine the outcome of after-school training and in turn provides more opportunities for student practice within and outside school. music training in tertiary institutions: a pedagogical approach music training goes along with its pedagogical approaches; in its broader sense, it is combination of all practical, application oriented as well as scholarly efforts aimed at teaching or giving instructions. ugookonkwo (2013) expresses the importance of having a teacher in music olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 189 training and any other art related skills, according to him: ‘music, the arts and languages cannot be acquired without a teacher, and the role of the teacher is not only to import information and correct errors but also to record progress, to create enthusiasm and lead the way to the mountain tops (p.32) in this light, omuku (2017) raises issues on teaching and learning music: issues pertaining to teaching and learning of music cannot be concluded in a day. one needs to continuously reflect on what has been achieved so far by analysing what is really taking place inside and outside of the classroom. (131). from the opinion above, music pedagogy has important tasks which include ability, experience, understanding and interpretation of musical knowledge concerned in areas related to a particular field. it is an aspect of music education, teaching, didactics and instruction in music. from another perspective, music pedagogy is a scholarly reflection and theory formation as applicable to various field. in other words, it is a form of teaching that systematically provides instruction in practical skills with theoretical basis on its application which skills eventually reflects aesthetics. hence, the aspect of competence of the teacher is paramount in music pedagogy. onyiuke (2003) expresses opinion about the competence of the music teacher that ‘within the music class the teacher should make adequate effort to establish a favourable musical knowledge, understanding, and responsiveness’ (p.69). he explains further that the teacher the teacher should provide both stimulating and challenging environment where the student or the learner can explore to achieve his/her objectives. in the sane line of thought, omuku (2017) expresses further that the perception of the appropriate music literacy pedagogy is guided by representative views from both sampled african and western olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 190 scholars. this connotes that the literary knowledge of the music instructor or teachers must have been acquired through scholars both western and african. instructions and training in music over the years had pluralised to various method and approaches to pedagogy. its role in music training is indelible either during the school period or afterschool training. methodology this research design reflects more of qualitative than quantitative elements. the study adopts the qualitative approach that involves data collection process. it also involved assessment of esm summer camp in retrospect. an introspective view about online and on-sight musical trainings was also carried out via qualitative studies through interviews, observations and rationalisation of the opinion of respondents. the researcher used primary data that were accessible from reliable sources. sample and sampling techniques a purposive sampling technique was adopted for the study based on 40 students and 8 instructors and 7 other members of the that came purposefully for the summer camp after-school training. instrument of data collection interview and questionnaire were developed for unit coordinators and instructors to specifically address questions that were most pertinent to summer camp of every student a musician (esm) in mountain top university. method of data collection the primary source of data collection for the study are video interview with the students’ comments on the impact of the training after the summer camp concert. the secondary data included literary materials olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 191 that proved relevant to the subject of study such as books, journals, publications, etc. the researcher engaged in observation of the performance of students on both specific and general instruction. method of data analysis a statistical representation of the overall information from the interviews and questionnaire was used as a model for effectiveness of after-school musical training to reveal the possible percentage of effectiveness depending on the category of after-school musical training adopted. every student a musician (esm), mountain top university the mountain top university is situated at makogi, by mfm prayer city, ibafo, ogun state, nigeria. the university has established an initiative of musical training captioned ‘every student a musician’ (esm). the initiative was established and funded by the chancellor of the university dr. d.k. olukoya who is also on the general overseer of mountain of fire and miracles ministries worldwide. the ‘every student a musician’ (esm) provides ample opportunities for students of the institution to acquire and explore skills on musical instruments. musical instruments taught in esm-mountain top university are divided to four (4) instrumental units namely: saxophone: soprano, alto, tenor and baritone saxophone guitar: lead and bass guitar piano: clavichords/piano, organ and accordion orchestra: strings: violin, viola, cello, double bass woodwind: flute and clarinet brass: trumpet, trombone, french horn, euphonium olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 192 the above instruments do not include traditional african instrument of the music department used for african instrumental ensemble. the rationale for choosing the above instrument in esm training was based on the choices of students at the inception of the training. besides, each instrument listed above constitutes the most significant instruments in their categories .and they are common in various churches and bands. the esm course outline cuts across training on various musical instruments at introductory, intermediate and advanced level; indoor and public performance alongside with music entrepreneurial skills are introduced after 300 level. the esm is an initiative that enables students secure additional source of income through playing of musical instruments outside their major career. the point of dichotomy between this initiative and the department of music is that esm adopts more of a practical training session with rudimentary knowledge of music theory and general musicianship. these are necessary for every student of the university to master their musical instruments. the department of music however leverages on core courses in music like other departments of music across tertiary institutions in nigeria. the department of music provides in-depth knowledge in the study of olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 193 music for students who choose music as their main course. other students of the university, from various departments graduate with degree in their various courses and still retain the knowledge of musical instrument acquired from esm. esm summer camp the esm summer camp is an after-school programme for the students of mountain top university who wish to acquire and explore more musical skills on their instruments beyond classroom experience. it exists concurrently with other catch-up programmes of the university after second semester during the long period holiday. the summer camp becomes helpful to disadvantaged students who resumes the school session late, probably due to lack of fund to pay school fees. some students who got admission late also enjoy the opportunity to catch up the lost grounds in the instrumental training. there are other students who participate not to catch -up their missed classes but to acquire more skills to what they already know. olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 194 esm summer camp 2018 in retrospect in 2018, the esm summer camp was an intensive musical training which lasted for 3 weeks from 3rd to 22nd september, 2018. this was during the long vacation after the second semester examination. the students were allowed to go home for two weeks after which interested students came back for after-school summer camp. the return of students to school for summer camp yielded a tremendous result in the end. however, some students were willing and were not able to attend due to proximity as they could not return because of the cost to ‘fly in’ for the training and ‘fly’ back home later to prepare for resumption. the training was scheduled for monday to fridays as days of instruction while saturdays were earmarked for personal and private practices amongst individual students and their colleagues. during the esm summer camp, the students have access to musical instruments amidst of varieties in the custody of the university. analysis of reports there were 40 students and other unit coordinators and administrative workforce that ensured the smooth running of the training. the instructors on training and the unit coordinator carried out pilot study using this edition of the esm summer camp. the esm summer camp after-school training 2018 was structured as revision to some categories of students who have not mastered what was taught in class during official school hour. meanwhile, there was another category who did not resume early was a catch-up training. the third category of participants were student who wanted to acquire more knowledge and explore beyond what they know already. in this wise, the classes were sectionalized. first week of training the first week of the training was generally revision of the instructions taught in the class during official academic session. in this olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 195 first week the revision classes were based on the course outline of each level. this first week of the training was a bedrock for subsequent classes. second week of training in the second week of training, some students continued revision as they could not assimilate at the same level with the others, meanwhile other students proceeded to learning new skills. it was noted that few of the students that had prior knowledge of musical instrument performed better and assimilated faster. however, certain students across instrumental classes also performed and responded excellently in class despite their fresh encounter with musical instruments for the first time on campus. third week of training this was the week where participants were tutored to attempt pieces and songs to perform at the end of the summer camp training for the year. the third week training occasionally required that the students converge to perform certain pieces together which are arranged to accommodate most of the instruments in esm. there were also solo performances and duets assigned to individuals and colleagues according to their abilities. summer camp 2018 mini concert this marked the last day of the after-school training for the year. the concert held to showcase individuals and groups of students performing together. participating students express their happiness for the competition. the former hod music department dr. ayo oluranti chaired the occasion and expressed his satisfaction about the students’ performance and the uniqueness of the initiative esm to mountain top university. instructors contributed their opinion on the olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 196 need for continuity of summer camp as a lee way to help out students that are disadvantages in esm practices. evaluation it was confirmed that the esm summer camp training 2018 held approximately 5 hours training with 1hour break intercepting as relief, rest or lunch period for students and instructors. this period of instruction is calculated for 15 working days in 3 weeks which resulted in 5 x 15 = 75hours in approximation. if 75 hours is spent in afterschool summer camp, there is the need to find out how many hours of training do the students have to train in the semester. if semester activities run for about 14 weeks with or without assessment period, it means esm has instructed students for 28hours in a semester. this estimation excludes the time allotted for students to sign in and out their musical instrument from the store. if 28 hours of training holds in a semester, in two semesters 56 hours of training holds in official academic section of esm in order to compare and contrast the period of training. the summer camp spends more time equivalent to 19hrs of practice compared to the original calendar of school. the complementarity of esm summer camp after-school with regular academic programme is revealed as the summer camp bridges the gap providing knowledge to those who were not updated in esm training activities. the esm summer camp also complements the performance of students by providing more time to practice and master what has been taught previously during official academic session. it is worthy of note that most of the best student in esm training at the final year level are students who have participated in summer camp. the reports from focus group and dialogue with students affirmed that long-term holiday is considered better than short time holiday after first semester because of the time of entry and departure to destinations before official resumption is short. daily after school training is olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 197 considered an individualistic activity after school. however, certain population of students on campus do not have their personal instrument for daily practices after school but depend on the instrument provided by the school which could only be available during school hours. esm on-sight and online musical training: a comparison every student a musician (esm) carried out on-sight musical training with the students of mountain top university from inception until the pandemic lockdown when many institutions were subjected to online training. the online training approach to teaching musical instruments reveal disjointedness of students and instructors on the virtual ground although it gives impression in individuals’ imagination that the class is together. the on-sight training provides the following to the system of training in esm. 1. instructions in on-sight training are easily communicated with physical demonstration where necessary. 2. on-sight training helps the esm to properly monitor the assessment of students physically during examination without depending on network, 3. on-sight training helps to monitor authenticity of performance of students unlike virtual. 4. on-sight training also allows instructors to carry out jury performance assessment instead of asking students to send the recordings of their works for assessments. 5. on-sight training allows connectivity, togetherness and direct impact amongst students during demonstration in class activities. esm online training -merits 1. it helps to navigate through various media files which can explain instruction with different approaches. olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 198 2. it helps collation of information and data files for students’ personal practices. 3. it allows instructor to teach anywhere in the world with no regard to proximity. 4. esm online training reduces stress of movement or transit. most times, the amount spent on data is minimal compared to moving to campus for training. 5. online training gives room to explore many opportunities to access more materials for training. since the end pandemic lockdown, many tertiary institutions especially in nigeria began to resume their on-sight classes gradually while some still practiced both online and on-sight. some after-school programmes, due to logistics have not commenced physically but still maintain online training. the resultant effect of online after-school training might not have a dwindling effect on some courses, especially the theories and histories. in teaching of musical instruments and its performance, on-sight training has always been preferable for easy impartation of skills which might take less period of time to demonstrate and explain to the students unlike training virtual class that is unpredictable due to network fluctuations. teaching practical courses online has proven to be effective with high degree of technology. however, practice and performance by nature are physical and not virtual; this is aspect of physical contact is an attribute of man that might keep returning some practical courses, such as music, to physical training despite the advancement in technology. proposed model for effectiveness of afterschool musical training a more content focused model was developed to provide statistical evaluation of the effectiveness of after-school online and on-sight musical training. this model expresses the chances of possibilities in an individual perception and adoption of after-school training. olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 199 individuals, class or group of students may be classified into any of the categories of after-school musical training depending on: 1. time available for training after-school 2. availability of instrument for training after school 3. online or on-sight training facilities available after school. 4. daily after-school hours, short-term and long-term holiday training as the case may be. olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 200 after-school training: ‘on-sight and online’ in the above statistical model, 1ai ,1aii, 1bi and 1bii stand for category of students in tertiary institution who adopt daily refreshers training or exercise on their musical instrument or any music practice. this is further divided to on-sight (1ai,1aii) and online (1bi, 1bii). in each category there are consistent and non-consistent students in their mode of training chosen after school. the daily-after-school music training that is consistent in on-sight category seems the most effective as the improvement remains gradual and progressive because the student practices physically and regularly. the ‘online-daily’ for after-school training has a level of sustainability but highly dependent on factors that control virtual ground such as network and data. this determines how effective the training could be but could not be as much as effective as the category of on-sight training that is consistent as indicated above. there is also a category of short-term holiday intensive musical training which may hold within the short break between the first and second semester, this also has its level of effectiveness. some of such training after school could be consistent olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 201 or not depending on the factors that surround the students, instructors or lecturer and the institution. several factors can also determine the consistency. the third category is the long-term after school of which the esm summer camp is used as a case study. the statistics above represents the effectiveness of after -school music training which reflects in the performance of the students. summary and conclusion music training requires consistency and time for practice and performance. academic sessions in tertiary institution holds for about 14 weeks in a semester calendar. the gap between the two semesters is a short-term break for students to remain in their home temporarily while the school management can collate the result for the semester. among other factors that interrupt academic session is strike, public holidays and communal clashes leading to curfew. every student a musician (esm), an initiative in mountain top university embraces teaching of every student a musical instrument. the need for further training towards mastery and recover lost ground instigated the esm summer camp. the maiden edition in 2018 was the focus of this study considered from various perspectives, evaluation was drawn from a wider scope of after-school music training considering online and onsight; daily, short-term and long-term. this model developed for this study indicates the effectiveness of the categories of after school training to consistent and non-consistent students. the graphical representation shows that the consistent daily on-sight after school training is gradual and consistent for mastery while long-term on-sight training seems good when facilities are available to run such training for long time during long period of holidays. the effect of after-school training is still lasting till after graduation. however, factors that makes this model effective for use is availability of resources or instrument and specific period for both online and on-sight for the same category. olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 202 recommendations department of music in other tertiary institutions should adopt afterschool musical training, if not already adopted, for mastery beyond class experience of the official academic session. individual music students have better chances of improvement as they engage in onsight after-school training daily for a specific number of minutes or hours. consistency is key in after-school training. it is recommended that tertiary institutions should make provision for musical instruments to enhance the department of music of the institution; this is a viable option to establishing an effective after-school programme that will benefit both students, the institution and the society at large. references afterschool alliance. (2009). new “roadmap to afterschool for all” charts course to expand quality afterschool activities. retrieved from http comer, j. (2001). schools that develop children. scribbr. http://prospect.org/article/schools-developchildren afterschool alliance (2009). america after 3pm.: scribbr. http://www.afterschoolalliance.org/ creswell, j. (2009). research design: qualitative, quantitative, and mixed methods approach (3rd ed.). thousand oaks, ca: sage publications.: //www.afterschoolalliance.org/press_archives/roadmap_nr_0 42709.pdf. durlak, j., weissberg, r., & pachan, m. (2010). a meta-analysis of after-school activities that seek to promote personal and social skills in children and adolescents. american journal of community psychology, 45(3), durlak, j., weissberg, r., & pachan, m. (2010). (2010). a meta-analysis of after-school activities that seek to promote personal and http://prospect.org/article/schools-develop-children http://prospect.org/article/schools-develop-children olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 203 social skills in children and adolescents. american journal of community psychology, 45(3), 294–309. doi:10.1007/s10464010-9300-6 (goldschmidt, huang, & chinen, 2007; vandell, reisner, & pierce,). (2007). the long-term effects of after-school programming on educational adjustment and juvenile crime: a study of the la’s best after-school program. los angeles, ca: ucla center for the study of evaluation kane, t.j. (2003). the impact of after-school programs: interpreting the results of four recent evaluations. retrieved jan. 17, 2006 from www.wtgrant foundation.org/usr_doc/aftermeta. omuku. f. (2017). issues and challenges of choral music pedagogy in nigeria: teachers’ perspective: journal of nigerian music education no.9. onyiuke, y. s. (2003). motivation as a valuable factor in nigerian primary school music teaching. awka journal of research in music and the arts (ajrma), 1, 69-78. stanley t. c. (2011) meta-analysis of the impact of after-school programs on students reading and mathematics performance. an unpublished dissertation prepared for the degree of university of north texas. ugo-okonkwo, i. a. (2013). a case study of teaching choral singing in an urban secondary school of anambra state applying learning theories. international journal of academic research in progressive education and development. vol. 2, no. 1. issn: 2226-6348 olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 204 appendix questionnaire . esm instructors/ workforce questionnaire on esm training 1. name (0ptional) 2. instrument——-(unit...) 3. year of teaching experience in music 4. rate the level of music knowledge of your student in percentage. 5. do you think after-school programme could help improve esm students? 6. what are the challenges your students face in learning that afterschool program like summer camp could help them resolve? 7. were you amongst the instructors that taught or coordinated students during esm summer camp 2018 at mtu? yes/ no 8. if yes, give brief reports. 9. can you say esm summer camp complements the official training during school hours? how do they complement each other? 10. compare online and on-sight training of student in esm. effect proposing model that guides rate of effectiveness of after-school music training. rate the following in percentage according to their rate of effectiveness. 1ai. daily after-school, consistent -on-sight 85% 1aii. daily after-school, nonconsistent -on-sight 65% 1bi. daily after-school, consistent -online 68% 1bii. daily after-school, nonconsistent -online 60% 2ai. short-term holiday, after-school consistent -on-sigh60%t 2aii. short-term holiday, after-school non-consistent -on-sight55% 2bi. short-term holiday, after-school consistent -online 55% 2bi. short-term holiday, after-school nonconsistent -online 50% 3ai. long-term holiday, after-school consistent -on-sight75% olubukola, o. j.: after-school musical training for students in tertiary institutions... awka journal of research in music and the arts vol.15 (2021) 205 3aii. long-term holiday, after-school nonconsistent -on-sight70% 3bi. long-term holiday, after-school consistent -online 68% 3bii. long-term holiday, after-school non-consistent -online 68% awka journal of research in music and the arts (ajrma) vol. 16, september 2023 243 music: a veritable tool for cultural representation and preservation alexander walsh erhiegueke aw.erhiegueke@unizik.edu.ng & iruoma amaka ugoo-okonkwo ia.ugoo-okonkwo@unizik.edu.ng department of music, nnamdi azikiwe university, awka abstract culture can be said to be a given people’s way of life. it is a term that cuts across every area of existence of a people inhabiting a particular geographical location. these cultural practices include their language, the type of food they eat, the kind of clothes they wear, their means of livelihood, etc. people are many times differentiated from others by their culture. this culture which is different from place to place, has experienced some kind of preservation, which is why cultures that have existed for lots of centuries still exist today, although many have been greatly influenced by the unending sweep of acculturation. there is therefore the need to explore more media through which culture can be represented and preserved. using document study and interview, this paper explores the role music can play in helping to preserve cultural materials, and also how music can be used to represent culture. findings from this study show that among other things, music is an effective tool for cultural representation and preservation, through costumes, language use, telling stories of myths, etc. keywords: culture, music, preservation, cultural preservation, cultural representation introduction aristotle maintains that man is a social being and that without the society, there is no man. he believed that man by nature is a political animal and the state is the terminus of man. for aristotle, the state came into existence because of the inability of man to satisfy all his needs alone. hence people began to come together; a man and a woman to form a family and this formed the first aspect of the society. when man saw that all his needs could not be satisfied by the family, there was then a need to expand the horizon and this thus led to the emergence of second aspect which is the village. the village thus emerged by the conglomeration of different families. however, the process did not end there, it later metamorphosed into the state which aristotle saw as the relation between different villages. however, our point of interest here lies in the fact that in societies, different people come to live together. gradually, people began to learn from one another via dressing, types of work done, different means of survival, arts, craftsmanship etc. in early greek civilizations, there were also corrective measures used to compel compliance to the state law such as the ostraka which was about ostracizing defaulters and men of nuisance. others were pharmakos, atimia etc. (kuokkanen, 2020, credo, 2020) the totality of all these, form what we know today as culture which is way of life of a particular people. mailto:aw.erhiegueke@unizik.edu.ng mailto:ia.ugoo-okonkwo@unizik.edu.ng awka journal of research in music and the arts (ajrma) vol. 16, september 2023 244 every human born, is born into a particular family, environment and a particular culture. every society has its unique way of dressing, language, dance styles, festivals, customs, traditions, norms etc. these and many more express the culture of a particular society. as a human person grows, he acquires culture through the learning processes of enculturation and socialization. culture is the set of patterns of human activity within a society or social group. however, due to the wavering storm of modernity, the cultures are changing and gradually replaced by acts unheard of in the past while most of the laws have gradually been relaxed because of the modern structure of the society. one major problem encountered in culture is tourism and migration. due to the search for greener pastures, people travel out from their environment and society and gradually adopt the culture of the foreign environment in total disregard of their own culture. some children however are not born at home hence they do not grab that early training and exposure to their particular culture. some people have lost their originality and do not even know the language of their people, nor the traditions, periods of festivals and their people’s way of life and these things are taken lightly. these preliminary considerations have necessitated this discourse which seeks to intimate and enlighten the general public about the importance of culture and the need to identify with one’s culture and people. this study shall also examine various ways of representing and preserving culture while laying more emphasis on the role and importance of music towards preserving human culture. music music is a term we hear and use almost every day of our lives. when the term is mentioned, the first thing that comes to a person’s mind is the production of sounds. thus music can literary be defined as an organized sound. it could be produced with the voice or with an instrument of perhaps combined in such a way as to produce beauty of form, harmony and expression of emotions. erhiegueke (2020) opines that: music has been a part of man’s existence from the beginning. as a result it is often said that music is as old as man. music coexists with man in numerous forms and its functionality is multi-faceted. man has found a way to include music in almost every human activity as every culture has peculiar ways of making music to suit their occupation, environment and experiences. a culture’s inspiration for music making is therefore drawn from its environment, its people’s experience and ideas. p. 260. music is a form of art; an expression of emotions through harmonic frequencies. it is a form of entertainment that puts sounds together in a way that people like, find interesting or dance to. most music includes people singing with their voices or playing musical instruments such as the piano, guitar, drums or violin. types of music in the modern times, there have been many developments and advancements in music due to technology and the sophistication of science. music is basically classified into three: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 245 traditional music there are two basic types of folk music. the first is normally very old and nobody really knows who the composer is. it is music that belongs to a people or a culture. it is the music of the ordinary people within that culture. the other type of folk music is music that is written to sound like the other sort. it is music by composers that sounds a bit like the old folk music. or it could even be the old folk music itself written or played differently from before. folk music reflects the culture of a particular people. it is employed in order to communicate certain important aspects of a particular culture and society. through listening to this type of music, one can come to grips with the culture of a particular society. oral transmission of folk music from one generation to the next has led to its current thriving in rural areas, which is home to the people who are the guardians of these diverse traditions. (nwamara, 2017). folk song texts contain allusions to the benefits of upholding moral principles, charitable deeds, judging individuals by their deeds, and contemplating the world as it ought to be. ( popular music popular music is any commercially oriented music principally intended to be received and appreciated by a wide audience generally in literate, technologically advanced societies dominated by urban culture. unlike traditional folk music, popular music is written by known individuals, and does not evolve through the process of oral transmission. characteristically, they quickly fade away, as the themes on which they are written fades. this includes blues, jazz, rock and roll, rock music, hip-hop etc. art music art music is a general term often used to describe thoughtfully cultivated music, particularly in western societies and as in contrast to pop and folk music. art music is a term that encompasses music traditions that apply advanced structural and theoretical considerations with a written musical tradition. art music alternatively called classical music is a type of music that is first and fundamentally a written music tradition in contrast to the orally transmitted folk music. this type of music is carefully written, with adherence to musical rules. it is believed to be written my trained musicians. this musical training can come in any form – formal and informal. culture etymologically, the term culture is taken from the latin root colo, colere, colui, cultum. these latin words could mean: to cultivate, to till the ground, to tend, maintaining, adorning, fostering etc. from these words, one can infer that culture is that which molds and helps the human person develop effectively to be worthy to bear the name human. linton (1936) states that, ‘the culture of a society is the way of life of its members; the collection of ideas and habits which they learn, share and transmit from generation to generation’. in clyde kluckhohn’s elegant phrase, culture is a ‘design for living’ held by members of a particular society. culture defines accepted ways of behavior for members awka journal of research in music and the arts (ajrma) vol. 16, september 2023 246 of a particular society. such definitions may vary from society to society. to a large degree, culture determines how members of a society think and feel. it directs their actions and defines their outlook on life. culture encompasses our belief systems, the ways we eat, dress, how we eat, the kind of food we cook, how we dance, our dressing style, system of marriage, architectural designs, lifestyle, gender, music etc. elements of culture the elements of culture include the following: social organization: every society is essentially grouped according to different strata and classifications. social organization refers to how a society divides people. in african traditional setting, the society is grouped in a hierarchical form where we have rulers who are mostly respected and revered and govern the affairs of the society to enhance peaceful coexistence. we have the chiefs and titled men and then the average persons. in other societies however, there are also others ways of classifying people, examples, family structures; we have nuclear families, extended families etc. this is an important element of culture as it shows how people relate with one another. customs/tradition: the word ‘tradition’ comes from the latin traditio (handing over) which is derived from the word trader (hand-over, deliver). it encompasses all manners and customs, morals and cultures within a group which were passed from one generation to the next. every society has its norms and values through which they establish, affirm and differentiate rightful from wrongful actions; prescribing their corresponding punishments. these punishments attached help to compel obedience and promote peace. these traditions are passed from one generation to another and the younger generations get to learn and know how their ancestors behaved and lived. beliefs: every society can be said to have a belief system which alternatively could be called religion. religion connotes a relationship between two beings, man on the one hand and a religious being believed to exist. religion demonstrates or shows a society’s belief systems and interpretation of situations. some cultures are monotheistic while some are polytheistic. muslims believe in allah, christians in god. the christians revere the cross of christ and believe in the resurrection, judgment, heaven or hell. language: a group of words or ideas having common meaning and is shared to a social situation is called language. language is the entrance to a culture. language is a set of socially sound pattern, words, and sentences having specific meaning and terminology common to the same culture. these helps people relate with one another and live their lives in the society. it is pertinent to note that most languages are only understood within a cultural group while one word can mean different things for different cultures. symbols: symbols are anything used to represent, express and stand for an event or situation. symbols direct to guide our behavior, it is used to show past, present or future events. for example the heap of ash show that something has been burnt or the wet street shows that it has rained. other examples of symbols could be bowing one’s head when one sees an elder in order to show reverence and respect etc. shaking of hands to show friendship and brotherhood. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 247 types of culture 1. material culture: this refers to the physical things which are the products or handiworks of man. these include dressing, food, buildings, inventions such as art works, sculpture, etc. through these, the culture of a particular society is shown and they get distinguished from other cultures. for example the type of food eaten by an african man is quite different from that of the westerners. 2. non material culture: this refers to the unquantifiable, intangible and immeasurable products of a culture. these aspects cannot be seen nor touched but we are fully aware of their existence. these includes: language, religion, customs, norms, values, traditions, poetry, beliefs, ethics etc. characteristics of culture there are several characteristics of culture, so the following assertions about culture are true: 1. culture is dynamic: this implies that culture is not static but can change. due to social relations and traveling, people and societies come to learn about the cultures of other people, exchange ideas, symbols and certain ways of administration of others and gradually, these features are incorporated into the culture of the society. 2. culture is shared: culture is typical of every society and every society is made up of many individuals and peoples. hence culture is not an individual thing but is shared among members of a society. this enhances our social relations with other members of our society. culture is learned: culture is in no way genetically transmitted neither is it biologically inherited. culture is learned through observations from families, peers, institutions and media. the process of learning culture is known as enculturation. while all humans have basic biological needs such as food, sleep and sex, the way we fulfill those needs varies cross-culturally. as a child grows, it observes carefully the environment, gradually learns the language, how they eat, respect for elders, and other things including the kind of clothes to wear, etc. they apply these different aspects in their lives and thus adapt gradually to their culture. culture is integrated: this is known as holism, or the various parts of a culture being interconnected. all aspects of a culture are related to one another and to truly understand a culture, one must learn about all of its parts, not only a few. culture varies: culture varies from one society to another. although there are universal aspects of culture which is found everywhere, nevertheless, the way they are expressed may vary. for example the system of dressing of africans during the pre-colonial era varied from that of the colonial masters though both were ways of dressing. others include ways of eating, type of food, etc. culture is continuous: culture is not an invention of today. it has existed several thousands of years and yet it still exists in our time. this manifests the continuous nature of culture. the cultures of our forefathers have been handed over to us and it shall continue till posterity. we cannot negate the fact that there have been some modifications of the present day culture due to exposure to other cultures, nevertheless, our culture and way of doing things still remain. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 248 importance of culture the importance of culture in any given society cannot be overemphasized. culture identifies and differentiates societies. without culture, we cannot meaningfully talk about any society. the various aspects of culture explored above justify this claim. without the set of belief systems, clothing, language etc which specifies each culture and society, there cannot be a proper functioning of any society. culture helps to promote peace and order in a society. through the traditions, norms and sections, people come to know what they ought to do and go about it and in situations where some refuse to comply; they face the consequences of their actions. culture leaves a great material for the future generations. they come to learn and appreciate how things have been done in the past and in like manner, model their lives in order to fully actualize their potentialities. through the help of language and symbols, we relate with one another, exchange ideas and improve the society. other importances of culture include the following: ancestry: our cultures help us gain valuable information about our ancestry. cultural traditions are like pages in a history book which should be read with interest. human beings do not live for eternity, but their cultures do. cultures give us a gateway to study about our ancestors. through oral traditions, we get to connect with our ancestors and our origin and get to know even the history of our names. inculcation of values: every culture is rich with values. through culture, people learn what really matters to their people and society and strive from early childhood towards self-actualization and fulfillment of one’s potentiality. through cultures also people come to learn about good moral values such respect for elders, hard work and cleanliness. culture regulates human behaviour: through various norms and sanctions expressive of every culture, people are tamed, controlled in order to promote peaceful coexistence amongst citizens. the norms however are there to discipline one, while the punishments are attached to prevent non-compliance. the role of music in cultural identification music has always served as one very potent media and symbol, through which cultures are identified. music cannot be defined and appreciated outside the context from which it is created, costumed, taught and performed. this therefore means that every music is associated with a given culture, and can therefore not exist in isolation, but bearing the identity of a given culture. this musical identity can further be tied to different social events within a given culture. its functionality is multifaceted, and can perform various roles in culture. music can also be said to be intertwined with culture, as every culture employs available materials in its music making. these materials can include both tangible and intangible materials which intertwine with each other to create music. one of the intangible materials of culture which is an ever present component of music is language. language and music are interwoven, and are constantly allowing alterations of themselves, to accommodate the other. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 249 music is an intrinsic part of every society, whenever people gather, music is there, and it could be used to pray or exchange pleasantries. it is used during festive periods, during celebrations such as graduation, weddings, funerals etc. even personally for leisure. for instance, during child dedications, the songs rendered emphasize the importance of a child and the joy of motherhood or fatherhood. during weddings, we hear songs which show the societal interpretation of marital union, likewise other festive periods etc. it is pertinent to note that music is not just composed out of nowhere or without any relevance. most of our music reflects something in reality and is implored as a tool to convey certain pieces of information. every enterprise engaged by man has a background. no man writes or composes in isolation. there are various factors that condition his output. this could be due to family background. the influences of one’s family and behaviors condition their output, another is the environmental influence otherwise called sociological influence. this refers to the influence from his environment. all the activities in a particular society form their culture; hence we can rightly say that culture influences music composition. writing about the importance of music in ghanaian tradition and culture, salm & falola (2005) asserts: music and dance have social roles and functions through which ghanaian societies express their culture. the names and instruments used for traditional music are sometimes taken from the nature of the social occasion. the akan, for example, have a category of songs, asrayere (visiting the wives), which were performed by women while the men were away at war. these songs functioned to unite the women and show their support for their warrior men. the akan also have songs called bradwom (dwom: song) for puberty rite (bragoro).in general, music reveals the customs and ideals of a society. (p. 1) music is surely a cultural phenomenon because culture influences its composition, interpretation, performance etc. music surely gives us relevant information about a particular culture through its instruments, instrument makers and the lyrics. music is the expression of culture, a culture that values money and materialism will express this through music by the glorification of these items etc. that is to say that from the music of a particular society we can come to understand certain aspects of their culture. music is a tool for communication; which means that inherently when we read the lyrics of every music, we come to understand the message the composer is trying to convey and his background influence. in african communities, most music emphasize the importance of being of help to the other, from songs like this, we can understand the culture of solidarity existing in african societies. singing, as a familiar way of music-making cannot be separated from any culture; it is part and parcel of any culture of the world (ugoookonkwo, 2013). some songs were composed to cajole the laziness of the society to show the need to be hardworking and resourceful. music thus implicitly represents culture. towards the preservation of culture from the foregoing, we can agree that culture is very important in every society and thus should be preserved and transmitted for the betterment of posterity and for man to awka journal of research in music and the arts (ajrma) vol. 16, september 2023 250 come to the full actualization of his being. this furthermore leads us to explore the various ways through which culture can be preserved. there are many ways of preserving culture which includes literatures such as novels, e.g. the books of chinua achebe which reflect great deal of the igbo culture likewise so many other books from other authors. when these books are properly preserved, generations coming many years after can just pick up the books and from there know about their people and their ancestors. oral tradition through folklores also helps to preserve culture. in earlier times in africa, from time to term, the parents gather their children to tell them stories about their people and the circumstances that have shaped them. it was famously called ‘moonlight tales’. here, children are given opportunities to ask questions about any aspect of their culture and are enlightened and thus become abreast with the culture of their people. others may include visual art, clothing; people should not be shy to identify with the dress code of their culture, people should also speak their native languages and native languages should be taught in all institutions of learning and even used during meetings and gatherings. culture can be preserved through participation in traditional festivals, crafts, art work and music. for the purpose of this paper, we shall explore more on the role of music towards preserving culture. music and cultural preservation in discussing music as a tool for cultural preservation, we are considering the role music plays in ensuring that culture remains, and culture is not eroded by alien identities, which are always seeking seemingly weak cultures to assimilate. the following are areas through which music has and can contribute to the preservation of the culture which it represents. folk songs which are usually passed from one generation to another are usually embedded with, and are rich in stories, rituals and sometimes history, which are passed down through songs for numerous generations who do not even know themselves. in a generation where speaking local or indigenous languages have become an uphill task for many young ones, songs in indigenous languages help a great measure, in preserving languages, and preventing them from fading away. music also within cultures, convey legends, myths and beliefs, and helps in ensuring that they are passed on to future generations, thereby keeping alive, stories of exploits of individuals and groups within a given culture. it can therefore serve as a source of documentation of historical events, since it can capture great events of the past. folk music, especially minstrel shows, is a kind of oral literature that captures people's past. (ibekwe & umeojiaka 2023). also, the use of traditional instruments in music making does not only add to the enjoyment of music, but helps to showcase cultural heritage, as well as preserve it, and can also be a medium of cultural export, for more exposure. in a traditional african society, music is an indispensable component of ceremonies and rituals, and therefore helps in no small measure, to reinforce practices and beliefs, within a given culture. community songs help to create communal living within cultures, awka journal of research in music and the arts (ajrma) vol. 16, september 2023 251 therefore creating a bond between inhabitants of a given geographical location, who share same culture. the effect of modernism on culture and music: towards a solution man in the contemporary age is referred to as a technological man. due to technological advancements, there have emerged; new and better ways of doing things. as the days keep going, we notice a deviation from the traditional ways of doing things, people now prefer the easier ways of doing things, most of the values and culture people learnt in their early years have gradually been abandoned for easier life and way of doing things free from the stringent measures of norms and customs or traditions. this modernism has pervaded virtually all spheres of life; arts, architecture, literature, religious faith, social organization, dressing and music compositions. the types of music we hear today are no longer really culturally oriented. this modern way of making music do not help in transmitting culture to people like the traditional folk music we had in the past. ludwig van beethoven believed that “music can change the world”. this is because it is communicative and can spread easily. it is pertinent to note that music has a lot of impart on people especially the youth and adolescents. when they play some of these songs, they unconsciously internalize them and may begin to adopt such lifestyles or manner presented by these songs. when immoral types of music are played always, they gradually learn bad slogans and get influenced; but when music is positive and rich in cultural idioms and phrases, this will go a long way to help them positively. if we are to preserve culture, we must continue to create it. with regards to music, we can actually do better than we are doing now. this paper is not in any way castigating the modern ways of making music but is simply advocating for a kind of blend, and integration of traditional folk style of composing music which contains rich lyrics representing culture into modern music. this will go a long way in sustaining culture because through this means, people will always keep abreast of their culture and equally maintain originality in the practice of the same. conclusion music is undeniably a viable and wonderful tool in the preservation and representation of culture. culture gives us our identity and makes us who we are. hence every effort ought to be made to preserve and promote our cultural heritage and traditions, for the coming generations. among other forms of cultural preservation, music stands tall, as it embeds sounds (melody), rhythm, dance, lyrics (language), musical instruments, costumes (attire), etc. the major problem encountered in culture arises from the diversity in cultures and the wave of the modern time. irrespective of all odds, one must endeavor to always identify with his people and be proud of one’s cultural heritage. we should never give up in our quest to preserve our culture for posterity hence we ought to employ whatever means at our disposal to ensure this. one of such means is through music because it is first a form of expression and can actually travel easily to any part of the world. references awka journal of research in music and the arts (ajrma) vol. 16, september 2023 252 barton, g., & barton, g. 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(2013). relating human voice anatomy to singing and its training as a musical instrument. awka journal of research in music and the arts (ajrma). 9, 215-226. online sources awka journal of research in music and the arts (ajrma) vol. 16, september 2023 253 studylecturenotes.com/elements-of-culture as assessed on november 14th 2019 nideffer.net/classes/gct-rpi-s14/readings/chapt8characteristicsofculture.htm as assessed on november 12th 2019 http://www.importantindia.com/23863/culture-top-10-reasons-why-culture-is-soimoprtant as assessed on november 11th 2019 https://simple.m.wikipedia.org/wiki/music as assessed on november 14th 2019 https://kidsmusiccorner.co.uk/types/folk music as assessed on november 13th 2019 https://www.britannica.com/art/pipular-music as assessed on november 15th 2019 https://www.worldatlas.com/articles/what-is-the-art-music-genre.html as assessed on november 16th 2019 http://www.importantindia.com/23863/culture-top-10-reasons-why-culture-is-so-imoprtant http://www.importantindia.com/23863/culture-top-10-reasons-why-culture-is-so-imoprtant https://simple.m.wikipedia.org/wiki/music https://kidsmusiccorner.co.uk/types/folk https://www.worldatlas.com/articles/what-is-the-art-music-genre.html awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 1 enhancing computer-based music assessment through multimedia integration: an explorative appraisal of jamb and other nigerian public examination bodies adesipe, adekunle enitolorunyan joint admissions and matriculation board (jamb) test development department bwari fct abuja, nigeria (west africa) adesipe247@gmail.com abstract 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 highstakes 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. key words: music, cbt, multimedia, high-stakes examinations. introduction the integration of innovative testing methods through information and communication technology (ict) is essential for nigerian high-stakes examination bodies to align educational advancements with effective assessment practices. when new technologies are incorporated into assessments, they enhance the ability to measure complex skills and reasoning processes more accurately. the introduction of sibelius (named after the finnish composer jean sibelius) and finale software into the computer-based testing (cbt) for music in the assessments conducted by the joint universities preliminary examination board (jupeb) and the joint admissions and matriculation board (jamb) has significantly improved public examinations in sub-saharan africa. initially, jamb used finale software for notating musical scores but later switched to sibelius due to its superior educational and editing capabilities. other examination bodies, including jupeb, the west african examination council (waec), and the national examinations council (neco), have since adopted similar technologies, moving away from the manual method of drawing music notes. sibelius has proven to be more flexible for music education and jamb’s testing processes. however, waec and neco have yet to fully transition to computer-based testing (cbt) and may begin by applying cbt to objective questions, while leaving theoretical parts for paper-pencil testing (ppt). this paper highlights the value and security advantages that multimedia-based assessment methods offer. the use of multimedia in music assessments strengthens security and enhances the technological tools designed to combat exam malpractice. as noted by adesipe (2016), 21st-century assessment should involve the evaluation of a student’s overall performance using technologically enhanced controls when necessary. this view aligns with anikweze's 2012 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 2 conception of assessment as a process of evaluating the status or standard of the target subject in line with specific objectives, which obioma (1998) also supports as a tool for making informed decisions about educational programs. assessment is a continuous process used by various stakeholders for different purposes. in this context, the goal is to develop new models of assessment that promote lifelong learning skills, enabling students to self-assess, reflect, and take an active role in managing their own learning from secondary to tertiary education. black and william (1998) emphasized that assessment activities adopted by teachers or educators are meant to support student learning. educational assessment, therefore, involves documenting knowledge, skills, and attitudes in measurable terms. the issue is not whether tests should be administered, but rather how they can be utilized effectively to track students’ progress and support curriculum implementation. a good assessment must be valid, reliably measure what it is intended to measure, and consistently produce the same results with similar candidates. these attributes are fundamental to the assessment methods used by nigerian high-stakes examination bodies, which include psychometric analysis, moderation of exam items, and validation by subject experts. in some higher institutions, external assessments are conducted through the moderation of draft exam items by universities and subject experts. adesipe’s 2017 work, utilization of information and communication technology (ict) in assessment through the use of computer-based testing (cbt), corroborates the benefits of digitizing assessment processes. he emphasizes that 21st-century assessment involves measuring learning outcomes and evaluating student performance using technological tools that not only aid cognitive development but also curb malpractice. the digital transformation of education, enhanced by artificial intelligence (ai) and mobile learning through smartphones, has revolutionized teaching and testing. traditional classroom settings are being replaced by digital processes like distance and open learning systems (dols), pioneered by institutions such as the university of ibadan in nigeria. additionally, virtual classrooms now enable students to learn without geographical limitations, aligning with mcluhan’s idea of the world as a "global village." in modern classrooms, the barriers of physical space are dissolved, and technology continues to shape learning in and out of the classroom. with internet services enabling synchronous and asynchronous learning, both teachers and students must embrace these tools to enhance instruction and learning outcomes in the 21st century. assessment processes in nigerian high-stakes examinations the assessment process by the nigerian testing bodies can be categorized under four specific groups which are summed up as pascore: i. preparation ii. administration iii. scoring iv. reporting i. preparation demands that a test plan, a blue-print/a table of specification is developed to ensure adequate coverage of various aspects of the examination syllabi. with these steps in place, detailed specifications allow for the generation of appropriate items. thereafter, workshops/conferences are held with test experts, school teachers and authorities in relevant disciplines. the items generated are reviewed and edited to seep out the inappropriate. the items are trialtested on selected samples of candidate. data are used for analyzing the items so that the final items for the examination can be selected. later questions are organized in sets or forms after which specialists are invited to moderate the questions and printing of live questions are done. some advanced bodies utilize cbt and item banking. candidates are later invited to register so as to be eligible to sit the examination. ii. the administration is in parts. one has to do with the processing and distribution of candidates’ details/data into their respective portfolios by the information and technology services (its). another one is the computation of the test items to the final level/camera-ready or student view and ready for uploading to the bank before they are administered. iii. the scoring process is the end of the assessment test and the beginning of the computation and analysis of candidates’ responses. the mean is calculated and the highest scorer is determined. the responses are electronically recorded and assessed through the use of computers. this system awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 3 enables educators and trainers to author, schedule, deliver and access reports via the world wide web (www) or local area network (lan), iv. the reporting process is the declaration of results after a combined meeting with the stakeholders in the testing industry. technological/radio-controlled assessment and other enhancements in the new information era, the methods of processing information have undergone a significant technological revolution, with its early stages being particularly impactful in education. the invention of computers and their related tools has brought about well-known advancements. it is therefore essential to examine the capabilities of computers in the following ways: i. computers assist in lesson planning, organizing learning activities, and enhancing classroom presentations through the use of cd-roms and multimedia tools. ii. with the development and application of ict in education, a notable step was taken in 2007 to introduce teaching through television, an innovation that continues to evolve (adeyanju, 2009). iii. computers support skill development by providing practice opportunities, generating tests, and offering electronic grade books, which are valuable for evaluating student performance. iv. computers facilitate problem-based learning, promote interaction and collaborative learning, and serve as powerful motivational and management tools. these activities often require specific software. v. in 1999, ghana universities once had the challenge of managing a growing student population, managing faculty, and limited teaching materials. in response, radio windy bay f.m. 98.3 was creatively utilized for teaching, marking the first use of broadcast media for education in tertiary institutions in ghana. this innovation, pioneered by prof. lade adeyanju of obafemi awolowo university (oau), nigeria, has since evolved into cost-effective online lectures delivered via radio. vi. virtual websites are accessed through computers, offering additional educational resources. vii. oau has implemented ict tools that facilitate communication among staff, between staff and students, and between academic and non-academic personnel. viii. other universities, including the university of ibadan, ahmadu bello university, and the university of lagos, have also adopted radio as a solution to some of their educational challenges (adeyanju,2013). ix. resources such as the national gallery of art compact discs (cds) and windows on science offer rich collections for teaching and learning. x. multimedia combines text, sound, video, and graphics, allowing for the achievement of multiple xi. learning objectives. xii. at obafemi awolowo university in ile-ife, osun state, a surge in students registering for the compulsory gns course titled use of english led to lectures being delivered via closed circuit television (cctv) in classrooms and auditoriums, allowing students to attend their lectures online comfortably. assessment digitisation and multimedia cbt test items the joint admissions and matriculation board (jamb) became the first nigerian high-stakes examination body to introduce computer-based testing (cbt) under the leadership of professor dibu ojerinde in 2013. initially, this was implemented on a partial basis, but jamb later transitioned fully to cbt in collaboration with the dutch examination body, cito. the testing began with a dual-based test (dbt) system alongside cbt, where dbt combined paper-based and computer-based components. in this format, candidates read questions on a screen while marking answers on an optical mark readable (omr) sheet. at this point, jamb had also adopted sibelius music software for notating musical scores. the shift to digitization made it easier to secure exam content for reuse and allowed for greater variation in test versions. although sibelius software is not animated, it allows musical scores to be notated and inserted into tests using microsoft word after being snipped with the "select graphic" tool. candidates are then required to carefully study the provided scores before selecting their answers. jamb’s cbt aims to improve examination administration, ensure more efficient scoring, enhance test security, and minimize exam malpractice. however, despite these advancements, jamb’s cbt has not yet fully utilized the potential of multimedia elements, particularly interactive music items powered by information and communication technology (ict). incorporating multimedia could further reduce malpractice and enhance the effectiveness of high-stakes assessments. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 4 multimedia components in cbt music assessments would introduce a level of interactivity that traditional methods lack. unlike static notations, where candidates must visualize the music internally, multimedia tools can play audio, engaging candidates’ cognitive abilities and stimulating their aural perception. interactive music items, powered by technologies like .net framework and flash player, allow candidates to hear musical elements distinctly, which would be impossible using traditional notation methods like sibelius, musescore, or finale. this approach eliminates the need for candidates to mentally process unplayed notes and instead provides an environment where musical chords and parts (soprano, alto, tenor, and bass) are played audibly. the result is a more dynamic and stimulating test environment, making the examination process less cumbersome and more enjoyable for candidates. the introduction of interactive music items in jamb’s cbt would increase engagement, reduce human error, and create a more lively and immersive test-taking experience. these multimedia tools make assessments more real and interactive, significantly improving candidates’ enthusiasm and interest. by allowing musical notes to be played on-screen, candidates experience a new dimension in learning and test-taking, leading to greater motivation and a deeper appreciation for computerbased music testing. additionally, using multimedia in cbt reduces the risk of exam security breaches, enhancing the overall quality and standard of jamb’s music assessments. research by huff and sireci (2001) and scalise and gifford (2006) suggests that innovative test items are more engaging for candidates than traditional ones, and they can improve performance by enabling candidates to better demonstrate their relevant knowledge, skills, and abilities (i.e. ksas). with multimedia tools, candidates can integrate visual and auditory cues with their analysis of musical elements such as chord progressions, intervals, and cadences. this approach not only enhances the testing process but also minimizes irrelevant factors that could otherwise impact candidate performance. ultimately, the use of multimedia in jamb’s cbt for music creates a more engaging, effective, and secure examination process, benefiting both candidates and exam administrators. dynamics of innovative/interactive music test items in cbt mode nigerian high-stakes examination bodies currently use sibelius or finale notation software for music assessment, which incorporates multimedia elements into the computer-based testing (cbt) format. however, to make music assessments more effective and results-driven, it is crucial to introduce innovative/interactive items. these items are computer-delivered and offer interactivity that traditional paper-pencil tests (ppt) lack. as noted by kane (1992) and zenisky and sireci (2002), innovative items have demonstrated significant potential in enhancing the quality, validity, and reliability of high-stakes assessments. these items are more engaging for students, test deeper levels of knowledge, align better with curricular approaches, and support the use of universal design and accessibility. by reducing reliance on construct-irrelevant factors, such as reading load on non-reading tests, innovative items improve construct validity. additionally, they allow for detailed analysis of student interactions and can be designed for automated scoring, saving time and reducing the costs associated with manual grading. according to parshall, davey, and pashley (2000), innovative items are uniquely suited to computer-based testing, offering interactivity that cannot be easily replicated on paper. these items often include features like drag-and-drop functionality or interactive stimuli within multiple-choice questions. they differ from the traditional multiple-choice format by aiming to test not just cognitive skills, but also affective, psychomotor, and perceptual abilities, such as recognizing musical intervals or cadences. interactive music items are designed to generate multiple test items from a single source, such as a rhythmic pattern or melody, without altering the testing interface. these items facilitate both text-based and score-based constructed responses in cbt, reducing the likelihood of candidates guessing the correct answers. to improve music assessments in nigerian high-stakes examinations, test developers should be encouraged to integrate animations and interactive elements. these tools would allow for more accurate testing of candidates' perceptual knowledge and cognitive abilities—something that is difficult to achieve with paper-based tests alone. interactive music items provide a dynamic, multimedia-driven approach that can be edited or proofread electronically, making the assessment process more flexible and adaptable. animated visual resources, including images and diagrams, can be incorporated into electronic formats, and scanned diagrams can be sent to software developers for further animation. as such, music item writers must cultivate a strong understanding of computer technology to effectively develop these interactive elements. a awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 5 team of specialists, including software developers and multimedia designers, may be required to create these advanced music assessment items under the cbt format. the specialists may include all or some of the following: ⮚ multimedia designers, ⮚ animators, ⮚ programmers, ⮚ interactions designers, ⮚ interface designers, ⮚ graphic designers, ⮚ audio technicians. these specialists or resource persons need to be actively involved in test development processes from the start to finish. this will make them the original copyright owners of their own generated items. for a successful production of computer-based music assessment, it is vital that these specialists and different fields of expertise be included in the test development department or examination development department of nigerian highstakes examination bodies rather than transfer the contents of the assessment from one department to another. innovative items are beneficial to candidates, testing bodies and public examining in the following ways: i. measurement of a broader range of skills ii. increased authenticity iii. improved presentation of complex and dynamic information iv. reduced reading load v. increased student engagement vi. reduced effect of successful guessing vii. reduced demands on working memory, allowing for more valid measurement viii. measurement of process skills and higher-order thinking image usage in innovative/interactive music test items i. matching pictures of traditional musical instruments with words helps with visual recognition ii. candidates remember images of musical notes more than mere words helps to retain knowledge iii. images attract attention of users – they help in keeping the attention of a user and makes learning more real. audio usage in innovative/interactive music test items i. great for creating music tests as in ear training ii. great for language translation tests iii. listening tests helps to develop listening skills e.g. aural training iv. learning with audio can also help with developing communication skills v. users can more easily recognize emotions vi. users can absorb information while doing other tasks video usage in innovative/interactive music test items i. people are very familiar with videos, so this makes learning easier and fun ii. people remember what they see helps to retain information iii. can combine both audio and video iv. makes tests more interactive v. harder to understand information is easier to comprehend with the aid of video usage vi. people tend to pay attention more to video vii. great for giving demonstrations viii. great for testing observation skills. egberongbe (2012) highlights several key application tools based on macromedia flash mx technology that are instrumental in developing interactive music items. one such tool is the easy test authoring tool, available at http://www.easyteach.com/easytest.html. this tool simplifies the process of assembling screens by incorporating text, images, audio, and flash content using pre-designed templates to maintain consistency. typically, creating these screens involves cutting and pasting content from item documents and adding relevant images or diagrams, which can either be sourced from photo libraries or designed by the development team. technological factors aiding assessment digitisation in high-stakes examinations and security measures adesipe (2017) notes the evolving integration of multimedia in computer-based music assessments and the introduction of innovative/interactive music items, aimed at restoring and boosting public confidence in digital assessments. to further support the effectiveness of these interactive and innovative music items, adesipe awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 6 outlines several security measures and technological controls that are essential to the items and examination process as follows: 1. faraday cage: this is a metal built into the walls of a room to block electromagnetic waves. mobile phones that are taken into the room would have severely reduced signals. this will rule out the use of the mobile phones for texting questions and answers in and out of the examination hall either by proctors or cheats. 2. global positioning system (gps): this is a device that tracks calls and emails made from and to the administration blocks attached to the examination centers and the installation of signal jammers around examination centers. 3. biometrics verification machine: with the aid of this machine, the fingerprints and even the blood of the candidates are all captured and recorded through the bvm. some of the larger professional admission tests now require fingerprints to validate the identity of test takers. the medical college admission test (mcat), the law school admission test (lsat), the graduate management admission test (gmat) and graduate record examination (gre) will be required to undergo a ‘palm vein’ scan which takes an infrared picture of the blood coursing through their hands. the image — which resembles a highway interchange in a major city — is unique to every individual. the scans are used widely in japan among users of automated teller machines but only recently have appeared in the u.s. 4. collusion and hackers check or other fraudsters through the use of specialized software. with this specialized software, hackers’ interference is technologically tackled. passwords may be changed at intervals of fifteen minutes. anti-hackers’ software may be downloaded from {www.assess.com}. 5. closed circuit television (cctv) and digitally assisted television (datv): helps in tracking down hoodlums wherever they may be within the vicinity of the examination. in this case, there is a control room where things are monitored and there is a security operative and expert available. all the events in the examination center are recorded and can be replayed to check up anything. both events and time are recorded. 6. gsm jammer: this machine works effectively with the conduct of computer based test. the hall is electrified such that once a candidate enters into the hall with mobile phones or any of its accessories; the detector makes an alert sound. if the phone is switched off before a candidate enters, it will never come up. if it is switched on before candidates enter, the jamming mechanism switches it off. 7. commercial security systems. some sophisticated systems provided by companies now integrate a number of test security services such as: • securexam remote proctor: is about the size of a large paperweight and plugs into a standard port on a home computer. the sphere reflects a 360-degree view around the test taker, which the camera picks up. students are recorded during exams and anything suspicious such as someone else presence or voice in the room is flagged. • world campus: the online arm of the pennsylvania state university system is testing another system called web assessor. it uses proctors, web cameras, and software that recognize students' typing styles, such as their speed and whether they pause between certain letters. students purchase the cameras for $50 to $80 apiece. they allow proctors to view a student's face, keyboard, and workspace. • the phoenix-based provider of the system, kryterion inc., employs proctors who remotely observe and listen to as many as fifty (50) testees at a time. in china, video cameras are installed in almost 60,000 test centers around the country to prevent testees cheating in the national college entrance examination. 8. cheat-resistant laptops. the university of central florida (ucf) and norway students take their tests on cheat-resistant computers that restrict access to just the exam in a super secure testing center. 9. computer-adaptive testing and randomized testing. when items are randomized, candidates find it impossible to cheat or copy their colleagues. questions are set and reordered such that they are not serialized in the same pattern with the next door candidate. randomization of items on tests is similar to unique items being served up on a computer adaptive exam but different in that no statistical sequence is utilized to select the next item. 10. statistical analysis. some researchers and companies are beginning to introduce sophisticated statistical and mathematical models that help identify potential cheats using computer analysis to compare a candidate’s exam answers with the typical behaviours of other candidates’ responses. this is a technique that gives strong statistical indication of whether someone has cheated or not. caveon uses the science of item response theory (irt) to calculate the probabilities that two people worked together or did not take the test independently. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 7 conclusion this research highlights that 21st-century assessment digitization, alongside innovative and interactive music items and advanced technological controls, are crucial for ensuring credible high-stakes examinations in music. the study expresses concern over nigerian testing bodies' long-standing reliance on snipped sibelius and finale music scores or other notation tools, which has limited the use of more dynamic and resourceful interactive and innovative music items. the integration of ict and the use of cbt by nigerian high-stakes examination bodies demonstrate that this approach is both feasible and essential for sustained progress. introducing interactive music items would significantly reduce cheating, as these innovative items are not easily copied or manipulated once computerized. even if accessed before an examination, altering the musical scores or notes for dishonest purposes becomes nearly impossible. however, certain challenges exist, ranging from logistical to technical issues. computer hardware, printers, modems, and routers are vulnerable to breakdowns and malfunctions, while viruses and malware could compromise performance. to mitigate these risks, nigerian high-stake examination bodies must have backup computers and contingency plans in case of equipment failures or server issues. additionally, ensuring a reliable power supply, such as inverters or generators capable of running for 8–10 hours, is vital for maintaining effective operations. recommendations based on the above findings, the researcher makes the following recommendations: i. adoption of innovative music items: stakeholders in high-stakes examinations should embrace the use of innovative music items instead of relying solely on sibelius software. ii. increased ict utilization in assessment: high-stakes examination bodies should integrate ict more fully into their assessment processes. iii. design of test items with unique applications: examination bodies should prioritize setting test items that require higher-order thinking and application, rather than over-reliance on simple recall questions. iv. curriculum upgrade in higher education: nigerian higher institutions, particularly music departments, should update their teaching curricula to incorporate technology and modern tools like sibelius, musescore, finale etc. v. integration of notation software in secondary schools: the national curriculum should be revised to include instruction on music notation software such as sibelius, musescore, and finale, ensuring that secondary school students are equipped with these skills before entering higher education. vi. training and re-training of music personnel: investment is needed in training and retraining staff in the music units or divisions of nigerian testing bodies. personnel in the test development or examination development departments should enhance their expertise in animation, audio, and digital programming. vii. upgrading music technology in examination syllabuses: music technology in the syllabuses of nigerian high-stakes examination bodies should be expanded to include elements like animation, audio and video programming, and graphic design. viii. teacher education curriculum adaptation: the teacher-education curriculum must be updated to reflect the evolving technological advancements of the 21st century. references adesipe, e.a. and otunla, a.o. (2016).joint admissions and matriculation board – computer-based test: pioneering innovative admissions and placement examinations in nigeria. a book of readings in honour of emeritus prof. dibu ojerinde, oon on public examining in sub saharan africa: issues, challenges and prospects. vol. 1, pp. 97-107. published by jamb, nigeria. marvelous mike press ltd. garki abuja, nigeria (2016). adesipe, e.a. (2017).utilisation of information and communication technology in assessment through the use of computer-based test. a book of readings in honour of emeritus prof. (rt.rev.) evans jonathan ibeagha. vol.1, pp 131 – 146. published by nike diocesan printing press 3, emelugo drive, hill view trans ekulu, enugu state nigeria (2017). adeyanju l.j (2006) teacher quality, modern technology, applications and teaching in a south western nigerian university.journal on school educational technology. vol.2. no.4 pp.31-36 adeyanju o. j. (2015). emerging trends in innovative and dynamic education and examining educational technology role in nigerian higher institutions. lead paper presented at the 17 th awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 8 annual national conference of the association of educational researchers and evaluators of nigeria. university of ibadan; 12th -17th july, 2015. anikweze, c.m. (2012).measurement and evaluation for teacher education, 3rd edition, ibadan: constellation publishers ltd. black, p. and william d. (1998). assessment and classroom learning; assessment in education: principles, policy and practice march 1998 pp. 7-68. egberongbe a.a. (2012). generating test items for computer-based testing (cbt). an unpublished paper presented at the in-house item seminar/workshop at the complex of the test development department of jamb, national headquarters, bwari fct abuja on 29th november, 2012. huff, k.l. and sireci, s.g. (2001). validity issues in computer-based testing. educational measurement: issues and practice 20 (3), 16-25. jambnews, (2013). the dutch examination body cito, cbt experience: a lesson for jamb. jamb’s quarterly publication magazine published by jamb vol. 4, nos.23; january to march jambnews, (april 2013). reliability and validity as tools for high quality assessments. jamb’s quarterly publication magazine published by jamb vol. 4, nos.24; april june jambnews, (2013). cbt: so far, so good. jamb’s quarterly publication magazine published by jamb vol. 4, nos.25; july september kane, m.t. (1992). the assessment of professional competence. evaluation and thehealth professions, 15, 163-182. obioma, g.o. (1998). statistics for educational measurement. owerri wisdom publishers ltd. parshall, davey and pashley (2000). innovative item types for computerized testing. in w.j. van der linden and c.a.w. glas (eds.). computerized adaptive testing: theory and practice. netherlands: kluwer academic publishers. scalise, k. and gifford, b. (2006). computer-based assessment in e-learning: a framework for constructing “immediate constraint” questions and tasks for technology platforms. the journal of technology, learning and assessment 4 (6). retrieved on 5/10/2007 from http://www.jtla.org the web; 1999.university of education, winneba ghana.university registry. zenisky, a. l., &sireci, s. g. (2002).technological innovations in large-scale assessment. applied measurement in education, 15(4), 337-362. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 29 the place of music in the environmental & socio-economic sustainability of nigeria julius oluwayomi oluwadamilare (ph.d) department of music, university of ilesa, ilesa, osun state, nigeria. e-mail: julius_oluwadamilare@unilesa.edu.ng phone number: +2347035432411 & olaoluwa marvelous ayokunmi department of music, university of ibadan, ibadan, oyo state, nigeria. e-mail: ayokunmiolaoluwa2016@gmail.com phone number: +2347030597017 abstract 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. keywords: socio-economic sustainability, ethnomusicology, ecomusicology, music business, popular music. introduction cultural and creative industries have become a major component of the world's economy in the last 30 years. music, as a unique form of art, has played a critical role in promoting sustainable development. therefore, with the unparalleled influence of music on people, this paper explores the great contribution made by music to the promotion of social, economic, and ecological balance in nigeria, including supporting cultural and environmental sustainability, advocating music moderating and guiding human behavior changes towards sustainable consumption and lifestyles, and creating commercial values, employment, and economic growth and industry development. the most often quoted definition of sustainable development comes from the un world commission on environment and development which defines “sustainable development as the development that meets the needs of the present without compromising the ability of future generations to meet their own needs. sustainable development can be seen as a social, economic, and ecological balance and which can meet the needs of the current generation without compromising the ability of future generations to meet their needs. in 2015, the united nations general assembly passed the 2030 agenda for sustainable development, which incorporated 17 sustainable development goals (sdgs) setting up corresponding indicators. these goals are integrated and indivisible and balance the social, economic, and ecological development aspects, so as to achieve a more sustainable future. sustainable development is a long-term development concept. both the longterm evolution and the short-term measures are fundamental. in the context of sustainable development, music holds the potential to inspire, inform, and unify communities in addressing pressing social, economic, and environmental issues. in view of this, this study aims to explore the great contribution made by music to promoting social, economic, and ecological balance across the globe. the theory of environmental sustainability is the concept of preserving natural resources for future generations while meeting the needs of the present. (oluwadamilare, 2022). it involves activities such as water treatment, waste reduction, pollution control, and resource conservation through renewable methods. environmental https://www.sustain.ucla.edu/what-is-sustainability/ https://www.sustain.ucla.edu/what-is-sustainability/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 30 sustainability is a global issue that requires collaboration between various parties, including businesses, individuals, and governments. it is based on the idea of conducting business activities with minimal harm to the environment and preserving environmental assets for the future. the theory emphasizes the importance of integrated multi-disciplinary knowledge and decision-making for sustained economic growth. it also highlights the need for a shift from unlimited growth and consumption to monitored usage and savings without compromising on growth. the theory recognizes the significance of respecting nature, protecting natural resources, and using them reasonably as the basis for achieving environmental sustainability. the paper discusses the theory of environmental sustainability based on the skolt sami (2000) conceptions of nature obligations, which include reasonableness in resource use, protection of nature, and respect for nature. environmental sustainability (es) requires conducting business activities by causing the least harm to the environment. care and caution must be exercised to see that natural resources are not depleted and that environmental assets are preserved for posterity. es is a precondition for sustained economic growth, requiring integrated multi-disciplinary knowledge and decision-making. it is based on the idea of conducting business activities with minimal harm to the environment and preserving environmental assets for the future. the theory emphasizes the importance of integrated multi-disciplinary knowledge and decision-making for sustained economic growth. this paper discusses the importance of environmental sustainability and identifies antecedents such as environmental attitude, new environmental paradigm, and pro-environmental behavior. for decades, nigeria has been grappling with instability in multiple aspects of life, such as environmental, social, and economic challenges. in the face of these pervasive difficulties, it is imperative to develop sustainable solutions. social orientation and awareness play a vital role in ensuring the sustainability of a society, even when it comes to generating innovative ideas. this underscores the importance of utilizing music as a means to foster social orientation and awareness, as well as to create employment opportunities. furthermore, music has the ability to effectively communicate and engage with our surroundings, making it a powerful tool for promoting positive change and fostering a sense of community. among other things, this paper examines the input of music business in achieving economic sustainability in nigeria. objectives of the study the main objective of this study is to examine the relevance of music in sustainable development in nigeria. specifically, the objectives of the study are to: (a.) examine the concept of sustainable development goals as it relates to music; (b.) assess the relevance of music in environmental sustainability; (c.) evaluate the role of music in social sustainability; and (d.) assess the viability of music business in economic sustainability in nigeria. research questions (a.) how relevant is music in achieving sustainable development goals? (b.) what is the relevance of music in environmental sustainability? what role does music play in sustaining the environment? (c.) what is the role of music in enhancing social sustainability as it relates to peace, justice and strong institutions? (d.) how viable is the input of the music business in achieving economic sustainability in nigeria? statement of the problem for decades, nigeria has been grappling with instability in multiple aspects of life, such as environmental, social, and economic challenges. in the face of these pervasive difficulties, it is imperative to develop sustainable solutions. social orientation and awareness play a vital role in ensuring the sustainability of a society, even when it comes to generating innovative ideas. this underscores the importance of utilizing music as a means to foster social orientation and awareness, as well as to create employment opportunities. furthermore, music has the ability to effectively communicate and engage with our surroundings, making it a powerful tool for promoting positive change and fostering a sense of community. methodology the ethnographic method used in this research involved in-depth interviews with two notable and successful musicians in nigeria. these musicians were chosen based on their significant contributions to the nigerian music industry and their impact on society. the interviews gatherered valuable insights into their experiences, perspectives, and motivations regarding their music and its role in the development of the nation. additionally, the text of two songs from the nigerian popular music repertoire, were thoroughly analyzed. this analysis awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 31 focused on understanding how these songs, with their lyrical content and musical elements, contribute to the environmental, social, and economic sustainability in nigeria. by employing the ethnographic method and examining both the musicians' interviews and the songs' text, this research gained a comprehensive understanding of the relationship between music and sustainable development in nigeria. though there are several popular musicians in nigeria who are making remarkable achievements in their music career in the nigerian music industry, however, only two of them were purposively selected for this study because of their popularity within and outside nigeria as a result of the wide spread of their songs, among other things. the two young popular musicians selected are david adeleke (davido) and damini ebunoluwa ogulu (burna boy). environmental sustainability seeks to maintain the quality of the environment which plays an important role in enabling good environment for economic activities, which also leads to quality of life for the people occupying the environment. with reference to sustainable development goal (no.11): sustainable cities and communities, the aim of this goal is to “make cities and human settlements inclusive, safe, resilient and sustainable”. clark and button (2011) in edvin østergaard (2019) maintain that art is essential when it comes to promoting “critical inquiry of environmental awareness and sustainability” (p. 42). also, music is recognized as an art which is very crucial in creating environmental awareness and sustainability. the power of music in getting this done can never be overemphasized in any human society. music, often considered a universal language that transcends borders, has the remarkable power to inspire, unite, and bring about positive change. igniting individual action is a necessary condition but it is not sufficient. in the quest for sustainable development, a holistic approach is essential, addressing not only economic and environmental factors but also the cultural and social aspects of human well-being. laws, regulations, physical and social infrastructures are some of the systems that can be altered to create more favourable conditions for change. social sustainability aims to guarantee equality and human rights, respect for the diversity of human cultures, religion and race, as well as preservation of cultural identity. with reference to sustainable development goals (no. 16): peace, justice and strong institutions, the goal is to “promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective , accountable and inclusive institutions at all levels”. over the years several songs were used to create awareness in the society on the need for freedom, equity, fairness and justice. in countries where adherence to the content and context of such songs were allowed, citizens of such nations have had cause to celebrate freedom, peace and progress. economic sustainability seeks to maintain the natural, social and human capital required for income and living standards. with reference to sustainable development goals (no. 1 & 8): no poverty, decent work and economic growth, the goal is to “end poverty in all forms everywhere; promote sustained, inclusive and sustainable economic growth, full and productive employment, and decent work for all”. the primary goal is to eradicate poverty in all its manifestations worldwide, ensuring that no individual or community suffers from the pervasive effects of financial deprivation. this includes addressing issues such as lack of access to basic necessities, inadequate infrastructure, and limited opportunities for economic advancement. additionally, the emphasis is on fostering a supportive environment that promotes lasting and equitable economic progress, creating avenues for inclusive growth that benefit all members of society. by focusing on cultivating sustainable economic initiatives and promoting full employment opportunities, the objective is to establish a solid foundation for resilient and stable development. the ultimate aim is to create a future where every individual has access to dignified work, enabling them to contribute meaningfully to their communities and secure a prosperous future for themselves and future generations. findings and discussion the findings of this study reveal the multifaceted relevance of music in sustainable development as reflected in the subheadings listed below. 1. music and sustainability music and sustainability are closely linked in several ways. here are some examples: (a) environmental impact of music festivals: large-scale music festivals, often drawing massive crowds and featuring multiple stages and attractions, have the potential to exert a substantial environmental footprint as a result of high energy demands, copious waste production, and emissions from transportation infrastructure. for awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 32 instance, the substantial electricity consumption required to power extensive lighting and sound systems, as well as the numerous vendors showcasing their products and services. additionally, the vast amount of waste generated by attendees, from food packaging to disposable items, contributes to the festival's overall environmental impact. not to mention the carbon emissions stemming from the transportation of concertgoers to and from the event grounds, whether by cars, buses, or planes. nevertheless, in response to growing concerns about sustainability and climate change, an increasing number of music festivals are embracing eco-conscious initiatives to mitigate their environmental impact. among these measures are the implementation of renewable energy sources, such as solar panels and wind turbines, to reduce reliance on conventional fossil fuels. festivals are also implementing strategies to minimize waste generation, such as encouraging the use of reusable containers, promoting composting practices, and partnering with organizations to recycle materials. furthermore, many event organizers are advocating for eco-friendly modes of transportation, such as carpooling, public transit options, and bicycle parking facilities, to reduce the festival's carbon footprint and alleviate local traffic congestion. by incorporating these sustainable practices into their operations, music festivals are not only making positive strides towards environmental stewardship but also setting a precedent for other large-scale events to follow suit. in doing so, they are demonstrating that entertainment and conservation can go hand in hand, creating a more environmentally responsible and enjoyable experience for attendees and communities alike. (b) sustainable instrument-making: in the ever-evolving world of music and craftsmanship, a growing number of musicians and skilled instrument-makers are actively exploring innovative approaches to create musical instruments that are not only harmonious to the ears but also gentle on the environment. by delving into the realm of sustainable materials and adopting eco-friendly practices, these dedicated individuals are striving to significantly minimize the environmental footprint associated with the production of musical instruments. within this intricate process, they are meticulously selecting materials that are renewable, recyclable, or biodegradable, thereby fostering a more sustainable and ethically conscious approach to instrument creation. this conscious shift towards sustainability is not merely a trend but a profound commitment to fostering a greener future for the music industry, where the harmony of melodies intertwines with the harmony of nature. as this movement gains momentum, it highlights the intersection of artistry and environmental stewardship, showcasing that creativity can flourish in synergy with sustainable practices. through their pioneering efforts, these musicians and artisans are shaping a new narrative in the realm of instrument crafting, one that celebrates innovation, creativity, and the profound beauty of creating music in harmony with the planet. (c) music for environmental awareness: music, a universal language (universal phenomenon of communicating to people) with the ability to deeply resonate with people's hearts and minds, has played a crucial role in driving awareness on environmental matters and advancing the sustainability movement over the decades. through the emotive power of their music, countless artists have committed themselves to sparking a sense of urgency and empathy in audiences, encouraging them to take a stand and support various environmental causes. these musicians harness the captivating nature of their art to not only entertain but also educate and raise consciousness regarding the pressing need to protect our planet's fragile ecosystems and natural resources. by channeling their creative expression into messages of environmental stewardship, they effectively bridge the gap between the public and complex sustainability issues, fostering a sense of shared responsibility and collective action. as advocates for a greener future, these artists use their platform to amplify the voices of environmental campaigners and organizations, amplifying the calls for sustainable living and conservation practices. in a world where environmental concerns are increasingly urgent, music stands as a potent force for mobilizing communities and galvanizing support for positive change. ultimately, the fusion of music and environmental activism paves the way for a harmonious collaboration between art and advocacy, uniting individuals worldwide in a common goal of safeguarding the planet for future generations. (d) sustainable music consumption: the way in which we choose to consume music plays a crucial role in shaping our environmental footprint. the rise in popularity of streaming services has markedly increased the carbon emissions associated with our music consumption habits. this is primarily attributed to the substantial amount of energy demanded by data centers that store and process the vast quantities of music data being streamed, as well as the energy required to transmit this data seamlessly to users worldwide. consequently, the environmental implications of our music consumption extend far beyond the enjoyment of our favorite tunes and touch upon the broader sustainability challenges faced by the technology industry. as we delve deeper into the digital age, it becomes increasingly imperative to consider the environmental costs of our online activities and strike a balance between technological advancements and ecological preservation. by being mindful of the energy-intensive nature of music streaming services and exploring alternative ways to access music that are more in harmony with the planet, we can collectively work towards a greener future where our love for music harmonizes with our commitment to environmental stewardship. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 33 (e) music and sustainable communities: music, with its universal language and ability to evoke emotions and memories, can serve as a powerful tool in fostering connections and creating a sense of belonging within communities. by bringing people together through shared experiences and cultural expressions, music plays a pivotal role in strengthening social ties and promoting unity among diverse groups of individuals. this sense of community, nurtured by music, is crucial for advancing initiatives that aim to uphold sustainability and encourage environmental stewardship. through collaborative efforts and collective actions inspired by the harmonious melodies and rhythms of music, communities can work towards creating a more sustainable future for the planet. the collective spirit and sense of purpose instilled by music can mobilize individuals to take environmentally conscious actions and embrace practices that promote the well-being of the earth. in this way, music not only enriches the cultural fabric of societies but also empowers communities to come together in support of environmental causes and sustainable practices. the shared passion for music can serve as a foundation for fostering a sense of environmental responsibility and motivating communities to engage in efforts that contribute to the preservation of the natural world for present and future generations. thus, by leveraging the unifying power of music, communities can strengthen their connections, promote sustainable living practices, and actively participate in environmental conservation efforts to protect the planet for years to come. 2. music and environment also, the connection between music and the environment is fascinating. here are some ways music intersects with the environment: (a) environmental inspiration: nature has long been a source of inspiration for musicians, from classical composers like vivaldi to modern artists like radiohead. (b) ecological messages: many artists use their music to raise awareness about environmental issues, such as climate change, conservation, and sustainability. (c) instrument materials: musical instruments are often made from natural materials like wood, bamboo, and animal products, which can have environmental implications. (d) music production's carbon footprint: the music industry has a significant carbon footprint, from recording and production to touring and live performances. (e) sonic ecology: the interdisciplinary field of environmental acoustics delves deep into exploring the intricate relationship between sound and the surrounding environment. it seeks to understand how various sounds, both natural and man-made, interact with ecosystems, and how these acoustic elements can influence the overall health and balance of natural environments. one of the key areas of focus within this field is the detrimental effects of noise pollution on ecosystems. noise pollution, often generated by human activities such as transportation, industrial operations, and urban development, can disrupt the natural soundscape of an environment, affecting the behavior, communication, and overall well-being of its inhabitants. through research and analysis, environmental acousticians aim to uncover the specific ways in which noise pollution alters ecological dynamics, impacts wildlife habitats, and ultimately threatens biodiversity. by investigating the intricate web of interactions between sound and the environment, this field not only sheds light on the current challenges posed by noise pollution but also offers valuable insights for developing effective mitigation strategies and promoting sound management practices to safeguard the auditory landscapes of our planet. (f) music for conservation: music has proven to be a powerful tool in promoting conservation initiatives by demonstrating its capacity to inspire positive change and raise awareness on pressing environmental issues. through various means, including benefit concerts that aim to raise funds for conservation projects, the release of eco-themed albums that shed light on sustainability efforts, and partnerships with environmental organizations to amplify their important messages, the music industry has played a vital role in fostering a deeper connection between art and the natural world. these collaborative efforts not only help generate muchneeded support for conservation causes but also serve as a bridge to engage a broader audience in meaningful discussions about the urgent need to protect our planet's precious ecosystems. by harnessing the universal language of music, artists and music enthusiasts alike have joined forces to champion these critical environmental causes, harnessing the emotive power of melodies and lyrics to drive real change and create a lasting impact on the world around us. through such initiatives, the potential for music to serve as a catalyst for positive environmental action continues to grow, demonstrating the profound influence that artistic expression can have in driving forward the global conversation on conservation and sustainability. (g) environmental soundscapes: music, through the clever integration of natural sounds such as field recordings, has the unique ability to transport listeners into immersive sonic landscapes that not only captivate the senses but also foster a deep sense of connection to the environment. by seamlessly blending these organic elements into compositions, musicians are able to evoke the tranquil rustling of leaves, the gentle patter of raindrops, or the melodic chirping of birds, thereby offering listeners a vivid auditory journey through nature's diverse tapestry. through this harmonious combination, music becomes a powerful tool that not only entertains but also educates, shedding light on the beauty and intricacies of the natural world. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 34 furthermore, the use of natural sounds in music serves as a compelling way to raise awareness about environmental issues and encourage a greater appreciation for our fragile ecosystems. by incorporating these sounds into their work, composers can create textured sonic experiences that remind audiences of the importance of preserving and protecting the planet's biodiversity. this approach not only adds depth and richness to musical compositions but also serves as a poignant reminder of the interconnectedness between humanity and the environment. in essence, the incorporation of natural sounds in music transcends mere auditory pleasure, serving as a catalyst for introspection, contemplation, and a renewed sense of environmental stewardship. through this innovative approach, musicians can craft ethereal soundscapes that not only entertain and inspire but also provoke thought and nurture a deeper connection with the world around us. (h) sustainable music practices: in recent years, there has been a noticeable shift in the way that artists and industry professionals approach their work, with a growing emphasis on embracing eco-friendly practices that benefit both the environment and the community. this transformation is evident in the increasing adoption of sustainable alternatives, such as implementing renewable energy sources, actively working to decrease waste production, and advocating for sustainable touring methods. by prioritizing these environmentally conscious measures, the music industry is not only reducing its carbon footprint but also setting a positive example for fans and fellow colleagues. this movement towards sustainability reflects a broader recognition of the interconnectedness of art and the environment, highlighting the responsibility that creative individuals and businesses have in ensuring a more sustainable future. as more and more artists and industry professionals join this green revolution, the impact of their combined efforts becomes increasingly significant, inspiring positive change within the industry and beyond. through their commitment to eco-friendly practices, these leaders are reshaping the cultural landscape, fostering a more sustainable and environmentally conscious approach to creativity and entertainment. 3. music and economic stability furthermore, music plays a significant role in economic sustainability in several ways: (a) job creation: the music industry generates employment opportunities in various fields, such as performance, production, management, and education. (b) local economic growth: music events, festivals, and concerts can boost local economies through tourism, hospitality, and merchandise sales. (c) cultural export: music is a valuable cultural export, generating revenue and promoting national identity. (d) music tourism: fans travel to attend concerts and festivals, supporting local businesses and economies. (e) royalties and licensing: musicians earn income from royalties and licensing fees, contributing to their economic stability. (f) music education: music schools and programs create jobs and stimulate local economies. (g) creative industries: music is a key component of the creative industries, driving innovation and economic growth. (h) brand partnerships: music partnerships with brands can generate revenue and support economic sustainability. (i) digital music economy: streaming services and online platforms have transformed the music economy, creating new revenue streams. (j) social entrepreneurship: music has the remarkable ability to serve as a powerful catalyst for social entrepreneurship, providing a platform for artists and communities to mobilize and collaborate towards effecting positive change in society. by harnessing the emotive and unifying nature of music, artists are able to not only express their creativity but also connect with their audiences on a deeper level, fostering a sense of collective empowerment and purpose. this enables them to tackle pressing social issues and drive meaningful initiatives that aim to address systemic challenges and disparities. moreover, the collaborative and communal aspects of music-making allow for the cultivation of networks and partnerships that can amplify the impact of social entrepreneurship efforts, creating a ripple effect that extends far beyond individual endeavors. through music, artists and communities are able to leverage their talents and resources to spark conversations, inspire action, and ultimately contribute to building more inclusive and sustainable societies. in essence, music becomes a dynamic force that propels positive social transformation, allowing individuals to channel their creativity and passion towards creating a better world for themselves and future generations. music and cultural preservation in nigeria, music plays a pivotal role in cultural preservation and promotion, serving as a crucial component in the quest for sustainable development. by embedding traditional values, histories, and languages into melodies and rhythms, nigerian music not only entertains but also educates new generations about their rich heritage. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 35 this cultural preservation is vital as it ensures that the diverse traditions of over 250 ethnic groups are not lost amidst globalization and modernization. for instance, genres such as juju, highlife, and fuji encapsulate the stories and wisdom of communities, fostering a sense of identity and continuity. trending popular music artists such as tiwa and her contemporaries sometimes incorporate elements and themes of these indigenous genres into their music. music provides a platform for intergenerational dialogue, where older and younger generations can connect and exchange knowledge, fostering social cohesion and unity essential for sustainable development. traditional music, with its emphasis on storytelling and oral history, serves as an archive of cultural knowledge that is indispensable for maintaining cultural diversity and resilience. this diversity contributes to social stability and offers a foundation for creative industries that can drive economic growth. furthermore, nigerian music often addresses social issues, advocating for change and raising awareness about topics such as corruption, inequality, and environmental challenges. by promoting messages of peace and collaboration, it bridges cultural gaps and inspires collective action towards sustainable practices, demonstrating how cultural preservation through music can enhance the holistic development of society. some nigerian popular musicians there are a number of well-to-do and celebrated musicians in nigeria. here are some of the most successful musicians in nigeria: burna boy: a nigerian rapper, singer, and songwriter who won the grammy award for the best world music album in 2021. wizkid: a nigerian singer and songwriter who has collaborated with international artists like drake, rihanna, chris brown, akon, beyonce, and justin bieber. davido: a nigerian-american singer, songwriter, and producer who has collaborated with international acts like akon, chris brown, nicki minaj, nas, lil baby, and young thug. tiwa savage: a british nigerian songwriter, singer, and actress who has signed endorsement deals with big brands like mtn nigeria, maggi, pepsi, and forte oil. yemi alade: a nigerian afropop songwriter, singer, activist, and actress who has bagged several endorsements deals with prominent brands like hollandia yoghurt, maybelline, shell oil, luc bellaire, and glo nigeria. olamide: a nigerian hip-hop singer and recording artist who has been nominated severally and has won music awards like multiple nigeria entertainment awards and the headies awards. timaya: a nigerian singer and songwriter who is known as the sole founder of the south-south hip-hop group “dem mama soldiers”. phyno: a nigerian singer, rapper, record producer, and songwriter who is widely known for rapping in his mother tongue which is the “igbo language”. adekunle gold: a nigerian singer, graphic designer, and songwriter who released a hit single titled “sade” in 2014. kiss daniel: a nigerian recording artist, entertainer, and performer best known for his hit single titled woju and his acclaimed hit song “yeba”. david adeleke (davido) david adedeji adeleke, better known as davido, is a nigerian singer, songwriter, and record producer. he made his music debut as a member of the music group kb international. davido rose to fame after releasing "dami duro", the second single from his debut studio album omo baba olowo (2012). he signed a record deal with sony music and founded the record label davido music worldwide (dmw). davido released his second studio album a good time in november 2019. davido released several successful singles in 2013 and 2014, including "gobe", "skelewu", "one of a kind", "aye", "tchelete (goodlife)", "africa rising", "fans mi", and "the baddest". each song was produced by different artists and featured guest artists such as shizzi, puffy tee, and meek mill. davido was supported with two music videos, with the first directed by sesan and the second by moe musa. the song was ranked fifth on premium times' list of the top 10 songs of 2013 and featured cameo appearances from oskido and uhuru. he signed a record deal with sony music worldwide records in may 2016, which allows him to release his music on their label. the album was initially scheduled for release in june 2015 but was delayed due to an unnamed corporation's interest in distributing it. he also collaborated with mi casa, lola rae, sarkodie, diamond platnumz, and tiwa savage on a song for dstv's campaign to inspire community-based social investment projects. davido won best african act at the 2017 mobo awards. he released "if" on february 17, 2017, which was certified diamond and won best pop single and song of the year. "fall" was certified platinum and became the awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 36 longest-charting nigerian pop song in billboard history. davido released "assurance" on april 30, 2018, which samples paw paw's "biggie biggie". he sold out the o2 brixton academy venue, performing several songs including "gobe", "fans mi", "skelewu", "if", "fall", and "fia". damini ebunoluwa ogulu (burna boy) damini ebunoluwa ogulu, better known as burna boy, is a renowned nigerian singer, songwriter, and record producer. he burst into the music scene in 2012 with his smash hit “like to party,” which served as the flagship track on his debut album, “l.i.f.e.” some of his other notable songs include “tonight” and “run my race.” burna boy is a nigerian singer, songwriter, and record producer known for his unique blend of dancehall, reggae, afrobeat, and pop. he burst into the music scene in 2012 with his smash hit, “like to party,” which served as the flagship track on his debut album. burna boy was born in ahoada, rivers state, nigeria, and his educational journey began at montessori international school for primary education. he studied media communications and culture at oxford brookes university from 2009 to 2010. his family includes his father, mother, and two sisters, nissi and ronami. he is currently unmarried and has been in a romantic relationship with stefflon don, princess shyngle, and jo pearl. his estimated net worth stands at $17 million due to his flourishing music career, lucrative endorsements, and wise investments. textual analysis table 1: presentation of the text “ema ma doro mo” by jimoh aliyu and the english translation. ‘ema ma doro mo’ is the theme song in a yoruba epic movie of jimoh aliu titled arelu is used as a thematic material in ayokunmi olaoluwa’s choral arrangement titled ‘rere lope’ text translation ema ma doro mo don’t be cruel again ema se o, iwa ika don’t do it, cruelty ema se o, ika o da don’t do it, it’s not good ema se o don’t do it this music condemns social ills, such as wickedness, cruelty, mercilessness and all sorts of inhumane attitudes among the people of our society. the tone of the texts sends a strong, firm and caution to stop whatever practices that can be harmful to people around us. this music pinpoints the presence of unfair and cruel society and thereby giving a proper social orientation to desist from such unkind acts. music with such content has the potency of shaping the perspective of the people of any given society. table 2: presentation of the text “e se rere” by orlando owoh and the english translation. furthermore, in the same vein, orlando owoh during his days sang ‘e se rere’. text translation e se rere e, e se rere do good, oh, do good e se rere, ko bale ye wa o do good, so that it might be well with us this popular music also shows the state of a society where is vise is celebrated. the music is then satirical as it condemns social ills and encourages everyone to do well. the voice of the music sends a message of caution to evil doers in the society to disengage from such acts. it equally establishes the benefit of doing well; “…do well, so that it might be well with us”. conclusion and recommendations this article delves into the critical importance of environmental sustainability and its underlying factors, encompassing pro-environmental behavior, the emergence of a new ecological paradigm, and individuals' environmental attitudes as revelected through music in this research. the research findings emphasized that sustainable development in nigeria could be significantly enhanced by recognizing the pivotal role that music plays in addressing global challenges. as a result, it is strongly asserted in this paper that achieving these objectives is not only plausible but also quite achievable through the adoption of comprehensive multidisciplinary strategies, with music serving as a key component among these approaches. expanding on the interconnected relationship between environmental sustainability and various aspects of societal behavior and perception, this study sheds light on the intricate web of influences that can shape and enhance sustainable practices. by acknowledging the intricate interplay between individual actions and systemic change, the potential transformative power of integrating music into sustainability efforts becomes even more apparent. thus, the integration of music into the discourse surrounding sustainable development in nigeria is not only a feasible approach but also a strategic one that can leverage the emotive and communicative power of music to foster awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 37 greater awareness and engagement. through a holistic and interdisciplinary lens, this paper asserts that harnessing the diverse influences of music can catalyze positive change and propel nigeria towards a more sustainable future. references ayokunmi, o. m. (2020). indigenous classics. marval music company. clark and button (2011) in østergaard, e. (2019). music and sustainability education – a contradiction?. acta didactica norge, 13(2), art. 2, 20 sider. https://doi.org/10.5617/adno.6452 itkonen, p. (2022). environmental sustainability generated by the views of the skolt sami and gregory bateson. journal of ethnology and folkloristics, 16(2), 290-307. https://www.jef.ee/index.php/journal/article/view/470 nigerian music: a cultural heritage. (2024, june 12). retrieved from https://disciplines.ng/music-culturalheritage/ sulphey, m. m./alkahtani, nassar saad et. al. (2023). new environmental paradigm, environmental attitude, and pro-environmental behaviour as antecedents of environmental sustainability. international journal of energy economics and policy 13 (3), s. 418-427. https://www.econjournals.com/index.php/ijeep/article/download/14156/7322/33299. doi:10.32479/ijeep.14156 oluwadamilare, j.o. (2022). relevance of music education in peace building and national security in nigeria. journal of contemporary issues in education. 6, (1) internet https://www.ghanaweb.com/person/davido-1661 [accessed 4.25pm 5/8/2024]. https://medium.com/@itodonr/burna-boy-biography-early-life-age-family-career-and-net-worth-dde662c8bb15 4.22pm 5/8/2024. music and sustainability education – a contradiction? available from: https://www.researchgate.net/publication/335742986 music and sustainability education a contradiction [accessed aug 05 2024]. https://pillarnonprofit.ca/news/harmonizing-progress-crucial-role-music-achieving sustainable-development [accessed 2.40am aug 06 2024]. https://doi.org/10.5617/adno.6452 https://www.jef.ee/index.php/journal/article/view/470 https://disciplines.ng/music-cultural-heritage/ https://disciplines.ng/music-cultural-heritage/ https://www.econjournals.com/index.php/ijeep/article/download/ https://www.ghanaweb.com/person/davido-1661%20%5baccessed%204.25pm%205/8/2024 https://medium.com/@itodonr/burna-boy-biography-early-life-age-family-career-and-net-worth-dde662c8bb15 https://www.researchgate.net/publication/335742986%20music%20and%20sustainability%20education%20-%20a%20contradiction https://www.researchgate.net/publication/335742986%20music%20and%20sustainability%20education%20-%20a%20contradiction https://pillarnonprofit.ca/news/harmonizing-progress-crucial-role-music-achieving%20sustainable-development awka journal of research in music and the arts (ajrma) vol. 16, september 2023 232 reflections on folk songs and their functions: an overview okpokwasili, chinazor roseline email: lottycee36@gmail.com department of music, nnamdi azikiwe university, awka abstract in the olden days, igbo people did not derive entertainment from books rather they developed and derived joy from imaginations through oral narratives including traditional (folk) music and dance. folksongs represents a big part of the african culture. in african society as well as igboland, folksong is one of the tools used to explain oral traditions and expressions are used to pass on knowledge, cultural and social values and collective memory. in addition, they play a crucial role in the sustenance of culture with the progress of time. in africa generally, music play an important part in the lives of the people and one of the major characteristics of african music (folksong) is that it has functions. and this paper tends to look at the various functions of folksongs and the need for its continuous existence in the society. introduction any song that originates among the people of a country or area, passed by oral tradition from one singer or generation to the next, often existing in several versions, and marked generally by simple, modal melody and stanza narrative verse can be termed a folksong. folksongs are the universal language and thoughts of every community. because virtually every community documented and registered their imprints in time through simple rendition of songs. folksongs are songs verbally passed down from generations to generations. these songs usually carry the cultures and customs of the place they originate from and authorship is not tied to a particular individual most often, but rather belongs to the community. by implication, the cultural values of a society can be transmitted, sustained and consolidated through folksong which are taught to children starting at a very early stage of their development, and as they grow up they live by it. euba(1986) defines folksong as “the pivotal tool that connects the past to the present by giving a clear opportunity of understanding the past in the present; so as to have a better understanding of the present from the past” (475). the definition according to euba is instructive as it connects the nexus holding the view that, folksongs are usually historical narratives and also a form of documentation of events or way of life. in similar train, ofuani (2012), notes that: “folksong is composed, learnt, preserved and performed from one generation to another through oral tradition. it reflects the sonic, lingual, norms, folklores, history, proverbs, and traditions of a people with total compliance to their characteristics in terms of tonality, scale, intonation, range, from structure, and instrumental accompaniment.” (2012:71) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 233 it is cherished and nurtured by the same communal people as its custodian. put in another way, it is a composition that has grown with a race or a nation or even a community and whose authorship is enriched in the midst of antiquity, that whose origin is unknown but which can claim community authorship because generations of the race, the community or the nation has grown with it and added to it. it means that folksong is never static; it grows in the performance and re-performance. the performance of most folksongs never passed the stage of rehearsals, yet the community identifies the lines and the sound, this deep understanding also downplay any authorship to a collective memory managed and sustained by and for the community. folksongs are used in a wide range of contexts from childbirth, circumcision, lullabies, game, stories, folktales, marriages, deaths, etc. and so are their functions. therefore, this paper tends to explore most functions of folksongs as it relates to humans. folksong as culture representative folksong serves as a medium for the carriage of many aspects of the local environments social pilgrimage, mystic wanderings, work, worship and recreation, daily movement habits and patterns of cultural expressions. folk songs are the songs of our history. they are composed of their native language, folk music and folk musical instruments. they are songs that are influenced by the life style and tradition of a set of people in a given society. folksongs are closely bound to a culture which integrates, reflects and addresses the customs and practices of the community, and in addition must have been passed down through generations using oral medium. an expressed performance usually composed and transmitted through spoken words. in african societies, folksongs are part of the people’s culture. the creation of folksong in indigenous language is because it servers as means of communicating these cultures. folk songs are sung during happy times and during sad times. there are folk songs about wars, battles, heroes, love, tragedy, falling in love, disaster, peace, birth, naming ceremony, marriage, death, the new moon etc. however, they all represent a common message that roots to the ancient culture. different society has different culture, thus different folk songs are found among the people of different cultural background. each one is unique with their own style, instruments, ways of singing etc which makes it one of a kind and gives the true identity of a particular culture. folksong as language communicator according to halliday, he holds the position that “a language is interpreted as a system of meanings accompanied by forms through which the meanings can be realized,” and adds that “…language has evolved to satisfy human needs…” (cited in dijik, 1985, pp. 29-58). in an african tradition, songs are deliberately treated as though they were speech utterance. nketia opines that language has a tendency to follow both intonation contour of speech in melodies and the rhythm of speech in song rhythms. furthermore, he points out that for the meaning of the text to be preserved, the melodic contour of tonal language lyrics should correspond to the speech tone pattern of language in use. when texts in tone language are sung, the tones normally used in speech are reflected in the melody (p. 184). with this, it is easy for a foreigner to learn a given language of a given awka journal of research in music and the arts (ajrma) vol. 16, september 2023 234 people. in african societies, folksongs form the most integral part of the people’s lives. the process of its creation is usually done in the language of the people. this is because it is easy to identify different cultures through language. the comparison of music and speech perception leads to the conclusion that speech and music have a rhythmic initiation: music is associated subconsciously with the communicative experiences of the individual, arouses his speech associations. and forms a focus on the perception of music and speech as a single communicative complex with a rhythmic basis (andreyeva, 2010). toropova (2014) posited that music as a linguistic phenomenon has at its disposal its own beep codes: intonations characters, signs, language codes, syntax and grammar. folksong is content in language learning. folksong as anthropology anthropologists have been deeply aware of music from the startboth as a site for the exploration of world cultural heritage and as a point of entry for understanding particular human societies from an intimate, local perspective. generally speaking, linguistic and cultural anthropologists have found ways to integrate music-especially songsinto their everyday human experience throughout the planet. over the past century or so, social scientists have repeatedly demonstrated that to interpret any one’s aspect of behavior, such as language or music, one must look beyond this single feature of social interaction, to consider all of the other modes of communication that occur alongside it, shaping the meaning. thus, to understand music, one must look far beyond it, to uncover its many hidden layers of meaning, as they are reflected elsewhere in the social interaction of the community. although music, like culture, is located most fundamentally at the level of individual psychology and emotions, it is its social qualities and capacity to represent the social and cultural self that loom largest in the research agenda of an anthropology of music. these music (folksongs) have an immense connection with socio-cultural life of tribes in the world because they are culturally rooted. folksongs are a valuable form of oral traditions that enable cultures to emphasis their identities. folksong is a form of recreation and entertainment in several societies. both oral and written folksongs include symbolic expressions. they emphasis and reinforce social standards. folksongs help to promote integration when individuals gather together to achieve a social or cultural objective. it reflects various aspects of life, allowing us to analyze a society’s social and cultural reality. folksong is a product of social and elements; and it is influenced by a society’s custom and traditions. some folk songs are related to specific rituals like marriage, birth, puberty, death and so on. there are other songs related to particular activity like agricultural, or they may be performed at different occasions. so the idea, the word ‘folk’ has wide range of understanding and connotations-ranging from ‘natural’ to ‘native’ to ‘traditional’ to ‘ritual’ and in some cases ‘from the heart’. the ‘outpourings from the heart’ of native or traditional people later takes the form of folk song. for folk song is an important means of expressing an individual’s emotions and ideas. folk song tells us how people order their universe and provides an insight into their world view. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 235 folksong as festival in african society, ndigbo includes music and it plays a major role in both their social and religious activities. for ndigbo, music is not just a luxury or pastime, it forms part of the process of living itself. according to w.w.c. echezona (1963), “to every igbo, life has a melodic and rhythmic orientation, and again, no event happen that is not associated with music. the ndigbo has an ardent personal feelings for it” (pp. 12 & 14). ndigbo would appear to be a people perpetually celebrating. in every moon of the 13 moons in the igbo year, some communities somewhere are celebrating. the aggregate of these festivals and ceremonies held in their appointed sequence is the igbo year, aro. thus, the igbo year is not a simple mathematical unit or measurement of time. religion is very predominant in determining and instituting festivals in igboland. any igbo festival or ceremony is essentially a continuity of culture, usually hallowed by tradition and traceable for its origin down to the community’s twilight of fable. traditional festivals are means of paying tribute to ancestors and acknowledging their presence in the midst of the living. in every festival, there are rituals and ceremonies of worship which traditional music plays an important role. most igbo festivals are annual, but, there are festivals which occur within interval of two, three or more years. an igbo festival may have rituals activities which take place within family compounds or shrines but most of its celebrations are public. the public square provides an excellent arena for traditional songs and dances, which characterize the festival or expresses the people’s joy and happiness. in relation to preservation of folksong heritage, gillan (2004), discusses the role of village festivals in safeguarding the local ritual repertoire. these village festivals serve as a platform for expression, continuation, and preservation of indigenous folksong from one generation to another. some of these festivals among the ndigbo includes ogugochi (imezi owa), imo awka (awka), onwa-asaa (nibo), onwa-asato (nri kingdom), ihejioku (imo), ikoro (ngwa), ede aro (abagana), igu aro and ichu aro, etc. these are celebrated in many igbo communities which traditional songs (folk song) are predominant among other activities. folksong as ritual worship in african community, ndigbo inclusive, music had been central to people’s lives. ndigbo are deeply religious people and religion forms an important aspect of their everyday life. they believe in a supreme being as well as in other deities and spiritual forces and have respect for their ancestors (mawu/mmanwu/muo; odo, omaba/omabe, etc), igbo religion, therefore, begins with the belief in and worship of chukwu or chi-ukwu (the great god); chineke or chukwu-okike (the creator of all things); olisebuluwa (the force that is carrying and sustaining the universe); agbara/agbala (the source of fertility), and chukwu abiamathe creator of everything and not an indigene of any known place. the conceptions of music are to various degrees inseparable from the conceptions of ritual and religion in many cultures, ndigbo included. in traditional igbo society, some traditional songs is conceived as a medium for transformation of boundaries between the sacred and the profane, and the natural and supernatural, because of the role that it awka journal of research in music and the arts (ajrma) vol. 16, september 2023 236 fulfils in respect of its rituals. some traditional songs are remarkably effective facilitators of ritual activities in igbo culture. some traditional songs are carriers of the people’s customs and traditions. folksong happens not to be a communion of the living only. it is equally a communion between the living and the dead, manifest in the preference for cryptic potencies of inherited ancient instruments, costumery, symbols and formulae; the reverential deference to traditional modes and rituals, including libation and sacrifice; and in the characterized dance and dramatic representations of ancestral masquerade. folksong is also a direct psychical communion between the people and deities/spirits who are characterized and who manifest themselves in some dances and masquerades. it is equally a communion between the people and the mystified phenomena of nature: the thunderstorms, the lightening, tornadoes, the sky, the mother earth, the sun, the moon, and the nature spirits. all these are manifest in the instruments, their performance requirements and implications; in the music types, forms and textures, in the performance rites and languages. folksong as social commentator the lyrics of folksongs are culturally informed and aim at serving society through social commentary. folksongs were harnessed for inculcating the social consciousness among the masses by improvising its content. folksongs play an effective role in arousing the conscience of the people against some ills in the society and the bad governance by the leaders and also gives chance to voice out their opinions on various issues. the texts of some of these folksongs are pretty striking since it tells the problems of the people and also questions the government and the officials. the use of folksong as an instrument of social and political change to an extent has proven effective. folksong sometimes serve as a medium to communicate to the leaders of the society about some societal ills which maybe, they neglected and have refused to take positive actions towards them. in nigerian, musicians like sonny okosun, ebenezer obey, lagbaja (the masked musicians), sunny oti, late fela kuti, onyeka onwenu, mike ejeagha, king sunny ade, etc and the new generation musican falz has in one way or another used their songs not merely criticizing the happenings in the country but also as a guide to people at which course to go. folksongs are regarded also as a powerful medium through which the oppressed and the people who seek for justice convey their messages and express their disappointment, anguish and general feeling about what is going on in the society. folksongs can also be used to reinforce social norms and values. they can teach people what is considered acceptable behavior within a culture/ society and can be used to promote unity and cohesion within a community. folksongs even as they entertain, carry some instructions in which a society or a given people should go. folksong as communicative tool folksong is always characteristic in a given culture, signifying several things in the cultural context. every society extols its own musical heritage and promotes it for the various cultural roles they play. folksongs are culturally informed and aids in communicating to the people of its society. communication according to pearson and awka journal of research in music and the arts (ajrma) vol. 16, september 2023 237 nelson (2000), is defined as the process of understanding and sharing meaning. for effective communication, a song must complete the task of a successful communication which includes three to eight components. firstly, there should be a source which is the communicator, secondly, a message to be conveyed and thirdly, the channel through which the massage passes through, fourthly, the presence of a receiver, the fifth one is the response from the receiver to the source, the sixth one is the environment, this has to do with the atmosphere, physical and psychological, where the message is sent and received, the seventh one is the context of the communication interaction involves the setting, scene, the idea, and expectations of the individuals involved. and finally, the interference, this simply means anything that block or change the source’s intended meaning of the message (mclean, 2005). folksongs exist in the memories and voices of living individuals. they are primarily a means of social communication among those who share common bodies of knowledge, value systems and ideologies. constituting people’s oral traditions, the remembrance and recollection of song in particular contexts also invoke a variety of interconnections with other contexts. they are therefore loaded with meaning precisely because of the interplay of inter textual resonance wherein each seemingly isolated song may in fact be related to others, which often represent competing view points and voices within the given folksong tradition. these strong inter textual connections and interactive relationships between songs of a region are what makes them so effective as forms of communication tools. the fact that folksongs are sung again and again and passed down through generations also indicates the high degree of acceptability of the ideas, moods and messages they contain. song texts provides access to meanings, values and social issues in various cultural locations. songs therefore constitute integral part of cultural literature orally transmitted from one generation to another. quite often indigenous musicians employ local languages in their various dialects to present and communicate to the public the essence of the folksongs and the messages contained in them, the song texts permeates the entire life of the community. the use of traditional folksongs for creating awareness in african societies and as a means of development is not a phenomena. folksong as therapy folksong is an expression of cultural heritage. it connects us to the succession of generations experienced by family and tribe. it is part of our cultural dna and is embedded within us as an ongoing narrative, expressed as a language of melody and poetic imagery. folksong presents an array of lyrical themes, singing a person through the cycle of life, and these themes are familiar with which a person reflects on. folksong has the qualities of every meaningful song. cited in dileo (1999), ken bruscia writes: songs are our connections of life. they connect us to our inner world; they bring us closer to others; they keep us company when we are alone. they articulate our beliefs and reaffirm our values. they arouse, they accompany, they release. and as the years pass, our songs bear witness to our lives and give voice to our experiences. they rekindle the past, reflect the present, and project the future. songs weave tales of our joys and sorrows; they express our dreams and disappointments, our fears and triumphs. (p. 153) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 238 folksong is an effective modality for healing in both personal and social contexts because it enables a deeper understanding of many song forms and themes. the classic modes, the range of scalar, the melodic materials available in traditional folksongs and the pentatonic forms provides simple yet flexible means of generating new melodies, rich in emotional nuance. the use of folksong as therapeutic method, for shultis and gallagher (2015), they opined that “song choice and subsequent discussion can be a very powerful interventions” (p. 445). they explain that the process of identifying a song that matches a mood, communicates the need, or tells a story about one’s self, history, or current experience provides a means of expression and communication for the individual involved. a study carried out by johnson (2014) concerning song choice in therapeutic singing interventions, she explains that “although patient preference is certainly a vital element to consider, an effective song choice involves consideration of a wide range of factors. she mentions temporal flexibility, the ability for a song to maintain its rhythmic integrity when slowed down or sped up, as one such musical factor. as an example of therapeutic logic, singing songs can serve to reinforce speech/language and respiratory goals. one can see that the rich content and form of folksong has the potential to enhance the music therapist’s understanding that, to use johnson’s words, “it is perceptive musical choices, implemented with esthetic facilitation of the singing opportunity, that elevate therapeutic singing above the ‘sing-along’ and into an extremely effective therapeutic techniques” (p. 194). songs, whether traditional or contemporary, has proven to be effective in achieving therapeutic goals. folksong as an educator traditionally, music is a supreme motivator as it is an integral part of education. music is integral to the african’s life-long educational system. africans use music as much as music controls their life and speech. learning traditional music (folksong) is therefore life-long and starts quite early in life. folksongs are important in education because of the historical and cultural experience they carry. in the educational process, music was the main form of moral and aesthetic education of the younger generation, and it is clear that the effectiveness of accelerating education depends on this, because as a child, the family or parents and grandparents, being a child’s first teachers, are a key factor in introducing a child to folk art during pre-school. some folksongs plays the role of transmitting the beliefs, values, traditions, norms and customs of a society to the new members of the society. these folksongs help in building these younger ones in keeping the norms and values of the society in which they will grew up to inherit and abide by. through some song texts, they learn the moral codes of his land, its chronology and history, and guiding principles and ethics of his land. he also learned about his own language, the things his people lived by, and how the society worked. all these were learned through music that ranged from simple folk tunes to highly specialized ritual music, including chants, incantations and minstrelsy. whether they are about real people, or a metaphoric hero, folksongs tends to make you want to know more. folksong as entertainment entertainment is meant to take away the mind from the tedium of the society or just means of relaxation, to provide holiday and happiness, not often sheer hedonism. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 239 entertainment is very much recognized value of music in the society. folksong is an integral part of the african/traditional culture. the man wakes up with it and goes to bed with it, he lives and dies with it. it is part of their daily lives. among the igbos, entertainment music and praise songs are quite popular. they sometimes take days off their daily activities and sing to entertainment themselves. these songs tends to set the mind free from problems. it is a true route to escapism. sometimes these songs are used as an accolade to the brave—the great warriors, hunters, chiefs, wrestlers, labourers, and great achievers. folksongs are used to entertain people during social gatherings or during festivals in traditional societies. in the modern times however, these songs have been used to extol politicians in times of political campaigns. folksong as culture preserver folksongs represent a big part of the african folklore heritage. culture is the ideas, customs and social behaviours of a particular society. the collection and preservation of folklore items started exactly through songs. according to the international council of folk music, folk music (song) is “the product of a musical tradition that has been developed through oral transmission” (pegg, 2001). thus, folksong should be viewed as a product of traditions transmitted orally. every folksong has an outstanding artists within the community who contribute to the creation, practice, and preservation of the music across generations. folksongs are carriers of cultural identities of different communities. music, especially folksong, participates in almost all human activities, and in human cultural life by its special function and power. music (folksong) deeply reflects ethnic cultural identity through aesthetics that have been created and maintained in the community for generations. folksongs serves to protect the identity of each community and has connections to social movements and racial identities (roy, 2002). through folksongs, these ideas and customs are kept alive. folksongs are means of safeguarding our rich cultural heritage. through folksongs, the ideas, values and cultural knowledge which was experienced and gained by our ancestors are passed down to us. with these, our cultural history, values and customs are preserved from one generation to the next. folksong serves as a repository for preserving ancient traditions and plays a crucial role in the cultural adjustment and support of national musical culture (nguyen, 1980). therefore, folksong holds a significant position within a culture, and according to to (2007), it serves a unique function in the social of each ethnic group, which cannot be replaced by other types of music or modern musical forms. the nature of folksongs is based on the daily collective and personal experiences of the people built into a rich musical repertoire that is created around their feelings such as joy, victories, and defeats among others. the perpetuation of these songs from one generation to another is therefore seen as part of the cultural practices that are indigenous to them. consequently, a community’s folksong is rooted in their historical, socio-cultural, religious and economic background. the position of folksongs in any culture in the world is so symbolic that haywood (1996) commenting on its significance states that: folksongs can be used to convey other non-musical concepts involving human effort and communication hence what seems to be the greatest functional importance of folksongs is not the pragmatic but semantic. (529) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 240 the melodies of folksongs hold significant cultural value within african society. they serve as integral components of important cultural events and express the distinct cultural nuances of the people. folksongs through their system of melodies, scales, and rhythms found in them the people’s culture is vividly represented. folksong as an anchor for communal performance the social function of traditional music (folksong) validates its communal nature and purpose. traditionally, performance in africa favours communal participation or group activities. performance is the live wire of arts. it is the main action that gives life to the dominant memorized music text. according to ibekwe, (2010b) “group performances often evoke societal appeal more than individual expression due to the close association or interaction existing between the performers and the audience” (p. 197). in essence, performance or music making in african context fosters socialization in dual capacities. firstly are the performers who enjoy a bond of oneness and communality within the group, secondly, the audience who share the same communal fraternity through direct or indirect participation. folksongs significantly reflect the norms, values and beliefs of the community which permit the community at large to participate in the performance of these songs. folksong practice is therefore structured around community, which is meant to contribute to the survival of the society. the oral tradition which folksongs consist of, is a system that draws on a body of experience that regulate the living pattern of the traditional society. as nzewi (1987) puts it “no society or system that overlooks its inherent values, norms, tradition or technology has been identified in the comity of nations” (94). it goes a long way to identify folksong as a value-carrying mechanism which in the process of participation in performance of these songs inseminates these values in individuals. conclusion one of the functions of folksong in most traditional societies in nigeria is to create pleasure and satisfaction during ceremonies as it provides an excellent means of expression and communication with other people. that means that folksongs cannot be abstracted from the cultural context if the audience must derive any significant meaning and satisfaction from them, because folksongs have intimate connection with cultural aspects of human endeavour. as a unique human phenomenon of any society, folksongs are dynamic and alive in the people’s way of life. as a result of the enormous potentials and functions of folksong in this paper, it should be seen as a means and path of reminding our people that folksong play an important role in preserving and transmitting a culture’s history, values, and customs and providing entertainment and education to people of all ages. according to sowende (1967) “it is the livingness in the art that makes it art” (157). perhaps this explains to a large extent the continual use and practice of folksongs in today’s society for it seems that the existence of man is also the existence of the art and if the curator of the art is alive, the art itself is alive. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 241 references akpan, o. 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(2021). the role of folksongs in student’s education, international journal on integrated education. shultis & gallagher (2015). medical music therapy for adults. in b. wheeler (ed), music therapy handbook (pp. 441-445), new york gwilford press. sowende. f. (1967). nigeria music and musicians, then and now. nigeria magazine pp. 253-261 to, n.t. (2007). doubts about cultural and music. social sciences publisher, hanoi, 50 51. toropova, a.v. (2014). music and language codes: the psychogenetic aspect, theory and practice of community development, 5, 45-48. internet source https://www.quora.com> how do folk songs represents the place, culture and language of the contemporary society. accessed on 24th of july 2023. https://www.eolss.net> the anthropology of music. accessed on 9th of august 2023. https://www.researchgate,net> music: anthropology. https://www.quora.com/ https://www.eolss.net/ https://www.researchgate,net/ 123 thematic and aesthetic patterns in the nigerian contemporary popular music: a study of tuface idibia arinze-umobi, somtoo obiefuna and ebekue, emmanuel onyeka theatre arts department, unizik. abstract the study examined the thematic contents as well as aesthetic patterns in the contemporary popular music in nigeria. a historical account of the origin of music in nigeria was looked into while noting the laudable landmarks made in the industry. the research further xrayed some existing works in the industry with the view to finding out how message oriented these works are. tuface idibia‟s works were used as case studies. units of analysis were drawn from textual analysis and respondents‟ opinions on his works. the study gave future directives on content expectation of musical works in nigeria. introduction music has become one dominant aspect of human culture beginning from antiquity till date (desmond, 2001:5). this is true in nigeria as it is to other countries. far from being merely a means of entertainment and relaxation alone, music is a veritable tool of cultural expression. in the words of adetusi (2009) music is a way of life. it is a medium through which individuals and the community communicates their innermost being. it is a medium for ideological expression. through music a people express and reaffirm their common values as well as consolidate communal solidarity. music is of a great symbolic significance; it is a powerful bearer of the society‟s values, norms and aspirations p102. awka journal of research in music and the arts (arma) vol. 10 2014 124 history has recorded numerous examples of where and how music has been employed successfully to aid political struggles. like drama, music is a powerful medium for propagating political ideologies, political mobilisation and change. it is for this reason that dictators who have always sought to control various forms of public communication have not spared music. nelson (2009) recalls the political role played by music during the apartheid struggle in south africa: many musicians both of south africa and other parts of the world employed music in condemning apartheid. at a point, music literarily became a philosophical movement which sought to deconstruct the logic of apartheid by exposing its offensiveness to the pristine human values and extolling the ideals of freedom, equality and justice as key to human dignity and progress. similarly, music is of great economic value; it is money earning and employment-generating. the nigerian music industry of today is a true witness to this wealth-creating dimension of the value of music in human society. in nigeria, the evolution of the popular music had begun in the early part of the 20th century. this development has been continuous and arguably rapid that today the nation, like all others, could boast of an economically viable music industry. the 1990s has been significant as it marked the rapid rise present species of popular music culture in the country. this period was marked by the emergence of young music talents with their brands that included afro hip-hop, reggae, r & b, blues and pop. this new culture was markedly characterised by the fusion of elements of african music patterns and western hip hop, blues, pop, etc. the success of this new popular music culture has been rapid and phenomenal. equipped with ict audio and visual technologies of music production, the nigerian popular music has become in its own right a cultural and economic industry of its own. according to dubem thematic and aesthetic patterns in the nigerian… 125 (2010), nigerian musicals have become a very large market “expressing itself through broadcast stations and storage technologies (tapes, cds and multimedia).” today, nigerian musical videos have become a recurring feature on foreign entertainment channels such as channel o and mtv base. in addition, a number of local satellite broadcasters such as nigezie and sound city are entirely dedicated to nigerian musical video presentations. among the talents who have driven this new popular music culture in nigeria is tuface idibia, an r & b singer whose success began in the late 1990s as a member of the group plantashun boiz and later as a solo artiste in 2004. arguably, he is one of the most prominent talents that have defined this era in the evolution of the nigerian music culture. deola (2012) describes him as a “phenomenal talent who has brought glory to the nigerian music within and outside africa.” since 2004 when his album faze 2 faze was released by kennis music, it has been all through a story of success for this young artiste with his talent and lyrics “being a source of inspiration to a lot of upcoming talents and many more” (deola, 2012). many people have questioned the aesthetic (artistic) values of the contemporary popular music in nigeria., for instance, owo (2012) argues that some of the musical pieces “are artistically empty, produced with little or no aesthetic insight and sometimes in imitation or outright copying of existing works.” against this notion, it becomes urgent to investigate the works of tuface idibia, one of the musicians regarded as the leading light of this contemporary music movement, in terms of its thematic and artistic quality. tuface idibia: a brief profile innocent idibia was born in jos, nigeria. he is from the idoma ethnic group in the southern part of benue state, in north-central nigeria (newswatch, january 9, 2006). he attended saint gabriel's secondary school in makurdi, benue state. he enrolled at institute arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 126 of management & technology, enugu (imt), where he did his preliminary national diploma course in business administration and management. while attending imt, he performed at school organized shows and parties, as well as other regional schools such as the university of nigeria and enugu state university of science & technology. he eventually dropped out to pursue his music career. while attending imt, tuface idibia started composing and singing jingles at the gb fan club at enugu state broadcasting services (esbs) in 1996. also in 1996, he adopted the stage name “tuface” (tuface). he cited the reasoning as “trying to demarcate my personal life with my business life” (newswatch, january 9, 2006). he moved to lagos and started performing with rapper blackface naija. he had met blackface while attending institute of management and technology (imt) enugu. he went on to form the trio band plantashun boyz. plantashun boyz released two successful albums: body and soul (2000) and sold out (2003) under the nelson brown‟s owned label (dove records) before disbanding in 2004. relations were marred for many years during which the band broke up and he went solo. however, the band came back together in 2007 for the purpose of recording a third and final album entitled plan b (2007). tuface idibia released his debut solo album face 2 face (2004), which established him as a viable solo artist. following the release of his debut album, he released his sophomore album grass 2 grace in 2006, which contained hits one love, true love, 4 instance. he is the founder of hypertek entertainment. in 2006, his song african queen was used in the soundtrack for the film phat girlz, which was released internationally. he released a promotion album in 2008 called the unstoppable releasing the single enter the place. problems with album distribution in 2007 caused as shift of the release date of the album from 2008 to early 2009. in 2010, tuface released an “international edition” of the same under the title the unstoppable international edition making him the first nigerian artist to have an appropriately priced thematic and aesthetic patterns in the nigerian… 127 international album. tuface released two more singles from the international version of his unstoppable album. the international edition of the album won two awards at the 2010 sound city music video awards. he also won the channel o music video awards, best african western award and the mtv africa music awards for best male and artist of the year. upon leaving the music label kennis music, he set up his own record label known as hypertek entertainment. tuface has received one mtv europe music award, one world music award, five headies awards (hip-hop award), four channel o music video awards and one bet award for his musical work, four mtv africa music awards, one mobo award, one kora award, and numerous additional nominations. thematic and aesthetic issues in contemporary nigeria popular music the nigerian popular music culture has given rise to discourses regarding its thematic and aesthetic quality and context. these discourses take similar pattern as found in other climes of the world. christopher (2010) offers the reason for this as follows: “the popular music scene in nigeria today may not be unlike those of other countries in terms of active participants, method of development and rendition, fad and quality of song lyrics, particularly with reference to hip hop.” generally, critics of the thematic and aesthetic culture of the contemporary popular music in nigeria have noted that productions have been poor in message content and artistry. abati (2009) in an article that provoked a debate opines that many nigerian popular musicians “lack the patience to ... think through a subject to its logical end.” this is in line with luvaas (2006:173) description of electronic dance music as “aesthetics of ambivalence” with “song lyrics [which] seem to painstakingly avoid subject matter with any pretence of depth.” in addition, gregson (2006) contends that youth culture has arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 128 the characteristics of edginess, profane content, and of being offbeat and “weird.” influenced by mass culture of consumerism (de castro, 2007), and emphasising narratives culture that promote unlimited satisfaction of impulse (langman: 2003), hip hop artistes model for the young: body beautification and commodification, ostentatious life style and a life where sexuality has become a question of aesthetics rather than ethics (attwood, 2008). writing on what he sees as the thematic and aesthetic poverty of today‟s popular music olaide (2013) tries to make a comparison between it and that of yesteryears. he says: where are the true songs that give us extra strength and sensational breathes even when we don't feel like it? after the demise of musical icons like the yusuf olatunji's, the ayinla omowura's, the oliver d' coque's and their likes, most of whom have reigned from early seventies to the mideighties, good music have (later) only come from very few sets of musicians, like the king sunny ade's, the ebenezer obey's, the sikiru ayinde barrister's, the fela anikulapo kuti's and few. (nigerian music today) ...is losing those fundamental elements that gave it value at its onset; nigerian songs are gradually lacking the power to inspire. naturally arising from the criticism of the contemporary popular music in nigeria is the possible negative impact of the nature of content embodied by the music produced. olaide (2013) expresses this sentiment as follows: for me, it is simple; i‟d simply stick to my numerous collections of the grand oldies, but what about our young innocent kids and the nuisance that the nonsense contemporary music are causing. should we simply ignore and build a meaningless society all for the benefit of the social economic growth and impact of the musical industry or do something about it. by starting to protest and speak against thematic and aesthetic patterns in the nigerian… 129 those emerging armchair mc‟s? for me music is life and i will stick to my grand oldies. but we should never underestimate the future of the nigerian music industry. the concern about the possible negative impact of the popular music on the minds of the young is made even more real by the observed correlation between music and attitudes of people. basu (2008) avers that the “relationship between rap music and sexual attitudes, especially of black listeners to hip-hop, adversely affects sexual health decisions and attitudes.” on the other hand, niebur‟s (2003) assertion that “music will inevitably continue to change and adapt to society at large” may imply that society is resilient to the indiscretions of some popular musicians. however, countering this view is dolby‟s (1999) observation that people‟s world, youth in particular, is defined by images conveyed in global popular culture. however, all this is not to say that the contemporary popular music culture in nigeria has nothing good about it thematically and aesthetically. while there have been some questionable trends in this regards, it has also been pointed out that the contemporary music industry in nigeria has got a lot to offer in terms of socially useful themes and impressive aesthetics. with reference to what is happening in other climes, christopher (2010) points out that the popular music culture of rap and hip pop could be of profound positive impact socially and culturally. she writes: youth music is not necessarily inimical to society‟s wellbeing. to the contrary, in fact notes that in brazil musicians are using pop music in socially healing manner by creating emotional and social bond, as well as for social transformation. further, musical expression has become the ample, and perhaps the sole, cultural means whereby poor youth can voice and express the silent and perverse conditions to which they are subjected. (strinati, 2004: 6). arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 130 theoretical framework to place this study in a proper theoretical framework, the researcher chose the expressive theory of art. this theory sees art works as reflecting the unique emotions and ingenuity of the maker. bourne (2012) reflects on this theory as follows: the expressive theory of art was born of the romantic movement, which reacted against 18th classicism and placed the individual at the centre of art. according to this theory, art was seen as the means of portraying the unique, individual feelings and emotions of the artist and good art should successfully communicate the feelings and emotions which the artist intended to express. the strengths of the expressive theory of art are particularly in its commitment to the communication of the artist‟s feelings and emotions to others and its benchmark that good art depends on successful communication so that the recipient is similarly affected by the same emotion or feelings. it is based on this theory that this study considered the musical works of tuface idibia as representing his feelings and emotions. in other words, the thematic and aesthetic patterns of such works have their origin in the depth of the mind of the artiste. the artiste‟s works become a reflection of the artiste‟s minds. therefore, by studying such works, the artiste‟s beliefs, feelings and emotions are being studied. thematic and aesthetic patterns in the nigerian… 131 table 1 sampling frame s/n name of university ownership student population 1. chukwuemeka odumegwu ojukwu university, uli government 30,778 2. madonna university, okija private 14, 349 8. nnamdi azikiwe university, awka government 34,650 4. paul university, awka private 11, 233 5. tansian university, umunya private 5, 211 total 96, 221 source: the registries of the institutions textual analysis the sample for the textual analysis was selected using the simple random technique. the tracks making up each of the albums were written down in the order they appeared in the album. then using a table of random numbers, the researcher selected five tracks from each of the four albums, amounting to 20 tracks in all. multi-stage sampling procedure was used. at the first stage, the only federal university in the area of study (nnamdi azikiwe university, awka) was automatically chosen. similarly, the only state university (chukwuemeka odumegwu ojukwu university, uli) was equally picked. then between madonna university, okija and paul‟s university, awka, a random pick led to the choosing of madonna university. at the second stage, two faculties were randomly picked from each of the three universities chosen above as follows: nnamdi azikiwe university (education and arts), chukwuemeka odumegwu arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 132 ojukwu university (social sciences and management sciences), madonna university (management sciences and law). at the third stage, one department was randomly selected from each faculty as follows: unizik faculty of education (educational foundation), unizik faculty of arts (english language and music); chukwuemeka odumegwu ojukwu university (coou) faculty of social sciences (mass communication), ansu faculty of management sciences (marketing); madonna university faculty of management sciences (business administration) and madonna university faculty of law (property law and international law). at the fourth stage, 172 students were randomly selected from nnamdi azikiwe university, 154 selected from chukwuemeka odumegwu ojukwu university, while 72 students were randomly selected from madonna university to get the desired sample size of 398. the number selected from each university was arrived at by calculating the percentage share of the population of each school in the collective population of the three schools studied (79, 777). the formula was as follows: x = n x 100 n 1 where x = number selected from each school n = population of each school n = collective population of the three schools/ thematic elements in tuface idibia’s works the musical works of tuface idibia prominently feature the themes of human solidarity, interdependence, love and peace. the artiste appears to be passionate about preaching love and peace among humans, warning on the danger of unnecessary hostility which harms human solidarity and progress. this theme is roundly reflected in the song one love wherein the artiste decries the mindless violence that thematic and aesthetic patterns in the nigerian… 133 is increasingly becoming a marked feature of our world as reflected in this opening line: one love (one love) one love just the other day i saw on cnn brutal killing on each other by two friends i could not comprehend so i said to myself in hardy world is coming to an end so, the artiste, like a prophet of peace, pleads that the warring humanity sheathes its sword. appealing to the slogan “all we need is one love” which is a recurring phrase all through the song. he admonishes that all humans should unite irrespective of differences in religion and political affiliation. it is also pertinent to point out at this juncture that the phrase “one love” continues to recur in the songs of tuface idibia. again, the theme of human solidarity and communal harmony resurfaces in tuface idibia‟s third album unstoppable where in the song only me, the artiste emotionally emphasises the ultimate doom which unguarded individualism and unrestrained personal rivalry could spell for humanity; he prefers that humanity rather embraces communal solidarity as against over-emphasis on individualism as clear from the following lines: the personality no matter at all, individuality cannot make us tall i sing, i sing, for all y'all, don't let anybody push you to the wall nah community na in make us tall, secret society na in break us all arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 134 however, in the song see me so, the artiste re-invokes this same theme of love and solidarity – this time on a person-to-person level as against communal level. here he speaks as though he is addressing a colleague who is threatening the solidarity that has existed between the two in the course of their career. he appears to be reminding this colleague of his – whom he refers to as “brother” – that both of them are better off remaining in friendship as each one needs the other to live meaningfully. the following lines in the verse one underline this message: because without you, there will be no one to call my brother i said without you, there will be no one to call my neighbour i said without you, there will be no one to show i care said without you, there will be no me, that is why i say i don't want you to look at me like a stranger, (i am not a stranger) don't wana com across to you like just another nigga i know you cannot trust nobody, but you have to trust someone wooh that is why i want u to see me as your brother this apparent personalisation of the theme of human solidarity and love recurs in the song only me, where the artiste appears to be addressing someone whose conduct is a threat to these values. he admonishes this person to become accommodating and humble instead of living foolishly in arrogance and exaggerated self-glory: live and let living instead, of to be feeling like a king on top of nothing, stop the bragging on top the posing because you know say only na vanity vanishing in preaching his message of love, solidarity and peace, tuface idibia has remarkably also emphasised the danger and folly of jealousy among humans. he points out the fact that we are differently thematic and aesthetic patterns in the nigerian… 135 endowed and with different callings which makes it foolish for one to get jealous over another‟s success or for one to be too proud and look down on others over his/her success. another notable thematic element in the musical works of tuface idibia revolves around good leadership; leadership that is altruistic and progressive. in his second album, grass to grace, two songs e be like say and for instance dwell entirely on this theme. in e be like say, the artiste appears to be talking to a politician who has repeatedly failed to keep his electoral promises and has come seeking for vote again, making fresh promises. the following lines from the song capture this sentiment vividly: looking back through all the years, that you and i have spent together it seems like you've been playing me all the while so many times, you asked to put the whole of my trust in you so many times, you betrayed and played me for a fool why don't we work together so the future would be brighter cos, ebe like you and i, we dey need each other all the time all the time, another year has come, and now you want my trust once more oh no. in the song for instance, the artistes assumes the position of a common and helpless citizen, who suffering the pangs of misrule of his leaders, imagines that he gets the opportunity to be a leader so that he will rule differently as against the corruption-polluted leadership he currently experiences. the following lines are instructive here: arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 136 for instance, say na me be baale of nigerians say na me be one wey dey make plan, say i go create a scenery where better go plenty, make we dey give chance instead to dey pack the money go france to make suffer to full in abundance to make me run run away, to a place where ebi say i go feel like europeans, where them go respect my skills for instance where them no go dey play pranks, ontop people wey work the way wey give them the key, to chop substance tuface idibia‟s political themes seem to centre on good leadership as juxtaposed with misrule and the attendant backlash. the messages invariably sound like emotional appeals for change, urgent change. another dominant thematic element in the works of tuface idibia revolves around philosophy of life. by this is meant personal wisdom, personal virtues and right sense of judgment as one confronts with the vicissitudes of life. the virtue of remaining humble in recognition of divine-dependency of our successes is the central theme of the track thank you lord where the artiste penitently recalls his past failure to recognise the role of god in his success and rather living an ungrateful and unholy life. very important to note at this juncture is the artiste‟s repeated emphasis on the fact no one is above mistakes. some be acting that they know it all, but everybody knows that people rise and fall, some rise up again just to stand up tall and wiser and stronger, no matter how long you live you cannot learn it all, you go only do your best because you no go fit do all, so if you criticize me, come smoke small cos you no holy pass, my brother, u no holy pass, my sister thematic and aesthetic patterns in the nigerian… 137 typical of other love songs by tuface, african queen sees the artiste the apparently labouring to convince the said female that he is sincerely and strongly in love. thus in verse 2, he sings: you are my african queen and i know, oh yes i know you are my african queen and i know, see i know see i know what i am feeling in my heart and in my soul oh i know that it is love and i know that this love was surely sent from up above cause you're the only one i think of other themes found in the musical works of tuface idibia are those that could be considered to lie outside the society‟s philosophical and moral frame of meaning making. in other words, they don‟t embody values which the society would approve. these include themes like sexual escapades and revelry. the concerned tracks include keep on rockin‟, implication, enter the place and i sing. these songs appear merely meant to suit the adventurous young people in their life of revelry, little wonder they are all of vibrant rhythm typical of party music. survey analysis and response rate a total of 398 copies of questionnaire were distributed among the respondents across the three universities studied. out of the 172 distributed at nnamdi azikiwe university, awka, 169 were recovered; out of the 154 distributed at chukwuemeka odumegwu ojukwu university, uli, 152 were recovered; and out of the 72 distributed at madonna university, okija, 71 were recovered. thus, a total of 392 copies of questionnaire were recovered. this is shown in the table below. arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 138 table 2 response rate frequency percentage no. returned 392 98.5% no. not returned 6 1.5% total 398 100 data in table 2 show that while 98.5% of the questionnaires distributed were recovered, 1.5% was not recovered. thus, there was 98.5% response rate. exposure to musical works of tuface idibia to measure the respondents' level of exposure to musical works of tuface idibia, they were asked questions on whether they know the artiste, his music, whether they have listened to it, etc. the data generated by these questions were presented in the table below. table 3 respondents' exposure to musical works of tuface idibia knowledge of tuface idibia listening to musical works of tuface idibia purchase of audio or video cd of tuface idibia's works stored musical works of tuface idibia on multimedia devices yes 100% n = 392 98.2% n = 385 81.9% n = 321 98.1% n = 385 no 0% n = 0 1.8% n = 7 18.1% n = 71 1.8% n = 7 total 100% n = 392 100% n = 392 100% n = 392 100% n = 392 thematic and aesthetic patterns in the nigerian… 139 table 3 shows that 100% of the respondents know the artiste tuface idibia; 98.2% said they listen to his musical works, while 1.8% said they don't. similarly, while 81.9% said they have ever purchased audio or video cd of tuface idibia's works, 18.1% said they have never. also, 98.1% of the respondents said they have ever stored tuface idibia's works on your computer, phone, ipad or any other digital multimedia device; while 1.8% said they have not. these data showed that a high majority of the respondents are conversant with the artiste as well as consume these works. however, to have a more precise picture of the respondents‟ level of exposure to musical works of tuface idibia,, the researcher categorized the respondents who answered yes to 4 questions as having “high” exposure; those who answered yes to 3 questions as having “average” exposure; and those that answered yes to less than 2 questions as having “low” exposure. this is reflected in figure 1 below. figure 1 respondents' aggregate exposure to musical works of tuface idibia figure 1 shows that 80.1% of the respondents have high exposure to musical works of tuface idibia; 18.1% have average exposure; while 1.8% have low exposure to them. these data show clearly that there is high exposure to tuface idibia's musical works among the respondents. 80.10% 18.10% 1.80% high exposure average exposure low exposure arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 140 respondents’ aesthetic assessment of musical works of tuface idibia to measure respondents' aesthetic assessment of musical works of tuface idibia, they were asked questions on how they rate the artiste's music in terms of lyrics, voice production, melody, instrumentals and videos. the data generated were presented in the table below. table 4 respondents' aesthetic assessment of musical works of tuface idibia rate tuface idibia's lyrics high rate tuface idibia's voice production high rate tuface idibia's melody high rate tuface idibia's instrumentals high rate tuface idibia's videos high true 92.1% n = 361 98% n = 384 94.1% n = 369 92.1% n = 361 81.9% n = 321 false 7.9% n = 31 2% n = 8 5.9% n = 23 7.9% n = 31 18.1% n = 71 total 100% n = 392 100% n = 392 100% n = 392 100% n = 392 100% n = 392 table 4 shows that 92.1% of the respondents rate tuface idibia's lyrics high, while 7.9% do not. also, 98% rate his voice production high while 2% do not. similarly, 94.1% of the respondents rate the artiste's melody high while 5.9% do not. again, 92.1% rate the artiste's works high while 7.9% do not. lastly, while 81.9% rate tuface idibia's videos high, 18.1% do not. these data show that a high majority of the respondents rate the artiste's works high in the five dimensions mentioned. thematic and aesthetic patterns in the nigerian… 141 figure 2 respondents’ aggregate aesthetic assessment of musical works of tuface idibia figure 2 shows that 95.9% of the respondents scored tuface idibia's works aesthetically high; 4.1 scored it average; while none scored it low. in other words, most of the respondents rate the artiste's songs high in terms of their artistic value. respondents’ thematic assessment of musical works of tuface idibia to measure the respondents' thematic assessment of the musical works of tuface idibia, they were asked questions on the political, economic, cultural, etc relevance of the artiste's songs. the data generated were presented in table 5 below. table 5 respondents' thematic assessment of musical works of tuface idibia beneficial to political development beneficial to healthy human relationship beneficial to socioeconomic development beneficial to cultural development generally required by the society true 86.2% n = 338 76.5% n = 300 88.3% n = 346 72.2% n = 283 92.1% n = 361 false 13.8% n = 31 23.5% n = 92 11.7% n = 46 27.8% n = 109 7.9% n = 31 total 100% n = 392 100% n = 392 100% n = 392 100% n = 392 100% n = 392 95.90% 4.10% 0% high average low arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 142 table 5 shows that 86.2% of the respondents think tuface idibia's musical works have messages that are beneficial to political development, while 13.8% do not think so. also, 76.5% think they contain messages beneficial to healthy human relationship, while 23.5% do not. similarly, 88.3% think the messages are beneficial to socio-economic development, while 11.7% do not think so. in the same vein, 72.2% believe the messages of the artiste's songs are beneficial to cultural development, while 27.8% think otherwise. lastly, while 92.1% believe that the messages are such that are generally required by the society, 7.9% think otherwise. the implication of the foregoing is that majority of the respondents believe that tuface idibia's musical works have messages that are relevant to the wellbeing of the society in the various aspects mentioned. however, to have a more precise picture of the respondents‟ thematic assessment of musical works of tuface idibia, the researcher categorized the respondents who answered yes to 5 4 questions as scoring the artiste's works thematically “high”; those that answered yes to 3 questions as scoring them “average”; and those that answered true to less than 3 questions as scoring the works thematically “low”. this is reflected in figure 9 below. figure 3 respondents’ aggregate thematic assessment of musical works of tuface idibia 76.30% 16.10% 7.70% high average low thematic and aesthetic patterns in the nigerian… 143 figure 3 shows that 76.3% of the respondents rate musical works of tuface idibia thematically high; 16.1% rate them average; while 7.7% rate them low. these data show that most of the respondents rate the artiste's songs high in terms of their thematic value. summary and conclusion this work examined the thematic and aesthetic patterns in nigerian popular music culture with focus on tuface idibia. the study was both a qualitative (textual analysis) and quantitative (survey) research. the population of study for the textual analysis was all the songs released by tuface idibia so far as a solo artiste from which 20 songs were randomly selected (5 from each album); while the population for the survey was all university undergraduates in anambra state from whom 398 respondents (as determined using taro yamane formula) were chosen via multi-stage sampling procedure. questionnaire was used as a tool for collecting data from this population. analysis was both quantitative and qualitative. findings showed as follows:  that the dominant aesthetic features of the works of tuface idibia include copious use of rhyming verses, impressive voice production, fusion of elements of western genres and african rhythms and variations in texture of music. these features constitute the aesthetic distinction of the artiste's pieces.  that the dominant aesthetic features of the works of tuface idibia revolve around human solidarity, mutual dependence, peace, good leadership, philosophy of life and love between the two sexes; while other themes relating to revelry and sexual escapades are marginally found in his works; and  that the audience members view tuface idibia's works as being of high quality in terms of message and aesthetics. the findings of this research reflect the discourses that have gone on in regard to the aesthetic and thematic value of the contemporary popular music in nigerian. it has been the view of many stakeholders arinze-umobi, somtoo obiefuna & ebekue, emmanuel onyeka 144 and commentators that while the contemporary popular music culture in nigeria has made its mark in certain ways, there are still some areas of shortcomings particularly in regard to the nature of themes embodied by the pieces released by the young artistes (adetusi, 2009; christopher, 2010; dubem, 2010; olaide, 2013). this observation could be said to be partly true of tuface idibia; though the artiste is found to have released songs of some profound thematic content, he has as well be caught producing works of objectionable themes whose messages cannot be reconciled with the society's normative values. recommendations based on the findings of this research, the following recommendations are made: i. the music industry as made up of artistes, producers, promoters, marketers, etc and other concerned persons should pay closer attention to the works generated by this industry with the view to interrogating their real social value. this way, the industry may be directed towards better serving the society's developmental aspirations. ii. scholars in relevant disciplines should direct more effort towards empirical study of the popular music culture in nigeria. this is with the view to identifying trends and patterns in that aspect of the nation's culture. of course such effort should also focus on specific artistes and his/her works. iii. this research should be repeated with the aim of improving on the possible shortcomings of the instant one. the scope of study should be expanded through enlarging the population and integrating other variables not included here. similarly, other research designs such as focus group design and in-depth interview could be added to enrich the studies. thematic and aesthetic patterns in the nigerian… 145 references abati, r. 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(1999). communication research. new york: addison-wesley educational publishers inc. thematic and aesthetic patterns in the nigerian… 49 awka journal of research in music and the arts (ajrma) vol 17 june 2024 moralistic and educational themes in ìjálá (oral poetry) of àlàbí ògúndépò olaolu emmanuel adekola, ph.d institute of african studies, university of ibadan, ibadan, nigeria adekolaolaolu@yahoo.com, +2348032073004 & olumoroti olaniyi awolere, ph.d. olumorotiawolere@gmail.com department of educational foundations and early childhood education faculty of specialized education, emmanuel alayande university of education, oyo, nigeria abstract ìjálá, a form of oral poetry, is a ceremonial song for the hunters’ guild and people in traditional yorùbá society. it is used for different ceremonies such as yearly celebrations to commemorate ògún, naming ceremonies among the hunters, housewarming, preparation for hunting expeditions, and celebration after hunting activities using different musical ensembles such as àgẹ̀rẹ̀. earlier studies have given attention to its literary narratives and description but silent about how the didactic import generated from some of its themes. this study was therefore designed to examine selected themes in ìjálá music with a view to identifying its didactic import thereby advancing the earlier position with a new meaning for contemporary exigency. the study adopted ethnographic research design using qualitative method of data collection. the two major approaches commonly associated with musicological research were employed: field work and deskwork. information and musical repertories emanating from sessions of interview the authors personally conducted with pa alabi ogundepo, one of the surviving exponents of ìjálá in yorùbá society, formed the data for the study. observation and key informant interview were utilised as data were recorded on audio and video media. the data were contextually analysed. the findings revealed that themes in ìjálá music, as performed by alabi ogundepo include educational, moralistic and philosophical themes. analysis of these selected themes shows that ìjálá music has some didactic imports which are beneficiary to the contemporary usages especially for the younger generation. introduction various professional guilds have different musical ensemble associated with them in traditional african society; ìjálá is a ceremonial song for hunters’ guild and for people in traditional yorùbá society. it is used for different ceremonies such as yearly celebration to comemorate ògún; aside this it is used for naming ceremony among the hunters, house warming, preparation for hunting expedition and celebration after hunting activities using different musical ensenble such as àgẹ̀rẹ̀. ìjálá and ìrèmọ̀jé are both musical performances by the hunters’guild which have similaties but also differ in performance context. scholars such as belcher, (1999), charry, (2000), omojola, (2006) and adekola (2017 & 2018) have noted the role of the traditional musicians in preserving the cultural memory and historiography of african societies for many centuries. since music-making is an integral mailto:adekolaolaolu@yahoo.com mailto:olumorotiawolere@gmail.com 50 awka journal of research in music and the arts (ajrma) vol 17 june 2024 part of yorùbá ceremonial and ritual events, ìjálá music performs great functions among the hunters’ guild in yorùbá land. nketia (1974) earlier noted the significance of music among african people and posited that: on ceremonial and ritual occasions, music making may similarly go hand in hand with set sequences of symbolic actions, performed with or without props by specified people playing given roles. these actions, which are dramatic in character, take place in the presence of some participants or spectators. music may be integrated with the events, either to set the mood for the actions or to provide an outlet for expression of feelings they generate. it may also be used to continue or heighten the dramatic action; hence, it may punctuate statements or prayers, or provide a continuous background of ordered sounds (p. 29). deduction can be made from the above statement that music contributes essential to day to day activities of any african society; music may be vocal, instrumental or vocal with instrumental. ìjálá is one of the poetic or vocal forms which were given prominence among the yorùbá of southwestern nigeria and it belongs to the older indigenous yorùbá genres usually refered to as “ewì àdáyébá indigenous poetry” (adeduntan, 2024). other poetic forms among the yorùbá include ìyẹ̀rẹ̀ ifá (a form of ifá poetry,), ẹ̀sà or iwì egúngún (ancestor worship cult poetry), oríkì (panegyrics poetry), ẹkún ìyàwó, (short bridal lament found among the oyo yorùbá), ewì, olele, rárà (olátúnjí, 1972; olajubu, 1974; babalola, 1973; vidal, 2012; adeduntan, 2024). musicians, as master storytellers, have served as living archives, chronicling communal histories, genealogies and oral tradition through ingenuity in their composition and poetic recitations over the years. they maintain a large repertoire of epic narrative songs which describe major historical events in african traditional society. alabi ogundepo, an exponent of ìjálá who utilises both old and new thematic forms in his poetic rendition provides certain didactic imports as this study analyses some of the themes. academic work on african music is inexhaustible and increasingly growing. however, there are still gaps in knowledge in many areas as far as music is concerned. for instance, yorùbá traditional popular music such as ìjálá provides avenue through which the yorùbá philosophy is expressed and also serves as a repository of knowledge from where contemporary musicians draw their repertoires. however, little has been done on ìjálá music in relation to its didactic import especially for contemporary usages. music and language scholars (such as babalola, 1966; ajuwon, 2018 among others) have centred more on its description and classificatory modes. although recent work by adeduntan (2024) on ìjálá, titled “performative agency and transition in àlàbí ògúndépò’s ìjála and yemí ẹlébuìbon’s ifá chants” provides an insight into how ìjála practice of àlàbí ògúndépò “instantiates one pattern of transition in which performance gradually yields ground from affirming conservative patriarchal and communal values to sometimes admitting the ascendancy of the modern or often affirming it outright”, the work did not engage didactic themes which this study examined. omolasoye (1998) had even suggested that there was need to extend or broaden the scope of ìjálá and that the university of ibadan should take it as a duty to involve artistes like àlàbí ògúndépò for a performance of which its audio-visual recording of such occasion or performance could be kept in the institute of african studies or archives for culture preservation and development. this clarion call is one of the motivations for this study so as to contribute in preserving an aspect of african culture complementing the efforts of archives and sounda new vision of the institute of african studies, 51 awka journal of research in music and the arts (ajrma) vol 17 june 2024 university of ibadan thereby collecting recent recorded audio and audio-visual materials used in different context by alabi ogundepo. tradition and culture of the yorùbá people as encoded in their performance arts study of the musical tradition of a people serves as a material for educational purpose. a lot of folk music practices among the yorùbá and other african cultures have gone into extinction as a result of many factors such as religion and urbanization as wstern values and modern forms of leisure have eroded the educational, social, and recreational roles of practices with its attendant impact on sociocultural lifestyle of the people. one of the reasons for extinction is the death of the older members of the society who used to be versatile and skillful in the traditional musical practices usually without successors (adekola, 2018). there is therefore a need to engage in study of some of the performance art such as ìjálá to especially with the aim of examining their new context and materials; this will enhance survival and promotion. there are various performances among the yorùbá of southwester nigeria which include oríkì, ewì, rárà, olele, ìrèmọ̀jè, and ìjálá. oríkì are one the popular performance forms in yorùbá oral tradition and they are composed for subject of all types including human being, animals, and family lineage. they are performed “to evoke historical and essential qualities of the subject and they are central to memorializing the significant events” in the life of an individual “with the purpose of eulogizing the subject or providing moral view in an educational and entertainment setting” (adeyemi, 2017:250). ewì are poems based on history, political and social observations on a particular person or issue. iwì is usually a poem linked to egúngún (spirit manifest) and is used to extol the virtues of the particular egúngún and the related ancestors. rárà is used to praise the reigning monarch and the past kings. onírárà is a griot who uses his/her medium of chanting to proclaim the historical exploits and to chronicle the achievements and errors on the throne for the benefits and admonition of the reigning king. both ìjálá and ìrèmọ̀jé are hunters’ guild musical practices but their contexts differ. ajuwon (2018) explains ìrèmọ̀jéeré ìsípà ọdẹ as a funeral dirge of the hunters, yorùbá lament poetry for deceased hunters. funeral rites are post-death ceremonial activities meant to mark the passage and celebrate the life of the deceased which is usually in form of music-making, dancing and other nonmusical activities. the activities are believed to assist the spirit of the deceased in its after-life existence either in heaven, as an ancestor, or with the ancestors. type of music performed at funerals is determined by age, sex, status and religion of the deceased as funeral music serves both the living and the dead. for the living, funeral music serves as entertainment, consolation, sympathy, admonition and solidarity; while to the dead, it serves both the celebration of life well lived as pre-requisite rite critical for well-being in the after-life of which music is of a great significant (ogli, 2010). ìrèmọ̀jé is a rite of passage and poetry, an open rite or music performance for the deceased hunter by the hunters which usually takes place form the night to the morning. ìrèmọ̀jé is a compulsory rite that must be performed for a departed hunter as it is believed that until a funeral dirge is performed, there cannot be peace of mind for such a departed soul and not rest of mind for the children of the deceased. difference between ìjálá and ìrèmọ̀jé is emphasised by ajuwon (2018) when he states that: ìrèmọ̀jé is not a song for anytime, it is not a song you stay in your home and sing. it is also not a song you can sing whenever you feel like singing. it a song for hunters’ difficult times. it is 52 awka journal of research in music and the arts (ajrma) vol 17 june 2024 not a song for anytime, not a song fr the day but a song for the middle of the night (p. 4). performance of ìrèmọ̀jé after the death of a hunter grants access to such deceased to be with ògun and other hunters in heaven. it confers on the deceased children boldness to call their fathers on any issue they seek his intervention and until then the family could go to the burial ground to settle any quarrel among them with assurance that whatever judgment they give to anyone is final. there is no time one cannot perform ìjálá, it is suitable any time of the daymorning, afternoon or the evening and it is suitable for all ocassions pertaining to hunters unlike the ìrèmọ̀jé that cannot be sung anytime of the day, not just any event and by just anybody. ìjálá is flexible in nature, content and context, it is this flexibility that contemporary ìjálá chanters such as àlàbí ògúndépò capitalises and leverages on to form their new form of ìjálá whereby various events, ceremonies and electronic media are avenues through which ìjálá is performed and promoted in post colonial era. formerly, the themes of ìjálá music centered on oríkì (praise poem) which included the singing of the praises of ogun, animals, birds, food, and personalities in the society. however, as a result of changes, the dominant themes in new ìjálá music transcend singing praises of people but have included jingles for advertisement for political campaign, advertisement of herbal products, and publicity for religious organisations, public enlightenment, correction, counseling, and condemnation of anti-social behaviours among others. ìjálá music is performed within a wide-range of social, economic, political and secular contexts among the yorùbá. therefore, new themes can be grouped under the following themes: social-economic, philosophical, socio-religious, political, moralistic, and educational themes. this current endeavour examined three major themes as identified in alabi ogundepo’s ìjálá music. moralistic theme: robbery and other vices condemned ìjálá music performs social roles in which the societal core values, norms, traditions and beliefs are well articulated in the performance. societal values and beliefs such as quality education, hardwork, chastity, loyalty and hospitality are usually adumbrated by the chanters and vices such as robbery, untidiness and immoral acts are vilified as unacceptable practices in yorùbá society. many of these vices were criticized and condemned by àlàbí ògúndépò in some of his performances. society’s displeasure and stands on them were well elucidated and articulated. for instance, in one of his performances, he condemned robbery and reiterated untimely death as a sure judgment for robbers: ògún ní ń dájọ̀ fọ̀mọ olè, ògún is pronouncing judgment for the robbers ògún ní ń dájọ̀ fọ̀mọ olè ògún is pronouncing judgment for the thieves bẹ̀ ẹ bá ń gbọ̀ tẹrẹ kí tẹ̀kí l’étí òkun if you hear gunshot beside the river ògún ní ń dájọ̀ ògún is pronouncing judgment the song above was composed by alabi ogundepo in 1980s to condemn robbery activities that were rampant in ibadan, oyo state during that time. ogundepo, with the company of others that were working with radio station, nigerian broadcasting service ibadan, was asked to capture the incidence of killing of robbers at that time. the arrested robbers were killed at the bank of ẹlẹ̀yẹlé rivers in ibadan in 1980s and he used his song to discourage people form robbery as a result of untimely death. the song was later recorded and produced by alawada records, ibadan titled jàgùdà sòfò l’ẹ̀lẹ̀yẹlẹ̀ vol 1. the song was used to dissuade younger generation from vices such as rubbery that are capable 53 awka journal of research in music and the arts (ajrma) vol 17 june 2024 of terminating life untimely. musicians are saddled with the responsibility of social prophet to warn people of behaviours that injurious to their well-being and inimical to the society. this is corroborated by omojola (2017) that music in yorùbá culture has a wide and inclusive participation of the norms and this is usually guided by the crucial roles of professional musicians as performance leaders. alibi ogundepo did not only discourage people from vices but also encouraged them on good behaviour as contained in the excerpt belowìwà rere which is one of the major attributes of omolúàbí (see samuel and adekola, 2018 on music and concept of omolúàbí) in yorùbá worldview: ìwà rere ní á jọ má a hù good behaviour/character is the best ìwà rere ní á jọ má a hù let us embrace good behaviour education and its imperativeness: “read far, go far without fear” musical content in àlàbí ògúndépò’s ìjálá music reveals importance and imperatives of education in contemporary world. it is believed that a person who “reads far is bound to go far in life and will leave without fear” as deduced in his music. according to him, a literate individual will become a great person in the society while illiterate will eventually become a slave to the educated fellow. the excerpt below explains this further: èèyàn tó kàwé jìnnà a man who is vast in education bó bá yá a ní pò, a d’ọ̀gá will later be a leader and hold an important position bó bá yá a d’olórí oko and later become a leader and successful person ọ̀mọ̀wé lẹgbẹ̀ rẹ̀ o mà mà sìn an educated person would be served by his peers the excerpts below also confirm that education is a sin qua non to upward mobility in social reality especially in contemporary world. the educated fellows are accorded respect and honour as the youths are encouraged to get education so as to become someone to reckon with in the society. ìgbé a gb’álákọ̀wé gẹ̀gẹ̀ the way an educated person is held in honour alákọrí ò gbọdọ̀ mí iliterate must not breath (talk) ayé ń yẹra f’álákọra everyone is avoiding iliterate ẹ̀wù tó ya t’álákọ̀wé ò lè wọ̀ a cloth that an educated cannot wear lalákọrí ń wọ̀ yan kángbán kán gbán it’s the one an iliterate wear and parade himself ẹ̀kọ̀ ló layé, ẹ̀kọ̀ làgbà education is imprtant, it is the in thing ẹ̀yin ọ̀dọ̀ ẹ dábọ̀ ẹ kàwé youths, please be educated a fẹ̀ kẹ̀ẹ d’olóríire we want you be suceesful ìfà ń bẹ f’álákọ̀wé tààrà fortune are sure for the educated person ọ̀mọ̀wé l’ọ̀gá àwọn ló káyé já educated are the leaders and are al in all the above excerpts were rendered in prose-like manner while the music below was sung with instrumental accompaniment. the song text below reiterates the importance of education in african society. the music encourages every child to go to school but also learn one skill or the other through apprenticeship because those who learn through apprenticeship are vast in the skills they acquired which points to the fact that the instructorship system of teaching should be encouraged in schools. it must be noted that every form of education is important; both formal education and apprenticeship system have been known to be effective, accurate, financially rewarding and technologically relevant to contemporary time. 54 awka journal of research in music and the arts (ajrma) vol 17 june 2024 55 awka journal of research in music and the arts (ajrma) vol 17 june 2024 56 awka journal of research in music and the arts (ajrma) vol 17 june 2024 another music excerpt that discusses the role and significance of education is given below: taló sọ wípe t’ẹ̀kọ̀ kò sòro/2x who says education does not matter? taló sọ wípe t’ẹ̀kọ̀ kò sòro/2x who says education is not important? ẹ̀kọ̀ l’ọ̀nà t’ó ń gbé ni dé pò ńlá education is a sure way to greatness béèyàn ò k’àwé yí o s’ẹ̀rú ọ̀mọ̀wé an illitrate will be a servant to an intellectual wèrè èyàn ló ń pe t’ẹ̀kọ̀ ò mà sí o only the fool will undermine the importance of education taló sọ wípe t’ẹ̀kọ̀ kò sòro who says education does not matter the song above emphasizes the importance and indispensability of quality education in human development and status upgrading in life. the song, having started with a rhetorical question“who says education does not matter” reiterates the fact that education is a must for upward movement in human status especially in post-colonial era. the repetition of the phrasetaló sọ wípe t’ẹ̀kọ̀ kò sòro (who says education does not matter) in lines 1 and 2 and the last line of the song testifies to the emphasis the statement requires. the body of the song explains the fact that education is a sure 57 awka journal of research in music and the arts (ajrma) vol 17 june 2024 path to success and a sure way to a greater height in life as uneducated will later become a servant to an intellectual; as a result of this, only the fool trivializes the necesity of education in post-colonial era. although the exalted position is a common desire for both men and women but it is reserved for only the intellectuals. no one really wants to be a servant to other, everybody in the society usually aspires to belong to upper echelon but this can only be through hard work and going through the required training. therefore, education which is the sure path to greatness is usually advocated for among the people. it must be clearly stated that though the type of education the musician was referring to in this song is essentially a western education type in which various discoveries are made and solution are brought to human problems through the aid of technology, however, it must also be noted here that education in yoruba traditional setting is more comprehensive than western education. holistic education is usually canvassed for especially for a better future of the youths. the issue of holistic education has been extensively discussed by scholars such as awoniyi, (1975), samuel and adekola, (2018). the main point here is that education is the best legacy a man can give to his or her child for future achievement and rest of mind. conclusion ìjálá music by alabi ogundepo has a lot of didactic imports especially for the younger generation as revealed by the analysis of his selected themes. the thematic analysis of the song indicates the underlying idea of the song is the power of good counsel and expository capacity of the musician. the song explains the crucial role of moral values and education in traditional yoruba setting which is still valid in modern era as it emphasis the fact that it is either you get educated and be exalted or you despise it and get lost in the society. every form of education is important, especially education that contributes to moral development of a child is said to be effective, accurate, financially rewarding and technologically relevant to our time. the study provides a broad application of traditional songs and language in yoruba cultural and historical contexts and their didactic imports. more is expected from researchers in the area of music and language so as to create special interest of african music and language in younger generation. references adeduntan, a. (2024). “performative agency and transition in àlàbí ògúndépò’s ìjála and yemí ẹlébuìbon’s ifá chants” provides an insight into how ìjála practice of àlàbí ògúndépò.” africa, 94, 162–185 https://doi.org/10.1017/s000197202400007x adekola, o. e. (2017/2018). exploring contributions of àgídìgbo musicians to the sustainability of nigerian traditional music. nigerian music review, (15/16), 141-160 adekola, o. e. (2018). musical archiving of nigerian ethics and identity in àgídìgbo music of yorùbá, southwestern nigeria. african musicology on-line. vol. 8 (2): 1-24. https://africanmusicology.online. adeyemi, s. (2017). performing arts. in culture and customs of the yorùbá. t. falola and a. akinyemi (eds).pan-african university press, austin, texas, 249-258. ajuwon, b. (2018). iremoje ere isipa ode. university press limited. babalola, a. (1981). ijala poetry among the oyo yorùbá communities. oral poetry in nigeria. abalogu et.al (ed). u. n. 3-17. babalola, s. a. (1966). the content and form of yoruba ìjálá. london: oxford university press. nketia, j. h. k. (1974). the music of africa. new york: w. w. norton and company. https://doi.org/10.1017/s000197202400007x http://www.africanmusicology.com/ 58 awka journal of research in music and the arts (ajrma) vol 17 june 2024 ogli, g. e.i (2010). ethnomusicological study of ij’eyikwu (music for funeral rites) among the idoma, benue state of nigeria. institute of african studies, university of ibadan. olajubu, o. (1974) “iwi egungun chants: an introduction,” research in african literatures 5 (1): 3151 olatunji, o. o. (1972). “ìyẹ ̀rẹ ̀ ifá: yorùbá oracle chant,” african notes 7 (2): 69-86. omojola, b. (2017). music and dance in culture and performance. in culture and customs of the yorùbá. t. falola and a. akinyemi (eds).pan-african university press, austin, texas, 407-420. omolasoye, l. a. (1998). a comparative study of alabi ogundepo and ogundare foyanmu selected ijala chants on discs. an unpublished m. a. dissertation, university of ibadan, awoniyi, t.a. (1975). “ọmọlúàbí: the fundamental basis of yorùbá traditional education”. yorùbá oral tradition. abimbola w. (ed.) ibadan: ibadan university press. 357-387. tonemic substitution 206 awka journal of research in music and the arts vol.15 (2021) 206 language and meaning of words in ibibio music composition precious kufre udoh & alvan-ikoku o. nwamara ph.d. abstract n every culture or society of any geographical location, with characteristics of norms and values system ‘language’, is a driving force that propels communication. it is widely used and accepted as a means of expression. it influences the general life styles of the people through music. in music ‘texts’ are words that help the listeners (audience) appreciate the message passed across by the singer or better still, the composer of a song. music composition is language driven, and this is peculiar to africans as it aid verbal communication amongst its tribes and also communicates emotions. this paper therefore, in looking at language as it relates to music and the society, examines the roles of language and some meaning of text (words) in ibibio music composition. introduction language is a very important tool amongst humans of any given geographical location. it gives recognition and identity and also nationality to a particular race in a given country. according to hall, in (2005) he sees language as: ‘an institution for communication’. for him and others, language, exist for the expression of or ideas. as a human institution, language is used in society and is seen as part of i awka journal of research in music and the arts (arma) vol. 15 2021 udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 207 the society’s culture. okon, also in (2003) sees language as: ‘the cultural embodiment of a particular group in that, the group’s language is used to portray ideas, emotions, desires and the thought pattern of the people’. this, then, presupposes that language, music and culture are all related and interwoven. according to webster dictionary (1998) language is viewed abstractly as a system of forms and conventions used for communication in a community. it could be the use of words, their pronunciation, and the methods of combining them to make meaning to the community where it is established. it could also be in form of signs (arts) or symbols adopted by communities, and professionals for easy communication. in other instance, language and music are used as means of documentation and also as a means of expressing their values. in doing that, language becomes a major symbol of their communication. akpabot (1986) asserted that: african music borrows much from vocal music which in turn is tied to speech melody and speech rhythm. speech melody and speech rhythm are inter-related. language or its speech rhythm then becomes a major factor of consideration in music composition in africa. in africa cultures, languages promotes traditions, customs, norms and values; it is and avenue through which a people of a culture identify and also constitutes themselves which are in turn passed from one generation to another. according to the assertion as asserted by okon (2007), he stated that: there is no society without a culture and language must and, does perform its function as a vehicle of cultural transmission. every culture of a geographical location reveals the identity of the people within with a number of things shared in common which of course includes their belief system, their language, their costume, and their music. thus, language and music are one of the core characteristics in a culture. corroborating this, adesina (2008) assert that: you cannot have core value if you do not have culture. udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 208 language and music in africa and diaspora, music is used for several purposes as it is part and parcel of a culture of a society. it is used as a medium through which the norms and values of a community are passed from one generation to another generation for the sole aim of preserving culture. this communications are verbal, which are, in music, the composition and/or the arrangements of words that characterizes its texts (lyrics). the meaning of the words as used in a composition determines how much communication is enhanced and understood. accordingly, vidal (2002) stated that: music is a play with sound, a paragon of the experience and activities of man; a reflection of those experiences and activities as well as a model to both. to the africans, music is an art; and there is hardly an activity or ceremony of any sort without music as it constitute expression of emotions and feeling being the function that characterize man and his environment. it communicates cautions, corrections, warning, and even war hence the choice of words used if not appropriate can be misleading because its meaning is not well or properly construed. yekini-ajenifuja (2004) corroborated this when he stated that: music involves all other areas of interaction in the communities such as religion, recreational and rites, among other. however, music remains the application of sounds that reflects the values of the society where it is established in order to stimulate the emotion of its audience to a reaction. as stated earlier, language is a very important identity of a particular people within a geographical location. it influences all the aspects of life such as – belief, norms, values, socials, styles and ways, dressing including music. it is a major factor and character of music whether vocal or instrumental as both are ‘sound’ inclined. hornby (2000) defined language as: the system of sounds and words, used by human to express their thoughts and feelings. the means in a given ethnic udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 209 language is used in composition, and also expressed in music. it is used in music to properly communicate the emotions, beliefs and customs of the people. the meanings of every words used communicates a proper understanding thereby building confidence and strength and foster relationship amongst the people. encarta (2009) defines language as: communication among spoken or written symbols with agreed upon meanings. these spoken-gesture-signaled communication involves the same process for all humans, and any human language can convey any human thought; nevertheless, the actual languages spoken in the world are numerous, and they differ vastly in their sound systems and grammatical structures. in his views on the relationship of language and culture kramsch (2010) stated that: language is the principal means whereby we conduct our social lives. when it is used in contexts of communication, it is bound up with culture in multiple and complex ways. the words people utter refer to common experience. they express facts, ideas or events that are communicable because they refer to a stock of knowledge about the world that other people share. words also reflect their author’s attitudes and beliefs, their point of view that are also those of others. in both cases, language expresses cultural identity. in webster dictionary (1998), language is viewed abstractly as a system of forms and conventions used for communication in a community. primarily, it could be the use of words, their pronunciation, and the methods of combining them to make meaning to the community where it is accepted. in some societies, language and music are used as means of documentation and also as a means of expressing their values. in doing that, language becomes a major symbol of their communication. corroborating this, akpabot (1986) stated that: african music borrows much from vocal music which in turn is tied to speech melody and speech rhythm. speech melody and speech rhythm udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 210 are inter-related. language or its speech rhythm then becomes a major factor of consideration in african music composition. it is worthy of note to state that language and music are practically intertwine in that, language if often times set into music and in the same vein music is also often set into language as the case may be. this is because language in music to the africans, express deep meanings language and the society according to history, there are many african languages indigenous to the african continent. more than 2,000 different languages according to microsoft ® encarta ® 2009 are spoken in africa. apart from arabic which is not confined to africa, the most spoken african tongues are swahili (about 35 million speakers) and hausa (about 39 million speakers), both of which are used over wide areas as lingua franca. several languages (often inaccurately termed dialects simply because they have few users or are under-researched) are spoken by only a few thousand people. although very few african languages have written literature, the majority have long-standing traditions of oral literature. nigeria is known for a heavy proportion of languages in comparison to other african countries of an estimated 2,058 languages in africa, 500 are thought to be spoken in nigeria. the official language is english (first taken to nigeria by european traders before colonization), used in educational, governmental, business, the media, and other official domains. multilingualism is common among nigerians through daily interactions and trade. the names of the three main peoples in nigeria (the hausa, the igbo and the yoruba) correspond to the languages spoken by these people. yoruba and hausa are the most widely spoken languages (with over 18.5 million speakers of each in nigeria itself), followed by igbo (around 18 million), and the fulfulde (over 7.5 million) and kanuri (3 million). ibibio among others are the minor national languages spoken in udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 211 nigeria. many nigerians also speak nigerian pidgin english (creolized in some areas), which is mutually intelligible with some other west african pidgins. this acts as a lingua franca across the many languages spoken in nigeria and its use is growing in literature, advertising, television, newspapers and radio. language as it relates to the society could be in form of communication (verbal), symbols or signs. the sociocultural norms and values of man in his social environment, is the concept which deals with specific forms of organized pattern of interaction which occurs within the society. in the words of charles (2003) he noted that: cultures would not exist without language. he views language as a guide to social reality and argues that in every human society, people are very much at the mercy of the particular language which is the medium of expression for the society. he further opined that: the ‘real world’ is to a large extent unconsciously built on the language habit of the group. corroborating this, smeets (2006) asserts that: as human kind’s principal means of communication, language do not merely convey messages, they also express emotions, intentions and values, confirm social relations and transmit cultural and social expressions and practices. hence, in every society like the akwa ibom, there is a common language that is peculiar and related to that of other related society. though, ibibio language is a general language, there are still some other ethnic within akwa ibom with their peculiar dialect. according to merriam (1964), he assert that: music is a universal phenomenon just like language. it exists only in terms of social interaction and it is a learned behaviour. it involves the behaviour of learned individuals and groups of individuals. owing to this assertion, a group of individuals who in the course of searching for greener pastures have come to stay in the same society other than theirs, are opportune to learn other languages and even their music which are basic characteristics of a society. udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 212 language and music of ibibio and society according existing literatures, the ibibio migrated from the central benue valley into the present south-eastern nigeria (inyang 1991). the ibibio are found predominantly in akwa ibom state in the southsouth geo-political zone. ibibio is identified by a people and their language. ibibio is spoken predominantly in akwa ibom state and in the neighbouring states where ibibio people reside. the language originally belongs to the benue-congo family. a further sub-classification shows ibibio as belonging to the lower cross. ibibio and other genetically related languages have been classed under what essien (1990) refers to as ibibiod, a term which in essence, captures the common origin/history of the language and the people (urua 2000). as we have noted earlier, language and culture are closely related. we would want to state that without language there will be no culture and vice-versa. okon (2007) asserts that culture is the knowledge that someone has by virtue of his being a member of a particular society. kottak (2004) on the other hand, views culture as: a set of control mechanism, plans, recipes, rules, instructions for the governing of behaviour. wardhaugh (2000) asserts that: language forms a vital aspect of the socio-cultural behaviour which in turn forms part of the society’s value system and patterned way of life shared by the people. in the ibibio society, therefore, ibibio language is tightly knit with ibibio culture and together, they identify the individual or group as being distinctly ibibio. the ibibio society is an organized society. a number of social institutions are put in place which ottong (2004) noted, are seen as: the principal instruments whereby the essential tasks of social life are organized, directed and executed. this, therefore, insinuates that, the established ways of behaving and/or ways of life lies within. these social institutions which form part of the ibibio culture are embodied in the ibibio language and reflect in the udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 213 ethics of their norms and values. according to agawu (2003) he submits that: language and music occupy different levels in the hierarchy of modeling system. as the primary means of communication in the society, language is higher because it has conceptual priority over music. on the other hand, music, because it remains indispensable, and because it includes and at the same time transcends languages more pragmatic function, often lead us into realms that are experientially higher than language. hence, just like the language and music of other african countries, the language and music of ibibio are inseparable arts that cohabit in three domains of man which are cognitive, affective and psychomotor domains which becomes active and functional to both the performer and the audience alike. ibibio language used in a music composition creates an avenue to help in the understanding of the text (words) and its meaning as this drives home the emotional thoughts, and also the interpretation it carries as intended by the composer/writer. this, also, presupposes that for any information to be disseminated effectively through music, the role of language is inevitable; an indepth meaning of every words as used must well ascertained. this if not properly researched especially by the non-ibibio music composers, may become ordinary discourse, non-sense or even a taboo. language and meaning of text (words) of ibibio music composition subject to the context of this paper, it is important to establish that ibibio people are seen in the light of the ethnical relatedness of the traditional northern ibibio, southern ibibio, western ibibio, central ibibio, and riverine ibibio. the ibibio people are distinctive ethnic group found predominantly in the south-south geopolitical region of nigeria with a population of about four million people. they are the fourth largest ethnic group in nigeria, according to ukim, (2020); udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 214 demographic nigeria (n.d); okonofua and ukim, (2016). the ibibio has several networks of independent sub-groups comprising efiat, okobo, andoni, efik, ibeno. oron, eket and annang communities. udo (1983; ukim, 2020; minahan, 2002 and ekanem, 2000). the traditional art exhibition of these sub-groups which is an affiliate of a people’s cultural practices and language of communication are similar in context. this is so because they are ethnically related (udo, 1983). their economic, religious, aesthetics and political institutions are all reforms enabling. the music of the ibibio people is uniquely rich in dance, songs and instruments, and symbols play very important roles. the songs in ibibio are sung and played in social gathering s such as marriage, feast, coronation, birth, and so on. it is also used as a means of communication, warning, abusing, and treatment. the concept of ibibio music is pre-determined and not by reactions; the mood and character of most of ibibio music is cheerful and lively as expressed in bright melody. the tempo and dynamics often express bright mood, except in the case of death. according to hugh (1963): the way african conceive music is different from the way europeans do; to the africans music is a word, meaning vocal participation, the physical manipulation of instruments and rhythmic or dance movement associated with music. furthermore, the traditional make-ups of ibibio music are not entirely different from other ethnic groups in african, this is because compositional characteristics are not exclusive to one community, culture or country; one can extract the dominant musical concepts and procedures in a given area. scholars like agordor (2002) refer to this as: ‘culture area concept’, defined as geographic units whose inhabitants share a relatively homogenous cultural style. the song text is a medium for creative verbal expressions that reflects both personal and social experiences. akpabot (1998), in looking at style and content of yoruba and hausa music states that: ibibio oral poetry is most udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 215 commonly found in song texts and invocations during ritual or non-ritual ceremonies. furthermore, he also highlighted 14 categories of song texts easily recognizable in african music, and they are historical, communication, social, insult, obsessed, praise, children, funeral, work, war, humorous, women, philosophical, and ritual. all which he said can be grouped under three main headings: praise songs; songs of insult; and songs for entertainment. these song-texts, which are the exactly words used in music composition are the very focus of this paper; and will thus be examined. ibibio text (words) and their meaning udoh (2014), observed that less attention is paid to the song text (which is the actual words of a song) in ibibio music compositions, and it leads to a number non-appreciable sound in ibibio language and music composition; suggested guides to help composer of ibibio music, especially the non-ibibio composers and they as follows: vowel sounds common with the ibibio are a, e, i, o, ͻ, u, ŋ. a: (short ‘a’ sound) as in hard. it is pronounced as /ae/; examples are afo, abasi, akan, awo akang etc. words meaning afo you abasi god akan old awo person akang potash udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 216 e: (short ‘e’ sound) as in hate. it is pronounced as /e/ without dot(.) underneath; examples are ebot, ewa, edim, edi etc. words meaning ebot goat ewa dog edim rain edi pig i: (long ‘ee’ sound) as in heel. it is pronounced as /i:/; examples are inua, iwo, ikwo, idem, idip, etc. words meaning inua mouth iwo nose ikwo song idem body idip stomach o: (short ‘o’ sound) as in go. it is pronounced as /o/; examples are owo, odudu, obu, obot, etc. words meaning owo person odudu power obu dust obot mountain ͻ: (long ‘oo’ sound) as in born. it is pronounced as /ͻ:/ ‘c’ turned the other way; examples are -obong, ofong, otong, ofiong, etc. udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 217 words meaning obong lord ofong cloth otong soap ofiong moon u: (long ‘uu’ sound) as in school. it is pronounced as /u:/; examples are uwem, utom, udua, ufok etc. words meaning uwem life utom work udua market ufuk house ŋ: (combination of ‘n’ and ‘g’ sound ‘ng’) as in hung. it is pronounced as /ŋ/; examples are mmong, mbang, abong, ikpang, abang etc. words meaning mmong water mbang cheek abong mosquito ikpang spoon abang basin others are: iyak fish ikwa knife adisad comb ukwak iron nkukim nail afongisin wrapper udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 218 umonoren mirror akebe box itam hat ufuk-ayo umbrella ikpo-ukod shoe ikpang spoon nkpo-itie chair ided hair usan plate akpokoro table afong-ukod trousers ukod leg ufok house ataha-afong rag isin waist mkpoutank-iko phone ikang fire esio pot esiofere pot of soup afere soup ikpa cane enang cow enang-ukwak bicycle and so on. some ibibio names and their meaning: names meaning ubong (as in ubongabasi) glory (as in glory of god) udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 219 ese (as in eseabasi) testimony (as in god’s testimony) uduak (as in uduakabasi) will (as in god’s will) kufre (as in kufre abasi) don’t forget (as in don’t forget god) akan (as in akanimoh) victory (as in victory over wealth) imo (as in imo abasi) wealth (wealth of god) nkeruwem i’m bearing life abasiema god’s blevove emem (as in ememobong) peace (god’s peace) inyang sea ini (as in ekemini) time (as in when it’s time) ini (as in iniobong) season (as in god’s season or time) akwaowo great man iyene riches ewongo covenant edikan victory ime (as in ofonime) patience (as in patience is good) udo second son akpan first son eka (as in ekaete) mother (as in ones father’s mother) ete ete father’s father and so on. some ibibio names with other meanings: names other meanings obong lord, cane or mosquito edet name or teeth ofiong moon or month obot hill, mountain or creator usoro party or name ete father, elderly man to say ime patience or perseverance udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 220 ita name or number as in 3 and so on. ibibio greetings with their meanings: greetings meanings mesiere goodmorning ekom do greetings there or goodafternoon asiere till morning or goodnight k’e nam well-done daa do greeting song idem be strong isong o* greeting tie do greeting meyong welcome or are you back abadie how are you idiok o not bad idem mfo o how is your body asong i’m well or i’m fine ka di o safe journey or go come me kom o i greet you bo ekom do accept my greetings ameyong you are welcome mmeyong i am back ame bak ayong you are back early akpene usen it’s been a long time amongst the above ibibio greetings above, are the highlighted greetings. they are the type of greetings in which the action of a person or group of persons are used to determine the greeting. daa do literarily means ‘stand there’ but then it is a way of greeting; tie do literarily means ‘sit there’ and it is also a way of greeting. udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 221 the highlighted greeting with asterick isong o, is a type of greeting used during a large congregation of ibibio people; this could be town hall meeting, village meeting or traditional gatherings, which could be weddings, engagements or coronation (which could be installing a king, village head and so on). same as ino uyo o, ufok mma, idung mma, mma’m ma de o. in ibibio language, a word can mean several things, names, or places and also, depending on the context to which it is used, open to different meanings and interpretations. inappropriate use of words in ibibio music composition creates confused tonal inflection especially when the words are not properly accented. some words spelt and pronounced are to be thoroughly thought of as they can mean and sound different things. for instance, there are some words in ibibio that end with the letter ‘t’ when spelt, but in pronouncing them the ‘t’ is changed to ‘d’ thereby replacing the ‘t’. there are also ibibio words with tonal contrasts (that is words with more than one meaning): some ibibio words with other meanings: words other meanings edi to come or pig obu dust or crayfish ekpat sack bag or to shift esang walker’s stick or to go ahead ikang fire or gun or light abong mosquito or cane udua market or week akang potash or to lie akpo rubber or bone nto pit or hole unam meat or animal uduk robe or pity udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 222 afiong moon or month ikpong cocoa or alone itam hat or name of a village ayaya beautiful or name of a person ikim urine or grasses ikwo song or name ikot faeces or bush kere to think or to bear iyak fish or to leave mbot culvert or hill ubom canoe or fatness usung door or way or lump of ‘eba’ unen right or hen edi pig or to come utin sun or name afang vegetable leaves or space ukod leg or in-law ete father or mr ikpe judgement or name itie position or to seat ese testimony or to look essien outside or name imoh wealth or name idiok bad or evil arit to turn red or name ebong to call or name eka mother or to go ita number or name ntong saint-leave or dust or ashes ini time or period or name ukpong soul or name esit heart or inside udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 223 eyen eye or baby iwang farm or freely obong lord or whip eyong heaven or above isong earth or land or down ufang passage or space ufiop hot or heat afia fair or white isin waist or to put idip stomach or pregnancy itong neck or glutton ubok hand or plead udia yam or food afid cutlass or all or boiled anem sweet or name of fruit akim dark or unripe or mine uwa sacrifice or predicament akop navel or to hear anwa cat or outside edong goat or kneel awan wife or fight ufuk odour or smell adu hole or discussion mben side or to take along ata chew or spice or to stand a ground mkpo mucor or thing ebok monkey or to cook iba pant or number uyo voice or fruit or name of a town ikpo big or great ayong gong or up udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 224 having looked at language as in relation to music and the society and the role of language and some meaning of text (words) in ibibio music composition, it is strongly agreed that language is a key factor in ibibio music composition just like other african languages. in conclusion, this paper has shown that to express and communicate with ibibio language in music compositions, composers will have to devote himself/herself to the study of ibibio idioms, phrases, and concepts of musical arts and most importantly, meanings of ibibio words intended in their music compositions. this is in line with omojola (1999), views that: an understanding of the conception of music among communities in africa would have to derive from a combination of factors such as the words used by the people to describe music, the contextual music performance, the organized procedures associated with music, the nature of the musical expression itself and the meaning intended in a musical performance. references adesina, g. 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(2016). documentation of indigenous ibibio culture in sculpture: an analysis of some works in university of uyo art garden. graspact journal of arts and technology. 1(1), pp.24-32. omojola, o. (1999). culture and social identity in nigerian traditional music. the performer vol. 1. no. 2, pp.44-45 ottong, j.g. (2004). the study of sociology: a conceptual approach. calabar: adonai publishing house. smeets, r. (2006). ‘language matters’. the intangible heritage messenger. pp.1 and 8. udo, e.a. (1983) who are the ibibio? onitsha: nigeria. africana febpublishers. udoh, p.k. (2022). emem ke nigeria: a didactic ibibio choral music composition. festschrift in honour of the music maestra professor young-sook onyiuke, chapter forty-six. http://ojadilipublishing.com.ng/onyiuke/. all right reserved. ________. (2021). an appraisal of three selected composers/arrangers of ibibio vocal music. ogirisi: a new journal of african studies vol. 17. doi:10.11648/j.ijla.20190701.11. ________. (2014). a study of the styles of contemporary choral art music in ibibio land. an unpublished ma thesis. university of lagos, akoka. lagos. nigeria. ________. (2011). an ibibio choral work with instrumental accompaniment for (satb). an unpublished ba project. lagos state university, ojo, lagos. nigeria. ukim, i. (2020). influence of traditional art of africa on contemporary art praxis: the ibibio funerary art example. international journal of art and art history, vol. 8, no. 2, pp. 54-61. http://ojadilipublishing.com.ng/onyiuke/ udoh, p. k. & nwamara, a. o.: language and meaning of words in ibibio music ... awka journal of research in music and the arts vol.15 (2021) 227 webster, merriam (1998) collegiate dictionary (10th ed.) massachusetts: encyclopedia britannica company. vidal, a.o. (2002). ‘music, culture and national development’. a paper presented at adeniran ogunsanya college of education, ottoijanikin, lagos. yekini-ajenifuja, i.a. (2004). structural organization and musical style in the bata drum ensemble of the awori people in ijaniki, lagos state. unpublished masters dissertation, obafemi awolowo university, ile-ife. 88 awka journal of research in music and the arts (ajrma) vol 17 june 2024 egwuikpem ụmụnwanyị: implications on conflict resolution and societal wellness in igbo culture ibekwe, eunice u. department of music nnamdi azikiwe university, awka & umeugochukwu, raphael i. department of music nnamdi azikiwe university, awka abstract this work examines the role of egwuikpem ụmụnwanyị in enhancing societal stability in igbo culture. this is achieved through the collection and analysis of various egwuikpem of women of which are rendered to satirize ailing, straying or wayward women and persons involved in other types of social vices in the society. it employed both primary and secondary sources of data collection which personal interviews, participant – observation method and review of literatures. the egwuikpem in discourse include majorly those of anaocha and aguata local government areas in anambra state. the discourse is anchored on social control theory which states that crime is merely the result of unsupervised antisocial behaviour which can be reduced with some sort of control. it was discovered that egwuikpem ụmụnwanyị really serves as a very effective instrument in checking people’s excesses and a good deterrent to unaccepted behaviours among women folk and the society at large. the ability to reduce vices increases its potency of ensuring societal wellness. on the other hand, it interrogates the lopsidedness it poses in a bid to maintain social stability. therefore, it is recommended that our traditional music whose essence is to ensure societal stability be encouraged, and also taking into consideration the equal application of egwuikpem ụmụnwanyị and egwuikpem ụmụnwoke to maintain a balance. keywords: egwuikpem, conflict and conflict resolution, societal wellness or stability, social control introduction societal wellness and stability is very vital for harmonious co-existence in any traditional or contemporary environment. people institute laws to guide people’s excessive behaviours and in most cases take legal action against offenders. in primordial igbo traditional society, many institutions are established to ensure relative peace and stability among citizenry. these institutions include: ụmụnna, ụmụada / ụmụọkpụ, ndị nze na ọzọ, ndị ichie, ndị nwunye di / inyom di, and in some cases even the masquerades are employed. all these various groups operate at different levels of authority. punishments are administered according to the gravity of offence, ranging from constructive advice, caution, reprimand, satire, to physical punishment or fine and in some cases ostracism, banishment and exile become imminent as the case with okonkwo in achebe’s (1958) things fall apart. as exemplified above, both men and women institutions are involved in the enforcement of law and order in any igbo traditional society. while men are concerned with more serious cases which may be political -such as leadership tussles, land disputes, managerial incompetence and mismanagement of group’s assets, cultural such as breaking of norms, ethos and values or socio-economical such as civil unrest, child abuse, sexual abuse, rape, incest, fraud and so on. the authority of women is most significant in resolving domestic affairs and vices such as quarrelling, fighting, backbiting, role 89 awka journal of research in music and the arts (ajrma) vol 17 june 2024 negligence, gossips, waywardness, alcoholism, stealing and in some occasions meddle into cases that defy men’s solution. when women are mentioned in this work it implies both the ụmụada and the inyom di, though institutionally, ụmụada exercise stronger authority than ndiinyom di in taking decisions. women unlike the men folk enjoy dual recognition or citizenship in igbo society. in her father’s house she is a daughter – ada, whereas in her husband’s place she is a wife nwunye. their collective names then become ụmụada for daughters and ndinwunye di or ndiinyom di for wives. women in most cases consider the use of song more effective than setting up a jury when it involves scandal and men respect their authority. the fact that every traditional igbo person (or africa in general) is born with some measure of musical instinct is made manifest when it comes to egwuikpem. when it comes to egwuikpem, everybody becomes a composer. clarification of terms egwuikpem: egwu here means music or song. ikpem denotes satire. therefore, egwuikpem is a satiric music in song form designed specifically to cast aspersion on any person who is continuously in the habit of committing a particular crime or has remained a deviant in igbo society. egwuikpem ụmụnwanyị therefore represents those satirical songs meant to address women vices. there are certain acts which society frowns at, how much more coming from a woman. such includes, stealing, a wife who is a habitual late cook, indulging in abortion, waywardness, harlotry and so on. this goes on to support obika (2017) who avers that “igbo people from then till now have certain expectations from women…no woman even today is expected to be rough or be a rogue” (p. 18). although men are not excluded when it comes to egwuikpem but it does not appear in the same proportion to those of women. egwuikpem is most commonly used by women on notorious persons when all other measures applied in correcting them have failed to yield positive result. this use of pun languages, bitter satires or scathing remarks is considered the last option as its deformative implication normally sink skin deep on the bearer. any person stung with such ridiculous rendition carries the stigma for life, and for that reason, it is normally avoided by every meaningful person in igbo society. udoh (2012) observes similar situation among annang people of akwa-ibom state. in his report, “in ebre music only women of good character are admitted into it. it restrains the conduct of women as when a woman who is a thief is ridiculed in songs and paraded through the village by the society” (p. 127). egwuikpem is never palatable as far as women folk is concern because such a woman has lost her honour and credibility in the society. it is equally considered a dent on the husband’s reputation and even worse in a situation where the man is a title holder. umụada uses egwuikpem as their greatest weapon on anybody be it a man or a woman who maltreats his or her mother to death or the mother suffers abandonment or a situation where a man maltreats his wife to death. on the day of the woman’s burial many egwuikpem will take on the stage. nwafor, (2013) reports a similar incident in amaokpala orumba local government area where a son abandoned her mother when she was sick and was left to die in that poor situation. on the day of her burial, the ụmụada demanded that the man danced to the insulting and derogatory music of ikpem publicly, which the man eventually obliged before the burial activities could continue. in this type of situation, the wealth of a person is inconsequential and does not absolve the offender from the associated ridicule. the researchers observed a similar incident at igboukwu where a woman died and her children did not consider given her a worthwhile and befitting burial due to family crises. the ụmụada took it up and each time they were at any burial; they would be singing with the names of that woman’s children to remind them that they have not yet given their mother a befitting burial. two of such songs include; 90 awka journal of research in music and the arts (ajrma) vol 17 june 2024 i. onye kwalu nne ya onye kwalu nne ya, akwa n’onyakw’ogene, onya ogene o, onya ogene onye kwalu nne ya, akwa n’onyakw’ogene, onya ogene o, onya ogene whoever gives his/her mother a befitting burial, wears a sounding gong onye akwaghi nne ya n’onyakwo mkpume onya mkpume o, onya mkpume onye akwaghi nne ya n’onyakwo mkpume onya mkpume o, onya mkpume whoever does not give to his/her mother a befitting burial, wears a heavy stone nwanne gaa kwa nne gi k’inyal’ogene onya ogene o, onya ogene my brother/sister go and give your mother her burial rite so that you wear a sounding gong igne gaa kwaa nne gi k’inyal’ogene onya ogene o, onya ogene ignatius go and give your mother her burial rite and wear a sounding gong nwakasi ga kwaa nne gi k’inyal’ogene onya ogene o, onya ogene nwakasi go and give your mother her burial rite and wear a sounding gong onye akwaghi nne ya n’onyakwo nnabi, onya nnabi o, onya nnabi onye akwaghi nne ya n’onyakwo nnabi, onya nnabi o, onya nnabi whoever does not give to his/her mother a befitting burial, is an anathema 91 awka journal of research in music and the arts (ajrma) vol 17 june 2024 92 awka journal of research in music and the arts (ajrma) vol 17 june 2024 ii. alufo alụfọ gị bịa fụlụ ụmụnne gi alụfọ gị bịa fụlụ ụmụnne gi alpho (alphonsus) come and see your relations (2ice) umenzekwe gị bịa fụlụ ụmụnne gi alụfọ gị bịa fụlụ ụmụnne gi umenzekwe come and see your relations alpho come and see your relations ogboodiye gị bịa fụlụ ụmụnne gi alụfọ gị bịa fụlụ ụmụnne gi ogboodiye come and see your relations alpho come and see your relations onye lụlụ ụnọ enu ma ọkwaghị nne ya akwa alụfọ gị bịa fụlụ ụmụnne gi he has a duplex but has not done his mother’s funeral, alpho come and see your relations o nwelu moto n’abọ ma ọkwaghị nne ya akwa alụfọ gị bịa fụlụ ụmụnne gi he has two cars but has not done his mother’s funeral alpho come and see your relations 93 awka journal of research in music and the arts (ajrma) vol 17 june 2024 what the first song is saying is that whoever that gives his/her mother a befitting burial wears a sounding gong (an honourable insignia) and is not hidden in shame. they can talk anyhow anywhere in public without being challenged or molested. on the other hand, the person that did not give his/her 94 awka journal of research in music and the arts (ajrma) vol 17 june 2024 mother a befitting burial is said to have worn heavy stone (mark of contempt) and is covered with shame in such a way that he/she cannot talk anyhow in public without receiving a slight from people. this happens mostly when the people concerned are capable of doing it but for one reason or the other they failed to give their mother her necessary burial rites. the cause of this delay (as said earlier) at times may be as a result of quarrel or dispute arising from the children of the deceased which results that each of them retires to his/her own house. so with the above song which awaits them each time they attend burial ceremony around their place they will find a way of resolving their problems and then get out of the scornful songs. this is where the power of women is held supreme because in a bid to avoid this ridicule and scornful situation, peaceful co-existence is maintained in families. the second song is more specific than the first because the names of the people concerned are being mentioned in the song. the name of the most affluent of the deceased children is more frequently used because it was expected that he should do the funeral being the wealthiest among his siblings. conflict and conflict resolution conflict in a simple language means disagreement. nwadialor and uzoigwe (2013) aver that, “conflict means contradictions arising from differences in interest, ideas, ideologies, orientations, perceptions, phenomena, and tendencies” (p. 67). when there is conflict, there is friction, strife, insecurity, crises, chaos and disorder. conflict can be micro involving domestic or family matters. it can as well be macro affecting the entire societal framework such as political quagmire, social insecurity, cultural and economic crises or different kinds of disputes which result in societal instability. conflict resolution on the other hand, implies keeping or maintaining orderliness and peace between two people or among different disagreeing or warring groups so that they come to terms with each other. in traditional setup, conflicts can be resolved on individual or group bases depending on the nature or gravity of the conflict. egwuikpem is quite different from most songs of criticisms witnessed among various musicians of this present dispensation which most time are enshrouded in ulterior motive. according to idamoyibo (2012) “the present day critics, attack government so that they could be noticed and appeased with political appointments, to enable them loot public treasury and forever keep quiet” (p. 102). egwuikpem is purely a corrective criticism,a sort of corrective measure with no personal interest attached and rendered without fear or favour not minding whose ox is gored. ezeuko in obi (2009) observes that, “ụmụọkpụ in every igbo community apart from other functions, play the role of settling all family, village and town differences. when any conflict proved tough to settle ụmụọkpụ is always the last resort especially the conflict between husband and wife” (pp. 264-265).it could be seen even from political narratives that women are better instrument of social control and crises management than men. ojiakor (2009) points out that, “among the igbo of nigeria, the umuada legislated on matters that defied solution by men” (p. 145) she identifies some other areas where women, apart from playing domestic role distinguish themselves in matters of insurgencies and colonial autocratic administration. these include aba women’s riot, lagos market women’s association, abeokuta women’s union among others. the main purpose of forming the above mentioned groups was to protest against women inclusion in tax payment proposed by colonial administrators. in most of these marches towards expression of grievances by these different women’s groups, music is the factorizing agent through which they chant and made their grievances known. 95 awka journal of research in music and the arts (ajrma) vol 17 june 2024 societal stability and wellness society involves or constitutes of people of different formations and characters, inhabiting a particular space, and guided by a common cultural institution. for one to appreciate social or societal stability and wellness one must have been exposed to or experienced some level of instabilities and insecurities either as an individual or as a group. there are so many ways one can face challenges of insecurity in ones lives endeavour. it could be health challenges, insecurity in one’s place of work, job insecurity and so on. it may be domestic or family issues from children’s restiveness, husband’s or wife’s insubordination or infidelity, it might as well involve extended family intrusion crises. instability and or insecurity operating on societal level may include some of the following: land disputes and political crises, herdsmen devastation and insurgency, kidnapping, robbery, rape, incest, epidemics or pandemic, hunger and so on. all these deplorable situations are what create unhealthy living among people. a society that enjoys social stability is considered healthy because those social vices that endanger the life of citizenry which had been identified above are absent or reduced to the barest minimum. michael la bossiere in nweke (2013) observes that, “one aspect to maintaining social stability is ensuring that people are willing (or forced) to remain within the limits of the stability of the system in question” (p. 147). he also quotes falade and ekundayo thus, “to ensure social stability, every citizen needs to acquire and demonstrate appropriate civic attitudes and skills” (p. 153). the primary duty of egwuikpem is to ensure compliance to societal cherished values which therefore enhance societal wellness. theoretical framework as was said earlier, the work is anchored on social control theory. according to boh (2013) social control theory “states that crime is merely the result of unsupervised anti-social behaviour which can be with some sort of control” (p. 110). he identifies different types of social control to include: 1. direct control where all wrong actions receive punishments and right actions receive rewards from family or state authority. 2. indirect control by quick identification of deviant behaviour by the family or others. 3. internal control by the individual who tries to control deviant behaviour through the strength of his conscience. 4. control through satisfaction. when all needs are met, the individual will not be tempted. egwuikpem falls within the first and second points where the ụmụada or the ndị inyom di are part of the extended family whose hands are always on the social control lever to criticize wrong actions or applaud right actions. discussing music as a veritable instrument for social control, okafor in forchu (2012) asserts, “it leaves a mark on the psyche that re-directs the person towards a new personality, towards a new activity” (p. 215). igbo society is very much aware of the potency of egwuikpem umunwanyi in protecting, sustaining and preserving igbo people and culture, as a result nothing could demean its position in the scheme of things. igbo society believes so much in communal living, one concerns one person concerns the other. no one lives in solitude. that is the reason why the job of social control falls on everybody irrespective of family affiliation or relationship. methodology a collection of five egwuikpem was made. interviews were conducted on the origin and implications of the different songs collected. these songs were randomly selected as they are considered relevant to the subject of discourse. the contents of the songs were analysed based on the resource persons’ 96 awka journal of research in music and the arts (ajrma) vol 17 june 2024 information to reflect the message they are meant to portray. the songs were also translated and notated for scholarly applicability. during the interview sections, the researchers met with the following: madam theresa okoye an octogenarian, a native of igboukwu, and chief godfrey obiora from agulu also an octogenarian. in her response to the origin and implications of egwuikpem, okoye said that each egwuikpem is born out of the incident that preceded it. she narrated (in vernacular) one of the incidents and its attendant egwuikpem which the researchers translated thus; in the olden days when she was still in her teens, her mother mgbeke ezenwibe used to tell her and her siblings a story of one mgbafor chikelu from a neighbouring village who was too notorious in her waywardness. according to her mother, the woman was an epitome of beauty with good height and a ringed neck which was her greatest spot of beauty. this woman lived irresponsibly by sleeping around with men. on one occasion she went to nkwo market and after dropping her market basket she just left. at the close of the market she was nowhere to be found and when it was later discovered that she went to her boyfriend’s house, the gossips went viral both in her village and in the neighbouring villages and even among her close associates. the villagers did not take it lightly with her as they made jest of her each time they saw her. this attitude they assumed, delayed her marriage since no one would recommend her for marriage, because marriage in those days was contracted mostly through recommendation. she stayed in her parent’s house for a long time until at her later age, when an old man who was not reckoned with any good reputation from outside her village came and married her. then after the incident, people would gather during moonlight plays and used her name in songs, detailing out what she did and with the exact description of her person so that anybody that heard the song would immediately get the picture of the person and the message therein. the song reads thus: o iye e o iye e o iye e o iye e ogonogo nwagbọghọ ogonogo nwagbọghọ onu eke iye a tall young lady a tall young lady with ringed neck o iye e o iye e ogonogo nwagbọghọ ogonogo nwagbọghọ onu eke iye a tall young lady a tall young lady with ringed neck o iye e o iye e oje e na nkwọ igbo, jeluo na nkwọ igbo, dọsa abọ ahịa ya went to nkwo market, on getting to nkwo market, she left her market basket there jewalụ na be ọyị ya nwoke and went to her boyfriend’s house zie olieji bunataraya abọ and asked her neighbour olieji to bring back her market basket oche na olieji na-ata mkpụlụ nkahie did she think that olieji would associate herself with such a shameful act? 97 awka journal of research in music and the arts (ajrma) vol 17 june 2024 o iye e o iye e o iye e o iye e 98 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the song is translated not in a word for word pattern but in a way that will help bring out the meaning as it is. o iye e is just an onomatopoeic sound or response used to extend and beautify the song. the narrator said that their mother would always use this story and its associated song to remind them of the consequences or implications of living a wayward life. according to her during that time people used the name mgbafor chikelu derogatorily on any woman that mingled or hanged around with men. therefore, for any one not to answer or go by the name, mgbafor chikelu, one would refrain from living her type of life.(oral interview 22nd april 2020). the above narrative was taken by the researcher but not without some measure of interrogations. it is true and could be understood that the action of the village women were no doubts compelled by tradition, but arguably and logically too, and from the researcher’s perspective, this particular judgement (egwuikpem) is lopsidedly applied. mgbafor chikelu was not all alone in the act. it takes two to tango. the reason why only her name was couched in such a satiric rendition beats the researcher’s imagination. this is one of the areas where the society is not fair to women, where balanced judgement suffers at the altar of gender superiority or inequality. the obvious trajectory hinged on the fact that women are victims of these lopsided societal norms where two persons would be guilty of an offence, one goes scout free and the other pays dearly for the same offence. this is where igbo tradition and that of the jews have serious affinity. in jewish tradition, an account was given where a woman was brought before jesus for sex scandal while nothing was said of the man who was involved in the act with her (john 8: 3-7). abeng (2020) succinctly decries these imbalances in her open letter to chimmanda adichie about her stand on feminism. she was of the opinion that no gender should be considered inferior to the other. she also blamed women for aiding and abating this imbalance by creating an enabling environment for the said suppression to thrive. she builds her facts on her personal experience as a growing girl child. in her own words she laments, in finding my path, i first blamed women, because, in my short time of existence, women raised me and most of the people around me. they chose that i cook and clean while my cousins played. they said, “you are a woman, no man will take this from you”, they said, “with this your attitude, you won’t find husband”, your opinions are too strong for a lady, you need to listen more when your man is talking”, don’t buy a big car or live alone o! you will chase men away”, why are you not married yet?” “you need to learn to cook o”. women told me all these but never did i hear them tell the male kids around me the same thing. instead, i heard “you are supposed to be strong for your sisters”, are you not a man? why are you crying?” “the older babe slept with you, ahn ahn you are enjoying o”. (all emphases are hers). (social media, april 23, 2020) all these comments are from women which by implication are to prepare the minds of the female children for an inferior or subservient position the society prescribes for them while their male counterparts are treated like kings. still tracing women’s woes biblically, we refer to the first letter of paul to timothy where he (paul) admonished women to learn in silence with all submission. in furtherance, he says, “i do not permit a woman to teach or to have authority over a man, but to be in silence” (1tim 2: 11-12). all these submissions burdened women both as a victim of tradition and that of christianity. the researchers were not condemning the egwuikpem but were bothered on the societal application or usage of it – the prejudie. the fact that in situations where both parties are involved in a crime, one is punished and the other culprit remained silent or anonymous is unjust, both 99 awka journal of research in music and the arts (ajrma) vol 17 june 2024 of them should share in the blame. the paper proposes a transformative approach to such oppressive societal norms, a situation where justice and equity hold sway. the researchers equally lend their voices to other african writers who held on to womanism as a more appropriate definition than feminism in this struggle for men – women inequality. ezenwanebe (2008) in her own contribution asserts: womanism, unlike western feminism aims at a general social and cultural transformation. the starting point is not necessarily men. rather it engages and interrogates culture and sees it as a platform for critical transformation. womanism opts for an evaluation of men and women that will enthrone complementarity, instead of equality of sexes. complementarity implies an awareness that neither men nor women can exist in isolation. (p. 188) this is a more welcome opinion in a society where man-made laws are prejudicially instituted to favour a particular group to the disadvantage of the other. on the 30th of may 2020, a similar interview was held with chief godfrey obiora, (aka – onyekwute ọdịarịya) an octogenarian from isiamigbo , agulu in anocha local government area on whether male folk are free or exonerated from egwuikpem. he said, “igbo tradition has no respect for any violator of cultural values but the fact that women are engaged in more musical activities than men gives room for more women’s egwuikpem ”. he gave an account of a man called ikemee who was into a relationship with a woman, in the process, the woman became pregnant. but according to igbo tradition, a man has no claim over a child he did not pay dowry on the mother. so when the child was born ikemee could not have the child as his. for this reason, people of the community started deriding him with the following egwuikpem song ikemee ọnahụ amụọrọ gị nwa ikemee ọnahụ amụọrọ gị nwa nwanne na-emereakụ, ikemee ọnahụ amụọrọ gị nwa ọchịchị elue akụ, ikemee ọnahụ amụọrọ gị nwa ụtalịgwe nwanyị, ikemee ọnahụ amụọrọ gị nwa ịchọba eje mmiri, ikulu mmiri nụọ, ikemee ọnahụ amụọrọ gị nwa ikolo eje mmiri agbọghọ eje mmiri iyo yo ooyo translation ikemee she should have born the child for you ikemee she should have born the child for you nwanne na-emereakụ, ikemee she should have born the child for you ọchịchị elue akụ, ikemee she should have born the child for you ụtalịgwe nwanyị, ikemee she should have born the child for you, ikemee … if you want something good/beautiful go for it, get it and own it, a handsome man, a pretty woman iyo yo oo yo 100 awka journal of research in music and the arts (ajrma) vol 17 june 2024 101 awka journal of research in music and the arts (ajrma) vol 17 june 2024 on whether men and women receive equal criticisms for related offences, personal experiences have shown that in igbo tradition, what should be regarded as a very big offense for a woman may not even be regarded as anything if a man is involved and that accounts for more number of egwuikpem for women than men. there are many other egwuikpem ụmụnwanyị which are displayed during women’s social gatherings. one of such reads thus ụmụagbọghọ itikanakpa na yụ biko ụmụagbọghọ itikanakpa na yụ biko ndị ọgba ntu eje uka, ọgba ntu eje ụka azọbikwone m’ọkpa na u biko ụmụagbọghọ itikanakpa na yụ biko ụmụagbọghọ itikanakpa na yụ biko ndị osulu nni n’ọkụ, osulu nni n’ọkụ efele di n’ụnọ a na-asa asa? ụmụagbọghọ itikanakpa na yụ biko ụmụagbọghọ itikanakpa na yụ biko ndị oji eze akpọ biya, oji eze akpọ biya ma opina dịkwa n’ụnụ, a na-achọ achọ? ụmụagbọghọ itikanakpa na yụ biko ụmụagbọghọ itikanakpa na yụ biko ndị ọwa nịka eje ahịa, ọwa nịka eje ahịa ma ọgọdọ dịkwọ n’ụnọ a na-asụ asụ? ụmụagbọghọ itikanakpa na yụ biko ụmụagbọghọ itikanakpa na yụ biko ndi omegbu nnedi ha , omegbu nnedi ma nne ha nọ n’ụnọ, na yụ biko translation illiterate ladies, it’s you o (meaning i salute youthough derogatorily implied) illiterate ladies, it’s you o who wear very pointed shoes to church, don’t march on my legs, i salute you o illiterate ladies, it’s you o illiterate ladies, it’s you o who eat from the pot, you eat from the pot while plates are in the house, are they washed? illiterate ladies, it’s you o illiterate ladies, it’s you o who open bottles (beer) with their teeth while openers are at home, do they look for them? illiterate ladies, it’s you o illiterate ladies, it’s you o who wear knickers/trousers to market while wrappers are at home, do they wash them? illiterate ladies, it’s you o illiterate ladies, it’s you o who maltreat their mothers’ in-law, maltreating their mothers’ in-law while their own mothers are well catered for at home, i salute you 102 awka journal of research in music and the arts (ajrma) vol 17 june 2024 103 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the above rendition criticizes young ladies who the rural women see as social misfits by putting up awkward and bizarre behaviours that do not conform to the expected traditional ethnics of society, such as wearing unusual pointed shoes, wearing short knickers or trousers, opening drinks such as beer with teeth, and other domestic negligence such as leaving cooking utensils -plates, pots or spoons unwashed, maltreating one’s mother in-law and so on. for rural women such attitude and ineptitude amount to illiteracy and therefore highly criticised. 104 awka journal of research in music and the arts (ajrma) vol 17 june 2024 conclusion from the above discourse, it could be deduced that egwuikpem is a very potent instrument of achieving societal wellness in igbo culture. through its medium social vices and unhealthy behaviours are controlled to a certain limit. the fact that every igbo person values and cherishes good name, it therefore becomes discreditably awful to be associated with any form of derisive song no matter how less offensive it appears. nevertheless, and worrisomely too, it appears that women are more or less the architect of their own problem through upbringing and role definition. they are the main propeller of egwuikpem in igbo culture and thus the reason for more number of egwuikpem ụmụnwanyị than egwuikpem ụmụnwoke. they seem to embrace totally what tradition packaged for them in terms of what a woman should do and what she should not do, which invariably determine her level of obedience and offenses in a society. therefore, the paper contends that in as much as egwuikpem has come to stay as a veritable instrument to ensure social stability or societal wellness as the case may be, it should not be lopsidedly applied. references abeng, b. (2020) open letter to chimamanda adichie about her stand on feminism (social media) achebe, c. (1958). things fall apart. great britain: william heinmann ltd boh. (2013). sourced from google. ezenwanebe, o. c. (2008) the empowered women in ahmed yerima’s drama: the creative artist. the journal of theatre and media studies 2,1, 185-204 forchu, i. (2012). nigerian traditional music: an implement for human development. nsukka journal of musical arts research. 1,208-219 idamoyibo, i o. (2012). socio-cultural orientation and image transformation of nigeria and its citizens through music: the issues of re-branding. nsukka journal of musical arts research. 1, 96-110 nwadialor, k. l. & uzoigwe, a. m. (2013). ethnicity, and social stability: the place of religion. ujah unizik journal of arts and humanities, 14, 3, 65-85 nweke, c. c. (2013). social stability within the nigerian state: ujah unizik journal of arts and humanities, 14, 3, 146-158 obi, n. m. (2009). conflict resolution culture among the igbo and democratic nigeria: in a. b. c. chiegboka, c. e. nwadigwe and e. c. umezinwa. (eds). the humanities and nigeria’s democratic experience. nimo: rex charles & patrick ltd obika, a. n. (2017). why igbo tales lack trickster heroines, in igbo scholars: international journal of igbo scholars forum, nigeria. 4,1, 9-25 obiora, g. (2020) oral interview on men involvement in egwuikpem ojiakor, n. e. (2009). rethinking the role of women in electoral malpractices in nigeria. in a. b. c. chiegboka, c. e. nwadigwe and e. c. umezinwa. (eds). the humanities and nigeria’s democratic experience. nimo: rex charles & patrick ltd okoye, t. n. (2020). oral interview on the origin and implications of egwuikpem udoh, i. e. (2012). the integrity of traditional music in nigerian society: a case study of annang music.nsukka journal of musical arts research. 1,119-130 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 185 contemporary period of choral art music composition in the church of nigeria, anglican communion, province of the niger: 1960-2014 ifeanyi onyedika okafor nnamdi azikiwe university, awka if.okafor@unizik.edu.ng and emmanuel chukwuemenam umezinwa (ph.d) nnamdi azikiwe university, awka ec.umezinwa@unizik.edu.ng abstract choral art music composition in the anglican communion, province of the niger, nigeria, according to historical records, began with the experimental works of its early composers in 1930s, in their bid to create musical works with african flavour for christian worship. it has unarguably developed to a world class musical art. however, various researches on art music in nigeria took a broader scope, resulting to complete omission or partial capturing of some important events that occur in some areas, hence the limiting of this study to the anglican communion, province of the niger, nigeria by the researcher. this paper focuses on the period between 1960 and 2014, which the author termed the contemporary period. the aim of this study is to identify the characteristic features of contemporary choral art compositions in the province of the niger as well as provide the musical backgrounds of nine selected contemporary composers whose works were prominently used for music festival/competition within the period under study. this work is hinged on the theory of development as freedom, propounded by sen (1999). the research data was collected through oral interview, observation, active participation, and analytical study of compositions of various contemporary composers of choral art music in the province of the niger. this study concludes that with the exposure of the composers to professional study of music as well as modern technologies available within the period under study, choral art music in the anglican communion, province of the niger, nigeria, has developed to a near perfect art. it recommends that further studies on the subject be carried out subsequently in the province of the niger, other anglican provinces as well as other christian denominations. introduction choral art music composition in the province of the niger was spurred by the strong desire of its early composers to create music that would satisfy their indigenous musical taste, which the translated hymns and chants brought by the church missionary society (cms) could not adequately meet. the early converts were meant to abandon everything associated with their indigenous arts, which were tagged devilish by the missionaries. however, the eurhythmic body movements that usually occur either spontaneously or intentionally in response to african songs were deprived by the hymn tunes. also, the strophic structure of the hymns most times defies the speech rhythm as well as the awka journal of research in music and the arts (ajrma) vol. 16, september 2023 186 tonal inflections of the igbo texts. “the hymn tunes offered them (the early converts) no opportunity for polyrhythmic improvisation. repetition, which constitutes a stimulatory factor in igbo choral music practices was also lacking in the hymns” (agu, 2022:32). these consequently led to experimentation with compositions of indigenous songs for christian worship by the early composers, which according to agu (2002), started around early1930’s and gained prominence in the anglican diocese on the niger in 1940s. the experimentation began with fixing of religious texts gotten from the translated hymns and canticles to existing nigerian folk melodies. subsequently, new texts were created for existing hymn tunes as well as original melodies with new texts. conversely, the contemporary period in the development of choral art music composition in the anglican communion, province of the niger, nigeria started in the 1960s after the establishment of music department of the university of nigeria, nsukka and some other tertiary institutions which offer music programmes. these institutions provided opportunity for the then young talented composers to study music professionally at tertiary levels. the province of niger the province of the niger is one of the provinces that make up the church of nigeria, anglican communion. it comprises nine dioceses within anambra state, namely: diocese on the niger, diocese of awka, diocese of nnewi, diocese of aguata, diocese of ogbaru, diocese of ihiala, diocese of niger west, diocese of mbamili and diocese of amichi. the province of the niger, anglican communion, was created in 2002. it was within province two of the church of nigeria, which was created in 1997, when the church of nigeria was divided into three provinces. province two covered the whole south-eastern region of the country before it was split. it is pertinent to note that the various dioceses that make up province two and niger-delta province were a spin-off of the old niger diocese. the old niger diocese was created in 1920 from the eastern part of the diocese of equatorial west africa. it was the old niger diocese that produced the pioneers of art songs in igboland. theory of development as freedom by sen (1999) in his ‘theory of development as freedom’, sen (1999) explores the relationships between freedom and development, the way in which freedom is a basic constituent of development in itself and enabling key to other aspects. sen’s suggestion focuses on what he calls capabilities – substantive human freedom. sen, though an economist, did not limit his understanding of poverty to low income rate; however, he viewed poverty from the perspective of deprivation of capabilities. he states that “poverty must be seen as the deprivation of basic capabilities rather than merely a lowness of income, which is the standard criterion of identification of poverty” (sen, 1999, p. 87). sen explains that development concerns expanding the choices people have, to lead lives that they value, and improving the human condition so that people have the chance to lead full lives. (sen, 1999) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 187 the missionaries’ rejection of the music and musical instruments of the sub-sahara africa, in which the igboland of nigeria is a part, which they tagged ‘works of the devil’ could be seen as deprivation of human capability. the missionaries imposed their own music to the converts as the only music acceptable to god. the longing/efforts made by the pioneer composers of church music, on the other hand, marked the beginning of freedom which culminated to the development of contemporary art music in igboland. the development was made possible as the pioneer african music scholars started studying, redefining the concept of african music and propounding theories which are more culturally relevant to africans than the theories evolved by european anthropologists. choral art music in the province of the niger art music is a term that refers to a musical tradition implying advanced structural and theoretical considerations and a written musical tradition (okafor, 2022). it could be vocal (solo or chorus), instrumental or a combination of both. for this study, emphasis is on choral art music. agu (2002, 2012), informs that the experimentation of igbo choral art music came under experimentation from the 1930’s, and gained prominence in the anglican communion of the niger diocese in 1940s. it has developed over the years to a near perfect art. however, okafor (2019) identified two historical moments in the development of this genre of music in the province of the niger: the early period (19301960) and the contemporary period (1960-2014) but this study focuses on the later. the basis for this classification is on the structural features of the works of composers of both periods. structural and technical qualities of the contemporary period the contemporary period of choral art music in the anglican communion, province of the niger, saw the development of the music genre to high level of sophistication and relative artistic peak. the development in style of music composition in africa as a whole was brought about by the exposure of the africans to western musical concepts, and the systematic study of the music of the africans. african musicology, broadly defined, encompasses the scientific study of musical expressions in africa and its diaspora in all its complex manifestation (http://musicology.ucla.edu). adedeji (2014) elucidates thus: musicology as a field of study in africa started with the pioneering works of european anthropologists in the nineteenth century… the foundation of what is known as african musicology is laid by western ethnomusicologists…. it entailed the propounding of initial universal theories and methods. on the other hand and at the same time, african musicologists such as t. k. e. philips (1920s), fela sowande (1940s-1970s), ephraim amu (1920s-1940s), nketia (1950s-1970s), francis bebey (1960s-1970s), etc. evolved theories that are more culturally relevant to africa. (pp. 85 & 86) the story of the igbo experience in this development saga in music composition could not be comprehensive without making mention of william wilberforce echezona, a renowned ethnomusicologist, who was the first igbo man to study music abroad and the first nigerian to earn a doctorate degree in music. echezona’s effort in encouraging composers, organizing seminars, music competitions during the time he was the music http://musicology.ucla.edu)/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 188 director of the diocese on the niger and his contribution in founding the department of music, university of nigeria, nsukka, aroused the interest of the then young talented composers to study music professionally at the university level. two, out of four of the first set of graduates produced in music department of the university of nigeria, nsukka, were among the leading figures of contemporary art music composition in the anglican church, province of the niger, nigeria. they are sir sam ojukwu and late felix nwuba. these contemporary composers are mainly music graduates. although there are some non-academically trained contemporary composers, who by dint of hard work developed the art of composition through direct or indirect mentorship by some academically trained composers, this study concentrates on those who are graduates of music. with their exposure to western and african music concepts in the university/tertiary institutions, they intentionally blend the idioms of the two music cultures in their compositions and took care of the flaws identified with the works of the composers of the early period. they make use of folk music material; derive the texts of their songs from biblical stories, bible verses, canticles and other religious texts that are liturgically meaningful, and are conscious of the adherence of the melodies of their songs to the inflections and speech rhythm of their chosen texts. they also composed some secular songs which are morally edifying, such as humphrey nwafor’s gịnị ka madụ bụ. the contemporary composers have written works in different nigerian and other african languages such as hausa, yoruba, efik, ibibio, kalabari and others, and also in european/american languages like english, german, latin and so on. their works are performed globally. their works are often used for music festivals/competitions organized by various dioceses in the province of the niger and beyond, either as set pieces or choice pieces. the contemporary composers also develop their music to appreciable lengths (works that could last for about three to ten minutes) by making use of some of the developmental devices in african music such as internal variation technique, sequence and imitation, antiphony and western musical forms and techniques like binary, ternary, rondo, fugue and so on. they use western classical harmonic techniques and write modulatory passages. the rhythmic features of the works of the contemporary are purely african: syncopation, cross-rhythm, mixed rhythm and polyrhythm. more so, the contemporary composers compose pieces for solo voices, duets, and trio; and introduced the use of indigenous instrumental accompaniment. they also write piano/organ lines to accompany the voice(s). they improved on some of the indigenous music instruments to enhance their performances, such as constructing xylophones or ogene phones that are tuned, based on the equal temperament system, or to a particular scale that suits their music. furthermore, it is worthy of note that exposure to photocopying machines and awareness of information and communication technology (ict) in the mid-1990s and 2000s respectively, have contributed immensely in the documentation and preservation as well awka journal of research in music and the arts (ajrma) vol. 16, september 2023 189 as dissemination of works of the contemporary composers, both nationally and internationally. in spite of the fact that some contemporary composers are still stuck in the analogue system, many of them utilize music notation software such as sibelius, finale, noteworthy composer and others effectively to enhance their compositions. apart from making their works look very neat and attractive, these music notation software enable the composers to listen to their works first hand and correct any flaw identified. contemporary composers and their musical background rev. david okongwu reverend okongwu was a native of nnobi in idemmili lga of anambra state. born in the mid-20’s into a family of musicians, his interest started when he was very young. he was a member of both the school and church choirs. after leaving school, he became a choirmaster and was inspired to read music theory with the aid of the smallwood tutor, and later by postal tuition from the trinity college of music, london. he also received assistance from the then dr. w. w. c. echezona, who had then returned from great britain. he passed the higher local grade of the trinity college of music, london. he composed music almost exclusively for the church, using larger forms such as anthems. some of the notable igbo composers like felix nwuba, sam ojukwu and nwokolobia agu passed through his guidance during their formative years as composers. his church music was written in both homophonic and polyphonic styles. according to him, the polyphonic style eliminates the problems created by tonality of the igbo language. a number of his compositions utilize the ‘call and response’ technique, which does not use the same melody for all the verses of a song, because the words and tonal patterns change from one solo part or verse to another. it is because of his style of composition that his music is widely sung by church choirs. rev. okongwu’s contribution to the ecumenical movement is remarkable. though an ardent protestant, he composed several hymns and a mass in igbo for use in the roman catholic churches. for an example, the st. patrick’s church choir, ogbete, enugu, was his inspiration for such compositions. some of his most popular sacred compositions include benedicite ominia opera in igbo; jubilate deo in igbo; nalụ, o chukwu, achịcha na mmanya (accept, o god, bread and wine); abụ ọma 15 (psalm 15); k’ayị nye chineke ekene (let us give thanks to god); ịhụnanya chineke hụrụ ụwa (the love of god to the world); bịanụ ka ayị je bethlehem (come let us go to bethlehem); amụlụ kristi (christ is born); chukwu bụ mụọ (god is a spirit); venite in igbo and te deum laudamus in igbo. all these were written in both homophonic and polyphonic styles with a lot of imitative counterpoint. david okongwu retired from radio nigeria, enugu, before he took to holy orders. (okafor, 2015) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 190 sir samuel nehemiah ojukwu samuel ojukwu, a native of uruagu nnewi in nnewi north local government area of anambra state, was born on 12th november, 1940 into the musical family of mr. and mrs obumneme ojukwu. his father, who was a church agent (catechist) in the anglican church, owned and played the harmonium and his mother also sang and composed songs for the women’s guild, mostly for mothering sundays, hence his early exposure to music. sir sam ojukwu attended st. george’s primary school, mbawsi, imo state from 1945 to 1951 and proceeded to dennis memorial grammar school (dmgs), onitsha for his secondary education. during his secondary school days, he assisted w. w. echezona as the organist of the all saints cathedral, onitsha. he also attended st. mark’s teacher training college, awka. he studied music at the department of music, university of nigeria, nsukka, and was among the pioneer graduates of the music department in 1965. sam ojukwu is a prolific composer whose works are performed globally. his musical talent was first nurtured by his parents. his father exposed him to keyboard playing in his early days and at the age of eight; he started playing on the harmonium. he inherited composition talent from his mother who sang and wrote songs for the church women. during his days in dmgs onitsha, “he was tutored on the piano by british missionaries, mr. and dr. mrs. povey in 1952. when mr. and dr. mrs. povey left nigeria, a german engineer who came as one of the contractors handling the construction of the all saints cathedral, onitsha, gave him further piano tutoring” (ewulu, 2011, pp. 36 & 37). ojukwu was mentored in music composition by w. w. echezona as well as david okongwu before he proceeded to study music professionally in unn. his creative prowess is unimaginable. sometimes, he writes two or more compositions simultaneously using the same text; yet the works bear no semblance with each other but still capture the mood of the text. ekwueme (2004) rightly describes sam ojukwu’s style of composition. he informs that ojukwu prefers vertical harmonic progressions to contrapuntal writing. his regularly employed harmonic vocabulary includes chords of the seventh, ninth, eleventh and thirteenth. he can set the mood of a song in purely harmonic terms. he utilizes call and response pattern, modulation, theme and variation, fugue and other styles. some of his popular sacred compositions include ọbụrụ na jehova ewughị ụlọ (except the lord builds); teta gị onye na-ararụ ụra (awake, you tha sleeps); jehova emeworo anyị ihe uku (the lord has done great things for us); nyenụ jehova nsọpụrụ na ike (ascribe to the lord honour and power); unu ekwela ka unu yie ajọ oge a (do not conform to this world); ma ndị na-ele anya jehova (they that wait upon the lord); ọ ga-adịkwara gị mma (it shall be well with you) and so forth. felix chukwuemeka nwuba felix nwuba was born on the 22nd december, 1932, to the family of chief matthias and mrs. jessie amogechukwu uwanuakwa. he was a native of nkpologwu in aguata local government area of anambra state. his parents who were devout christians of the anglican church trained him to become a committed christian. felix had good musical awka journal of research in music and the arts (ajrma) vol. 16, september 2023 191 background because his father was the choirmaster of their home church choir. he joined the choir when he was eight years old. felix had his primary education in ekwulobia from 1942 to 1950 before heading for a one-year teacher training course at the teacher training college, obosi and st. paul’s college, awka where he got his elementary teacher certificate in 1954. he later proceeded to st. mark’s teacher training college, nibo-nise, for his teacher grade two certificate which he bagged after two years in 1956. he also passed the grade eight (8), final certificate of the royal school of music and trinity college of music, both in london by correspondence in 1958. in 1962, he was admitted to study music at the university of nigeria, nsukka, a three-year study where he obtained a bachelors degree in music in june, 1965, and his master degree in education in 1977. nwuba’s first teacher in music was the late prof. w.w.c. echezona who taught him rudiments. he was also taught by rev. david okongwu, prof. laz. ekwueme, mrs. hannah hakoen (a german housewife who taught him piano), and major j. g. allens (who also gave him piano-lessons). other lecturers of his include george nutting and edna smith who taught him advanced theory and african music respectively at the university of nigeria, nsukka. felix nwuba’s compositions which include anthems and carols derived their texts from canticles and psalms. felix is also good in using igbo native wits in capturing interesting scenes that are seen in daily lives. nwuba contributed so much to the growth and development of choral art music, especially, around eastern nigeria. his use of counterpoint, sequences, call and response, dynamic contrasts in his compositions made his works outstanding, but has the weakness of melodic and harmonic difference between one piece and the other consequently by his choice of key, tempo and melodic material (ekwueme, 1974:12) . gozie jehova mkpụrụ obim (psalm 103); absalom, nwa m (absalom, my son); the benedictus, venite, jubilate deo; tonu ja (praise the lord); psalm 67 (deus miserateur); onyenweanyᴉ bụ onye n’enyere m aka (the lord is my helper); bilie nwue (arise and shine); ọnụ ụzọ ama. (ewulu, 2011). prof. dan. c. c. agu daniel chikpezie christian agu is a professor of ethnomusicology and composition, music director, conductor, performer and organist. he was born on 18th january, 1949, at iyienu hospital, ogidi, anambra state, to the family of mr. and mrs. samuel agu. he is a native of obosi in idemili north local government area of anambra state, nigeria. his father died when he was six months old. he experienced so many difficulties in childhood because of his father’s early death but he overcame them through determination and hard work. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 192 dan agu joined the st. andrew’s anglican church choir, obosi, at the age of seven and he did his first composition when he was eleven years old. onwuekwe (2006b) informs that: agu’s motivation and inspiration came from within. this is because no musician gave him any foundation or early musical training except the little he got as a chorister. according to him, “my musical talent is inborn. i inherited music from my father who also inherited from his own father and both of them were great musicians popularly acclaimed in the various communities they lived. (p.168) he attended central school, obosi, from 1955-1960, and later gained admission into ika grammar school, agbor. in 1970, he entered the teachers' training college nnewi, where he studied music through self-sponsorship and offered it in the teachers’ grade ii certificate examinations. he obtained his bachelor of arts in music from the university of nigeria, nsukka (unn) from 1973-1977, and his doctorate degree in ethnomusicology at queen’s university of belfast (qu.b) ireland, united kingdom, (1982-1984). he came back to nigeria and taught for many years at the anambra state college of education, university of nigeria, nsukka, and nnamdi azikiwe university, awka, where he gained his professorship in 2003 and retired in january, 2019. agu’s music career could be seen as a divine call. according to him, two institutions, the university of ibadan and the university of nigeria, nsukka (unn) offered him admission the same year, to study geology and music respectively. he preferred studying music to geology as opposed to the wish of his people, who insisted that they would not sponsor him in music. it was a cousin of his who lived in canada with her husband that encouraged him to pursue his musical career. his first school fee in unn was paid by his cousin’s husband. though the money was refunded to him when he gained scholarship but his inlaw refused to take back the money and asked him (agu) to take care of other needs of his with the money. agu has performed in many parts of the world. he has composed over six hundred and (650) music, and served as a commissioned composer to many bodies and associations. these include the british broadcasting corporation (bbc), london, nigerian television authority (nta), and churches at various levels, anambra state government, film production, and lots of corporate bodies. his works include anthems, solos, keyboard music and religious pop. he also did the composition of all theme and background music in chinua achebe’s things fall apart and nnamdi azikiwe university anthem, nike diocesan anthem, nsukka diocesan anthem, paul’s university anthem, and so on. agu’s style of composition is a unique one. this makes his compositions easily identifiable whenever they are performed. his works are characterized by dolce melody lines, especially his special treatment to the alto part. his melodies are guided by the speechtone and rhythm and mood of the text. he utilizes call and response pattern, homophony and counterpoint, as well as complex rhythmic patterns such as syncopation and mixed rhythm, sequence, repetition and modulation. his desire for tonal inflection and for his awka journal of research in music and the arts (ajrma) vol. 16, september 2023 193 works to sound african makes him sometimes write parallel harmony, which defies the western rule of harmony. he sometimes combines igbo and english languages in one song. he also employs some elements of pop music in his compositions. some of his sacred compositions include ka anyị na-eto site n’amara gị (that we may grow in grace), i am the resurrection and life, nọgidenụ nime ịhụnanya m (remain in my love), kiribenụ jesu (behold jesus), ndị nwụrụ nwe ngọzị (blessed are the dead), jehova bụ ihe m na nzọpụta m (the lord is my light and my salvation), okwu gị bụ oriọna (your word is a lamp), gọzienụ chineke (bless god), amụworo anyị otu nwa (unto us a child is born), chineke nye anyị udo (god grant us peace), and so forth. many of his compositions have been documented either in published or recorded forms, and are available for utility of everyone who wishes. sir humphrey nwafor humphrey nwafor was a music composer, educator, choral director, organologist and a singer. he hailed from ndikelionwu in orumba north local government area of anambra state. he was the second son of his parents from whom his musical talent was inherited. his father, maazị nwafor ọkpaeti, was a farmer by profession and also a renowned village musician in umudim, ndikelionwu. his mother also was the song leader of women in their village and the church at almost every occasion. h. c. nwafor joined the church choir of st. margaret anglican church, ndikelionwu at an early age. his musical apprenticeship was under humphrey ugolo of ogidi town, anambra state and ben. anegbu of eziagu, also in anambra state. in 1957, he was appointed the choirmaster and in the same year he composed his first two works, nwamgbe and ozioma for a singing competition and the cms anniversary respectively. nwafor attended the ndike/ndiowu central school, anambra state, from 1951 to 1956, luke’s college ngwo, enugu state, 1960-1961, where he received his first formal music lesson from late felix nwuba, who also influenced him greatly during the period he understudied nwuba. in 1962, he started a postal tuition lesson of the wolsey college, london. he attended st. andrew’s teacher training college, nnewi, from 1965 to 1966, the alvan ikoku college of education, owerri (1975 to 1978) and the university of nigeria nsukka, where he obtained his bachelor of arts degree in music education. nwafor wrote over two hundred choral music compositions including sacred, secular and quasi sacred music in english, igbo and other nigerian languages. some of his sacred choral compositions include ọnụ ụzọ ama, bulienụ isi unu elu (lift up your heads, o ye gates); mụọ onyenweanyị dị n’arụ m (the spirit of the lord is upon me); ọ bụrụ na chineke dịrị anyị (if the lord be for us); lee ka ha si ma mma (how beautiful are they); bịakutenụ m (come unto me); nanụrịnụ ọnụ (rejice) and so forth. he immensely contributed to the growth and development of art music in the anglican church, province of the niger. he handled so many church choirs where he trained many singers, choirmasters and composers. many of his compositions are homophonic and polyphonic in texture. he introduced his works with one part or solo line and utilised antiphonal technique (call and awka journal of research in music and the arts (ajrma) vol. 16, september 2023 194 response, call and refrain etc.), repetition imitation to develop his work. the melody of his works reflects the tonal inflection of the igbo text. sir h. c. nwafor died on may 1, 2019. dr. ugochukwu amara onwuka ugochukwu onwuka was born on may 15, 1951 to the family of reverend canon and mrs samuel c. ononobi. he is a native of oka autonomous community in isiala-mbano local government area of imo state. ugochukwu’s musical talent is inborn. according to him, the talent was spiritually acquired and graciously endowed by god because none of his parents was musical. he was enrolled in the church choir at the age of four; where he received the rubrics of voice training and also learnt to sing as a choirboy. he attended st. augustine’s grammar school, nkwerre, where he started studying music under mr. s. i. ikeazota, who also introduced him to the keyboard. in 1967, as the nigerian civil war broke out and disrupted his study, ugo fashioned a dummy keyboard since his father never owned a keyboard, and with this he practised sight-reading and fingering exercises to sustain his musical interest. later, his father introduced him to pa n. c. j. chukwura, a renowned organist and veteran choirmaster, from onitsha, who was taking refuge at st. michael’s church, eziama-osuh. pa chukwura offered great assistance and encouragement to him, which took him to the next level on keyboard playing and choral practice. with his acquired musical knowledge, he began teaching and conducting church choirs in 1969. it was at this period that ugo started music composition. he was influenced by the works of harcourt whyte. in 1971, after his secondary education, ugo proceeded to bishop lasbrey teacher training college, irete, where he furthered his musical knowledge under mr. j. k. kamalu. while his training lasted, he served as the college organist, and at the end of his studies, in 1973, took his first external examination in music. in the same year, he registered for a correspondence course in rudiments of music with the royal college of music, london, and completed its stage v before gaining admission into the university of nigeria, nsukka, to study music in 1975. luckily, he enjoyed the sponsorship of the federal government of nigeria via its bursary award scheme. apart from his general music lessons, ugo particularly learnt to notate african rhythm from prof. r. c. okafor, who was then a junior fellow; african compositional style from prof. w. w. c. echezona and mr. okechukwu ndubuisi. he learnt the american style from dyll bonner, while mr. john furse gave him a very strong base in theory and harmony of western music. he graduated in 1979 with a first class honours, and emerged the best graduating student both in the department of music and in the faculty of arts, stressing in composition. onwuka acquired his master’s degree in african music at the university of ibadan in 1987, and a doctor of philosophy (ph.d.) in ethnomusicology from nnamdi azikiwe university, awka, in 2011. in 1980, onwuka joined the services of the anambra state college of education, awka, as a lecturer iii, and by dint of hard work, he rose to become the first reader in the department of music, nwafor orizu college of education. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 195 dr. onwuka has composed over two hundred and twenty (220) musical works and arrangements in african as well as mixed idioms, which include sacred and secular songs. some of his sacred works include zite udo gị (bring peace), onye dịka gị? (who is like you?), ịhe anya na-ahụgh (what the eyes have not seen), na-echenunche (do watch), amụworo anyị otu nwa (unto us a child is born), jehova za m ekpere (lord answer my prayer), ekele dịrị jehova (thanks be to god), gịnị ka mmadụ ga-eme m (what can man do to me?), eziokwu jehova (the truth of the lord) and numerous others. the melody of his songs adhere to the tonal inflection of the igbo texts. the harmonies of his compositions are mainly homophonic in texture and less contrapuntal. he employs antiphonal technique and usually applies modulation in most of his works. ugo onwuka has served in the music festival committees of the dioceses of awka and niger west as secretary and chairman, respectively. he has also been a regular resource person at the capacity building seminar workshops for musicians and choirmasters in the anglican dioceses of aguata, niger, amichi awka, nnewi and niger west. because of his contributions to the growth and development of church music, he was invested knight of the order of saint christopher. dr. chuma chukwuka dr. sir chuma chukwuka was born on the first day of december, 1954, at ufuma in orumba north local government area, anambra state, to the family of late reverend and mrs c. i. n. chukwuka. he is a native of nkwelle-ezunaka in oyi local government area of anambra state, nigeria. chuma had his primary education at christ anglican church primary school and saint john’s anglican cms primary school fegge, both in onitsha 1961-1962 and 1963-1966, respectively. he attended agulu boys grammar school and christ the king college, onitsha, from 1967-1973 and 1973-1975, respectively. in 1978, he gained admission to study music at the department of music, university of nigeria, nsukka, and graduated in 1982. he acquired his master of arts (ma) degree in african music in 1986 and doctor of philosophy (ph. d) in ethnomusicology in 2021 both at the university of ibadan. dr. chukwuka joined the choir when he was eight years old as a treble singer at saint john’s anglican church, fegge. he took interest in organ and eventually became the assistant chapel organist in his class three in 1971, and later organist of saint andrew’s anglican church, odoakpu, onitsha, while yet in secondary school. in the university of nigeria, nsukka, chuma did wonderfully well on the piano and was awarded the best graduating piano student by the department of music. also, chuma’s interest in music composition started growing and yielded him into becoming a prolific composer, for which he is best known. he has composed too many works, both vocal, which include sacred and secular songs in english, igbo and other nigerian languages, and instrumental. he has also coached many church choirs that did so well in music competitions, composers, choirmasters and organists. some of his sacred awka journal of research in music and the arts (ajrma) vol. 16, september 2023 196 compositions include m ga-agọzi jehova mgbe nile (i will bless the lord at all times) jehova bụ onye na-azụ m (psalm 23); dube m, chineke (lead me, god); le, gọzienụ jehova (bless the lord) and many others chukwuka’s works are in both homophonic and polyphonic textures. he employs african rhythm in his compositions but the melodies of his works are mostly conceived stylistically and instrumentally, thereby not strictly guided by the speech tone and rhythm of the text. consequently, this has sometimes led to lack of adherence of the melodic lines of his compositions to the tonal inflections of the text, thereby distorting the textual meaning. prof. alvan-ikoku nwamara prof. alvan-ikoku nwamara, a prodigiously talented composer, performer, music producer, prolific writer and researcher was born on the 30th day of july 1975 at uzuakoli, to the family of chief christian iheanyichukwu nwamara (the ebubedike 1 of umumba-nsirimo) and lolo emily uloma nwamara of umumbansirimo, umuahia l.g.a. of abia state. young alvan-ikoku nwamara was named after a foremost nigerian educationist, late dr. alvan ikoku of blessed memory, who was his father’s english and latin teacher and principal, many years ago, at aggrey memorial grammar school, arochukwu. he had his primary education at the united primary school, nkpor, anambra state (1982-1987), secondary education at the dennis memorial grammar school onitsha (1988-1993) and, in 1998, obtained a diploma in music education (dip. mus. ed.) with distinction, followed by a bachelor of arts degree, music (2nd class honours, upper division) in 2001, both at the university of nigeria, nsukka. in 2006, he obtained a master of arts (m.a.) in music theory and composition at the nnamdi azikiwe university, awka, and, in 2007, obtained another master of arts (m.a.) in african music at the university of nigeria, nsukka. in 2008, he crowned his academic attainment with a doctor of philosophy (ph.d.), music theory and composition, nnamdi azikiwe university, awka. this made him the first nigerian musicologist to attain this height at the age of thirty three (33) in the history of nigerian musicology and at the age of forty four (44), in 2019, he became a music professor. prof. nwamara joined the choir of st. mark’s anglican church, nkpor, at a very tender age. he started composing at the age of twelve years and has composed over three hundred music works which include operas, church anthems, solos and duets. he informs that he delved into the world of serious music making as a young chorister, later a band boy and finally advanced into music scholarship where he had the opportunity of being tutored in various aspects of musicology with majors in composition and african music. in the course of his training and work experiences, he had the rare privilege of getting in contact and working with many big names in nigerian musicological scene such as the late felix nwuba, late okechukwu ndubisi, late prof. richard okafor and the living sir awka journal of research in music and the arts (ajrma) vol. 16, september 2023 197 sam ojukwu, prof. christian onyeji, prof. dan agu, prof. laz ekwueme and prof. meki nzewi, and so on. nwamara’s contact with these great masters and his love for pop music has a great influence on his style of choral compositions. some of his sacred choral compositions include mụ onwe m bụ mbilite n’ọnwụ (i am the resurrection); ịhe adịwo mma (things have become good), tonụ ja (praise god); yoke nke m (my yoke); akwụkwọ iwu (book of law); nwunye gị ga-adị ka osisi vine (your wife shall be as a fruitful vine composed for his wedding), ka m si yọọ nna (dedicated to his son, kamsiyonna) and numerous others. he is also a commissioned composer for different anglican dioceses and organizations in nigeria, such as diocese on the niger, diocese of asaba, diocese of ndokwa, emeka offor foundation, anambra state government, nigerian bar association and numerous schools. prof. alvan is the author of soloist’s companion volumes one and two, and other books. he has numerous academic publications and recorded works to his credit. he has also contributed greatly to the growth and development of church music by encouraging and mentoring many young talented musicians/composers and performers. he also has been a source of inspiration to the upcoming composers. more so, prof. nwamara is a member of several national and international professional bodies including anim – association of nigerian musicologists, cwb – conductors without boarders, ifcm – international federation of choral music, muson – musicological society of nigeria, sonta – society of nigerian theatre artistes, pasmae – pan-african society for musical art education, comen – conference of music educators of nigeria, isa – igbo studies association, kamae – kenya association for musical arts education, snc – society of nigerian composers, patag – performing arts teachers association of ghana, among others. his research interest is basically on ethnomusicological approaches to african art music composition, theory, practice and performance. chukwudi ezeokoli chukwudi ezeokoli was born into the family of late herbert ezeokoli on september 1, 1969. he is a native of ekwulobia in aguata local government area of anambra state. he had a good musical background, as his father, who was a choirmaster, organist and composer, exposed him to the piano at a very tender age. some other persons like late honourable jonathan ezeudegbunam (jecca whyte), a renowned organist and sir gabriel okafor (witty), who is also a choirmaster and composer, motivated him. ezeokoli attended bishop crowther junior seminary, awka. he became the school organist. there in the seminary he had more musical exposure, as they were subsequently taught music by many great music masters such as mr. dan. c. c. agu, who taught them a awka journal of research in music and the arts (ajrma) vol. 16, september 2023 198 little while before travelling to ireland for his doctorate degree programme; mr. chukwuemeka mbanugo (later became a professor), who raised the school orchestra and later left for his postgraduate programme in america and sir. humphrey nwafor (late), who raised their school choir. others were mr. godwin akpadolu and mrs. odukwe. chukwudi later proceeded to the university of nigeria, nsukka, to study music. he majored in composition, piano and euphonium. he did wonderfully well in his undergraduate days at nsukka and graduated as the best student of their set. he did his postgraduate studies at the department of music, obafemi awolowo university (oau), ile-ife. according to chukwudi, his compositional talent is inborn. academics nurtured the talent and made him more theoretically balanced. his music compositions are influenced by the compositional styles of sir sam. ojukwu, felix nwuba, prof. dan agu, more especially agu’s sweet melodies. he also employs some elements of pop music in his musical works such as highlife, reggae, disco, and so on, since his father prohibited him from going fully into pop music. a majority of his musical compositions are commissioned works. he prefers writing music for the audience; that is simple music which the audience can easily connect with than one that is so elaborate and technical. some of his compositions include ngọzị nile dịrị chineke (all blessings be to god); ma ekele dịrị chineke (but thanks be to god); detụnụ ire (o taste and see); halleluia! ịfe ọnụ emego (halleluja! joyful thing has happened) and so on. he also composed numerous chants. ezeokoli established a music academy, where he trained so many musicians. conclusion choral art music composition in the anglican communion, province of the niger, nigeria, was borne as a result of the eagerness of its early composers to create music for christian worship that could elicit desired responses from the igbo congregation. this is as a result of the inability of the western hymns and chants to satisfy the indigenous musical needs of the igbo worshippers. the experimentation of this genre of music in the old niger diocese began in the 1930s. however, the establishment of the department of music, university of nigeria, nsukka and other tertiary institutions that offered music programmes in the 1960s and the subsequent advancements in technology revolutionalized choral art music practices in the province of the niger from 1960 to 2014. with the exposure of the contemporary composers to academic study of music and modern technology, choral art music composition in the province of the niger from 1960 to 2014 developed to a world class art. the author thereby recommends that further research on this subject be carried out subsequently for update of the information provided in this work. more so, research of this nature could be replicated in other christian denominations in order to increase the repertoire of historical materials of music in igbo land. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 199 references adedeji, f. (2014). african musicology: developments and challenges in the contemporary times. in c. aluede, k. samuel and f. adedeji (eds.), african musicology: past, present and future: a festschrift for mosunmola ayinke omibiyi-obidike (pp. 85102). ile-ife: timade ventures. agu, d. c. (2002). igbo literary choral music in contemporary nigeria: the journey so far. in e. idolor (ed.), music in africa: facts and illusions (pp. 82-98). ibadan: stirling horden publishers (nig.) ltd. agu, d. c. c. (2012). acceptability of contemporary choral music in christian worship: the igbo experience. nsukka journal of musical arts research, 1, 29-36. agu, d. c. (2022). hymn singing in igbo anglican churches: the impact on the congregation. in e. c. umezinwa, a. nwamara, n. onuora-oguno and e. ibekwe (eds.), ugo belụ n’ọjᴉ: a festschrift in honour of professor richard okafor (pp. 299-317). awka: fides media publications ltd. ekwueme, l. n (2004). essays on african and african-american music and culture. lagos: lenaus publishing ltd. ewulu, j. i. (2011). doxology: three sacred works based on dan christian chikpezie agu’s choral styles. unpublished m. a. project, university of nigeria, nsukka. okafor, i. o. (2019). historical development of choral art music in the anglican communion, province of the niger, nigeria. unpublished m. a. project, nnamdi azikiwe university, awka. okafor, i. o. (2022). impact of choral art music on the anglican communion, province of the niger, nigeria. in e. v. ojukwu, i. n. okeke and i. a. okonkwo (eds.), the music maestra: a festschrift in honour of professor youmg-sook onyiuke (pp. 269-275). awka: archrock creative media ltd. okafor, r. c. (2015). hundred years of church music in nigeria: 1914-2014. a keynote address presented at the 11th centenary church music conference held at the department of music, university of port-harcourt, 20-23 april. okafor, r. c. (2017). the emergence of neo-traditional forms in contemporary church music in eastern nigeria (pp. 23-32). in bode omojola (ed.), music and social dynamics in nigeria. new york: peter lang publishing, inc. sen, a. (1999). development as freedom. new york: anchor books. internet source (http://musicology.ucla.edu) http://musicology.ucla.edu)/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 56 ọdụ in igbo musicology: an interview with dr charles nneke prof. alvan-ikoku nwamara (ao.nwamara@unizik.edu.ng) & dieudonné kodichukwu ezeanyim (dezeanyim@gmail.com.) nnamdi azikiwe university, awka abstract in igbo culture, ọdụ (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 ọdụ 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. keywords: ọdụ, igbo, igbo musicology. introduction the igbo people utilize traditional horn instruments such as okike, ọdu-mkpalọ, and enenke, which are crafted from horns of wild animals. the odu is not just a musical instrument in igboland but also an ornamental object. however it is used, it depicts honour and prestige and sometimes royalty. the instrument is integral to major events like title-taking ceremonies, kingship festivals, and funerals. despite modern challenges such as the limited availability of elephant tusks, the ọdụ continues to be a cherished symbol of igbo heritage. the cultural and social significance of odu in many communities within anambra state, such as obosi and onitsha, ọdụ is an essential part of the iyom title, a prestigious honor conferred on women of high social and economic standing. women who receive this title become members of the otu ọdụ society, serving as custodians of igbo customs and enjoying great respect in the community. as part of the initiation, their hands and legs are adorned with various sizes of ọdụ, signifying their elevated status. beyond adornment, ọdụ is also used to craft durable artifacts and jewelry, which are highly valued for their durability and aesthetic appeal. iyom mozeli onuekwusi of obosi :an otu ọdụ member mailto:ao.nwamara@unizik.edu.ng mailto:dezeanyim@gmail.com awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 57 odu as a musical instrument according to umezinwa and ezeanyim (2022), ọdụ is a generic term for igbo musical instruments made from animal horns. these instruments, also referred to as african horn trumpets, are typically side-blown and produce powerful, resonant sounds. their primary functions include communication, announcements, and musical performances at significant events. ebighgbo (2009) categorizes ọdụ alongside other horn instruments such as okike, ọdụ mkpalọ, and enenke, all of which are derived from the horns or bones of wild animals. he noted that: okike, ọdụ-mkpalọ, and enenke are all horns or trumpets produced from bones or horns of wild animals. each horn is accorded its respect and utility according to the values and norms attached to the animals from which it is produced. these norms and values of the animals are further transferred to the societal social commitments. hence, the igbo people use these musical instruments to actualize their set objectives in social commitments such as title-taking (ichi ọzọ), marriages, burial ceremonies, and emergencies. despite modernity and christianity, the impact and importance of these musical instruments are still felt in igbo society today. ( http://hdl.handle.net/2027/spo.4761530.0006.101) this observation underscores the cultural depth of ọdụ as not just a musical instrument but also a medium for preserving societal values. construction of ọdụ ọdụ is crafted from the horns or tusks of various animals, including elephants, cows, buffalos, antelopes, and goats. the formation of these horns is a gradual biological process, beginning with the development of a bony core in the skull of the animal. over time, layers of keratin; a tough protein accumulate, resulting in the hardening and elongation of the horn. elephant tusks, in particular, are composed of ivory, a dense, cream-colored tissue that continuously grows throughout the animal's life. unfortunately, the high value of ivory has led to widespread poaching, threatening elephant populations across africa. some the animals that have horns that can be transformed into odu are seen below. a deer a goat a cow a buffalo an antelope a buck an elephant awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 58 igbo musical instruments and the role of ọdụ igbo music is deeply intertwined with cultural identity, spirituality, and communal life. traditional igbo musical instruments, including drums, gongs, flutes, and horn instruments like ọdụ play a crucial role in ceremonies such as title-taking (ichi ọzọ), marriages, funerals, and festivals. as classified by curt & hornbostel (1933) and affirmed by onwuekwe , igbo musical instruments fall into four categories: aerophones: instruments that produce sound through vibrating air columns, such as oja (flute) and ọdụ okike (elephant tusk trumpet). idiophones: instruments that produce sound through their own vibration, such as ekwe (slit drum) and ogene (metal gong). membranophones: drums covered with animal skin, such as igba and udu. chordophones: stringed instruments like the ubo-aka (thumb piano). despite modern influences, traditional igbo music remains resilient, with elements of these indigenous instruments being incorporated into contemporary genres like highlife, afrobeat, and hip-hop. varieties of ọdụ and their applications the term ọdụ encompasses a range of horn instruments, differing in size, material, and function. the two most significant types are: a. ọdụ okike this is the most prestigious and sophisticated horn instrument in igbo culture, carved from elephant tusks. it is primarily used by titled men (ọzọ and nze), symbolizing wealth and authority. ọdụ okike is played during major events such as: ọzọ and nze title-taking ceremonies, ofala festivals (celebrations of kingship and leadership), state funerals for high-ranking individuals, traditional igbo weddings etc. when played, ọdụ okike produces a deep, reverberating sound that signifies celebration and social prominence. b. ọdụ mkpalọ a smaller version of ọdụ okike, this instrument is commonly held by ọzọ-titled men as a symbol of their status. unlike ọdụ okike, which is large and requires skill to play, ọdụ mkpalọ is mainly carried for recognition and prestige rather than for musical performance. contemporary relevance of ọdụ in igbo society although modernization and western influences have altered some aspects of igbo music, ọdụ remains an enduring symbol of cultural heritage. it is still used in traditional ceremonies and has found a place in modern entertainment, where artists incorporate it into fusion genres. however, the rarity of ọdụ okike due to restrictions on ivory trade and elephant poaching has made it a collector’s item, primarily owned by affluent members of society. despite these challenges, efforts are being made to preserve its legacy through research, documentation, and cultural festivals. interview with dr. charles nneke: a performer’s perspective on odu in igbo music a valuable moment with dr. charles nneke after an insightful interview. to gain firsthand insight into the playing and significance of ọdụ, we interviewed dr. charles nneke, a seasoned ọdụ player who has performed at various traditional ceremonies and festivals in igboland. dr. nneke, though an ọdụ player, is also a man of letters. charles azubuike nneke phd is the first surviving child of ogbuefi and odoziaku nzediegwu and adaoba nneke, of umualogu, mmiata , aguleri, in anambra west local government area of anambra state nigeria. he lectures at nnamdi azikiwe university, awka in the department of igbo, african and communication studies faculty of arts. he holds a masters degree in igbo oral literature and majors in igbo literature and stylistics in his phd, in igbo, awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 59 african and communication studies faculty of arts african and communication studies, faculty of arts, nnamdi azikiwe university, awka. his academic research areas include hunting, drama and aesthetics of ijele masquerade as igbo work of art. he is fondly called eze odenigbo ii, as an honourary royal award. h.r.h eze. c. a. nneke (odenigbo ii), igwe akwudolueze unizik 2007/2008. charles azubuike nneke is a member of otu sụbakwa igbo nigeria and association for the promotion of african studies. he loves reading, writing, meeting people, singing, and swimming.( https://profile.unizik.edu.ng/nau4796) dr. nneke loves not just the igbo language but also everything about the igbo people including their music, hence his perseverance in the preservation and preservation of the ọdụ, a traditional igbo instrument. the following questions were asked to dr. nneke to which he responded as recorded below: (i) question 1:how did you first experience the power of ọdụ? answer: i grew up in a family of ọdụ players. i grew up seeing the ọdụ in my family. i observed my father player it and my siblings also. comment: to him playing the ọdụ was not a skill to be acquired but a usual thing to do just as children fiddle with objects they see around them while growing up. question 2: how do you feel playing the ọdụ? answer: playing the ọdụ is not just about making sound; it carries deep meaning. in our culture, it calls attention, a way to announce the presence of something or somebody important. when you hear the sound of ọdụ, you know that something significant is happening whether it is the coronation of a king, the gathering of titled men, or a major festival. it is a good feeling to be a local communicator, communicating in the language that only your people can decipher. it is a thing of joy. it is also a thing of pride that a skill you possess is not common. it distinguishes you from the rest of the people. it also endears you to many. comment:this means that a feeling of satisfaction comes with the playing of this instrument. question 3: how did you learn the craft? answer: though i come from a family that already had the instrument and could use it to produce sound at a very early age, i still discovered the ọdụ is not something you just pick up and play. i started learning from older musicians who had mastered it. the way you blow into the horn, the way you control your breath, all these small techniques determine the kind of sound yo u produce. some sounds are for calling people together, some are for sending messages, and some are purely for celebration. comment: ọdụ playing is therefore a skill that a player acquires with practice , devotion and doggedness. question 4:what do you consider the role of ọdụ in igbo ceremonies? answer: at title-taking ceremonies like ichi ozo, the ọdụ is played to announce the presence of the newly inducted titled man. at ofala festivals, when the king comes out to greet his people, the ọdụ is blown to honor him. even at funerals of respected elders, it is played as a farewell sound. it is not just an instrument; it is part of our identity. comment: this instrument is therefore cultural and played only for the crème de la crème of the igbo society both when alive or dead. it is also a mark of royalty. question 5: do you foresee any challenges for the ọdụ musical instrument in the future? answer: one of the biggest challenges is the scarcity of real ọdụ. in the past, they were made from elephant tusks, but today, because of restrictions on ivory, we mostly use cow or buffalo horns. also, fewer young people are learning how to play. many prefer modern instruments, but i always tell them that if we lose ọdụ, we lose a part of our tradition. comment: dr. ndeche discusses ọdụ with passion as a cultural heritage that igbos must strive to preserve , protect and propagate. question 6: can anything be done to prevent the extinction of this of the play of the ọdụ? there is still interest in ọdụ, especially in cultural festivals and traditional events. if more young people take an interest, and if we continue to teach and pass it down, the sound of ọdụ will never disappear from igboland. comment: dr nneche further highlights the deep cultural value of the ọdụ and the need to preserve its legacy for future generations. inasmuch as the production of ọdụ has witnessed a setback due to the raw material of production, the cultural significance is far from lost but keeps being appreciated and needs to be taught the younger generation. https://profile.unizik.edu.ng/nau4796 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 60 conclusion the ọdụ remains an integral part of igbo music and cultural identity. beyond its function as a musical instrument, it holds deep social and symbolic significance, marking important ceremonies, reinforcing traditional values, and serving as a medium of communication in igbo society. as highlighted in this study and through the insights of dr. charles nneke, the ọdụ is not merely an instrument but a cultural artifact that embodies status, authority, and communal heritage. however, the continuity of ọdụ tradition faces challenges, particularly with the declining availability of elephant tusks and the reduced interest among younger generations. despite these obstacles, the adaptability of igbo music has ensured that ọdụ remains relevant, with alternative materials being used for construction and cultural festivals keeping the tradition alive. it is crucial for scholars, performers, and cultural custodians to document, promote, and preserve the knowledge and techniques associated with ọdụ. efforts should be made to integrate it into contemporary igbo music while maintaining its historical significance. as modernity continues to reshape african musical traditions, the survival of ọdụ will depend on a conscious effort to pass it down to future generations. by doing so, the ọdụ will continue to serve as both a musical instrument and a cultural beacon of igbo heritage. references agu, d. c. (2000). classification of nigerian musical instruments and their roles in nigerian cultures. in n. ojiakor, g. c. unachukwu, & a. obiajulu (eds.), challenges of national growth and development in nigeria (pp. 89–102). enugu: john jacob’s publishers ltd. britannica. (n.d.). ivory: material and significance. encyclopedia britannica. retrieved june 4, 2024, from https://www.britannica.com curt, s.&hornbostel e.v.(1933) the ethnology of african sound instruments in africa vol 6,2. ebighgbo, c. (2009). the trumpets: okike, ọdụ mkpalo, and emenke as ethnography in igbo social commitmentsgefame journal of african studies, 6(1). retrieved from http://hdl.handle.net/2027/spo.4761530.0006.101 onwuekwe, a. i. the teaching and learning of african musical instruments in africa using ezegbe’s figured organographic composite notational system (efocons). journal of nigerian music education and development (jonmed). retrieved from https://www.nigerianjournalsonline.com/index.php/jonmed/article/viewfile/3581/3 ultimate kilimanjaro. (n.d.). list of african animals with horns retrieved from https://www.ultimatekilimanjaro.com/animals-with-horns-list-africa/ umezinwa, e, & ezeanyim, d. k. (2022). the role of traditional igbo musical instruments in socialization. interdisciplinary journal of african & asian studies (ijaas). vol 9, no 3 (2023) retrieved from https://www.nigerianjournalsonline.com umezinwa, e. c. & orajaka ego e. (2019). “the making of an igbo musical instrument: interview with anakwenze nwude” nnadiebube, journal of social sciences, 2(2), 1– legit.ng. (n.d.). igbo musical instruments: names and significance. retrieved from https://www.legit.ng/1126026igbo-musical-instruments-names.html nneke, c. (2024). interview with dr. charles nneke. (personal interview, may 2024). awka journal of research in music and the arts (ajrma) vol. 16, september 2023 34 feminization of the teaching corps and the implications for music education in nigerian schools: a study of six schools in anambra state (2007-2023) mrs uchenna anekwe mrsucheanaekw@gmail.com dr. ikedimma okeke in.okeke@unizik.edu department of music, nnamdi azikiwe university, awka abstract this paper examined the unprecedented predominance of women in the teaching profession known as the ‘feminization of the teaching corps’ and how it has affected music over the span of sixteen years in primary and secondary schools of anambra state, nigeria. six schools were studied which comprised of four primary and two secondary schools within onitsha metropolis of anambra state. data was sourced through interviews, questionnaires, and participant observations by the authors as music teachers in the respective schools. findings showed that the taking over of the teaching profession by women has affected music studies in schools adversely due to the complicated and physically demanding nature of music studies which cannot be handled effectively by only the women. such areas of musicology as raising a school parade band, raising a school orchestra, and the teaching of physically demanding musical instruments such as the trumpet, trombone, tuba, etc., have seriously being diminished. the paper advocates that a situation of emergency be declared in schools regarding music in order to resuscitate music. also incentives should be engaged by government and schools to make the teaching profession lucrative in order to attract and sustain male music teachers in schools. introduction the need for a balance in the ratio of men and women in the teaching corps is pertinent towards a holistic and balanced education in schools. music has suffered and survived the existential threat amid the so called subjects like english, mathematics, biology, etc. music as a subject has also continued to strive for survival in a world that is scientifically and technologically driven. the clamour and glamour of the so called ‘professional courses’ such as medicine, nursing, pharmacy, engineering, computer science, information technology, etc., have also driven music away, as it were, from the chart of trending courses and professions. the nigerian society has also viewed music as an unserious and untoward subject of study and therefore has relegated it to the background for decades as no parent gets excited over their ward studying music in the university. the lifestyle mailto:mrsucheanaekw@gmail.com awka journal of research in music and the arts (ajrma) vol. 16, september 2023 35 of most popular musicians around the world has also dealt a detrimental blow on the recuperating image of music with the concomitant drug abuse, illicit sex, violence, gansterism and brigandage, decadent lyrics, pervasive music, and sexually suggestive dance moves, etc. when it appeared that music would survive these debilitating challenges, the problem of ‘feminization of the teaching corps’ took over. the increasing number of male teachers dropping out of the teaching profession in schools has become a serious concern not only to the so called core subjects but also to music. the ratio of men to women in the primary and secondary schools has been found to be 1:10 and this is worrisome due to the loss of equilibrium in manpower distribution. review of pertinent concepts  feminization of the teaching corps feminization of the teaching corps refers to the predominance of the female folk in the teaching profession. this is evident in every school as male teachers have completely abandoned the teaching profession in pursuit of more lucrative jobs, ventures, and business.  masculinization of the teaching corps this is the opposite of the other. this is the predominance of the teaching profession by the male folk. this concept is rarely observed now particularly with the growing pressure on men for better paying jobs around the world to shoulder responsibilities. problem of study the ratio of women to men in the teaching corps of anambra state primary school system has been found to be 10:1. this is problematic owing to the loss of the psychological balance and equilibrium that is achieved and sustained when the two genders are actively represented and distributed in the school workforce. the assurance and psychological balance pupils receive in a gender balanced school have been also lost. certain subjects that are usually popular with the male teachers such as chemistry, physics, mathematics, further mathematics, health and physical education, and music have become jeopardized. various extra curricula areas and trainings that require the attention of male teachers such as football, basketball, etc., have also become moribund in schools. discipline in schools has now become problematic because pupils and students have found ways to resist the authority of female teachers. music in schools has seriously suffered because of the predominance of the female folk. some aspects of music training in schools are better handled by the men folk because of the high physical strength demanded such as band training, orchestra, and the playing of certain strenuous musical instruments such the trumpet, tuba, saxophone, bugle, drums, trombone, etc. scholarly views on the issue of feminization of the teaching corps awka journal of research in music and the arts (ajrma) vol. 16, september 2023 36 the issue of feminization of the teaching corps has attracted the interest of many scholars around the world with several contrasting views. graffiths (2006) considers the effect of feminization on the practices of education a blessing and argues that: …concerns about increasing number of women teachers are misplaced… masculine practices have a hegemonic form while feminized practices have developed in resistance to these, and …hegemonic masculinity, not feminization, is the problem because it drives out diversity… the leaky, viscous practices of teaching would benefit from the increased diversity and decreased social stratification feminization brings to the profession(pg.1). griffiths’ position is that the feminization of the teaching practice is not a problem but a good development which counters the problems created by the masculinization of the same corps. according to her ‘hegemonic masculinity is the problem because it drives out diversity.’ this position is salient in situations and educational environments where there still exist some male folks in teaching. some parts of the world like asia and europe still have a commendable percentage of males in the teaching practice but presently in africa, and in nigeria our case study, the men have abandoned the teaching profession to the women in pursuit of better opportunities in business, trade, and other lucrative jobs. in a related study, morgan (2023) worries that the disparity between female and male artists in the field of musical theatre is still in favour of men even till date. she even suggests that enough women have not been represented in the workforce around the world: approximately sixty years after the women’s rights movement in america began that sparked debate on equal rights for women, especially in the workplace, there is still a distinguishable gap in the number of women in professional leadership in the theatre industry, and the number of men. there is also a distinguishable pay gap between the salaries of women and men. some studies may link this to the time that the average woman takes away from work for caregiving (either children or otherwise) and others link this to the lack of opportunities for women to ascend to leadership throughout training as well as early levels of career(pg.1). the positon of the cited scholars above reveals a major underlying cause of the feminization of the teaching corps and that is the clamour for equity by women in a world dominated by men, as it were. women in a bid for equity with men, have flooded the teaching corps and this has created a problem which this paper interrogates. it appears also that the men folk in a bid to strike a balance between the economic distress pervading the entire globe and the demands of survival, has abandoned the teaching field for women. therefore, these two factors: the striving for equity by the female folk with the male folk and the pursuit of greener pastures by the men folk; appear to have reshaped the teaching corps particularly at the primary /secondary school levels being studied. the implications for music at the primary/secondary school levels awka journal of research in music and the arts (ajrma) vol. 16, september 2023 37 four primary schools( ezechima primary school, onitsha; united primary school, nkpor; springfield academy, onitsha; and mount olive primary school onitsha) and two secondary schools(dennis memorial grammar school, onitsha; and supreme knowledge comprehensive schools , nkpor) in anambra state were sampled and studied within the span of fifteen years (2007-2023) with the researchers actively engaged in the schools as music teachers and researchers and the following results were found:  very few schools offer music as a subject in the schools and the few that teach music are mostly private schools.  public schools have serious difficulty in employing music teachers because of the dearth of qualified music teachers  the cost of maintaining a music program in the public schools is not sustainable because of the high cost of musical instruments and government’s unwillingness towards sponsorship  one of the public schools studied, united primary school nkpor, has never had a music program since the inception of the school and the pupils were overwhelmed by the sight of piano-keyboard, harmonica, and recorders brought in to the school for the field work by the researchers.  the few private schools that teach within onitsha metropolis such as supreme knowledge comprehensive schools, nkpor-agu; mount olive school, g.r.a., onitsha, and springfield academy, g.r.a., onitsha have the major challenge of retaining the few male music teachers available in the midst of thronging female staff employed for other subject areas.  between 2007 to date only very few male music teachers (mr. kingdavid , pst. ikedi okeke, and a few others) have been actively involved in music teaching in the primary and secondary schools within onitsha metropolis with outstanding results.  few active male music teachers cannot sustain the art in the entire metropolis. how much more the entire state?  the study revealed that amongst the numerous female teachers that applied for teaching in the schools studied only about 0.5% applied to teach music.  few schools that managed to source for female music teachers encountered the peculiar challenge of teaching and learning of musical instruments such as keyboard, drums, guitar, violin, recorder, flute, oja, trumpet, saxophone, etc., because the female music teachers were only interested in singing which they felt more comfortable with.  although the female music teachers performed well in classroom rudimentary music teaching, but after sometime the entire music program collapsed because theory alone does not sustain the musical art  the whole issue has resulted in serious difficulty in sustaining music in schools the issue of gender stereotyping in musicology gender stereotypingthe association of particular conceptions to particular genders exists in virtually all human endeavors with no exception to music. gender stereotyping manifests in music with regards to musical roles such as who leads or plays what roles in a musical group, choice of musical instruments, voice parts, career opportunities, and superiority syndrome. gender stereotype in music has its advantages and disadvantages, for instance, the female gender naturally takes up the vocal roles of soprano and alto. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 38 but one of the draw backs is manifest in choosing musical instruments where some instruments are tagged ‘female instruments’ while some others are tagged ‘male instruments’. in a related development, o’neill and boultona (2009) found in their study of the extent to which boys’ and girls’ preferences are based on the gender stereotyped associations that girls showed a significant stronger preference for piano, flute and violin than boys, whereas boys expressed a stronger preference for the guitar, drums and trumpet than girls. the study found further from the log-linear analyses that boys and girls have similar ideas about which instruments should be played by members of each sex. okeke (2023:79) clarified the problem emanating from this gender stereotyping regarding musical instruments: “the finding that some western orchestral musical instruments generate some gender bias places the responsibility on the instrumental teachers to disabuse the minds of the students from such notions as ‘feminine’ or ‘masculine’ instruments”. in as much as the argument to regard and play all musical instruments without bias is tenable, however, there are still some issues regarding certain musical instruments and their suitability with the female folk with regards to their size, weight, technicalities of playing, and the demanding physical strength involved. such instruments like the trumpet, cornet, saxophone, trombone, tuba, euphonium, etc., are physical too demanding for the female folks to easily adapt to. this reality has heavily impacted on music studies in schools so much that music studies has been reduced to school assembly and class singing only. present realities in schools school music studies in schools in anambra state schools has been in a deplorable state despite concerted calls and efforts by scholars and stakeholders towards its resuscitation (aninwene,2009; ekwueme,2009; mbanugo,2005; okeke, 2023; onyiuke,2005). worrisome has been the encapsulation of music into cultural and creative arts(cca), which has given music a relegated status in schools. most worrisome presently is the complete takeover of the teaching profession by the female folk technically referred to as the feminization of the teaching corps and which is the thrust of this paper. music, being a special subject, is now taught by classroom teachers or any available teacher in schools. it was observed in the research that classroom teachers just read up the music curriculum as haphazardly embedded in the cca curriculum and teach as they deem fit. the result is that the intricacies, nuances, and pertinent ramifications of musicology are completely lost. this does not happen in such subject areas as mathematics, english, and the sciences where qualified teachers are usually assigned to those areas. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 39 this has led to the bastardization of music education in schools and this accounts for the non-inclusion of music in most secondary school subjects and nonchoice of music for university education amongst secondary school students. it was also discovered in the study that amongst the plethora of female teachers employed in the primary/secondary schools none or only about 0.01% studied music. even when a female trained music teacher is found amongst the teeming population of female teachers, the difficulty of attending to the demands of practical music such as choral and instrumental music becomes a problem because most of them are averse to the energy and dynamism of practical music. recommendations based on the findings of this paper discussed from the forgoing, the following recommendations are proffered in order to break the hegemony of the feminization of the teaching corps which has created apparent problems for music studies in schools. the imprisoned status of music under cultural and creative arts should be broken in order to give music an independent status. music studies should be made attractive in schools and in the society by music educators, musicologists, and policy makers in education so that more enrollment for music because encouraged. music units and departments in schools and universities should be properly equipped with gadgets, teaching aids for music, and musical instruments to capture the realities of a sustainable music program. the teaching profession should be generally made lucrative by the government, as a matter of urgency, in order to curb the abandonment of the profession for better paid ventures amongst male teachers. conclusion the problem of the feminization of the teaching corps as it affects music education in primary and secondary schools of anambra state has been captured in this paper with the idea of finding solution to the problem. the teaching ratio of women to men in anambra state primary/secondary school system was found to be lopsided to the scale of 10:1 and this ratio portends grave dangers for the survival of music studies in schools. several aspects of music that require the peculiar attention of male teachers such as the teaching of some physically demanding musical instruments like the trumpet, trombone, tuba, percussions, etc., and raising an orchestra, school band, and parade band have been found to be adversely affected. the situation has continued to worsen as a result of non and very low subscription of male teachers to teaching owing to the global economic downturn and nigeria’s peculiar economic challenges which have forced the men folk into several pursuits for greener pastures. it was suggested that music educators, musicologists and policy makers in education should work conscientiously towards making music an attractive subject of studies in schools even from the kindergarten so that young learners can discover the numerous benefits of music education. this can be achieved by extricating music from the bundle of cultural and creative arts(cca) so that music can exist as an independent subject. music departments in schools should be adequately equipped with man power and awka journal of research in music and the arts (ajrma) vol. 16, september 2023 40 paraphernalia for competent music studies. generally, the teaching corps should be made lucrative to attract potential male teachers in to the system. references aninwene, e.o. (2009). the state and future of music education in primary schools in nigeria: a case for teacher preparation. interlink: a journal of research in music, 4, pp. 48-62. ekwueme, l.u. (2009). competency based teacher in music/cultural and creative art: a suggested approach for the universal basic education (ube) program. interlink: a journal of research in music, 4, pp. 33-47) griffiths, m (2006). the feminization of teaching and the practice of teaching: threat or opportunity. https://www.researchgate.net/publication/227936848 mbanugo, c.e. (2005). songs children sing: an ethnography of an igbo (nigerian) primary school recess. interlink: a journal of research in music,2, pp.95 111 morgan, a.w.(ed.) (2023). conversations with women in musical theater leadership. london: taylor & francis group. okeke, i.n. (2023). problems and prospects associated with the teaching and learning of western orchestral musical instruments: the nnamdi azikiwe university experience. published phd dissertation. https://www.nigerianjournalsonline.com/index.php/td/article/view/3567 okeke, i.n. (2023). towards the resuscitation of music education in anambra state primary schools: a pedagogical study of five schools in onitsha metropolis. published ma thesis. https://www.nigerianjournalsonline.com/index.php/td/article/view/3566 o’neill, s. a. & boultona, m. j. (1996). boys’ and girls’ preferences for musical instruments: a function of gender? psychology of music, vol. 24. uk: staffordshire. onyiuke, y. s. (2005). toward improving childhood music education for nigeria: a case study of anambra state. interlink: a journal of research in music, 2, 14-30. https://www.researchgate.net/publication/227936848 https://www.nigerianjournalsonline.com/index.php/td/article/view/3567 https://www.nigerianjournalsonline.com/index.php/td/article/view/3566 awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 179 investigating the representation of women through yorùbá music: a case of odòlayé àrẹ̀mú and lágbájá olakanmi elijah oladimeji department of performing arts, ajayi crowther university oyo; oladimejielijah@8gmail.com and adeyemi adebanke adebola university of ìbàdàn, nigeria adeyemiadebamike@gmail.com abstract 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. odòlayé àremu 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. key words: women, female gender, yoruba , odolaye aremu, lagbaja. introduction the role of women in african society remains a controversial social discourse. on global platforms, women have continued to reject the hegemonic ideology of the male gender towards women, which tramples on women’s rights that are woven around their orthodox responsibilities, religion, physique, and intelligence. however, women still bear the major social burden of the family and community at large. oyesomi and salawu (2018) considering the roles women and female characters play in nigerian music videos, featuring women to gain a wider audience appeal, thereby portraying women as beings with no self-worth, dignity and respect. olusola (2023) focused on issues that lead to the subjugation of women in music videos within west african society, including the yorùbá people in nigeria. olusola (2023) further indicated that several factors lead to these forms of subjugation, such as religious beliefs and cultural factors. olayemi (2020) noted that music, especially among the yorùbá, has the power to be utilized to either subvert, promote or subjugate women. viljoen (2014) described the importance of female representation in music. the study also focused on how women have been subjugated through white versus black or tribal representation. researchers have focused on the role of hip-hop music in the sexualization of women, and wizkid’s music videos that objectify women are a prime example of this phenomenon (abodunde, 2017; acharya, 2015; eze, 2020). in the past, african society viewed women as second-class citizens who depended solely on men for protection, affiliation, provision, and identity. this was a time when women were only recognized as someone’s wife or daughter, regardless of their accomplishments. however, it is a reality that some women have distinguished themselves through serious toil and have attained such remarkable recognition that they have been awarded chieftaincy titles. despite this, the general perception that women are inferior to men has continued to be relevant in yorùbá culture. music is a powerful tool that plays a functional role among the yorùbá people. it can be performed with or without instrumental accompaniment. most artistes write songs to inform their audience of their views on topical social discourse, thereby contributing to the development of their society. this study engages the works of two yorùbá artistes, odòlayé àrẹ̀mú and bísádé ológundé, who is popularly known as lágbájá. odòlayé àrẹ̀mú was a composer and song leader, known for his dàdàkúàdá music style, a popularly localized musical genre of the yorùbá people of south-western nigeria. his music praises wealthy aristocrats, kings, and renowned social groups. most of his compositions deal with trending life issues, particularly those affecting the yorùbá people. odòlayé àrẹ̀mú expressed his philosophy about current events in mailto:oladimejielijah@8gmail.com mailto:adeyemiadebamike@gmail.com awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 180 a harsh manner, without pity or concern for those who might be hurt by his music. he expressed himself without minding the audience’s reaction. bísádé ológundé, popularly known as lágbájá (somebody), is an afro musician whose popular genre has continued to gain wide patronage since the late nineties. he is known for his masked stage appearance and nonconfrontational attitude when addressing issues, particularly those related to women. since the twentieth century, yorùbá society has experienced a paradigm shift regarding women, with women becoming increasingly vocal in society and being able to compete with men in many areas. these areas include the economy, politics, and leadership in political and religious places, as well as in many other aspects of life traditionally reserved for men. this study aims to conduct a comparative analysis of the old and new conceptions of women in yorùbá society through the lens of selected tracks from odòlayé àrẹ̀mú and lágbájá. this study examines women representation in the selected songs, style of presentation and factors responsible for these views. numerous scholarly works from various fields of study such as olujimi (2004), adagbada (2014), have examined the importance of women in yorùbá films and their position in theatre. balogun (2010) argues that women have been subjected to different forms of oppressions, suffering for recognition from their male folks, and this is also evident in proverbs directly related to women, which such proverbs violate the respect and dignity of women. ajewole (2013) also discusses the cultural and religious believes about women as music makers, stressing the immense potential possessed by women which are undermined, against the idea of africans, that they should only be in the kitchen. works of samuel and adejube (2017) are for examining how music artistes use different musical elements to document the narrative of women as object of honor and significance in human society. these works explore the dynamic space that women occupy as they take on important roles in the economy, academics, politics, and religion, beyond their conventional roles. several scholars have examined various issues related to women, including women’s empowerment in politics and finance, as well as women’s voices in artistic works such as music and film. samuel (2018) also examined the gender space transgressors by women in entertainment industry, specifically focusing on two yorùbá dundun female drummers, explaining how the musical landscape intermittently becomes a space for negotiating power with yorùbá patriarchs. chikelu (2023) submitted that women in the music industry still face discrimination, sexual assault and underrecognition which are threat to achieving huge success in their chosen career, if not checked. in the work of uko akpan, patience (2023) examined how folk music reinforces nigerian women to use their talents as a source of income and livelihood. research background despite the large body of literature, little or no attention has been given to the changing perspectives on women in yorùbá society throughout different periods. this is surprising, given that popular musicians are generally seen as the voice of their cultural environment. this research takes a step towards filling this knowledge gap by conducting a comparative study of the philosophical ideologies of the yorùbá in selected songs of two popular yorùbá artistes, odòlayé àrẹ̀mú and lágbájá. this study compares the views of the two post-independence yorùbá artistes on women within the context of their songs. the artistes were selected based on their contributions to social discourse within yorùbá society. this study employed purposive sampling to select one song track from each of the two artistes, which are ọ̀rọ àwọn obìnrin by odòlayé àrẹ̀mú and who-man? by lágbájá. data was generated from both primary and secondary sources. the study collected primary data from the selected songs, and secondary data from existing literature surrounding the discourse on women in yorùbá society, as well as literature relating to the works of the selected artistes. the data was analyzed using the content analysis technique. this study is based on walkers’s theory of womanism, which she first postulated in 1979. the theory explains how women, especially black women, at all levels of life and in different parts of the world, have been mistreated and subjected to corporal and mental violence by their male counterparts. in this study, womanism theory helps to understand how women in yorùbá society have taken deliberate steps to reconstruct how they are viewed overtime. several male artistes, including lágbájá, have advocated for the successful reconstruction of the place of women in yorùbá society. this is demonstrated in the changing perspectives about women. the awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 181 periodic gap between the release of odòlayé àrẹ̀mú’s ọ̀rọ̀ àwọn obìnrin and lágbájá’s who-man? shows an improvement in the positive imaging of the female gender, particularly in yorùbá society. literature review the role of yorùbá music in society ogundeji (1991) classified songs into three categories: festival songs, children’s songs, and ceremonial songs. adeleke, (2019) classified songs into four categories: solo, group, call, and response performances. adagbada (2014) and other scholars noted that while accompanied songs are an important part of the musical realities of the yorùbá, they do not fully capture the yorùbá musical tradition, which also includes unaccompanied songs. studies have also explored issues pertaining to women in yorùbá society. samuel and adejube (2017) have done notable work in the field of musicology. they examined how music artistes use different musical elements to document the narratives of women as objects of honor and significance in the society. samuel (2018) also examined how women transgress gender norms through music. the study focused on two female yorùbá dundun drummers and explained how the musical landscape intermittently becomes a space for negotiating power with yorùbá patriarchs. this is especially evident among the ayan family of the yorùbá, where musical training used to be given only to male children in the form of playing, constructing, and repairing the talking drum. except in rare cases, the training of the female child is neglected. ibitoye (2021) agrees with samuel and adejube (2017) about the paradigm shift in african music studies that concerns female involvement in the baluu and kengbe music performances of the ìlọrin people. the two studies demonstrate how women have started creating space for themselves within the musical realm. women were not originally designed to participate as music makers, but rather as music consumers and supporter. the conclusions drawn from these studies strongly support the idea that women should challenge and disagree with conventions in order to change the narratives to reflect current realities. adagbada (2014), falola (2011), samuel (2018), and olujinmi (2004) highlight the dynamic nature of the roles of women. they stress the increasing opportunities for women and the need for recognition and respect for their gender. samuel and adejube (2017) analyzed how women have challenged the roles ascribed to them with songs such as obìnrin ni mí by sola allyson. through these songs, women celebrate womanhood and attempt to rewrite the narratives surrounding male dominance in relation to their gender. in yorùbá society, songs are highly regarded as important artistic elements. songs are uncompromising in nature and include detailed historical accounts of past events, educative and informative content, societal acceptable behavior, as well as condemnation of attributes considered as social vices. in the traditional yorùbá community, music in the form of song is an integral part of people’s everyday lives. several genres of traditional yorùbá songs have made their way into popular music, including àpàlà, sákárà, wéré, àwúrèbe, and dàdàkúàdá, among others olukoju (1985) these genres are usually classified based on the principal musical instruments by which they are identified. contemporary genres among the yorùbá include hip-hop, afrojùjú, afropop, high life, jazz, fuji, r&b, and rap. all of these musical genres can be traced back to the yorùbá culture, and they continue to exhibit aspects of that culture, such as language and instrumentation. olukoju (1985) classified yorùbá music into seven categories: festival, folklore, political, cradle, satirical, incidental, and twin mother’s music. yorùbá people have music for every aspect of their lives. however, the categorization of yorùbá music is not all-encompassing because it does include all aspects of the yorùbá life in which music is present. such aspects include mourning, entertainment, and singing praises for the kind and important personalities. the role of women in yorùbá society adagbada (2014) maintained that in traditional yorùbá patriarchal society, women are considered as fiddle beings, dependent on their male counterparts for survival, protection, and identification. this section offers a brief summary of the place of women in traditional yorùbá society. it is worth noting that women have distinguished themselves throughout the long history of the yorùbá, subverting the hegemonic narrative of men about women in society. for instance, samuel and adejube (2017) noted the importance of archiving the relevance of women in yorùbá society, as advocated in sola allyson’s song titled obìnrin ni mí.. however, the act of rewriting the historical narratives of the male over their female counterparts has existed for a long time. this is also true in the contemporary age. women with notable personalities and influence are pushing back against the long-held chronicle about the place of women in society. they are featuring prominently in various sectors such as the economy, politics, academics, industry, and entertainment. while space is being created for awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 182 women to become more relevant in society, the various advocacies for women’s recognition still face some setbacks. despite this, there are still occupations that are gender-specific. falola (2011) maintained that women have taken on managerial roles in formal and semi-formal organizations in the contemporary age. they have not only found their place in the corporate world but also actively participate in politics, head religious positions, and many more. the art of dàdàkúàdá dàdàkúàdáis one of the locally popularized traditional musical genres of the yorùbá people. it is most commonly found among the yorùbá-speaking communities in kwara state and some neighboring south-western states of nigeria. na’allah (2011) noted that dàdàkúàdá is one of the most popular musical genres in ìlọrin. its origin can be traced toorin egúngún (songs for the masked) technically referred to as iwì. nevertheless, dàdàkúàdá music was not performed during the ritual process of the masked. instead, they would begin to sing dàdàkúàdá songs after they had removed their egúngún costumes. dàdàkúàdá has historically been a form of entertainment, typically performed after the completion of the ritual processes of the egúngún. na’allah (2011) also acknowledged òkùkù as the first artist to perform dàdàkúàdá. òkùkù was reported to have single-handedly started the dàdàkúàdá song, accompanying it with drum music from the gangan drum. òkùkù, who was an egúngún performer himself, was said to be very popular in ìlọrin and its surroundings. in addition to òkùkù, abu numo also performed dàdàkúàdá. other notable musicians who performed dàdàkúàdá from the seventeenth to nineteenth century include láòmì, adéféláyé, bàbá awé, àkànbí, jaigbade, àwòdì, and ajíbóyè ose, ọlánrewájú ọlọ́jẹ́ẹ̀, sàká àrẹ̀mú kólóbó, kàrímù ìsàlẹ̀ àbàtà, and àjàpè alárápé. they have brought new innovations to the genre. training is essential for effective professionalism as a dàdàkúàdá practitioner. during training, practitioners learn the art of using words that are insulting to individuals who are perceived to be deserving of such. these individuals may be perceived as enemies by their patrons. life and works of odòlayé àrẹ̀mú the life of odòlayé àrẹ̀mú and his philosophy about women mohammodu odòlayé àrẹ̀mú was an ìlọrin born dàdàkúàdá artiste whose music gained wide appeal in his home town. he performed his dàdàkúàdá music throughout many yorùbá cities and recorded numerous albums during his lifetime until his death in 1997. odòlayé àrẹ̀mú was born in 1941 in a village called ajiniyo, which is a border town with ìlọrin. at the age of 16, he lost his father to the cold hands of death. as his father was the breadwinner of the family, he was unable to continue his education. at the age of 22, he decided to pursue music as a career after being inspired by a performance he watched at a ceremony near his village. there, a dàdàkúàdá musician was invited to stage a musical performance. odòlayé àrẹ̀mú became enthusiastic while watching the performance and decided to learn the art of dàdàkúàdá. after making this decision, his apprenticeship lasted for 8 years and he later became independent in the year 1972. he had an artistic feat of creating myths about the issues and personalities he sung about. odòlayé àrẹ̀mú has often been criticized for being a rebel against his yorùbá ethnic group. the allegation was connected to odòlayé’s praise-singing of people of suspicious character, including the late ìbàdàn politician alhaji làmídì adédibú. odòlayéàrẹ̀mú responded by stating that he is more interested in the unity of nigeria. he added that if he praises anyone who has exhibited good character, he would not hesitate to criticize the same figure if he has a questionable character. odòlayéàrẹ̀mú can be described as a socially committed dàdàkúàdáartiste whose songs were informed by the happenings within his cultural settings. his artistic vision was to create a crisis-free society. themes in his songs include death, marriage, culture, and respect for one another. odòlayéàrẹ̀mú was married to many women throughout his lifetime, but he did not allow all of them under his roof at the same time. while some of the women he married left, others would still join him as new wives. it is worth noting that odòlayé àrẹ̀mú never kept more than three women at once in his residence, despite having many wives. the controversial life of the dàdàkúàdá singer, performer, and composer came to an end on 25 february 1997. while odòlayé àrẹ̀mú lived in many places in nigeria during his lifetime. figure 1. odòlayéàrẹ̀mú.retrieved from google chrome https://www.deezer.com. https://www.deezer.com/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 183 the philosophical ideologies of odòlayé àrẹ̀mú the philosophical ideology of odòlayé àrẹ̀mú situates women at the mercy of men. the above assertion is not a new ideology, but rather the school of thought that odòlayé àrẹ̀mú and most men of his era subscribed to. they viewed women as property that could be tossed away and not as equals who could answer for themselves, except at the discretion of their husbands. this idea has always centered around women. the statements about odòlayé àrẹ̀mú above are accurate, particularly in his music that deals with social issues related to women. even though he tried to address societal problems, he often ended up hurting the feelings of women in general due to the way he addressed such issues. this can be traced back to the fact that odòlayé àrẹ̀mú’s family practiced polygamy. women who admire their own beauty excessively odòlayé àrẹ̀mú believes that if a woman is intoxicated with the adornment of her beauty, it would lead to her downfall at a later end. although this may be true for women today, it is an issue that has persisted for many years and is still evident as a social issue, even with the changing times. the excessive adornment and appreciation of beauty in women can lead to infidelity, which is a forbidden idea within the yorùbá community and can lead to the untimely death of young men (àrẹ̀mú,1997): àgbà yẹ̀wò ni ọ̀ bàwọ̀ òyìnbó jẹ́ it is the attention of the masses that destroys the skin of the white man èmi mo da tó ba yìí o beauty intoxication yóó sọ̀bàdí ọmọ ẹlòmíì dawọ will definitely make or mar some maidens in the extract above, odòlayé àrẹ̀mú hints at the possible outcomes of women being intoxicated by their beauty, rather than focusing on possessing good behaviors that will make them great mothers and wives. he implies that these women only succeed in drawing unnecessary attention to themselves, which attracts men with bad intentions. women as a threat to men odòlayé àrẹ̀mú (1997) maintained that women threaten men with leaving their matrimonial homes due to their beauty, especially those whose husbands are not financially stable and cannot meet all of their financial needs: n ọ́ lọ o i will leave n ọ́ lọ o i will leave n ọ́ lọ o, lobìnrin fi ń dẹ́rù bọkọ i will leave, is the language women use to threaten their husband ọkọ tó bá níṣẹ́ lápá bí hán bá bí í dá a a well to-do husband, a true son of the land a ní tó bá lé lọ o mọ lọ will ignore such threat, reminding her obìnrin àgbà ń bẹ ní jù tí n fetí kíjìpá sọ̀ kòkò ẹ̀wà of many female farmers in remote areas, who brings downs their cooking pot from the locally made fire wood stove using the edge of their dainties in the above extract from odòlayé àrẹ̀mú’s work, women are threatening men with leaving, especially men with low incomes. in a bid to keep their wife and family together, some men travel the extra mile to make sure the immediate needs of the family are well catered for. wealthy men with deep pockets ignore such threats, reminding her of less fortunate women in villages who are doing better and are even looking for such rare opportunities that the woman of the house has. this implies that once she leaves, another woman moves in. however, this may not be the case for low-income men, which exposes their economic strength to society. women as pretenders and deceivers odòlayé àrẹ̀mú observed that pretense by women is a serious social ill, which is exhibited when they cover up their wrong acts. he maintained that the behaviors of some women are suspicious. it is possible that when women are acting responsibly, they are covering up something untrustworthy. although this attitude is part of human nature, women still exhibit it when covering up their previous suspicious acts. odòlayé àrẹ̀mú (1997) an excerpt from the selected song titled oro awon obririn: ẹ̀yin a fojú wọ́mọ mọ́ fọkàn wọ́mọ o o women seeking for fruit of the womb deceitfully àmọ́ ọlọ́hun ń kòwé yín lọ́wọ́. walahi! walahi! god is noting your ideas ìwọ̀n lèèyàn mọ ọ ń dẹ̀mí dé obìnrin mọ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 184 boundaries should be set in trusting women ò díjà lẹ̀ férú bojú one who triggers a fight and go into hiding ò tàkàkà hanrun ẹ̀mọ̀ one who sleeps roughly and snore mysteriously àlùsì ewúrẹ́ tí ń hunrun lẹ́ẹ̀kẹ́ méjèéjì. a naughty goat that grows hair on both cheeks women as agents of infatuation in the lyrics below, odòlayéàrẹ̀mú (1997) expresses his displeasure with the level of infatuation that can endanger one’s life. men go to great lengths for the sake of strong feelings at first sight while trying to get the attention of a woman. èmi ọ̀ mọ̀ mọ̀ ríhun tóbìnrin ò le fi ni ṣe have not seen what a man cannot do tí ń bá wuni (obìnrin dùn púpọ̀) when he desires a woman tó bà rán ni laccra á dà bí ògùnpa lójú ẹni if she sends one to accra it will look like ogunpa to one this position suggests that women can use their beauty to confuse men and captivate their minds for as long as they want, because their beauty has caught the man’s attention. some of the themes above address the social trending issues that odòlayé àrẹ̀mú was discussing. perhaps his choice of words and style of music influenced his manner of presentation, along with his family experience. life and works of lágbájá the life of lágbájá bísádé ológundé, popularly known as lágbájá, was born in lagos in 1960. he is a nigerian afrobeat musician, songwriter, and instrumentalist. the use of a mask to cover his identity is directly related to his stage name, lágbájá, which means anonymous or someone without a specific identity. he believes in social reform through music and began his musical journey in the early nineties. he presents himself as a common man in the carnival tradition of the yorùbá people, and his name is reflected in the choice of his stage attire – a slated textile and a clothing mask. being a self-taught saxophonist, he formed his first music band in 1991 in lagos. his willingness to address social issues within the available context and space motivated him. his first album, released in 2000, titled we before me, addresses the social discourse of being a voice for the voiceless. the album demands honesty from politicians and urges brotherhood and unity. he does not make confrontational music; instead, he addresses issues philosophically without mentioning specific names. some of his music includes ikira (1999), we and me part 2 (2000), africano the mother of groove (2005), and 200 million mumu (the bitter truth, 2012), among others. he has won several awards both domestically and internationally, particularly in 2006 when he produced a music video for his song never far away. figure 2.lágbájá retrieved from google april (2024) www.google.com the philosophical ideologies of lágbájá lágbájá is known for adding his voice to trending issues. he has a way of portraying an idea without hurting the mind of his listeners, yet communicating his ideology without necessarily pointing fingers. in his song whoman, the word who-man portrays the overall thematic ideology about this selected music, meaning who is man without woman. http://www.google/ awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 185 lágbájá’s music emphasizes the importance of men giving women the respect they deserve. the music suggests that men cannot exist alone and yet women are often not given the respect they deserve. the instrumentation of the music was tailored to this premise, giving voice to the voiceless and making a symbolic representation of women, using agogo (a metal idiophone instrument) as described by samuel and adejube (2017). the metallic idiophone instruments used by lágbájá play a polyphonic, interlocking rhythmic role in elucidating lágbájá’s philosophical ideas about eradicating the ideology of denouncing and rejecting women’s untiring efforts to build a society free of obstacles. however, these duties are not well recognized. this is what lágbájá critiques while advocating for fairness and tranquility. the responsive nature of the music brings about the focal point of the chorus, calling on the male figure to give appropriate credit to the women around them. the music presents women as the renowned figures responsible for lineage continuity, and suggests that men are nothing without them. the song who-man by lágbájáas noted by samuel and adejube (2017 man oppresses woman so how would life be? a world without woman? (resp.) empty as a ghost town, eerie as a graveyard who is man? who? who man without woman? he’s (resp.) nothing, nothing at all figure 3. who-man by lágbájá. scored on sibelius. themes in who-man theme of respect and appreciation lágbájá calls upon male folks to respect and appreciate the women in their lives. he advocates that woman be treated with respect and justice, which is an issue of human rights. the opening phrase of his music state. samuel and adejube (2017) mankind shall never find justice until first we ensure justice between the sexes man to woman who? who man without woman? he’s nothing, nothing at all we cannot do without her, yet she’s disrespected. equality is an essential foundation for justice, as it ensures that all parties are recognized and given their deserved position within society. the lack of equality in many societies, particularly the traditional yorùbá society, has kept women in positions where they are unable to contribute to key issues within their societies. this does not mean that women are totally relegated in yorùbá societies, as they play key roles. however, the traditional culture of viewing women as unimportant in certain serious matters is unjust. women as indispensable beings lágbájá recognized the multifaceted roles that women fulfill, including being mothers, caregivers, pillars of strength, nurturers, and supporters. he further advocates that woman be treated with respect and justice, which is an issue of human rights samuel and adejube (2017) she bares with dignity, the stress of pregnancy how dare we complain, it’s a daughter not a son would you have existed, were your mother never born, if you call yourself the stronger sex, let me see your hand in the air, maybe you should bear the baby, what a site would be, to see man in labour whoooo? who make life sweet? woman! who make man happy? woman! yet can make man cry o? woman! who born your grandpa? woman! who born your father? woman! lágbájá’s perspective, as portrayed in this excerpt, is that women are the origin of life and the continuation of human existence. he emphasizes the important roles that women play in childbearing and nurturing, which are essential for the survival of life of both the male and female genders. this goes beyond childbearing and nurturing. women, especially in yorùbá societies, are also in charge of cooking and feeding the family, amongst which there are males, including the father. women as companions another perspective, as portrayed in the song by lágbájá, is that a woman can help a man live a complete and more meaningful life. he believes that a man cannot live a fulfilling life without a woman in his life samuel and adejube (2017). who are you? who are you? ah! without woman? awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 186 o ò já mọ́ nǹkankan nothing! you are nothing man, nothing at all. femi minus kemi? zero! owei minus premo? odorabata! rabata! adamu minus hauwa? zero! emeka minus ngozi? zero! chinedu minus ada? zero! gari without sugar? odo rabata! boli ti o lepa? odo rabata! relevance of odòlayé àrẹ̀mú and lágbájá’s views in present times choice of words about women may indicate that there was a specific encounter that triggered such an outpouring or it could be a reflection of societal issues that are still prevalent today. for example, women defiling their marriage vows, which is against the norm. when listening to certain media outlets, like agidigbo fm, and particularly to a social and family program called kokoro alate, hosted by the ceo of agidigbo media house, oriyomi hamzat. it is clear that odòlayé has strong views on the faithfulness of women in marriages. this is especially true as paternity fraud continues to be an issue. on the contrary, lágbájá argued that we must not fail to acknowledge the undoubtful role of women in society. their role includes providing financial aid in such a harsh economy, thereby providing succor and relief to the family, combined with their cultural responsibility of nurturing the family. he further stressed that women should be given more space to handle and fulfill their mandate, as no man can be complete without women, and that credence should be accorded to them, regardless of their shortcomings. evaluation of their style, in the choice of language usage as a musical artiste, odòlayé àrẹ̀mú demonstrated his mastery of the yorùbá language through various stylistic effects. he used his music as a tool for social control, informing his audience of social discourse. despite his harsh presentational style, he was able to convey his message effectively. lágbájá has a subtle way of addressing issues by using the speech surrogacy technique of the drum orchestra in buttressing his philosophical thoughts. his approach of code mixing and code switching makes him more relevant, coupled with his presentational style that has earned him wider appeal, especially among women. lágbájá’s music style is non-confrontational, which is evident in some of his music, and has given him wider coverage. lágbájá is also known for allotting solos or lines to be sung by women in many of his albums. this acknowledges the importance of women and when given the chance to help, provides a beautiful contrast. this is observed in his music through divergences of vocal texture, adding more colors to the music. conclusion this study has discovered that the two artistes exhibit striking differences with regard to their philosophical ideology of women in their selected songs. this could be due to odòlayéàrẹ̀mú’s (1977) self-proclaimed status as the eagle’s eyes of kwara state: ajá kwara tí kì í gbó lásán, tí kò bá rí eranko a sì rí èèyàn àtàtà. the kwara’s dog that doesn’t bark in vain, if it’s not against animals, it would be for the influential. odòlayéàrẹ̀mú is like a watchdog of society who appears unapologetic about his use of words. this is not surprising because dàdàkúàdá practitioners are known for their heavy use of yorùbá poetic words for praising their patrons and addressing social ills. odòlayé àrẹ̀mú’s choice of harsh words about women may indicate that there was a specific encounter that triggered such an outpouring. in contrast, lágbájá’s ideology is that women are essential and soothing to men. he sees them as integral to life. lágbájá has a calm and serene approach, which stands in stark contrast to odòlayé àrẹ̀mú’s critical language. odòlayé àrẹ̀mú is considered a socially committed artist. he addressed societal issues in his songs, with the aim of creating a harmonious society. his songs reflect the lifestyle of individuals in society. however, his confrontational style sometimes makes women see him as an enemy of womanhood. in contrast, lágbájá has always been an advocate for equity and fairness, which he demonstrates by giving women lines to perform in many of his albums. lágbájá has written, composed, and performed many songs in support of women, including skentele and jenke, among others. the two artistes displayed their respective ideologies in their songs, taking their level of exposure, audience reception in term of gender, and changing times into account. awka journal of research in music and the arts (volume 17 issue 2, nov, 2024) 187 references abodunde, t. (2017). we must be naked in music video!!! says tiwa savage. brivalix. retrieved june 5, 2018, from http//: www.brivalix.com/we-must-be-naked-in-music-video-says-tiwa-savage-click-to-seewhyshe-said-so/ adagbada. o. k. (2014). contemporary women’s voice in yoruba films industry. research in african languages and linguistics13(2014)15-18. adeleke, d. a., igboanusi, h., & lewis, d. (2019). research methods in linguistics and africa languages. in a.b. ekanola et al. (eds.), theories and methodologies in the humanities ibadan university press. , ibadan. agbaje. 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[unpublished doctoral dissertation]. university of ibadan. olukoju, e. o. (1978). some features of yorùbá songs. ink. williamson (ed.), west african languages in education (pp 45-55) afro publishers. olusola, k. (2023). subverting women’s subjugation in west african society: the roles of popular music. kiu journal of humanities, 8(1): 81–88. patience (2003) folk music, tradition and gender stereotypes: a feminist analysis of the work of a nigerian folk icon. international journal of sociology and anthropology-folkmusic.http//academicjournals.org samuel. (2018) gender space trangressors: a study of two yoruba female dundun drummers. journal of international library of african music. 167-173 samuel, k., &adejube, s. (2017). archival fever and the archiving of womanhood in lágbájá’s who-man and sola allyson’s obìnrin ni mí. the performer: ilorin journal of the performing arts, 19(2017): 35–46. viljoen, m. (2014). representations of women in music: what difference does difference make?journal of the musical arts in africa, 11(1): 73–88. walker, a. (1983). in search of our mother’s garden: womanist prose. harcourt brace jovanovich. captions figure 1. odòlayé àrẹ̀mú. retrieved from google dec (2023)https://www.deezer.com. figure 2. lágbájá retrieved from google dec (2024) www.google .com figure 3. who-man by lágbájá notated on sibelius notation software and export as graphics. april (2024) https://www.deezer.com/ http://www.google/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 208 technological contribution to the vogue textual content in contemporary nigeria pop music compositions gold kingsley uteh email: utehkingsley@gmail.com & professor a. o. nwamara email: ao.nwamara@unizik.edu.ng department of music, nnamdi azikiwe university, awka abstract ethics are natural or man-made moral roles and roles are made for humans. the question of music composition ethics is fundamental to the effective application of theoretical concepts to real live music composition through the periods of music history. the research seeks to know how technology has influenced composition ethics; why these ethics are not adhered to by some contemporary composers of the 21st century; what led to this development among some crop of musicians/composers/artiste in composing their music; and how this anomaly can be rectified. the researcher employed the qualitative method of research in form of interviews which involved stakeholders relevant to the subject matter. data was collected from the interviewees and analyzed. the findings show that the subject of ethics in music composition which is powered by various technologies, has been relegated to the background in the face of most contemporary compositions whose content is made of vogue language and whose message promotes sex, violence, gangsterism, rebellion e.t.c. as it were, a middle ground based on understanding between various tech companies, bloggers, online streaming platforms, social media platforms, among others must be defined. also, effort must be made in order to maintain and sustain established societal norms and values that are being eroded by the ugly trend. this is because research finding shows that contemporary societies rely on these technologies for daytoday usage, because these technologies were originally made for the good of man. introduction composition is the art of creating, writing new musical work or ideas that are generally acceptable. ethics are selfmoral standard acceptable or permissible in the discharge and or creation of musical work in relation to music composition. historically, the english word “ethics” is derived from the ancient greek word ‘ethikes’, meaning “relating to one’s character”, which itself comes from the root word ethos, meaning “character, moral nature”. this moral tradition exists to ensure basic standards are maintained and that societal norms are upheld, to the end that immediate future consumers of musical composition, songs or performance are informed, entertained, and edified without jeopardizing the moral values of the society as well as individual and or collective audience. currently, this value is under the negative/positive influence of new technologies. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 209 in today’s age, technology has revolutionized every aspect of our lives, including the creation and distribution of song lyrics. gone are the days when fans would rely on printed songbooks or album inserts to sing along to their favorite tunes. with the advent of technology, song lyrics have become more accessible than ever before…with just a click or tap, music lovers can now access lyrics to thousands of songs in an instant. online platforms such as lyric websites and streaming services offer a vast collection of songs with accurate and up-to-date lyrics (www.ask.com). nevertheless, research revealed some ethical principles that are the foundation for cultivating professional conducts in corporate organization with relation to music. some employers in entertainment organizations use some these rules to galvanize employee’s loyalty, and maintain a high ethical conduct as well as good moral conduct among them. below are some of these principles that were postulated by williams ryon, as a vehicle to recapture what has been lost. using these nine principles as a benchmark for implementing ethical protocols in the music industry can greatly improve the compliance with accepted protocols worldwide, and improve the perception in the opinion of the public. these mentioned principles are explained below for better understanding of their role in maintaining good moral standard in general music business management. human dignity this is one of the firm foundations of all established ethical conduct. the value we place on individuals, e.g. employees in this context, is paramount is to the growth, development and the general wellbeing of the organization. for instance, when an employee is retrenched or demoted without good reasons, and due process, the employee may discontinue the working/social relationship with his employer psychologically, even as a member of staff or in future. it is never dignifying to be viewed as a disposable commodity. an employee most not be made to feel like nobody or be made to see his or herself as subhuman. this is because when subordinates (employees) despair, the organization will definitely feel the negative impact of it. participation every member of the organization that is involved in the music production process must be accorded the right to make input or contribute in discussions of matters concerns them and their wellbeing. not allowing them to participate or have a say in the decisionmaking process that will directly or indirectly affect them can raise a red flag in the mind of some. for instance, selling a perceive hit song that belong to music label or record company member without involving the actual song writer or composer is a direct spite on the said artist. this has brought many record labels to their knee. the place of collective participation, directly or indirectly positively impart the general wellbeing of the organization. when subordinates are given the opportunity to participate and air their voice in any organization, it gives them a sense of belonging. integrity the old, but evergreen adage of honesty being the best legacy works best, when employer(s) and the employed in an organization maintain honesty, transparency and http://www.ask.com/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 210 accountability in the pursuit of co-operate objectives. when the sanctity of integrity is upheld by all members of an organization, irrespective of their age, position, and any other distinguishing factor, trust becomes natural. trust spring up among the members of staff towards the organization. this quality naturally makes the society to build strong confidence in the organization or record label. if the leader or leaders in a music label lacks integrity, the led will naturally follow suite. as it were, it is believed that the subject of integrity must be exemplified by the leader(s) first. for the common good this ethical step stipulates that every pursuit or objective of the record label is for the benefit of all who are in the system (members). when every member of a music company know that the company is favoring all of them, they will be willing to sacrifice more for the organization. in nigeria today, we have read of situations where a music artist is making all the money from music shows and album sales while the label owners are the ones enjoying 90 percent of the proceeds. the outcome of this one-sided benefits is always not palatable. according to byron (1999), “the common good is a catch-all phase that describes an environment that is supportive of the development of human potential while safe guarding the community against individual excess”. digital piracy online piracy is the practice of downloading and distributing copyrighted content digitally without permission from the copy right owner(s) these downloadable materials include music (audio/video), lyrical content, software, among others. though technological advance that brought the internet have in many ways made life easier for mankind, on the other hand, it has opened the flood gate of digital piracy. today, people all over the world where internet exist, see it and do it as a normal thing. this is partly due to the fact that it is easy to access. though piracy existed for long but the advent of the internet made it a new normal. the downloading and usage of digital or online music content or music composition without due permission, with exception of free ones, amounts to digital piracy. this unethical practice has greatly contributed to the decadence our societies suffer today. moral moral art integrity every work of art is a reflection of the society, an experience and/or an expression of self, soul or mind of the artist (composer), however the composition must teach, promote and emphasize good morals. musical composition should not promote illicit sex, violence, among other as is being experienced the world over. it should encourage hard work and painstaking efforts toward actualizing set objectives. a good composer must consider the spiritual moral, mental, social and psychological wellbeing of his/her audience or consumers of musical work(s). our world is what it is today morally partly because of erroneous and erotic musical videos and lyrical content of some of the contemporary music in our societies. the music composer should compose to help sustain the moral fabric of the society. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 211 vogue lyrical or textual content in musical art composition have had adverse effect on the psychic of the music consumer. the place of ethically moral text in contemporary composition is being exudes in jet speed. songs or musical lyrics content which contain no vogue words such as, sex, money, crave, harsh, violent words, etc are label as “not making sense” especially by most youths and teenage age grade, whose amateur mind is deeply engrossed in frivolities, enslaved by western pop music orientation. according to kristen david olson (2011) “music is an important and extremely useful tool in the way we learn and to deny its power is a waste of a truly wonderful resource. though some would look at music as a small bed note in the progression of humanity, it is in fact a much greater force; for some, it defines their very existence”. olson further posited that “sexual promiscuity and excessive profanity in modern music (hip-hop) among others specifically have also been said to be affecting the psyche of many. he further stated that “sexually explicit lyrics and mounds of profanity exuberate through certain hip-hop songs can have a negative effect on the thoughts and feelings of adolescents”. despite the advantages music offer to the human mind or psyche, there are evidence that music with negative content due have negative effects upon impressionable young minds. many documented suicides have taken place while music played in the background. also, there are some speculations that extended listening could lead to anti-social behavior especially when the music is void of worthy social norms and values. below is an explicit musical lyric. technological development awka journal of research in music and the arts (ajrma) vol. 16, september 2023 212 the impact of technology on music production, promotion, as well as access and sharing capacity cannot be over-emphasized. the influence of technological development on music is far beyond expectation. technological applications and manipulations involved in the process of music production to consumption in music business amazing. music has moved from analogue to digital. the process of composition on score, editing, playing, coping, sharing, saving or storing, downloading and sending are all digitalized. though the analogue system has not been totally phased out, the digital system is the order of the day. music composition and consumption shall be discussed under the following subheading as (1). android & ios phones (2). laptop (3). application (4) downloading (5) internet. these are some of the major technological advancement and influence on human mind in our societies. android phones android phones are touch screen phones that enables applications to be used in carrying out tasks of calling, texting, browsing, reading, research, chatting, listening to music among others. a development that made many to refer to it referred to it as “the world in your pocket” because of its multi-dimensional activities, and versatility. this modern communication gadget unlike the analog phone, do perform the task of other gadget, such as, radio, television, calculator, emailing, etc. the phones are operated by teenagers and children even better than most of their parents. secondary school students and pupils of primary schools now own and operate android phones effortlessly. though this development has its advantages, however, the negative effect of having an android phone with internet access is enormous especially for the younger ones. in that, these young minds are often always interfacing with the phones hence, they are tempted to use the phone for adverse activities from time to time. laptop this contemporary technological gadget is second to none in usage both for music composition, production, storage, etc. laptops, desktops, palmtops, ipad etc. are modern technologies but the laptop stands out as virtually all organizations make use of it now. as it were, most music composers and music students mostly make use of laptop for composition purposes among other things. this is because laptops are easily mobile and can do what desktop computer cannot do. however, this noble technological gadget has become a major source of self-destruction to many youths, teenagers, some adults, and children. as it is being used to watch and listen to all manner of explicit music audios and videos online and or offline. applications this software technology gave more relevance to android phone, and laptop technologies. the applications use the laptop, android phones and other ios gadgets as platform to unleash its numerous potentials aimed at making life better or easier for humanity. application software are what laptops and android phones depend on, to function. software developers or engineers develop the applications which carryout different task as designed, and build by the developers. though some application. were developed for good purposes, explicit materials still find their way into them. examples of software awka journal of research in music and the arts (ajrma) vol. 16, september 2023 213 application that aids access to explicit materials online are; facebook, itune, youtube, tiktok, instagram, whatsapp, apple music, spotify, amazon, online radio stations, among many others which are available on google play store and ios apple stores; which are themselves, applications. today, application developers have developed all manner of corrupt applications specially for explicit music videos, audio that have become traps for amateur minds. they have become undeniable source of immoral music videos and songs that offers the consumer, erotic and senseless sonic products. downloading android phones and laptops are not corrupt in themselves. but because they are handy, mobile, smart and internet compliant, they became veritable tools in the hand of many, who now use them to access all manner of immoral packages available online by downloading them to offline versions. downloading is software enabled process of coping of files online. the process enables youths, adult, teenagers including children to copy and share files with good content or explicit content for immediate consumption and sometimes for subsequent sharing with fellow mates thereby spreading the influence and impact of these explicit content. people download music videos, music audios and other media materials with musical background that have immoral textual content. these downloadable online files are mostly free. internet internet is the new digital world through which almost everything is accessible. the internet uses data for accessibility. the internet can be accessed through any internet compliant gadget e.g. android phones, laptop, desktop. ipad, ipod, latest television set, palm top and even some java phones. the internet is the global system of interconnected computer networks that uses the protocol suite to communicate between networks and devices. it is a network of networks that consists of private, public, academic, business and government networks or local global scope linked by a broad array of electronic, wireless and optical networking technologies. the advent of the internet has seen some explosion in immoral activities across all age grade especially younger generation. contemporary musician/composer’s mindset is also being influenced by innovations in technology involved in the music process. technology has changed the way we create composer, promotion and share musical art works. according to smith (1962), “… innovations and alterations in this music are generally not prohibited by tradition thus it has been changed by outside influences, individuals within the society and integration with their societies. the influence of technology and other outside forces on the mindset of the composer as well as the consumer cannot be over emphasized. today, music composition and production to a great extent, have moved from paper manuscript to software enabled composition. though the manual/analog method have not been totally phased out, most music composition and production processes are currently being achieved via the digital method. this is a good development with serious challenges. the crave for quick fame among contemporary artists have contributed to the use of explicit lyrical content because both local and foreign musical products and the artist that produce them, are seen as successful by the upcoming ones who view them as role awka journal of research in music and the arts (ajrma) vol. 16, september 2023 214 model. they follow these role model(s) online and as well subscribe to their online channels on different online platforms via technological devices that aids easy access online content without any hinderance anywhere, anytime. in affirming this view, okafor (2005) asserts that “fame is a very powerful incentive: many musicians have their folk heroes or foreign modelspeople whose social and economic successes they strive for. their contact with these foreign pop star models is mainly through electronic media/gadgets. however, this imitation produces some negative effects as some pop musician cope some dressing and other habits not acceptable to the local culture” lyrics have become more explicit in inherit reference to drugs, sex and violence over the years as asserted by knobach westowa must to p, shawk (2006). “rebellious musical lyrics are topping the world music billboard charts, explicit lyrics is almost unavoidable especially in contemporary pop music genre, but it is gradually finding its way into other groups known for upholding the ethos of ethics. contemporary classical songs/music in identifying with the concept of neo-romanticism, fall slightly to the cab ricks of epicism of lyrical content”. a development that is aided by advance digital technologies that enables easy access to listening, watching, download, and upload. according to collin b. (2016), “new technology allows listeners to toggle between clean and explicit lyrics in real time…online radio is not subject to the same fcc regulations as standard terrestrial radio, so dash radio (online radio) is free to offer both clean and explicit options simultaneously” (www.consequence.com). the sweeping power of internet technologies in granting unhindered access to all manner of musical content, especially the explicit lyrics, is the core discourse of this research. according to peddick b.h, bevesin e.v. (2002) “lyrics is some music genres, such as rock, heavy metal, rap and new emerging genres such as reggae ton, have been found to revolve ground topics such as sexual promiscuity, death, homicide, suicide and substance abuse”. reddick et al puts it thus: “the explicit lyrical content appreciation by youths in our society may not abate soon. this ugly development poses a big threat to moral stability of younger generations that are exposed to modern technological devices such as, android phone, ipad, ipod, laptop, desktop, etc. with internet availability and the ability to download music audios and videos, with just a click”. as echoed by fischerp, g.m.t. (2006) “most recently, some pop music has been characterized by the presence of explicit sexual language in its lyrics as well as messages of violence, racism, homophobia and hatred toward woman. drug, tobacco and alcohol use also tend to be glorified in these songs”. in refuting concerns about the effect of lyrics, some have argued that children and adolescents use music only for entertainment, that little or no attention is paid to the words, and if any attention is given understanding tends to be limited and related to their experience. however, other research finding shows the contrary. in that, teenagers who were interviewed in the course of this research, confessed that through the use their android phones, and access to internet were exposed to illicit music and gradually developed anti-social vices. for instances a study carried out by fisher at al affirmed that “men who listens to misogyny music http://www.consequence.com/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 215 showed increased aggressive responses toward women as well as a more negative perception of them. a study performed to explain the possible effect of heavy metal music, with sexually violent or nonviolent lyrics on male’s attitude towards women than those in a group indeed exposed to classical message. according to p. cougar hall et al, (2011) “all sexual references are equal and degrading and sexualized music can have a delirious effect on teens. for girls in particulars, this can lead them to judge their personal worth on a sexual level only, leading to poor body image, depression eating disorders and substance abuse”. this research raises serious concern relating to the promotion of unhealthy sexual message in music that is made accessible by the instrumentality of digital technology. methodology the researcher employed the qualitative research method by way of structured and unstructured interview process to elicit response from respondents drawn from selected music artists, producers, promoters, marketers, secondary school students and undergraduates among few stakeholders, relevance to subject matter. this was done in the ikorodu area of lagos state. this is in addition to online materials that is centered on the subject of discuss as well as music literatures available to the researcher during the write-up. on the moral side, the researcher consulted some religious leaders, who also contributed to the data gathered. fifteen questions were asked at each contact. these questions were divided into three segments: section 1: questions centered on music industry in nigeria in general. section 2: questions entered on musical content of our contemporary music. section 3: questions centered on the remedying the ugly trend. five questions for each section. research outcome clearly shows that this societal anomaly has spread to the extent of becoming the normal norm which is embraced by large section of the society. secondly, the music composer himself is currently commercially inclined. hence, most composers’ tilt toward what will make a commercial hit irrespective of its implication on the social psyche of the society. unfortunately, this development has been largely entrenched by the force of digital technology. conclusion/ recommendation okafor (2005) further stressed that “the moral songs which form the basis of instructions on right and wrongs in human conducts, may be directed to the children audience, but it is the community expressing it ideas on how things should and shall be for that matter. flowing from this ascertain, appropriate measure, when necessary, must be put in place to check the influence of certain digital technology on our immediate and extended societies among other things, so as to reverse the dying trend of moral music for which africa music stand tall. music and nation building goes together as okafor (2005) stated thus: “music tends to set the mind free from focusing on problems. it is a true route to escapism. but if it is well handled so that as it entertains, it builds and creates, then it awka journal of research in music and the arts (ajrma) vol. 16, september 2023 216 becomes of beneficial to the society…unfortunately, the current trend in relation to lyrical content in nigeria music industry is negatively affecting the youths and by extension, the society. the development must be reversed. all stakeholders as stated earlier, which includes; performing musicians association of nigeria (pman), copyright society of nigeria (coson), standard organization of nigeria (son), association of record label owners, television and radio stations management, association of music educator of nigeria, musicologist society of nigeria as well as law enforcement agencies, the artists/musicians/composers/performers must from synergy and collaboration to ensure that our musical products are of high moral standard/value. secondly, parents, guardians, including teachers must continue to teach, guard and advice their wards on the need to listen and watch only musical works devoiced explicit content. lyrics have become more explicit in their references to drugs, sex and violence over the years. it is essential for parents to take a stand regarding music lyrics”. in collaborating this point, christenson p. (1992) “pediatricians should encourage parents(including others) to take an active role in monitoring the type of music to which the children and adolescents are exposed and aware of the music they purchase” (www.protectyoungworld.org). the recommendations are thus presented below: firstly, that music composition art is a noble creative art whose sanctity must be upheld by consciously applying the principle of ethics during composition by composer. having established the fact that contemporary musical works are beginning to abandon the concept of ethics as a socio-cultural norm in our society, it is expedient that relevant stakeholders as stated earlier must make concerted by both political, religious as well as traditional leaders to curb the deadly trend of destructive trend of wrong usage of some digital technology in our contemporary society. music composition is a great, noble art that has come to stay so long as man remains creative, even as god continues to inspire the ready mind. music is powerful and highly influential to the human mind. hence, the need to deliberately detect and/or decide what you view as music video as well as music audio you listen to, is very important. this is research have shown that the impact of music products being consumed can and will always influence human mind. furthermore, explicit lyrical contents are wide spread. austin et al (2000), assert that “potential risks of exposing to music videos can be moderated by parental reinforcement and counter reinforcement of conducts observed”. knobloch-westerwick et at (2000), stated that “although young listeners might not understand all the details in lyrics, they recognize enough to obtain a general idea of the message they bring”. all the finding of the research hinged on the fact that composition ethics guarantees that standard are met and maintained during musical art composition which in turn benefit the society by up-holding the normal norms which the said society adjudges upright and morally acceptable for socio, cultural stability. composers must bear in mind that their works will out-live them. hence, the need for conscious, deliberate effort to ensure that even generations to come are musically influenced to live a standard and acceptable moral life irrespective of trending digital technology. http://www.protectyoungworld.org/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 217 secondly, composers/producers/promoters as well as government at levels must collaborate with software developers and global digital platform owners like facebook, google, youtube, twitter (now known as x) tik tok, instagram, techno mobile, samsung mobile, telegram channel among others, to help reduce the negative impact of their digital technologies, by monitoring and restricting the upload of explicit materials on their digital platforms. google search engine owner should take this recommendation serious. still stressing on subject of discourse, sullivan w. (1960), said that “the function of the kind of music we have been discussing is to communicate valuable spiritual states to stiffing to the depth of the artists nature and to the quality of his experience of life”. sullivan (1960) stressed further that “we do feel, in our most valued musical experiences that we are making contact with a great spirit, and not simply with a prodigious musical faculty”. as it were, music in african naturally entrain, inform and edify listeners / audience, it does praise the good deeds, and even warn the wicked depending on the context of performance. okafor (2005) put it thus “the nigeria musician has always born witness to the time he lives in. he praises, he admonishes, the records events and involves himself, through his music, in the social and concrete problems of his land”. music composition art without adherence to ethical value underline our cultural musical philosophy. from the foregoing, composition ethics entails maintaining set standards that are related to musical art composition by music composers to enhance harmonious relationship among them, as they continue to contribute their quota to the growth and development of the society. while digital technology keeps trending with new innovations being released into the global tech market on regular basis, its positive impact on making life easier for mankind cannot be over-emphasized. however, these digital technologies come with enormous challenges that borders on human mind. a situation that must not be overlooked because some are already in our homes and pockets. references: andeson rittanrahan s. (2008). “dancing in pain. pain appraisal and coping in dancers”. s. dance med. sci., 12(2):9-16. blacking john (1976), how musical is man? seattle: university of washington press 2nd edition: london: faber and faber. byron w.j. (1999), “old ethical principles: the new corporate culture, vital speeches of the day”. new york, ny city news publishing company vol. 65, pp.558-561. christenson p. (1992), “the effects of parental advisory labelson adolescent music preferences”. j. commun 42(1) page 106-113. coygar ha p.; et al (2011), “sexualization lyrics of popular music from 1958 to 2009: implications for sexuality educators”. journal of sexuality & culture. do1110. fisher p. greiter meyer t. (2006), “music and aggression: the impact of sexual aggressive song lyrics on aggression-related thought, emotions and behavior toward the same and opposite sex peers”. psycho/ball. page 1115-1176. knobloch-westerwick s, musto pishaw k. (2006), “rebellion top music chart defiant message in rap/hip hop and rock music, 1993-2003”. presented at the awka journal of research in music and the arts (ajrma) vol. 16, september 2023 218 international communication association conference; dresden, germany, june 1923. kristian david olson (2011), “the effects of music on the mind reverse spins”. http://www.reversespins.com. miller c. (2006), “dance medicine”: current concepts. physical, medical rehabilitation clinic n.am. 17:697-723. nussbaum, martha (2009), “equality and love at the end of the marriage of figures. forging democratic emotions”. presented at the colloquium music and emotions. helsinki collegiums for advanced studies, university of helsinki, june 2, 2009. okafor (1989), “women in igbo musical culture”. the nigerian field.54:133-140. okafor (2005), “music in nigeria society”. new generation books. page 341, 339. reddiok beresinev. (2002), “rebellious rhapsody: metal, rap community and individualization”, academy psychiatry. page 51-59. schon l.c, weinfed s.b. (1996), “lower extremity muscular skeletal problems in dancers” curr. opin: rhoumatol, 8:130-142. smith e. (1962), “popular music in west africa” african music. page 11. sullivan i.w.n. (1960), “beethoven: his spiritual development” vintage books, new york, p. 36. www.anpublucations.org/news www.ask.com www.consequence.com www.dance.magazine.com www.prezi.com www.protectyoungmind.org www.sceincedaily.com www.dictionary.cambridge.org www.facebook.com www.knownhost.com www.wikieducator.org www.teenink.com http://www.reversespins.com/ http://www.anpublucations.org/news http://www.ask.com/ http://www.consequence.com/ http://www.dance.magazine.com/ http://www.prezi.com/ http://www.protectyoungmind.org/ http://www.sceincedaily.com/ http://www.dictionary.cambridge.org/ http://www.facebook.com/ http://www.knownhost.com/ http://www.wikieducator.org/ http://www.teenink.com/ 22 awka journal of research in music and the arts (ajrma) vol 17 june 2024 socio-cultural role of women in edem festival masquerade display at edem day nnanyelugo, emelda chinasa (chinasa.nnanyelugo@unn.edu.ng) rev. fr. prof. emmanuel umezinwa(emmacumezinwa@gmail.com) prof. eunice u. ibekwe(eu.ibekwe@unizik.edu.ng) abstract masquerade performance in igbo tradition is a prerogative activity of the male gender. women are normally excluded from such ritual. the narrative is no more the same at edem-ani community on the occasion of edem day at nweke edem-ani in nsukka local government of enugu state nigeria. this study focused on the emerging roles of women in the socio-cultural practices in edem-ani which was observed during masquerade musical cultural display at nweke edem-ani in nsukka local government of enugu state. on the occasion of edem day which is celebrated every 28th day of every december with particular interest to 2022 celebration. the research employed investigative method using indepth study and focused group discussions whereby leaders of some of these masquerade groups were interrogated and data regarding the phenomenon under study were collected and analyzed. it was observed that women's involvement in socio-cultural events are gradually taking different dimensions which suggest gradual turn or change in the rigidity of masquerading activities and its membership selections. the finding calls for further studies into the area for more information on women participation in masquerade activities. introduction african women prior to the pre-colonial masters have been a very supporting factor to the sociocultural practices in the african communities. sometimes they take part in some dance display that helps to enhance the mood of the occasion. there is no doubt that women have specific roles they play in the communities. these roles include preparing special delicacies for their husbands, children and other family members especially on those festive days. they also engage in the spiritual cleansing or rituals in preparation for the event whereby they take ritual items like yams, goats, cola nuts and other farm produce to accompany their husbands to the ritual point or shrine. some of these women have spiritual duties like the priestess who help in divining for the smooth running of the occasion likewise the men in some parts of africa. this is also done for the development and progress of the entire community. before now, women are not seen engaging in masquerade cult dance because, these masquerade cult groups are seen as sacred and representing the spirit being. they are held in high esteem and women are scared of even going close to it let alone leading its dance while the masquerade follows. africans have so much been attached to their african culture and have various ways of handling issues in their traditional ways, and women were part of the key role players especially in matters that concern the societies’ socio-cultural and moral development. they are also involved in peace keeping, orderliness, children’s health, mental and social development, moral and physical development and the general progress of the communities. 23 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the involvement of women in music, dance, drama, becomes a medium of creating awareness and as a medium of communicating the customs and traditions of the community including, maintaining peace and unity despite their individual differences. nevertheless, it was said that in akpa-edem one of the four major communities that make up edem, during the pre-colonial era, maidens were selected to be in custody of taking and making offerings to the god’s at a particular ritual occasion which is highly celebrated. this is supported by yerima, (2006), that “in some communities, maidens are selected to represent their folk in the presentation of gifts to the gods in reparation for evil done in the land and blessings from the gods for the sake of the community”. in akpa-edem in nsukka local government area in enugu state, the selection of these maiden involves all the young girls and any maiden whom her bride pride has not been fully paid but maybe partially paid. these maidens must partake in that ritual and also has to contribute money for the purchase of the gift which is usually a ram “ebule”, eggs, and kola nuts etc. this particular ram “ebule” is adorned and decorated in red ornaments and the horns are also colored with red. they themselves used the african beautification properties to adorn themselves to make them look practically like god’s own property when looked at. they are said to be “umu-ma” meaning children of the gods. before the presentation, there are other preparations which would take place, this includes the cleaning of the stream areas and as they do that, they sing and dance around the stream. if you are not yet up to a maiden you cannot partake in this ritual. it is also important to note that it is only maidens who are found worthy and who are virgins and are not in their monthly flow at that point in time that take part in the cleansing activities. after the cleaning of the streams, they dress up and decorate themselves and carry their gifts to the gods and all the men in the village assemble at the shrine to welcome them and the mothers prepare meal that will be used for the celebration. brief history of edem community. edem is one of the communities in nsukka local government area in enugu state. it’s a community with a population of about 309,633 based on the national population census in 2006 (national population census, 2006). edem is divided into 4 communities which include, “akpa-edem”, “ozi-edem” “ugwunagbo-edem” and “edemani ogwugwu. in each of these communities there are many villages and groups of kindred’s that make up these zones. for instance, edem-ani is categorized or subdivided into communities which include, umuchagwo, umuchoke, owere, ogbodo-umuchagwo, uwaniumuchoke, ozara, amaesumesu,nkofi, agu-eke, amenu, amaogwu, owere-ugwu, owere-agbo and ubogidi. “ozi-edem” is made up of umuoko, ukpara, amankpume, amaukpa, amaukwa, ikweezike, amabunegu, umueyi, amauwena, umuoji, and obineguh. “akpa-edem” is made up of owa-edem, uwenuobeke, uwani-obeke, dimunazu, amankwa, igoro-ugwu, igoro-agbo, amadimago, isamani, ama-oba, okiti, amadimba and nkawushi. and ugwunagbo-edem is made up of amenu, amogu, isu, and odojo, (ezema, 2018). edem community like every other community is musically oriented and enjoys music a lot. music making in edem varies in context amongst other communities and other clans in nsukka. music making and performances for the typical edem person is a responsibility that one looks forward to attaining in one way or the other, its creative materials is what gives the music of edem a voice and preference amongst the other musical groups in nsukka urban. the emphasis of this research is based on the masquerade musical display on the occasion of the festival called ‘edem day’ celebrated amongst the people of edem-ani ogwugwu in edem community. edem-ani ogwugwu has a lot of musical practices 24 awka journal of research in music and the arts (ajrma) vol 17 june 2024 as well as various festive occasions by which these musical practices are displayed. these events include: egba omabe– celebrated in three stages namely: uda-omabe, okiti-omabe and una-omabe. there are other festivals and events likeegba chukwu, edem week, ofalaeze, onunu, burials, marriage ceremonies or wine carrying, chieftaincy and ozor title taking, conferment of loloanyi title, coronation of igwe, and new yam festival etc. (omeje, 2018). in each of these events there are lots of musical display which include the masquerade display, women dance, maiden dance, youth music display, children musical group display as in the “akunechenyi dance group” etc. these cultural groups are built on the concept of relationship maintenance amongst the people of edem-ani community with an ideological concept of building a healthy environment where people coexist as one entity, therefore building a mutual understanding and co-operations between the community and the neighboring communities. (esimone & umezinwa, 2013; agu, 1999; onwuekwe, 2013; agu, 2012; and esimone, 2015) stipulates that music practices of a community, stirs up the spirit of creativity, acquisition of skills and enquiry in them, and at the same time help to straighten the understanding about who they are and what they do, what kind of musical culture they practice and their ideology and philosophical opinions they hold about their culture. in order words, it is a means through which the system of life which they live in is inculcated. a music performance in edemani arises as the occasion emerges according to the communities’ timeline which is known and observed by the people. according to blacking, 1976 (as cited in okpala, 2015:19) “ the musical performances provide physical and spiritual well-being through mental, emotional and physical involvements in the performance activities”. statement of the problem women involvement in masquerade at edem-ani ogwugwu day in nsukka local government area in enugu state has provoked serious debates amongst scholars, in recent time. the researcher therefore, investigated the level of women’s involvement in masquerade activities and those emerging roles they perform in the socio-cultural activities in nsukka and its environs. purpose of the study this research investigated those emerging roles of women in today’s masquerade cult musical practices and the socio-cultural activites in the community with emphasis on edem-ani day festival of the 28th december 2022 in nsukka local government area of enugu state. significance of the study the result of the findings aided the establishment of the various roles of women in the cult musical practices and performance and their level of involvement in the socio-cultural activities of edem-ani community that have emerged other than the obtainable roles which they are known for. this in essence is to add to the already existing documentation in the area regarding socio-cultural practices and women’s involvement which will serve as an archive for future reference and education for cultural preservation as it concerns the people of edem-ani community in nsukka local government of enugu state. scope and delimitation of the study 25 awka journal of research in music and the arts (ajrma) vol 17 june 2024 this work is delimited to edem-ani community with reference to the masquerade musical display at edem-ani day festival. an event celebrated every 28 december. research methodology this research employed investigative research method by which the musical cult groups were investigated and the leaders of these cult groups were also interrogated to know how they operate, what gender comprised their group members, the roles each member plays and what extent and limitations of each member in the groups’ activities. if at all there are limitations or hindrances, where there are female genders and the reason for inclusion. the resercher investigating and interviweing the leader of the ‘ebule’ masquerade cult musical group on their mode of operations, their membership make-ups and the roles and function of each of the members. response from the leader: “our masquerade group is a group that encompasses both female and male and these have their roles to perform in the group. the male are incharge of wearing the mask, beating the instrument, presenting kola and carring out the official peaceful offering and incantaton before every musical display or competition and the females are responsible to create awareness and motivation songs and possibly move ahead of the male folks in a very loud voice to pull attention to their masquerade so that their will be some level of distractions that draws relivance to their musical group”. which is why they are dressed in palm fronds and other distractive attire. 26 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the same question was asked this group leader, ‘akirinti’ masquerade group and some of his members, and these were their responses: “we do not incorporate women in our group but on the day of any performances, our women are allowed to take the lead in the dance and our masquerade follows. this is to create fun and draw peoples’ attention to our masquerade group. the men are responsible for everything except dancing. data analysis it was gathered from the discussions with the leaders and members of some of the masquerade music groups that, since the women are also part of the community and supporters or cheerers of the masquerades, they are permitted to dance as well as present themselves in a way that informs the people that they are solid supporters of the masquerade musical cult group. which is why some are seen leading the dance group whereas others are seen putting on palm leaves on their waist with animal tusk in their hands moving in an authoritative way to the display ground or arena and others playing the wooden gong. these women in practical sense are young girls some are married while some are not. these women are being pre-informed of what to do before any performance or display. the interrogated masquerade groups amongst others were, the ‘ebule masquerade group of the umuchioke village’ and 'akirinti' masquerade from ubogidi. research findings finding from this research shows that, the women’s involvement in the socio-cultural activities especially masquerading activities have moved beyond the normal primary role of preparing different dishes for the cultural events to the point of following and leading the dance of the spirit, some on a distractive attire and as well play some of the instrument like the timeline and shakers, and finally create attention to the direction of their masquerade as a support and moral energy with which their masquerade determines to succeed in any competitive event. this has become a norm among the people of edem-ani community and the rest of the three communities that make up edem. notwithstanding, there are still other masquerade cult groups that still maintain its strictness of allowing only men both in composition, masking and performances like the ‘akpushi-agba’ in amogu, ‘esato’ the village police, ‘esoyig-okwu’naloenwureh and ‘ogbaru’ in umuchiagwu, etc. 27 awka journal of research in music and the arts (ajrma) vol 17 june 2024 summary generally in africa, women’s involvement in the socio-cultural activities only limits them to the primary role of presenting dance, watching and cheering the performances as well as the domestic duties of cooking for the occasion, taking sacrifices to the gods in company of their husbands and gracing the occasion in their best outfits. but the narrative is practically different with the recent events where women are now a part of the masquerade musical cult display and are seen partaking in the dance of the spirit. the most amazing aspect is that some of these women lead the dance and the masquerade follow behind which prior to this day, it was a taboo. in fact women were not even allowed to come near the performance arena in the history of edem-ani. in contemplation to this resent phenomenon, from the research which is geared by inquisitive, there are findings that in some part of the country, women are initiated into the masquerade musical cult but with some limitations. this assertion suggests that some feministic limitations are becoming eased off unlike what it is used to be, as opined by some scholars like (people and bailey: 2006). there has also been an established concept of cultural construction and gender asymmetry in music with regards to women’s involvement which points to the abdulmalik’s perception of gender participation. he states that “human beings think and act within the framework of a cultural system that affects worldviews and social behavior among others. (ampene, 2005; charry, 2000; smith & riley’s 2009; and burns, 2009,) from the discussions, such cultural constructions about gender roles actually defines the female gender. with different views about culture been an autonomous force for steering society, there is a manifestation in the different roles and limitations found in every performance. gender asymmetry in music is also manifest in the work of ebeli, (2015). these constructions are linked to hegemonic processes of gender type of cultural reproduction and resistance. in the face of such cultural typecasts females in contemporary times have proven beyond every doubt that they are capable of performing some roles traditionally reserved for men. this is evident in academic institutions where males and females are required to undertake the same task in drumming for assessment. “hence, this standpoint must inspire music practitioners to break away from the classification of music and differential roles based on the premise of seemingly natural biological differences” (pp.20-21). supporting the above assertions, amali, (2020) disclosed some african society whereby women perform pivotal role in creating a masquerade and thus involve in its performances. such is that of the idoma community. here according to him, women play important role in the origin of masquerade and that if a man does not have a female child, while alive, he cannot be re-incarnated into the alekwu masquerade spirit because that child will be sacrificed to the service of the masquerade cult. but lawal in contrary stipulates that women are not allowed to participate in ‘gelede’ masking for it is believed that women involvement would draw the spirits’ anger on them or be interference to their reproductive power or nature. this is also same with the people of edem-ani whereby since the inception of the community masquerade cult performances have been done and performed by men alone excerpt for recently where it has been a reoccurring events where women are seen partaking in the performances of some of these masquerade display as observed in the current edem-ani day celebration at nweke edem-ani in nsukka local government of enugu state on the 28th december 2022. conclusion 28 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the emerging roles of women in socio-cultural practices, in edem-ani in nsukka local government of enugu state, like that of the idoma community and some african communities that would be discussed in subsequent works, have opened up another explorative direction or stage in the study of ethnomusicology. according to akunna (2016), “these stages have socio-cultural significance and relate differently to the formal and informal power structures within communal existence”. this means that there are still a lot to explore as far as ethnomusicology is concerned. these findings highlighted the emerging roles women play in the socio-cultural environment in the african community which are very important especially when it comes to the social, economic, political and religious affairs that enhance the smooth running of the african community with regard to gender balancing and equity. references abdulmalik a.a (2020). feminist dimensions and masquerade performances in nigeria. the quint an interdisciplinary quarterly from the north.vol. 12(3) issn1920-1028 agu, d. c. c. (2012). acceptability of cotemporary choral music in christian worship: the igbo experience. nsukka jounal of musical arts research. vol. 1. pp,29-36 akunna, g. (2016). traditional nigeria dance forms and womanhood, some authentic expressions.in y. ahmed, o. bakera and u. amed (eds), critical perspectives on dance in nigeria.express press nigeria. ampene, k. (2005). female song tradition and the akan of ghana: the creative process in nwokorↄ. hampshire, england: ashgate publishing limited. burns, j. (2009). female voices from an ewe dance-drumming community in ghana: our music has become a divine spirit. surrey, england and burlington: ashgate publishing limited. charry, e. s. (2000). mande music: traditional and modern music of the maninka and mandinka of western africa. chicago: university of chicago press. ebeli, e. a. (2015). participation of women in the traditional music scene: perspectives from avatimetotoeme musical performance inghana.global journal of arts, humanities and social sciencesvol.3, no.12, pp.19-27, december 2015___published by european centre for research training and development uk (www.eajournals.org)19issn: 20526350(print) issn: 2052-6369(online) esimone, c. c . (2015). music: a viable tool in teaching and learning in early childhood education. awka journal of research in music and the arts (ajrma.) vol.11. pp164-178. microsoft® encarta® 2009. © 1993-2008 microsoft corporation. all rights reserved. nketia, k.(1975).the music of africa. homevictorgollanez ltd. ofuani, s. (2011). application of the commentary of ine festival songs of aniocha people to contemporary social issues. awka journal of research in music and arts (ajrma) 8, 42-53. okpala, m. u. (2015). comparative analysis of past and present didactic songs used in nursery and primary schools’ music pedagogy in igbo lan . awka journal of research in music and the arts. vol, 11. pp,17-34. http://www.eajournals.org/ 29 awka journal of research in music and the arts (ajrma) vol 17 june 2024 onwuekwe, a. i. (2013) the compositional techniques of ekelebem music and its role in the technological development of instrumental music in uga culture. nsukka journal of musical arts and research.vol.2. pp 31-44. peoples, j. & bailey, g. (2006). an introduction to cultural anthropology. (7th ed.) china: thomson learning academic research center. yerima, a.(2006).nigerian traditional dance: history and practice in critical perspectives on dance in nigeria. a. yerima, b. ojorasaki. and a. udoka (eds).. appendix below are the pictures of ebule masquerade & akirinti masquerade and his wife behind him. women taking lead in the dance of the spirit. see pictures below above are the pictures of two women in white and black taking the lead in the masquerade dance display while the masquerade follows also the next picture with two women, one dressed in a masquerade-like manner with animal tusk or horns with palm leaves tied round her waist and the one with timeline which she plays as member of the masquerade cult group, both heading to the display arena. 117 musical activities of women in annang culture of akwa ibom state ekaette c. udok abstract his work focuses on the musical activities of women in annang culture with its main objective to critically study the music of annang women and collate ethnographic and ethnology materials into a coherent body of knowledge on music practice, behavior and concepts in the society. the method used for the study is multidimensional historical, descriptive and analytical approach to assess those basic principles and organization that are common in indigenous musical culture of the annang people. facts for the compilation of the work were drawn from both primary and secondary sources and from interviews during fieldwork experience. the study also examined the extent in which musical activities play its role in maintaining social, culturalin the society. through interview and findings, it is realized that a lot of things has changed. most cultural activities and seasonal events like fattening process of mbopo and (new yam, cassava, and ebre festivals) which call for the statutory musical performance yearly by women in annang culture are fast disappearing. among other things, it is observed that though some annual festivals like new yam and puberty rites which drew women participation to the event are almost extinct, the musical activities by women are still prominently performed during marriage ceremonies, funeral rites and coronation of chiefs. suggestions were as well made for the sustenance of the culture. keywords: musical activities, culture, annang, women performing groups, festivals, change. t awka journal of research in music and the arts (ajrma) vol. 13 2019 musical activities of women in annang... ekaette c. udok 118 introduction the annang people of akwaibom state like any other african community are vested with rich musical culture transmitted orally by their progenitors to the future generation. yet some cultural traits retained by various musical groups are almost disappearing without being heard again.therefore, the study of annang music in the global world is to view the musical activities of women past and present as a reflection of that particular group with its connection to all social elements in life. this implies that during the pre-colonial times the indigenous musical arts such as asianubaikpa, ekang, enin, atamma, asianakan-anwan, ikem, oko, nkaurimakpo, utu-ekpe,ekpoonyoho, ekong, atat, ebre, ibanisongesit, and ndokufokebeplayed significant roles in maintaining the musical culture of the entire annang people. such cultural groups existed for both men and women, and were usually based on the indigenous artistic work set by the people of the area to form part of their culture. there are many other traditional musical genres in annang apart from those mentioned above, but the peculiarity of the musical performance and the traditional instruments used; gives that performing group a distinct identity. however, as the culture is dynamic or active, many indigenous musical groups get transformed. likewise, the state of the annang women musical groups evolved from the original setting to the present standard which has come to stay as important socio-cultural group known as ibanidung. these changes are to meet up with the contemporary society. so with the gradual evolutionary social change, musical arts become the most indispensable part ofsuch cultural differences. the music of the annang women group has inevitably given credit in the expression of ethnic identity, and also expressed historical facts through song text to construct identity in a modern society.the study lays emphasis on documentation of cultural and social context of music as an aspect which goes beyond the mere sound production, and it adopted the practical approach on fieldwork. musical activities of women in annang... ekaette c. udok 119 location of annang the annang people are found in akwaibom state. they are part of the south-south coast of nigeria; which by 1946 during the regional era in nigeria the present akwaibom state was categorized under the then eastern region with headquarters at enugu. other states such as cross river, enugu, abia, imo, ebonyi, and anambra and state were under the same region. annang is one of the thre major ethnic groups in akwaibom state with eight local government areas as shown below: ethnic/dialectical group local government areas annang abak, essienudim, etimekpo, ika, ikotekpene, obotakara, orukanam, ukanafun (8). the distribution of the local government areas in akwaibom state according to the ethnic and dialectical groups: source: a compendium of annang culture. edited by patty ineme and joseph udondata. map of akwaibom state showing three dialectical groups musical activities of women in annang... ekaette c. udok 120 historical facts on the origin of annang the writings on the annangseems to bear similar origin and migration with ibibio, but there are some specifications on the important issues concerning both groups. to trace the origin and migration of a particular group, sometimes poses problems especially where there is no authentic prove of records in form of written document, archeological materials or dynastic system of government. by origin and historical findings, ibibio is an umbrella name that represents those occupying the land of akwaibom state and beyond. exploring into the root and migration of the people shows that, ibibio is a generic name for all other sub groups in akwaibom. much work of the early historical writings on the ibibio including annang according to abasiatai (1987) and the sub-groups are mostly in the works of the foreigners like g.i. jones, a. j. n. latham, k.k. nair. though in a rudimentary form, the sources available for much writing in many cases before 1900, are of the oral tradition. so since it was not properly documented in the early centuries, the information becomes distorted because the theoretical framework was based on oral tradition.hence, writings on annang and ibibio origin from both indigenous and foreign writers have brought serious argument on the issues. ekong (2001) states: several attempts have been made to trace the origin of the ibibio and (annang). as the ibibio had no written records, it has been very difficult to obtain a reliable historical source from where its origin could be traced…nevertheless, using the linguistic approach, the ibibio language has been classified under the sudanicniger-congo group with its root traced to some of the bantu dialects (p.3). the scanty written document from foreigners in different fields of studies has helped the indigenous writers to have bird‟s-eye view on the subject. ukpong, akpan and akang (2001), in „ikono: the cradle of ibibio nation (historical origin and cultural heritage) assert that in musical activities of women in annang... ekaette c. udok 121 1894, sir roger casement, a british explorer arrived the coastal waters of ibibioland and carefully explored the hinterland of ibibio speaking areas for three and a half years on behalf of the british government and in his report stated that, “the semi-bantu people called ibibio south – east of the niger comprise of the ibibio proper, annang, eket, ibeno, ebughu, eastern andoni and efiat as indicated by their dialects” (p.25). in a similar comment, they declared that “british consulsir henry johnston after carrying out a research study on bantu people, concluded that the ibibio are semi-bantu people who inhabited the cross river (akwaibom) under the names of efik, annang, eket, ibeno, andoni, efiat and ebughu” (p.25). abasiattai (1987) also notes that british scholars on anthropological studies like “talbot, jeffrey, jones, forde and david crabb are invaluable for historical reconstruction since they contain useful oral traditions no longer easy to collect. they also formed part of the written sources available for…. the twentieth century in nigerian and british archives” (p.49). he mentions that another field of study which helped significantly in the re-construction of the (akwaibom) state‟s history was linguistic studies through the work of huge goldie, joseph greenberg, jan p. sterk, harry h. johnston. w. thomas and others. according to forde and jones in ekong (2001), the six major subgroups which make up ibibio race are: eastern or proper ibibio, western ibibio or annang, northern ibibio or eniong, delta, ibibio or andoni, ibeno, riverine ibibio or efik and southern ibibio or oron. the division of ibibio into six major sub-groups as above is relative to their geographical locations and dialectical differences. presently, the six sub-groups of ibibio mentioned above have been merged into three major dominant sub-groups for administrative convenience. there are ibibio proper – central ibibio, annang-western ibibio, oron and (efik now in cross river state) riverine ibibio. the state of migration of ibibio and annang as one stock is asserted by edet udo (who are the ibibio?), ekongekong (sociology of the ibibio: a study of social musical activities of women in annang... ekaette c. udok 122 organisation and change) and edetukpong (enquiry into culture: ibibio names). ukpong (2007) states, „it must be emphasized that the ibibio migration into nigeria was part of the bantu expansion‟ (p.2). in a similar consideration, ineme and udondata in their writing on annang history assert that annang people trace their ancestry to bantu warriors and zulu hunters in east africa. to affirm the assertion that ibibio, annang and other sub-groups are from one stock umo-faithmann (1999) in the preface of his book „ibibio jews of nigeria‟ states, „the knowledge that the ibobio including annang, efik, oron, eketandoni and ibeno sub-groups that originated from israel, the stock of abraham is inherent in all well informed citizens of the old calabar province of the eastern region of nigeria‟ (p.vii). however, ukpong (2007) in his own view asserts that ibibio migration into nigeria was part of the bantu expansion through which the ibibio language and some of their customs evolved. during migration some settled at ibom in present day arochukwu, before passing to their present homelandnorthern, southern, eastern, western, inter-land and riverine areas. all the above opinions have given a clear evidence to believe the report of the foreigners and indigenous writers that ibibio and other sub-groups are from one stock. confirmatively, ukpong (2007) finally notes, „it is clear, in the light of the foregoing that the ibibio, annang and oron have a common origin. the annang split from the main ibibio, whereas, the oron, an afaha (ibibio) people in the cameroons, migrated directly from there to their present homeland in akwaibom state of nigeria‟ (p.5). it is the dialectical differences that have created some impression in the mind of the people that the annang, oron and ibibio are different ethnic groups. whereas according to udo (1983), musical activities of women in annang... ekaette c. udok 123 it is universally known that the differentiation of a language into dialects is due to movements of people from the centre of a common origin to various areas of settlements. this needs no further explanation since we know that the annang of the abak division speak slightly different from the annang of the ikotekpene division (p.90). he further states, that in most serious cases during the age of tribal politics, a willful distortion and fabrication of facts was framed to wrongfully support a particular point of view for political gain. he adds, “…though there have never been serious arguments that the annang are not a stock of the ibibio, there are a few annang politicians who feel that they would gain politically and economically by saying that the annang are not ibibio” (p.83). he confirms his comments that some educated annang believe that they are a common stock with the ibibio. for example, dr. reuben kenrick udo …stated in 1961 that otoro is the dialect group of ibibio. and dr a. a. udo … has written that it is generally believed that the entire group forming the (former) south eastern state belong to the semi-bantu group… the annang have the same history of migration as the efik-ibibio. he means, in other words, that the efik, the ibibio and the annang have a common origin (p.86). ntisong sebastian umoren quoted by ukpong, akpan et.al. (2001) asserts that ibibio is an umbrella name for the central ibibio, annang, oron and efik including other smaller groups such as ito, ukwaibom, itumbonuso, okobo, efiat, mbo or eastern andoni that belong to „okopusem‟ or the pan-ibibio nation. in his opinion, similar to that of udo (1983) is that it is politics that has made some ibibio sub groups to deny being ibibio and thus search for independent identity, all the dialectical groups so mentioned are more often than not referred to as „ibibio‟. hence, there is not much difference in the belief systems, musical activities of women in annang... ekaette c. udok 124 norms and values and social organizations of annang and ibibio groups apart from the dialectical differences. who are the annangs? the annang is a dialectical group generally used to describe the people, speaking a variant of ibibio dialect. “the annang is occupying the western territory of ibibio country, former ikotekpene and abak divisions” (ukpong, akpan et.al 2001: 119). according to obongmboh in ikono: the cradle of ibibio nation: the people called annang today are a section of the ibibio who were given to intolerant behavior towards other members of ibibio family especially during moments of provocation” (p.119). udo (1983) also states that annang means warrior or one who is full of bravery. in his words, the western ibibio (annang) are always proud to be called annang because of their bravery. he also describes the annang as a sub tribe of ibibio. it is believed that annang is a common stock with ibibio and indeed another name for western ibibio. in ukpong, akpan et al (2001) so many people aired out their views to back up this assertion, such people are: reuben udo, he stated in 1961 that annang is the dialect group of the ibibio. similarly, another annang man udo essien udo confirmed the origin and meaning of the name annang, that: “the ibibio and the annang are of the same ancestral father, ibom, having same history and a common origin with the efik-ibibio” (p.121). another writer, dr. a. a. udo of the department of sociology and anthropology in the university of calabar commenting on the origin and migration of the annang in 1971 states, „the annang have the same history of migration as the efik-ibibio‟ (p.123). noah (1980:64), northrop (1973), and other recent publications by reuben k. udo (1961), a. a. udo (1971), m.e. noah (1980), a. esen (1982), e. a. udo (1983), m. abasiattai (1987), f. u. nssien (1991) and many others have supported the fact that annang is a sub family of ibibio. this musical activities of women in annang... ekaette c. udok 125 assertion has laid to rest many arguments and controversies about the origin of annang and ibibio. however, the western ibibio speaksannang a variant of ibibio language and this make annang a separate dialectical tribe from the ibibio. it is similar to the igbo language, which becomes divergent into awka, oratta, ngwa, etche, assa, ndoki, ikwere, abam, aro, owerri, nsukka, ohafia, and onitsha. the annang group comprise of the following eight local government areas: ikotekpene, abak, essienudim, obotakara, ika, etimekpo, orukanam and ukanafun. annang dialectical/ethnic group with its 8 local government areas annang population distribution and densities as shown during 2006 national population: s/n local govt. area 2006 population area(km2) persons/ km2 1. abak 139,090 251.842 552 2. essienudim 192,668 295,447 652 3. etimekpo 105,418 159,925 659 musical activities of women in annang... ekaette c. udok 126 4. ika 72,939 113,600 642 5. ikotekpene 143,077 128,109 1,116 6. obotakara 148,281 227,368 652 7. orukanam 172,654 511,727 337 8. ukanafun 127,033 254,352 499 source: a compendium of annang culture (p.33). music in annang culture music just like language has an important role to play in cultural preservation and identity of annang people. in african culture, it is well known as an integral part of the life for every individual from childhood to adulthood. similarly, in annang culture, every stage in life is occupied by one musical activity or the other. it is the music that acts as mirror to the social event of the society. it is music of a particular group that shapes the social structure and processes of such group. music as one of the major symbols for cultural expression is an instrument through which people articulate their ideas, feelings, thoughts and sentiments. according to okafor (2005); “it is a societal experience shared by all which are employed and demanded in life processes, mechanism and programmes” (p.88). music in traditional african context is more functional than the western world with the outstanding characteristic of being associated with the social, cultural, political and religious events. the african concept of music is totally different from the western one, as traditional african musicians do not seek to combine sounds in a manner pleasing to the ear alone, but simply to express life in all of its aspects through the medium of sound and gestures. the african musician does not merely attempt to imitate nature by music, but reverses the procedure by taking natural sounds, including spoken language, and incorporate them into the music. to the uninitiated members this may meaningless, but in fact each sound has a particular meaning. it is a common fact in every culture.among musical activities of women in annang... ekaette c. udok 127 theannang people as it is the general phenomenon to all africans, the musical culture of the people is so rich in such a way that life cannot be complete without music. there is no occasion, function or event that can hold with great ecstasy and appealing without musical performance. traditionally, it is the music of a particular society that identifies the culture of the place and transmits the norms, values, philosophies and societal ideas to the future generation. the role of music and its effects on the people of annang embraces all sort of social, cultural and religious activities and this has a great influence on the lives of the people. fieldwork approach on various musical genres in annang culture during fieldwork, it was found that there are various music and social groups which are common in annang and are based on gender and age grades. different events provide opportunities for musical performances both for male and female gender groups. ukpong (2014) rightly spelt out the three categories of musical genre in annang culture to include male, female, and mixed group categories. he named some of the male musical groups to include ekpo, abon, utuekpe, ekoong, akpawod, ataad, ikud, nabo, atabadia,ikonisongannang, etokadioadio, ekpamkporo,(ekpa), and ese.while the female gender groups are: abang, asianakananwan, asianubaikpa, akporo, abre, mbopoand others that are extinct. the musical genres for mixed gender group are: offiong, utaand others. the area of concern for this study is on the female groups that have existed and those that are still in existence. information was gathered through interview of women from (oku abak, mbiabongikpe) while the contemporary women group (ibanidung) of ukanaakpautong performed when visited. facts concerning the following women groups were derived in the field: i) ebre ii)asian akananwan iii) asian ubaikpa iv) ibanisongidung musical activities of women in annang... ekaette c. udok 128 ebre women group ebre was a club /esoteric group meant for only married women of good reputation. the name ebremeans water yam (a type of yam cultivated by women and designated by male counterpart mainly for women in those days). hence, ebresociety derived its name from the fact that their meetings and debut usually started with the harvest of this yam variety. this group was well noted in moral, upright and industrious standard. (ekong: 2001) supported the idea. this, of course, meant that a member must not be a thief, or somebody with deviant character. otherwise, they use song texts as indispensable tool for communication to expose and expel any member from the club. the themes of ebremusic involve songs with social themes like praise, humors, satirical, and philosophical and ridicule songs are mostly performed with demonstration. all these themes are communicated verbally and non-verbally through gestures, song texts, instrumentation and dance to the audience.the instruments mostly used by the group are, metal gongs (big and medium sizes) wood block and bell.ebreis now transformed to ibanidunggroup.the ebrewomen group during the pre-colonial time performed during the ebrewomen festival and new yam festival, and they featured prominently during mbopofestivals. a typical song of ebremusical group frequently sung, and demonstrated during performance to convey message is written below: kad ubokise call: akpedo obo kídohoino if you are not a thief response:kadubokise open your palm for a prove call: akpedo obo kídohoino if you are a not a thief response: kadubokise open your palm for a prove the song has moral value of checking deviant behaviour among members; the meaning is dramatized by the dancers as they open musical activities of women in annang... ekaette c. udok 129 their palms to convince people that they are not thieves. when they dance, they open their palms to prove that they are not thieves but innocent. matim inoiwa esuenematiminoiwamatim who stole cassava should be disgraced ekaemenakpan, eyen emen the mother took the container as well as the child. the above ebre song is danced and demonstrated showing the stolen item (cassava) in which the said matim had stolen.many song texts of ebredance portray direct meaning. to abuse the culprit in the public is a common practice during ebreperformance, for instance the song above song ridicules matim as a thief, who has stolen the cassava. asian akaan-anwan (pride of womanhood) the asianakaan-anwan musical genre was and is an organized group by married and elderly women of reputable character. the theme of asianakaan-anwanmusic is always satirical transferring information, ideas, views to the audience through song texts, instrumentation, gestures and dance drama. they demonstrate theatrically the current happenings in the society; sing philosophically about their husbands for instance the songs below have deeper meanings than the literal translation. ayankoteyoesiere(you will call me till daybreak) musical activities of women in annang... ekaette c. udok 130 etukudoadahaofon, etukudo under the cloth (man‟s private system) etukudoadahaofong etukudo under the cloth (man‟s private system) a-yankotayiosiere you will call me till daybreak ebeokonondiadidim-o my husband gave me a slope land akpakpaifonno, neither is the land good for maize nkongefereifonno nor for vegetable asian ubaikpa this is a dance performance by maidens who are at the age of puberty in the olden days; mainly performed by virgins. their dance performance had a very strong and communicative meaning. their dance display acted as attractive information to inform the young unmarried men that they are ripe for marriage. through this dance performance, the girls display beauty, elegance and graceful dance to the admiration of the spectators who perhaps are the potential suitors who anxiously wait to choose a wife among them. the attractive appearances of these young ladies draw men‟s attention to readily ask their hand in marriage. the instrumentation is done by young boys, while the girls adorned with beads and decorated with clay and calm wood do the dancing. the soloist intones the song and others respond, such songs are: musical activities of women in annang... ekaette c. udok 131 odu-du e-sit i-kotake-mkpepunek odu-du e-sit i-kotake-mkpepunek, odudu (a kind of bird) in the forest taught me how to dance amemedemntenten. its back is as soft as maggot. usunenenanie-nyongndahankutimanteowonoedi usun e-nenanie-nyong, the pathway to the house is far ndahankuti-ma nteowono e-di i have not seen my lover coming in the pre-colonial time, occasion for the performance of asianubaikpamusic was usually during the outing ceremonies of mbopo from the seclusion room, so it was mainly organized to celebrate the mbopo. today the moral standard for the asianubaikpadance has gone down and it is more of economic purpose, owned by individual to earn money, without due consideration to the original status in which it was meant for. hence, it is performed at various occasions like political events, traditional marriage, anniversary, coronations or any governmental function. ibanidung (nka, iban). this is the contemporary women group which develops from ebreand other women groups of the olden days. in modern annang society, ibanidung musical groups are very much in vogue and different village coin a name for its group. it springs forth as a result of ill-practices of the former and also because of the societal development and civilization. the ibanidung combines the previous existing cultural and musical elements to bring out new ideas. thus, the musical repertoire musical activities of women in annang... ekaette c. udok 132 which deals with themes for social control, moral values, religious and political functions remain the same till now. the musical activities performed by ibanidung in creative music is built up with repertoire to suit different social occasions during performance the picture below shows the contemporary annangwomen in performance. fig 8 ibanidung ukanaakpautong (annang women group) annang song text literary translation uruaakekaudononwobo when it was time for market, you didn‟t go etiek‟esaowoowoponwoboinuaiko you rather stayed around the corner to backbite the song condemns a lazy woman who goes round talking carelessly instead of going to the market. this goes in line with the proverb which says „an idle man is a devil‟s workshop‟. musical activities of women in annang... ekaette c. udok 133 the values of traditional music in annang culture values are those ideas that a particular group appreciate and cherish. they are recommended principles and guidelines expected to be carried out by every member of the group. ocha (2007) claims that values are the principles or standards followed and revered by a group of people continuously from generation to generation. values are contextual, relative and referential, as okere (1978) states, “every value (observed) is… for someone or some people” (p.23). this means that what is valuable in one particular group, may not be revered by another ethnic culture. hence, most of the traditional values are encoded in the music of the people. it runs through various forms of cultural practices which are common in the area, one of which is women traditional music group. some cultural and social values retained through music are illustrated in the song texts of musical group. song text literal translation inoifonnok‟otunnyin(2x) thieves are not regard in our group nkannyinimahaino our group does not welcome thieves enukinoenoedem (repeat ) let thieves be dropped behind song text literal translation etokoboikpausuyihendomeyinyoung lady, why not rub ndom? (maintain the pregnancy) mfin, mfin, saa---ki‟kot today you evacuate mkpong, mkpong, saa---ki‟kot tomorrow you evacuate musical activities of women in annang... ekaette c. udok 134 there are deeper meanings to the above songs, which emphasize the moral standard expected by people in the society, hence, deviants are ridiculed through the song and they dare not attempt to go near or belong to the group. through this medium, those with questionable characters are checked in the society. contextual applicationand socio-cultural functions of women music groups in annang comparatively, the musical experience of the annang people as applied to the music culture of other places in africa is always attached to socio-cultural events. the relationship between music and culture is what daramola and ayeyemi (2008) assert that music and culture have a lasting relationship and bondthat has helped to develop and serve educational and cultural expressions as a unique premise for both. in a true sense, music has helped in promoting and preserving cultural values and historical occurrences in the society. the women music groups really have unified women together in terms of its socioeconomic benefit, maintenance of moral values and norms as expected by every woman in the community. women musical groups such as ebre, asianakaan-anwanin the time past were so responsible for the conduct of rite of the passage known as mbopo. they were all involved in the processes and the outing ceremony of mbopo. it is noticed that in some african cultures, many people perform and practice this type of rite of passage at puberty for young girls. nketia‟s (1974) states similar views on such practice in ghana. also omolaye (2016) confirms of such practice in ogori of kogi state, in all these places, music has a functional role to play. music in the traditional annang culture has a cohesive potent force in every day‟s life of individual. events for women’s musical performances in annang culture however, the totality of traditional artistic experience of the women musical activities of women in annang... ekaette c. udok 135 musical groups and the context of performance then and now is based on the following time of events: mbopo ceremonial outing fattening room celebration (mbopo) is musical performance during rite of the passage as demonstrated by ebrewomen group during mbopoperformance. it was a ceremonial festival conducted yearly by the annang people according to their customary calendar period. usually fattening room for mbopo was a period of preparing young ladies for marital life. the nature and scope of music and dance in mbopo was to re-enact customs and tradition of the people. it was a yearly event which was performed after three months of lady‟s seclusion and confinement. during the outing ceremony, the dance steps, costume as well as the movements of mbopomaiden communicate messages uniquely to the audience. the outing ceremony as a social activity was to be celebrated by the entire community and beyond. one of such mboposongs is: amanama edu a dance parade by the mbopoaround the village is indication to attract attention of the public to a scheduled dance outing. this is accompanied by the women musical group, while the song texts clearly portray the social themes, historical facts/ stories, customs and morals of the society. musical activities of women in annang... ekaette c. udok 136 during marriage ceremony there are three stages of marriage: nkongudok, mbup, and ndouweme (oyohondo) in annang. according to akpan (2018), the first initial process known as nkongudokdoes not involve many expenses and visitors, likewise, the mbup which is the second stage, it is during this time that the payment of bride price is made. the last stage involves an elaborate ceremony of the two families, where friends and the entire community come together to celebrate. it is during this time that the women cultural group (ibanidung) performsoutstandingly with musical activities to bring out the bride to her husband. during child naming/dedication another important ceremony in which women play a central role is during child naming and dedication ceremony. the women lead the mother and the baby with music as she comes out. the group participates with songsof praise during this event. the song texts are conceived in various ways to express some vital issues in the text more than the tune. such that deals with praise, admiration, applause and compliment. funeral celebration during funeral rite, music is used as an avenue of expression and custodian of culture. for instance, at funerals the music performance by the women, does not necessarily express sorrow or grief, but it indicates the paying of tribute to the dead. in the traditionalannangsetting, it is formal for the children to dance at the burial of the elderly parents as a symbol of honour to the departed souls. festivals/anniversary/memorial ceremonies in some villages, there is usually a day at the end of the year set aside to celebrate and honour indigenous sons and daughters of the community, in such a day, women groups participate fully as major part of event through their musical activities. various dance groups, asian musical activities of women in annang... ekaette c. udok 137 uboikpa, andibanidung among the female folk dominate the public ceremonies with songs and dances. changes in socio-cultural values of annang culture before the arrival of the europeans, various communities in this region were ruled by their chiefs aided by the village councils and secret/ cultural societies or clubs likeekpo, idiong, ekong, ataat, akata, obonand ebre/ibanisong. these were also religious cults in which incantation, ancestral prayers, music and sacrifices were highly considered as part of their roles.but the eruption of cultural practices when the europeans arrived with the mind set to evangelize and colonize nigeria, has greatly influenced the african culture. and because their cultural frameworks were incompatible with africans, in politics, education, religion and economy, africans were in conflict and confusion at that early stage. during the time, westerners presented their culture as civilization which should be accepted as necessary tools without questions. they rejected many african values which people held with much respect, and the value system declined gradually giving way to the assimilation of foreign cultures and ideas. this affects many facets of life including the musical culture of the people. this implies that the nature of culture is subject to the process of change and therefore culture is not a static concept but a dynamic process. as society grows, its culture changes, people learned, borrowed, adapted, accumulated and add ideas and material possessions to their culture. the values of annang culture which express the total collection of symbols, objects or norms so peculiar to the people were altered. some of the moral principles or codes which shaped and identified one as an african man disintegrated. however, some cultural and moral values which were highly acknowledged and strictly adhered to by people in the traditional society gradually disappeared. such values which enhanced the moral conduct, the up-bringing, the shaping of people‟s attitude and the character formation are replaced by alien behaviours especially among children and youth. musical activities of women in annang... ekaette c. udok 138 it is then possible to assume that all cultures are susceptible to changes arising from human factors like interactions, socio-political events, cultural confrontations and conflicts. the change of cultural infiltration has two sides of the coin – the good and bad impacts, but sometimes, the later overwhelm the former, it yields nothing but foreign ideas and orientations, such which mellow down the traditional values of respect and kinsmen, uphold depreciation of moral decadence against the societal ethics. changes in the musical culture of annang cultural encounter or contact is a general phenomenon which has resulted in the assimilation, adaptation and accommodation of other people‟s culture into one‟s society. this has equally affected the annang culture, thereby ensuring the end product to become cultural alteration, refinement, development and advancement. in annang culture, some laid down standard of what is acceptable or unacceptable, right or wrong that regulate the behaviour of members of the societyis fast changing. the laid down customs, norms and beliefs of the society is fast diminishing. there has been and always an acculturation or cultural contact in a dynamic world. yet, according to oladipo (2006), the re-discovery of african values has the potential of promoting the kind of self-understanding that would provide some basis for determining the kind of socio-cultural reconstructions that would enable africans to come to terms with the challenges of contemporary life. although, culture has different definitions by different groups of people, the concept placed on culture by different people is generally regarded as a way of life of a particular group of people. this is because, culture is meaningful only in the context of human society made up of people expressing themselves in particular ways which may be similar or different from those of other societies.biobaku (1982) defines culture more clearly, as that complex whole which include knowledge, belief, art, morals, law, custom and any other abilities acquired by man. according to him culture encompasses those musical activities of women in annang... ekaette c. udok 139 conventional understandings and practices which give a people its uniqueness and thus renders such a people distinct from all others. in other words, the nature of culture subsumes the totality of the material, spiritual, artistic, intellectual and other accomplishments of a people, which give some indication of their way of life, their mode of existence and the by-products of their type or level of civilization. for changes in musical culture of the annang women,not much are portrayed in the musical performance practice like the musical forms, phrase structure, especially expression of meaning in the song text. the same philosophical, social and satirical characters in song texts are still observed. but since the society is dynamic, there are some changes in other surrounded areas which give rise to the change in the musical practices and identiy. the effects of such particular performances are considered alongside with the sound components of music. hence, the following changes are observed in contemporary women performing groups: (i) the changes occur more in the administrative process and cultural product of the society. for instance, pseudo-religious activities like the introduction of prayer and singing of religious song before any performance. (ii) monthly contributions and introduction of banner, involvement of young boys for instrumentation. moreover, the prevalent festivals like new yam/cassava festivals are rarely practiced, hence, no regular or yearly meeting as a community based programme. therefore, no fixed or firmed calendar of event meeting except during annual day‟s celebration or incidental occurrence of events like marriage ceremony, burial rites or child/ naming ceremony or any other irregular event in the area. (iii) no or less effective activities on traditional rites and festivals like mbopo on a particular calendar month. no more pouring of libation to appease the gods of the land. (iv) in the pre-colonial time, names of those with deviant behaviours were mentioned directly and ridiculed while singing. musical activities of women in annang... ekaette c. udok 140 today, offenders could be ridiculed but names of the defaulters are not mentioned by the group to avoid court case. (v) from the interview, it was mandatory for every married woman by then to join the group. this was regarded as a training ground whereby rules and principles of home management was to be delivered directly to a newly married woman – on how to care for her husband and children. today it is optional. (vi) there was nothing like uniform by then while today the ibanidung are dressed each group with their uniform as shown earlier. (vii) the themes for the song texts which according to akpabot (1998) consist of satirical, philosophical, praise song, protest songs, abusive songs and metaphor and songs for social control are still maintained till now.this acted as a watchdog to check deviant behaviours in the community. conclusion the study has examined the musical activities of women in annang culture and also exposed the history, origin and migration of the annang people. it has covered a wider knowledge of multi-cultural range and documented same for posterity, since the society is dynamic. in view of the above, it is therefore recommended as follows: 1. to re-build the societal cultural values does not mean to purify or purge any useful alien ideas rather it should be merged to produce suitable standard in the contemporary society. 2. in order to reach the state of cultural equilibrium, a concerted effort has to be applied by government to promote and encourage some essential societal values which are reflected and embedded in musical arts. 3. the interrelationships among the annang people through the use of indigenous musical arts should be encouraged through periodical cultural festivals. 4. annang indigenous music culture should be documented during music festivals and stored in archive for posterity. musical activities of women in annang... ekaette c. udok 141 references abasiattai, m. b. 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(1983). who are the ibibio? onitsha: african –fep publishers limited. ukpong, e. (2014). the annang traditional music culture. in patty ineme and joseph udonndata (eds), a compendium of annang culture. ikotekpene, akwaibom: ritman press. ukpong, e. a. (2007). an enquiry into culture: ibibio names.uyo: doran publishers. ukpong, d., akpan, m. & akang, n. (2001) ikono: the cradle of ibibio nation (historical, origin and cultural heritage). uyo: dorand publishers. 253 developing nigeria human capital through music entrepreneurship alvan-ikoku o. nwamara & nnamdi c. onuora-oguno department of music, nnamdi azikiwe university, awka abstract entrepreneurship has to do with an individual’s ability to organise, manage and assume the risks of a business enterprise. such ability eventually earns such an individual means of livelihood and recognition in the society. this by implication portrays music entrepreneurship as that which deals with starting or organizing commercial music enterprise (difficult project or activity that requires effort), especially one that involves financial risk. human capital on the other hand, supplies physical labour, technical and professional skills, which are germane to the efficient and effective planning of developmental activities in the economy of a nation. both have a symbiotic relationship. this paper therefore sets out to highlight, the usefulness and importance of music entrepreneurship, its place in the development of nigerian human capital, and possibly looks into ways of improving and encouraging music entrepreneurship in nigeria and utilizing its potentials for the betterment of the nation. introduction the nigerian nation is highly blessed with much qualitative human and natural resources. the human resource is made up of people from various ethnic groups comprising majorly the igbo, hausa and yoruba ethnicities. these people supposedly, occupy various positions in the country’s work force and thereby constitute what is known as the nigerian human capital. unfortunately, a reasonable number of these people fall within a group that are completely unprepared to succeed within the realities of the professional world, despite their outstanding god-given talents. most human capital developmental efforts in the past were focused on developing skills in the individuals. much consideration was not given to the real world situation as regards how the skills developed can be harnessed and utilized to create wealth for the highly skilled individual that is about to join an over saturated workforce, hence the emergence of entrepreneurship or better still, music entrepreneurship. music entrepreneurship is a new phenomenon in the world’s music business, not only because entrepreneurship has just come into existence in the early 21st century but also for the fact that it is being newly introduced in the formal academic music setting as an area in the music discipline. although it has not been approved in many institutions in nigeria, it is gaining grounds in quite a few institutions where it has been introduced and implemented as either a course of study under the department of music or under the school/institute of awka journal of research in music and the arts (ajrma) vol. 9 2013 254 entrepreneurial studies. in some institutions, the school of entrepreneurship or entrepreneurial studies exists as an independent institute while in others; it is incorporated into their curriculum as an aspect of the various courses offered. in the nnamdi azikiwe university, awka, for instance, the school of entrepreneurial studies exists as an independent institute, named after late chike okoli, a young lawyer who made an indelible mark as an entrepreneur early in life before the cold hands of death snatched him away from the planet, earth. the institute is run collaboratively by the university and the chike okoli foundation (an extended arm of the emzor group). in the case of the above mentioned institute, classes are run in general entrepreneurship while the students are allowed to employ the entrepreneurial knowledge gotten from the classes in their various specific areas and disciplines; in this case music. akpan (1982:128) observes that the main intent of developing the human capital is ―to equip people with the knowledge required to qualify them for various positions of employment or improve their skills and efficiency in the positions they already occupy.‖ in the case under discourse, developing the nigeria human capital through music entrepreneurship entails equipping the people with musical knowledge required to qualify them as performers, consultants, composers, teachers, authors, researchers, music therapists and so on, or improve their musical skills and efficiency in their already occupied positions. this is the main thrust of this paper. the concept of development nzewi (1999: 38) defines development as ―advancement of an inherited, acquired or current state of being.‖ he went further to state that ―every human culture has continuously advanced its mental and human systems as well as material products‖ and that ―recognisable states of development telescope the historical advancements of a human group’s mental genius,‖ stating that ―every period constitutes authoritative development integrity.‖ he informs that ―advancement implies a continuum of the original concepts, theoretical rationalisations, creative principles and structural-formal manifestations.‖ and finally observes that; the process of achieving a continuum could be intuitive or research derived or both. a continuum definitely cannot be achieved by blind imitation, or reckless adoption of foreign thoughts as well as mental-material products. advancement implicates as well as accrues currency. that is, it updates tradition in terms of expanded and impressive worldview or human contact. nwamara (2010: 2) quotes the oxford advanced learner’s dictionary as having approached the definition of development from various perspectives like; ―gradual growth,‖ ―becoming or making something larger,‖ ―more advanced‖ and ―more organised.‖ while linden (1989: 36) sees development as ―a process which aims at achieving self reliance and improved conditions for the under privileged majority of the people.‖ all these definitions and observations present development as that which has to do with advancement, improvement or better still, enhancement. what is music entrepreneurship? music entrepreneurship is a field of study that incorporates music and business aspects. it deals with starting or organizing commercial music enterprise or venture (difficult project or 255 activity that requires effort), especially one that involves financial risk. music entrepreneurship provides for an individual, numerous music business possibilities ranging from music teaching, consultancy, composition and performance etc to music recording and production, music instrument technology, music therapy and so on. in the academia, music entrepreneurship arouses tremendous interest but there is a lot of confusion about what it exactly means and how it can best be integrated into the curriculum whether as a minor, required classes for all musicians, electives, extra-curricular clubs, entrepreneurial culture, or this or that. while several definitions of music entrepreneurship exist, three aspects are central: (1) self-employment skills, (2) small business creation, and (3) the development of an entrepreneurial mindset. apart from music entrepreneurship, there exist other fields of study that incorporate music and business aspects. with the inclusion of music entrepreneurship, they are four in number. these four fields, according to cutler (2010), attempt to advance the cause of music-related ventures in economically viable ways but appeal to different constituents and present distinctive priorities. the four fields of study as identified by cutler (2010) include: 1. music business (aka music industry) 2. arts administration 3. music career development 4. music entrepreneurship in an attempt to highlight the major similarities and differences between the four fields of study and make way for easy analysis, the following table was deduced: business music arts admin music arts development music entrepreneurship advent mid-1970s 1970s 1980s. but has grown substantially since 2000 early 21st century nature of the programme & courses offered many schools currently offer majors, minors and courses in the area. many schools currently offer majors, minors and courses in the area. no schools offer a major or minor in this area. several programmes a relatively small amount of schools offer minors or courses in this area, though that number is growing rapidly. career development classes often incorporate some 256 typically housed within music schools (ie. majors are expected to play an instrument and study core music topics ₦éèýéin theory, history etc.) typically housed outside the music school, and have an interdisciplin ary approach have career centres housed in their music or arts school. entrepreneurial elements. some programmes utilize pre-existing entrepreneurship courses taught through the business school, while others hire music specialists. some successful models team up music and business faculty. job target prepares students for jobs in the ―for-profit‖ music world (especially the recording industry) prepares students to work as administrat ors in the non-profit sector, for organizations such as orchestras and museums. prepares students to get music jobs and to work as freelancers prepares students to work as self-employed artists, small business owners, and arts advocates. musical focus primarily on pop styles primarily on classical, jazz, and other ―art music.‖ efforts are geared largely towards performance, composition, and perhaps music technology efforts are geared largely towards performance and composition. technology, education, and business majors are increasingly finding value in these courses topics typically addressed music distribution, promotion, licensing, copyright law, royalties, contracts, mission, organizationa l structures, operations, boards, leadership, legal issues, auditioning, interviewing, résumés, cover letters, websites, taxes, networking, recording, opportunity creation, risk, creativity and innovation, idea generation, social change, product development, market research, marketing, business plans and 257 business models, technology, and music publishing. fundraising, budgeting, marketing, public relations, outreach, and advocacy. management, getting gigs, working with the media and job possibilities. technology business music arts admin music arts development music entrepreneurship present state and prospects currently doing some soul searching, as the recording industry is in a state of chaos, collapse, and restructuring. what a ―music business‖ class or degree will mean in 5-10 years is uncertain at this point. is a quickly changing field, such as competition for funding and attracting audiences getting more intense? many arts administrator s are beginning to approach their businesses more like forprofit enterprises. the focus was primarily on ―job‖ preparation, as opposed to selfemployment— how most performers earn their living. in response, the field of music entrepreneurship emerged. many career development programmes now embrace entrepreneurial concepts as well. the fact that it is a relatively new field notwithstanding, there is expectations of huge developments over the next decade. from the table, a critical observation would present some overlaps between the four areas. each is equipped with valuable lessons that can be gleaned from it, regardless of professional direction. for music entrepreneurship, expectations of huge developments are high in the area not minding that only a handful of schools offer the course in 2010. there is a prediction by david cutler that within 10 years, every institution will embrace music technology or stand the chance of not being able to attract students. music entrepreneurial possibilities in nigeria the music industry all over the world is undergoing a very exciting transition presently. business in the present day music industry has gone digital; cutting across the entertainment, media and content industries; and this has become a part and parcel of our lives which seems irreversible. today’s music business is a ―do it yourself‖ (diy) thing. the diy trend in today’s music business is a major aspect of music entrepreneurship which is hoped to achieve growth in the small-to-medium size service industries (smes). music entrepreneurship now 258 equips artistes to be capable of establishing their own music enterprise with very little capital which can be managed to grow into very big establishments in future. the following are some of the many possible areas/aspects of music entrepreneurship in nigeria. (1) music teaching/training/consultancy this is where an individual makes a living through tutorials and trainings in various aspects of music. there are many possibilities in this aspect of entrepreneurship. these possibilities include; instrument teacher/instructing, music directing (choral, band etc), (2) music performances the availability of sophisticated synthesizers and music equipment in the present day music business, with the combination of adequate specialized skills and knowledge of performance, the sky is not even the limit of the average nigerian performer; it is instead the starting point. an individual performer now plays his music and sings as if a whole band is playing. thanks to technology. this extends to other forms of performances either as an individual performer (solo) or as a group (ensemble). (3) music composition composing for corporate organisations, individuals, the government, churches and so on gives a music entrepreneur enough income for his sustenance. composition here covers so many areas including creation of an entirely new work of art and arranging old works for voices or instruments. (4) music sales/marketing in the music business of today, music entrepreneurship has extended to music sales and marketing, where a musician has direct access to his markets with less hassle and yet makes more income. this can be done in form of on-line marketing and establishing one’s own business affairs where one coordinates his own marketing and business development activities. he does not need to sign all rights away to a large music company and live (or rather, die) at their mercy. (5) music instrument technology this ranges from musical acoustics to digital or computer music technology. specialists in this area are not easy to come by in nigeria. the few are doing so well that they hardly find a breathing space in their activities. music instrument technology offers a very wide range of job possibilities that need to be explored. (6) music therapy music therapy is one unpopular area of the musical arts in nigeria. but in recent times, music technologists, medical scientists and psychologists, have produced some relaxation compact discs (cds) that contain well selected articulated sounds played usually with the aid of a cd player and listened to with earphones. this exercise has been proven as being capable of relaxing one’s mind thereby keeping the person in a healthier frame of mind and body for other activities. health is wealth and every individual strives to be healthy. therefore, this aspect of music entrepreneurship that deals with the essential commodity good health, invariably is a goldmine. 259 (7) music recording/engineering now, one can build a small home-studio for a relatively little amount of money and do all his own productions from a-z. with time, he can extend to commercial recording in the homestudio or help other people in their productions elsewhere, having mastered the recording business. more still, other extensions are possible when the business grows. this may include mastering services and web services. contributions of music entrepreneurship to nigerian human capital development human capital according to the wikipedia encyclopedia refers to the stock of competences, knowledge and personality attributes embodied in the ability to perform labour so as to produce economic value. it is the attributes gained by a worker through education and experience. many early economic theories refer to it as workforce, one of the three factors of production, and consider it to be a fungible resource – homogeneous and easily interchangeable. faghoungbe (2008: 3) describes human capital as ―the stock of knowledge and skill embodied in an individual as a result of education, training and experience that makes him or her more productive.‖ he further informs that ―it is used in labour or employment and enables workers increase their productive capacity as individuals, organisational and societal members.‖ on the other hand, it entails recruiting, supporting and investing in people, using training, coaching, monitoring, internships, organisational development and human resource management for realization of desired goals. ugbo (2010: 5), remarks that ―human capital consists of human assets – know how, training, new values, innovations, competence, expertise, talents and capabilities.‖ music entrepreneurship equips the human capital with skills, knowledge and opportunities that enable the human capital improve socially, mentally, emotionally, psychologically and most importantly, economically. these are possible through the many opportunities of which some have been mentioned above. perception from the angle of the three central aspects of music entrepreneurship, the following can also be deduced: (1) self-employment skills education is paramount in the overall and total development of man. through music teaching and training, the human capital is equipped with self-employment skills in form of musical skills, good sense of judgement, musical abilities, knowledge and competences for the musical challenges in the competitive music industry. these skills with little or no capital enable an individual to stand independently on his feet. this is an aspect of human capital development. (a) small business creation economic growth includes ―the attainment of increased per capita income, increased productivity in the economy, greater resource efficiency, increased standard of living, reduced cost of living and positive changes in values and attitudes‖ ( amadasu, 1999: 3). with the skills one acquires through music entrepreneurship, he is empowered to create small business enterprise. this may include the production of musical goods and services which in turn increases his standard of living. this is also developing the human capital. 260 (b)the development of an entrepreneurial mindset. the most creative minds in all world cultures are found in the world of music. but in many cases, these creative minds lack direction and mission. music entrepreneurship therefore is designed in such a way that it equips such individuals not only musically but also extramusically in form of creative and critical thinking, flexibility, programming, presentation skills, outreach, audience development, marketing, self-reliance, communication proficiency. entrepreneurial musicianship aims at fostering a mindset of self-efficacy and producing a new wave of musical leaders equipped with the musical and extra-musical skills integral to succeeding. the skills nurture the artistic empowerment that individuals need to be successful. the way forward developing nigerian human capital through music entrepreneurship requires efforts by the government, institutions, parents and all individuals. the following suggestions are hereby presented with the belief that if considered and implemented, the nigeria human capital will turn out better and more advanced (developed). (1) music entrepreneurial studies needs to be urgently introduced in all music institutions’ curriculum nationwide. such nigerian music institutions should be capable of inculcating in musicians/students what they really need to succeed, instead of just telling them to practice. they should be capable of turning music students from degree-holding music hobbyists into professionals. emphasis should be on the diy trend. every great musician should be capable of managing to at least make a good living. (2) the government should integrate music entrepreneurship into the nation’s financial system to provide the capital necessary for the empowerment of nigerian youths and musicians who are interested in this area of the musical art. this could be made possible through loans and micro finance schemes. (3) there is need for the non-academic music practitioners and those in various nigerian institutions to come together, combine their efforts and make music entrepreneurship a dream come true in nigeria. (4) stakeholders should periodically organise intensive programmes and workshops that would help musicians and music students explore and develop careers beyond the traditional job pathways. such workshops, lectures and seminars help the participants envision and forge careers as music entrepreneurs that earn their living doing what they love – music. conclusion developing nigerian human capital is a gradual process that requires an aggressive approach. skills for successful entrepreneurship can be learned and trained. therefore, all nigerians, on individual and collective basis, the government and all establishments have roles to play in order to achieve this noble task. this will in turn make nigeria the nation of our dream. music entrepreneurship is the way. being a musician is being an entrepreneur, period. references 261 akpan, n. (1982). public administration in nigeria. lagos: longman press. faghoungbe, b. (2008). human capital development: the need for efficient business policy. a paper presented at a two day seminar organised by the institute of corporate and business affairs management (icbam) in lagos. hornby, a. s. (1995). oxford advanced learner’s dictionary. new york: oxford university press. linden, a. (1989). communication assistance for third world countries: going dutch. media development. no. 3. nairobi: african council for communication education. nwamara, a. o. (2010). music technology in national development: the nigerian situation. paper presented at the ninth (9th) annual conference of the association of nigerian musicologists held at the university of uyo, akwa-ibom state. (1st – 5th june) nzewi, m. (1999). empowering the indigenous music and folklore for development. in m. ekpo (ed.), development of indigenous music and folklore for economic empowerment. port harcourt: baron press ltd. ugbo, i. e. (2010, may). the place of human capital development in the globalizing world: the nigerian experience. a paper delivered at the 2010 annual conference of the faculty of arts, nnamdi azikiwe university, awka. internet sources (web pages) cutler, david (2010). music business vs. arts admin vs. career development vs. music entrepreneurship. retrieved from www.artistshouse.com assessed 16 th february 2010. http://www.artistshouse.com/ awka journal of research in music and the arts (ajrma) vol. 16, september 2023 13 symbolic motifs in igbo indigenous war dances: a semiotic reading of egwuike war dance ume judith akunne 08066001150 stilljudythume@gmail.com. chukwuemeka odumegwu ojukwu university, igbariam. anambra state. & ajiwe uchechukwu chimezie 08062831842 uc.ajiwe@unizik.edu.ng dept. of theatre and film studies unizik. awka. anambra state abstract traditional african dances have symbolic signs inherent in the dances; as such, these signs form the ideas communicated through the dance and portray the cultural values of the community. this paper looks at the symbolic motifs in selected igbo cultural dances. it also examines the communicative elements as symbols in the selected dance. this research, therefore, is anchored on semiotic theory and adopts a qualitative research design to investigate symbolic elements in the egwuike war dance and their meanings within the cultural dance and to the indigenes of the community where the dance originates. the findings of this research show that symbols as used in these dances are catalysts that enable the understanding and interpretation of the underlying messages in the selected dances, thus making indigenous traditional dance a veritable tool for communication. introduction a symbol is an important tool of communication that conveys information about a person, group of people, community, or race. symbols play a key role in directing and repositioning the mind of an individual towards understanding basic facts that are not verbally expressed. consequently, symbols serve as vectors that appeal to and influence the emotive senses of sight, feeling, and thought and trigger the action of an individual towards making judgment. joseph boggs and dennis petrie (2000) explain that: a symbol is something (a particular object, image, person, sound, event, or place) that stands for, suggests, or triggers a complex of ideas, attitudes, or feelings and thus acquires significance beyond itself. a symbol is a special kind of energized communication unit that functions somewhat like a storage battery. once a symbol is charged with a set of associations (ideas, attitudes, or feelings), it is capable of storing those associations and communicate them any time it is used. (p. 63) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 14 the energy that symbols infuse in the mind of an observer makes it indispensable in human communication, especially in conveying important information that cannot be achieved through verbal means alone. generally, symbols are the basis of cultural identification. they stand to represent certain information that characterizes a particular culture as well as differentiate it from other cultures. culture, being the generality of the people’s existence, is manifested in shared peculiarities that give credence to the structures of every society. symbol means different things to different people, which is why it is impossible to predict how a specific culture will symbolize something, owing to the fact that some symbols are gained from experience while others are gained from culture. dania aspasia, maria koutsouba, and vasiliki tyrovola (2015) assert in their study that the basic premise for the development of symbols as important to the construction of meaning lies in the “understanding of the dual status of symbols both as signs and as communicative constructs containing information about objects and concepts” (p. 37). for example, nicoleta blanariu (2015, p. 4) in paradigms of communication... states that: dance communicates a set of traditional symbols. in this respect, we may delineate two positions. first, choreographic expression is necessarily "dramatic" meant to reflect emotions, characters, and actions organized narratively and second, dance is purely formal, a display of technical virtuosity. in the first case, there prevails the referential function of language and/or the expressive one and in the second case the dominant function is the poetic–the focus is placed on message "for its own sake". consequently, the nature of symbolism is that it could be a representation of ideas outside itself; therefore, everything one does throughout their life, including dance, is based on and organized through symbolism (lumen cultural anthropology parr. 1). furthermore, aspasia, koutsouba,and tyrovola (2015) note that the use of symbols permits particular cognitive manipulations that function as external graphical representations. these representations can deliver and incorporate the fundamental structural elements of ideas, objects, actions, and skills, as well as their relationships, making comparisons and judgments easier (p. 38).therefore, the understanding and interpretation of any event, activity, or action like dance depends on a careful evaluation of the different symbols embedded in the dance in order to decode the hidden meaning intended to be communicated to the observer. basically, all forms of human communication involve the use of symbols, and dance, being a rhythmic movement of the human body, is by nature symbolic and depends on nonverbal behaviors to communicate feelings, ideas, and pertinent social issues. these nonverbal behaviors are achieved through the exteriorization of the inner feelings of the dancer through physical movements of the hand, legs, waist, torso, and indeed the entire human body. in addition, dance as a medium of communication can be understood as a symbol of expression because of its reliance on nonverbal codes, cues, and physical elements to communicate. most times, the messages conveyed through the medium of dance require awka journal of research in music and the arts (ajrma) vol. 16, september 2023 15 a critical understanding of the various codes, cues, movements, and physical elements in order to relate to events and activities in society, while enabling the audience to interpret and make useful inferences about the dance and what it means to the dancer and society. basically, dance forms, in their own rights, are laden with the accompaniment of cultural elements like costume, makeup, props, and other expressive objects like musical instruments, in addition to the dancer’s body movement to communicate ideas, messages, and philosophies of dance to spectators. mellitus wanyama and isaac waswa therefore affirm that in dance “symbols may be expressed through the design of costumes and their cultural and environmental colours, the colour of body paintings, and the shapes of patterns applied” (p. 228). writing on the cultural trends of indigenous nigerian dances, sunday abraye and rudolph kansese note that: the cultural behaviour of nigerian dance does not rely on the movement of the body alone. there is display of various expressive modes of culture; these are usually incorporated into the dance. as a matter of fact, most nigerian dances cannot survive on the dancers’ movement alone. these cultural modes are appurtenances to dance movement, and together, dance is able to communicate ideas to the comprehension of the audience. (p.326) the inclusion of these cultural elements serves as embellishments that enhance and give clarity to the underlying messages and motifs of any traditional dance and also enable the audience to look beyond the aesthetic of the dance to search for meaning. dance is usually encapsulated in motifs that are quite significant to the overall intention of a dance. the motifs of a dance could be highlighted to make critical socio-political statements concerning growing issues in the community, offer solutions to existing problems, modify existing knowledge of the people, and document histories that generally define a people. in light of the above, karen bond argues that: bodily movement does not spring from the choreographer or dancer’s intuitions — her unverbalised ‘direct’ feel for the music, space, and time, or movement without music, but from the conceptual, poetic, and ideological horizon, in which she is found, formed, through which she developed, or which she critiques, destroys, deconstructs, or restores and appropriates anew. (13) hence, the in-cooperation of symbols in dance helps the dancer(s) enhance the underlying messages of the dance. the function of dance in society can therefore be argued to possess great potential in serving as a tool for social commentary, engineering, reformation, and transformation, thus becoming instrumental in communicating ideas that can be beneficial in solving challenges facing man in his immediate environment through its uniqueness and symbolic way of representation. africans are inalienable to their cultural roots. most times, dance is used as a medium of contact with the cultural identity and beliefs of african men. hence, dance in africa as awka journal of research in music and the arts (ajrma) vol. 16, september 2023 16 a whole and nigeria in particular is inspired by the people’s culture, which gives a sense of direction and purpose to the respective tribes, ethnic groups, and communities. ifure ufford-azorbo affirms that “african traditional dances do not deviate from what applies to the world over in terms of definition, but go a step further by being a generational part of the fabric that makes up the communities that practice them” (264). the inseparable nature of african dance from communal or traditional involvement in virtually every aspect of the people’s cultural beliefs makes dance a viable and symbolic tool for communication because it speaks the language of the people. nicholas akas, in “the contextualization of indigenous...” succinctly affirms that: indigenous dance is one unique technique indigenes have in passing on their histories and beliefs. african dance movements hold symbolic and semiotic importance than the dance steps of other cultures, because of its key role in the practice of oral history rather than solely for social entertainment (142). though akas, in his view above, places the importance of african dance on its social role in cultural and historical preservation over its entertainment function, it is imperative to state that dance, regardless of its religious, cultural, social, and therapeutic functions, achieves its relevance through its ability to titillate and arouse the audience towards creating and evaluating the underlying messages inherent in a dance. hence, dance conveys its symbolic message through entertainment. obviously, the historical message and significance of any traditional dance are portrayed through the use of important and unique symbols. this is why it is important for dancers to consider their own cultural background when searching for symbols for their dance, because symbols are similar in appearance across cultures, even though diverse interpretations are possible due to diverse cultural orientations and significance. hence, symbols can best be understood or interpreted through the eyes of the culture that they pertain to; otherwise, they may lose their unique significance. this study therefore examines some ceremonial indigenous traditional dances in nigeria with the view of exploring their symbolic representation of the people’s culture, history, and ideology and the communicative efficacy of the dances beyond entertainment and recreation. underscoring the semiotic implications in african cultural dance semioticians believe that the relationship between signifier and signifier is completely arbitrary. the arbitrariness stems from the fact that a “sign is ambiguous” (roland barthes 26) and means so many things to so many people. hence, the arbitrary status of a sign means that its meaning is derived not from its social referent, which is signified, but from its relation to other symbols or signifiers within a discursive code. decoding the meaning of a particular sign relies on people, and indeed, societies, attaching meaning to such a sign or symbol. andrew edgar and peter sedgwick (2000) observe that the problem with reading signs is that “a sign may have many signs, and a sign may have many signs (p. 312).this is because signs and symbols are products of culture, and thus each cultural background determines what a sign can possibly represent or stand for. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 17 roland stamper (1991), in his critique of semiotics, argues that the understanding of signs is dependent on three aspects: physical representation, something to which it refers or alludes, and somebody able to interpret this relationship (p. 2). these three aspects, as presented by stamper, outline the chain of analysis where the interpreter draws on both the physical object and what it refers to evoke meaning. consequently, the place of a critic or audience in the analysis and interpretation of signs in order to deduce their inherent meaning is important for a performance to communicate beyond its aesthetics. this is because “a sign consists of two entities that cannot be separated from each other. the signifier represents its "form, whereas the signified represents the idea the sign expresses” (visual communication, p. 4).hence, it is the duty of the interpreter to evaluate both the signifier and the signified in order to make useful inferences based on observable events. semiotics is of importance to this study and in the practice of dance because “dance is born in the midst of a ‘language’ or an ‘atmosphere of language’...” (bond 12), and “possesses multiple semiotic resources with which a choreographer may, if s/he wishes, recreate a literary text in kinaesthetic form” (bond 65). bianariu affirms that “semiosis is ensured by a cultural system of conventions and given as such to the user” and that “this only occurs if the choreographic signs are strictly encoded, such as in magic, ritual or religious expressions” (towards... 6). hence, dance communicational abilities depend on the existence of codes which implies the "culturalization" of some physically perceptible elements (bianariu “paradigms of communication...” 3). edgar and sedgwick expand on the importance of codes to the semiotic reading of dance by arguing that semiotics analyzes communication. in terms of the codes or rules and conventions that determine the meaningfulness of any message, in terms of the selection and combination of meaningful elements (or signs)... which in turn, leads to an interest in texts (be these written and spoken texts, or other carriers of meaning and significance, such as clothing and social actions) and the process of producing and reading them, as well as problems of how (if at all) the sign can refer to a world that is external to the text. (p.56) henrique rochelle explains that code is the structure that allows for the transcription of a message from one form of presentation to another and forms a correlation between the emissary and receiver. he further argues that code is what allows for the understanding of the message because it is an organized element commonly known by the users of this code. hence, the place of the receiver or audience is critical to the appreciation, interpretation, and valuation of codes. therefore, “the receiver is fundamental” because “dance cannot be studied (or presented) as a sign without consideration of the necessity of the audiences to whom the work of art is presented” (rochelle 120). by and large, examining a dance performance using the semiotic theory offers numerous insights into the nature and characterization of the signs and symbols inherent in a dance performance, the analysis of the multiple forms of meaning that such signs and symbols exude, and the understanding of the multiple forms of communication in dance as a language. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 18 apart from communicating with movement phrases and music, the dancers also communicate with their makeup, costumes, and props. the application of these elements differs from one cultural location to another and, as such, communicates differently too. ultimately, the medley of these artistic elements in dance performance defines the potency of dance as communication beyond ordinary aesthetic representation of body movements and helps to enhance the underlying message of a performance. more so, dance has remained relevant in its role in religious and cultural discourses that affect the general milieu of the dancer. in other words, dance communicates issues happening in the religious and cultural space through the use of motif. motif, according to rachel winchester, is “a repeated theme in a narrative or abstract composition that holds significance, either meaningful or conceptual; a recurring element that has symbolic significance in a story” (32). the motif of a dance is accentuated through repeated dance patterns in addition to the use of certain cultural symbols to create emphasis on any subject that the dance intends to relay. for instance: owigiri dance is often used to communicate different ideas to the spectators. the supposed temperament of the dancer is often revealed in his or her dance expressions. the osundu dance step for instance communicates a state of sadness; this is equally clear in the movement which is slow or leisurely executed. the penge or agene dance step on the other hand is fast and energetic and convey a mood of bliss or happiness. (abraye and keneses 328) however, dance has gone beyond its religious and cultural domain to assert its relevance to socio-political and economic issues. uhrinová, kožuchová, and zentko observe that “dance is one of the tools of mutual verbal and non-verbal communication between people, in which there is confrontation with the social environment” (1). in affirmation, helen kringelbach and jonathan skinner argue that dance does not simply'reflect' what happens in society or serve a particular ‘function’, but it is often central to social life. according to these scholars: dance movement carries aesthetic dimensions, a projection of energy and an intended communication between performers and audience that gives it a specific potential to transform human experience in multiple ways. it is in this sense that dance is a powerful form of social action; it is part of the social fabric and not simply a reflection of it. (12) the moral decay in society often forms the thrust of every artistic expression, including dance. therefore, most contemporary choreographers compose dances that reflect the many problems confronting contemporary society. for this reason, igweonu maintains that dance is a tool for teaching morals. according to him: every artistic creation has a message that it intends to convey and as such didacticism is a major factor in african performance practice, especially where ritual and myth are concerned. the use of these two mechanisms in contemporary performances must therefore take into account sociopolitical realities on ground in the attempt to articulate a vision that is both pragmatic and germane to african and non-african audience alike. (7) awka journal of research in music and the arts (ajrma) vol. 16, september 2023 19 in business today, dance plays a crucial role in the marketing and selling of services and products, resulting in massive economic output for the dancers and business owners. thompson observes that dance “has shifted emphasis from its former status quo as a mere lacing for para-ethnic entertainment” in its new role; he argues that it has become the pivot for socio-cultural interaction. communicators, politicians, marketers, advertisers, etc. have rediscovered dance as a resourceful catalyst for professional enlightenment initiatives” (274). this is to say that dance has proven to speak the language of business and thus remain relevant in meeting the economic needs of both dancers and businessmen. signs and symbols in nigerian dance traditional dances in nigeria are often laden with signs and symbols that represent the idea and purpose of dance as well as the community that originated the dance. the influence of unique signs and symbols in dance enables it to communicate beyond its aesthetic appeal. gladys udechukwu opines that symbols are "a very powerful instrument for indoctrination to maintain order in african societies” (115). on the foregoing, signs and symbols as used in nigerian dance enhance the meaning of a dance and arouse the audience to look for underling messages that such dance conveys through the presence of significant objects or materials used in that dance. therefore, understanding the purpose and function of any symbol used in a dance performance is very fundamental. different signs and symbols used in a particular dance serve as embellishments to the interpretation and meaning of the dance. however, signs and symbols come in different forms and, as such, can be classified according to their form, meaning, and purpose. bankole oladumiye argues that “the most effective signs and symbols will be those that the consumer (audience) can easily culturally relate to since a familiarity bond has already been created" (18). hence, in nigeria, udechukwu notes that some classes of symbols include “animal symbols, ritual symbols, number symbols, royal symbols, ancestral symbols, and cultural symbols” (111). these aspects of symbols are very often reflected in many nigerian and large african dances. hence, it could be argued that african and nigerian dances are embodiments of symbols. basically, akas observes in the contextualization of indigenous... that “some important elements of expression are required in indigenous african dance. these elements include: rhythm, time, space, dynamics, costume, props, make-up, lighting, and music” (142). he explains that these elements are highly indispensable because they guide people’s perception, understanding, and interpretation while watching a dance performance. it is these elements that categorically state the essence of indigenous dance beyond aesthetics, chanting, and stylized movement as a serious communicative tool (142). thus, the combination of these elements in dance influences our perception of the important role of dance in the re-enactment of the cosmological identity of a people. one of the important symbols that aid dance in effectively communicating is costume. the costume of any dance gives an insight into the nature and origin of the performance. it helps the dancer realistically interpret his role and communicate the message of the dance, while also helping the audience to interpret the motif behind such a dance awka journal of research in music and the arts (ajrma) vol. 16, september 2023 20 performance. emmanuel oga notes that "costumes convey information to the audience through their texture (whether coarse or delicate), through their colour (whether dull or bright), and through their shape (whether creme de la creme, dainty, growdy, or outlandished)" (52). consequently, the nature and design of a particular costume help to understand the story behind a dance. costume is therefore an integral part of dance and a very important aspect of communication. its unique nonverbal appeal influences how the audience perceives and interprets a particular dance performance. zhang wei notes that “in the dance, the basic function of the dancing costumes is to reflect the characteristics of the dance role, as the actors themselves cannot directly and completely explain the roles to the audience” (70). hence, tracie utoh-ezeajugh confirms that “costumes aim to communicate facts and suggest meanings to an audience about the character in a performance, which otherwise may not be easily deciphered without this visual aid to performance” (10). primarily, costume aids in situating a dancer in time and space by portraying his or her “age, gender, profession, social class, personality, and race, as well as giving information about the historical period or era, geographical location and time of day, and even the season or weather of a particular play or dance (utoh-ezeajugh 10). the choice of costume is important to the message a dance tends to convey. dance costumes are selected based on the occasion, season, and reason for a particular dance. in most cases, traditional dances rely on the uniqueness of their costumes to deliver the underlying message of their performance. to this end, the material used for the design of the costume, the color, and the texture of the costume play a significant role. for instance, in the egba festival, eze and akas observe the importance of color, material, and texture in the design of costumes for the dance performers as significant signs and symbols of the dance. they explain that: the priest and priestess of egba both wear white costume, likewise the entire community both indigenes and non-indigenes. the priestess also wears white beads and holds horse tail to show honour and dignity. the priests wear skirt (ubuluku) and a top to match. from time immemorial, the early skirt was made out of raffia weaving but with the present modern exposure, the priests and male participants make use of white materials of different types depending on the status of the person. this white material was chosen to show the peaceful nature of the seven days of the celebration of egba. the white colour in their culture represents the best in moral, peace seeking, and orderliness within the stipulated time. (28) thus, costume plays a complementary role with makeup in influencing how the audience interprets a dance. in other words, makeup intensifies the process of using a dance to communicate with the audience. in most cases, it is hardly divorced from costume. depending on the type of dance, it is used to conceal all the exposed parts of the body that cannot be covered with costume, and “its form could be in liquid or solid form depending on its purpose and communicative potency” (eze and akas 23). the effect is to heighten the artistic and aesthetic emotions an audience feels when watching a dance performance, as well as to enhance communication. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 21 generally, yesim baltacioglu defines makeup as “the process of transforming an actor into a character using specially crafted materials and specific techniques in a play (dance)” (118). he further explains that: makeup work is carried out by applying light, shadow, lines and colours on the actor’s face with specific techniques as well as affixing, where necessary, attachments to the actor’s face or body, such as prosthetic parts or false beard and moustache. considering that actors predominantly use their facial expressions in addition to their speaking and body language to convey to the audience their emotions and how their situation affects them, the theatrical makeup achieves its objective of strengthening the expression is among the determinative details of the visuality of design. (118) the ability of some dances, especially ritual and folk dances, to communicate is hinged on the sacredness and value placed on costume and makeup. this is because they are symbols that arouse a deep sense of shared communal history and experience. for instance, udechukwu observes that: a close study of ritualistic symbol in african tradition will reveal that it is first rooted in an experience of an emotion and it is then used to express the experience the purity and holiness of the divine, he then uses a spotless white object, such as a white chalk, white powder or a white piece of cloth or robe to overtly symbolize or represent that divine quality he has experienced. (112) thus, the use of costume and makeup, inadvertently, becomes symbolic in representing the beliefs and common experiences of the people. shannon agrees by stating that what arouses the sense of ritual and conviviality in a dance lies in the sacredness and camaraderie of symbols like costume and makeup, because these important symbols are often: activated by certain practices releasing the energy within them for healing, insight and spiritual growth... traditional dances once served as ritual practices to facilitate this activation, and that the body of dances and related customs constitutes a mystery school which consciously transmits certain information and specific threads of ancient wisdom. (4) hence, costume and makeup function as vital tools that trigger the interaction between the dancer and the audience by creating a deep sense of communion with one another. another important symbol used in traditional african dance is the mask. masks are fundamental aspects of masquerade dances in africa. this is because of its symbolic role as a high ritual activity aimed at establishing communication between humans and spirits. hence, a masquerade is often seen as an intermediary in the relational triangle between the physical and metaphysical worlds. to this end, the masquerade dancer is usually laden with concrete and abstract symbols that clearly show its sacredness and general importance in the mundane interaction with the supernal. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 22 similarly, some traditional indigenous dances that are charged with both cultural and sacred symbols were instrumental in resisting the territorial and existential beliefs of the people. for instance, the abiriba/ohafia war dance is known for its fierceness and warlike displacement. the tray of human skulls is the most significant sacred symbol of the dance, which elicits fear and dread in the minds of the audience. as warrior dancers, they are known to behead their enemies and carry them on a wooden tray. therefore, opara believes that “some of these varied dance traditions, like the war dance of the ohafia, bende, and ngwa people, troubled colonial administrators in the igbo area, and as such, were closely studied and classified as either 'harmless' or 'harmful' in accordance with whom was doing the dancing, when, how, and for what purpose” (24). in addition, the okorosha masquerade dance theater played a vital role in the temporary dislodgement of colonial injustices in the ubomiri community, thus reaffirming the importance of the symbolic nature of the dance in influencing the people’s belief in their natural existence as well as arousing a sense of victory and justice. the symbolic nature of these dances and cultural elements used by the dancers recreate the african sense of past history and future development. furthermore, props are important symbols that play a crucial role in influencing our perception and understanding of nigerian dance. jarrett koski basically defines a prop, or property, “as any object that an artist utilizes to further enhance or communicate the plot or story line” (1). the importance of props in dance is to heighten the dramatic effects of the dance narrative. hence, they are significant for any dance to communicate effectively. props can either be sacred or mere objects that are stylized or mimed. in whatever form it appears, the dancer relies on its symbolic function in interpreting his art. most traditional dances in nigeria weave their story around a particular prop because of its symbolic reference to the mythological essence of the community. for instance, the bata dance is hinged on the symbolic nature of the bata drum as both a musical instrument and the most important prop used to narrate the sango myth of war. hence, oluwafemi notes that “the bata drum is dedicated entirely to sango, the god of thunder and lightening... to show the physical strength of sango or the religious worship attributed to sango” (455). the influence of signs and symbols used in nigerian dance, be it abstract or concrete, is enormous in the interpretation and understanding of dance. therefore, the total exploration of these symbols is fundamental to dance as a relevant tool of communication. consequently, harnessing these symbols creates an experience for both the dancers and the audience towards the appreciation and evaluation of dance as art. historical overview of egbu community egbu is one of the ancient communities that existed before the advent of colonialism. according to felix orisakwe, “egbu existed over a thousand years before the advent of the europeans; his great grandfather, ofo aturu, had a first son called ome. the later had many children who founded a clan called alaenyi” (24). egbu is the third out of the five sons of alaenyi, which make up the present alaenyi clan. orisakwe, in his book, ezeship in igbo land: 100 years of egbukole dynasty, notes that "egbu is an autonomous awka journal of research in music and the arts (ajrma) vol. 16, september 2023 23 community in alaenyi clan of owerri north local government area of imo state nigeria. alaenyi in order of seniority is made up of ihitta ogada, awaka, egbu, owerri and naze" (1). however, egbu being a successful farmer had three sonsokochi, uba eze and uba. the first son okochi, was the father of ayalu and okweke; the latter had a son called ofeuzo. the second son of egbu, uba eze, was the father of mpama and ofomeje (umuofo). however, the third son, uba, had only one son called ishiuzo (24). in the context of alaenyi clan orisakwe further notes that, “egbu and his large family lived peacefully at “apu otu obo” for a long time, but later moved apart following sporadic misunderstandings and quarrels” (24) that threatened the existential unity of the people. the implication of the migration was the thinning down of the population of egbu from eight to five (orisakwe 24). hence, the five villages that make up egbu autonomous community in the present day are: umuayalu, mpama, umuofor, ofeuzo and ishiuzo. in addition, the constant invasion of the community by the aro slave traders led to consequent reprisals from the egbu royal family until a memorandum of understanding was reached between the eze egbu and the slave traders from aro to only take indigenes of questionable characters for slavery. before the advent of colonialism, egbu had a formalized system of government that reposed the authority to lead the community on the family of okoroafor egbukole, hence instituting a hereditary system of government that has seen the egbukole family produce kings in succession till date. the reason for the choice is because of the unusual strength and wisdom found in egbukole-orisakwe family. it is worthy to note that when the white missionaries eventually came to the eastern region in 1906, egbu became the second to receive christianity, the first being onitsha. because of the warm reception the white missionaries led by archdeacon dennis thomas received from egbu, the british government gave approval for the translation of the english bible to igbo language to be down in the community. this peaceful infiltration and divine relationship with the early missionary shaped her cultural institution and belief till date. egbu is also home to the popular otamiri river, which has remained the main source of drinking water in owerri and its environs. history of egwuike dance of ishiuzo egbu egwuike is one of the dances performed in the egbu autonomous community. it started in 1984 in ishiuzo village. according to mr. sunny okwu, who was one of the pioneer instrumentalists of the dance group, the evolution of the dance was made possible during the funeral preparation of the then traditional ruler, the late eze george nlemadim orisakwe. the eze-in-council mandated the five villages in egbu to present a unique dance for the final transition of the king. okwu notes that, at the time, ishiuzo village was known for the alija dance, but due to the organizational incapability of the leaders of the dance, a few members of the mbaonu family, namely: emereuwa mbonu, goddy mbaonu, and bath mbaonu, along with ekwutosi okwu, chido egbujo, and john obichere from ofeuzo village, employed the services of mr. anselm opara from uratta to teach them the ohafia war dance. okwu further notes that anselm, who is not a native of abiriba/ohafia, had experienced the war dance and consequently appropriated some of the techniques to teach ishiuzo village the egwuike dance. interestingly, the dance has awka journal of research in music and the arts (ajrma) vol. 16, september 2023 24 been sustained to date and has metamorphosed into a general dance akin to that of the egbu people. mr. dada eze notes that the dance is a borrowed dance and has transcended beyond ishiuzo village to incorporate other villages. interestingly, women are not part of the dance because of the strength and rigor involved. the dance is performed mainly during events that have any attachment to the ezeship throne, the mgbugbuzo festival, and other personal occasions by individuals who can afford them. influence of symbols in egwuike dance the egwuike dance is known for its vigorous, fast-paced, forward warlike march pattern that is accompanied by vociferous chants of war songs by the dance vocalists. these chants are given rhythm by the instrumentalists, who use a combination of clappers made from carved bamboo sticks, metal gongs, and drums to produce sound cues for the dancers. the combination of vocal chants and musical instruments is the opium that charges the dancers to perform for long durations, especially during epoch events in the egbu community like the annual mgbuguzo/iriji cultural festival, the enthronement and coronation of a new king, and a funeral ceremony for a deceased king. the dance is not a religious or sacred dance but a social dance that highlights the strength, communal bond, perseverance, solidarity, and brevity that are characteristics of the community. fundamentally, the dance performance is not restricted to a particular performance venue. this allows the dancers to navigate within the parameters of the community, firstly to create awareness and become a barometer of instilling calmness, fear, and organization within the community so as to ward off any form of violence and external aggression from unscrupulous elements who may tend to disrupt communal activities, and secondly, to ensure clemency and peace throughout the duration of the performance and event. its recognition as a security watchdog in recent times symbolizes the motive and philosophy of the dance, which is hinged on ensuring security, protection, and defense for the indigenes of the community as well as their visitors during communal events. to ensure that egwuike dance communicates its intention, dancers make use of certain props that symbolize the dance philosophy to provide defense, security, and the protection of people around and within the venue of any communal event. such props include machetes, axes, guns, and bells. the bell serves as a security alarm, which they use to alert people in case of any danger. the sight of these tools of war instills fear and caution in the minds of unscrupulous elements, who often grate crash public events to respect the peace and calmness that the egbu community is known for. naturally, the use of these props in literature gives the idea of violence, which is abhorred in the community, especially during the mgbugbuzo cultural festival week. however, dada eze (one of the egwuike dancers) explains that “the idea of using these live props during the dance performance is aimed at representing the willingness of the dancers to fight against any form of invasion within the performance arena and other threats to the peaceful existence of the community during and after the festival” (interview). inadvertently, these dancers serve as community watchdogs to ensure a harmonious and violent free festival celebration for the community. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 25 . plate 1 shows egwuike dancers performing during mgbugbuzo/iriji festival with their war tools: machetes, spear, and bell. plate 2: some egwuike dancers led by the lead dancer (onyeishi) patrol the streets with their machetes during the burial ceremony of their late king, eze felix orisakwe. egwuike dance is a symbolic representation of the communal unflinching support in the emergence and continuous reign of the royal family in egbu leadership. hence, the dance performance plays a significant role in re-enacting some historical moments of bravado and wisdom with which the royal family fought and ensured that the community remained indivisible, united and protected from external invasion, inter communal aggression and consequent threat to the royal stool by aggrieved members of the community in the past, who questioned the hereditary system of government in the community. historically, egbu practices a heredity system of governance that reposes the authority to lead on the royal family of egbukole-orisakwa since 1896 to date. however, events leading to the selection and conferment of the pioneer monarch eze egbukole okorafoar were that of rancour, internecine wars, kidnapping of indigenes for slave trading and general awka journal of research in music and the arts (ajrma) vol. 16, september 2023 26 uprisings within the community and its environs. hence, the communities search for a man to put to an end to such hostilities that threatened the existence of the community was found in eze egbukole okoroafor, whose wisdom and bravery led to the restoration of peace in the community, between neighbouring communities as well as having a memorandum of understanding between aro slave merchants who passed through the community via the iconic otamiri river to port harcourt for slave trading. orisakwe in ezeship in egbu... notes that the friendly relationship egbu established with aro slave merchants ensured that egbu indigenes were unmolested and safe during the period of slave trading (20). the understanding between these two communities fostered over the years and inadvertently inspired the appropriation of the ohafia/arochukwua war dance as one of the prominent dances in alaenyi clan. egwuike thus, symbolizes the royal power and sovereignty of the egbukole orisakwe dynasty to lead and guide her people till date. plate 8 shows the traditional monarch in his first egwuike dance after his enthronement therefore, egwuike dance plays a major role in events that pertain to the royal family, ranging from coronation, enthronement, funeral of a traditional ruler and courtesy visits of the traditional ruler to other communities. in the event of coronation, the traditional monarch is expected to perform the egwuike dance before the full glare of the audience. the essence is to test his mettle in taking charge of the affairs of the community, especially in ensuring that conflicts are resolved, peace is sustained, and fundamentally, that life and property of his subjects are totally secured under his watch. despite that the egwuike dance appears to be confrontational in approach and content, it further symbolizes the traditional occupation of the egbu people before urbanization and white collar jobs eventually crept in to almost erode the agrarian identity of the people. egbu like every other igbo community is known for her prowess in livestock and crop farming evident in the mgbugbuzo cultural festival, an annual festival in veneration to god for a successful farming season. consequently, egwuike dancers showcase this important identity through the use of symbols like basket of green leaves, goat, and cock. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 27 plate 9 dance procession at ogodo arena with a life goat to be presented to the monarch as first fruit during the mgbugbuzo/iriji festival plate 10 reveals an egwuike dancer carrying a basket of green leaves to symbolize the traditional occupation of the community. the choice of these items is to fully represent the various aspects of agriculture they people are known to engage in and further highlight the idea of dignity in labour, strength, fertility of the land occasioned by the adequate supply of water from the otamiri river to the various farm locations in the community, and the show of gratitude to god, which is a characteristic of every egbu indigene. costume and makeup are essential symbols used in conveying the message of the dance to the audience. hence, egwuike costumes are carefully selected to reflect the motif of the dance. generally, the dance group often go for george wrappers of different designs depending on the event. the choice of george is symbolic, depicting royalty and class. the colour of the costume usually has a touch of red which signifies love, affection that resonates the popular egbu concept of “ojumuyo” which felix orisakwe translates to mean “peaceful co-existence and social and economic development”. according to one of the dancers dada okwu, the choice of red does not necessarily mean danger but the strength and resolve to keep the community in peace, united by blood ties and respect awka journal of research in music and the arts (ajrma) vol. 16, september 2023 28 for ancient laws and tradition that differentiate egbu from other communities in the state. similarly, the dance does not require an elaborate makeup. white kaolin is used to paste a palm of human hand on scattering parts of the body, like the chest, stomach and back of the dancers and a smear of circle line drawn on the right eye. however, the human palm as used in this dance represents the five villages that make up egbu community and the use of white represents the early cultural exchange between the community and the white missionaries that brought christianity to the egbu, which consequently led to the translation of the english bible to igbo language at ogodo, an arena where the mgbugbuzo/iriji cultural festival is held annually. plate 11 body design of a human palm symbolizing the five villages that makeup egbu community. another important symbol of the dance is the popular ishiagu cap which is known in egbu as okpunwaguru. this cap is originally worn by the oldest male in each kindred of the community known as “oha”. oha is the custodian of every family “ofo” (symbol of authority in igboland) and serves as a representative of his kindred in the enlarged oha council of elders. ancient tradition and law of the land accords that only “ndi oha” wear this cap as symbol of authority, age, and tradition. thus, it is one of the taboos in egbu for a younger person to wear it about and this has generated a lot of controversy over the years between the elders and the youths. plate 12 okpunwaguru/ ishiagu. symbol of authority, age and tradition in egbu awka journal of research in music and the arts (ajrma) vol. 16, september 2023 29 however, eze clarifies the controversy surrounding the wearing of the okpunwaguru (ishiagu cap) by the youths by stating that “the okpunwaguru worn by ndi oha defers from the one worn by egwuike dancers and that the difference lies in the choice of colour design on the tail of the cap” (interview). he further argues that “the okpunwaguru worn by ndi oha has a white design althrough the tail of the cap while egwuike dancers use the one that has the red colour tail” (interview). therefore, okpunwaguru is an important symbol of authority for the dancers which triggers the feeling of acceptance aimed at service to the community. furthermore, egwuike dance like the ohafia ikpirikpeogu war dance is generally identified by the expressive use of the “tray of human skulls” which is the insignia of the dance and the symbol of conquest, strength, valour and dominance expected of a warrior. however, egbu in general has always adopted the diplomatic and peaceful approach in safeguarding its territorial borders; hence the issue of using violence which leads to bloodbath in settlement of disputes is a nondescript feature in the history of the community. thus, the dancers replace the tray of human skull with a simulated head of a lion as seen in below. plate 13 shows the lead dancer carrying a simulated head of a lion (ishiagu) in a wooden tray the tray is usually flat and wrapped with a used sack or plain wrapper to aid balance and comfort for the carrier. the rear of the tray is covered with the same costume the dancers wear for a particular performance. the implication is that it conceals the back of the carrier. the carrier is usually the oldest member of the dance group and carries this tray throughout the performance without any form of aid. by so doing, he shows strength, endurance, and perseverance. three simulated heads of a lion are placed on the tray, and each of these effigies is tied with an omu (palm frond). in igbo cosmology, the lion’s head symbolizes communal strength, power, and dominance. by implication, the simulated lion heads speak to the social, political, religious, and cultural dominance of the community in the alaenyi clan. furthermore, the intrinsic meaning of the omu is unique and symbolic because of its sacredness and ritual essence, and hence, the binding of the three heads of a simulated lion with the omu infers that the successes the community awka journal of research in music and the arts (ajrma) vol. 16, september 2023 30 has enjoyed over the years are attributed to unity, peace, and progress, which are the key aphorisms of the town union. the enormous meanings inherent in the dance cover the key areas that define the culture, legend, and socio-religious identity of the egbu people. hence, beyond the ordinary aesthetics of the dance, important information about the community and her people is portrayed in the dance through the effective use of symbols. thus, social, political, and religious issues are all reflected in the egwuike dance, which has become a known symbol and celebrated identity of the egbu people. conclusion dance is unarguably one of the oldest cultural mediums of entertainment, identity, expression, and communication. hence, dance has always been part of man at every stage of his life, serving various personal and communal functions in society. thus, the interpretation of the underlying meaning of the dance is perceived from its ability to represent the people's need to be entertained and to showcase their cultural identity. hence, the utilization of symbols by the dancers in communicating important messages that highlight the worldview and history of the communities is rarely explored and poorly interpreted, mostly by the audience, who see these symbols as mere paraphernalia of expression or identities of the dance. the outcome of this study shows that symbols as used in these dances are catalysts that enable the understanding and interpretation of the underlying messages in the selected dances, thus making indigenous traditional dance a veritable tool for communication for the dancers that perform these dances and for the audience who sees these performances during cultural festivals and other important ceremonial functions in society. the use of cultural symbols helps to understand the inherent cultural and sociological meanings of any traditional dance. consequently, the study of these symbols forms the basis for foregrounding the interrelatedness of the underlying motifs of a dance with the realities of the community that owns the dance. while most of 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justin. “towards the theories and practice of the dance art.” international journal of humanities and social science. 4.4 (2014): 251-259. accessed 28/03/2021. http://www.ijhssnet.com/journals/vol_4_no_4_special_issue_february_2014/ 29.pdf utoh-ezeajugh, tracie chima. “costume and make-up design in theatre and film productions: the reality of make-believe.” 26th inaugural lecture of nnamdi azikiwe university, nigeria. nimo: rex charles and patrick ltd, 2015. wanyama, mellitus n. and isaac waswa shitubi. “emergent issues regarding ‘african traditional dance’ and ‘african contemporary dance’: a discourse on the current theory and practice of ‘african dance’ criticism and choreography.” international journal of current research. 4.1 (2012):225-228. accessed 11/06/2021 http://www.journalcra.com 105 awka journal of research in music and the arts (ajrma) vol 17 june 2024 acquiring musical skills through practical music education: a study of selected primary schools in awka joy ogochukwu nwobu postgraduate student, department of music, nnamdi azikiwe university, awka email:ogochukwujoy157@gmail.com & ikedimma okeke (phd) department of music, nnamdi azikiwe university, awka email: in.okeke@unizik.edu.ng abstract this study examined how practical music education could engender skill acquisition in children. the idea was borne out of the need to make music more engaging, interesting, and fulfilling to pupils against the backdrop of prevalent disinterest in music in schools occasioned by dysfunctional music education. eight primary schools in awka metropolis were studied which included forty pupils and eight music teachers. primary data for the research were sourced through questionnaires and interviews. pertinent issues examined included, the status of music education in some primary schools of anambra state, and how practical music education could foster musical skills in children. findings show that music studies as encapsulated in cultural & creative arts(cca) curriculum for primary schools is deficient, there are not enough music teachers in the primary schools, skills acquired through music can easily be transferred to other beneficial skills later in life. it is recommended that music be extricated from the shackles of cca in order to place it in proper perspective to foster a fulfilling music experience for children. more music teachers should be employed to curb the threat of extinction of music in primary schools, and finally the curriculum of music studies of primary schools should be restructured to integrate more practical music in order to yield more skill acquisition for children. introduction the concept of skills arises from many disciplines or sub-disciplines. skill is the distinguishing factor between peers or allies in the same field of endeavor, be it in music, theatre arts, medicine, etc. what separates practitioners in any field is the degree of skills anyone of them has acquired in that specific profession. skill cannot be harnessed without education. according to okafor (2005) “education is designed to equip the individual not only to earn a living but also for life itself, through the encouragement of socially desirable knowledge, attitude and skills”. skill cannot be separated from education as education is the vehicle that propels skill. it cannot be overstated that without skillfulness, no meaningful advancement would have been attained in the world today. every single invention, every scientific, artistic, sociological and technological breakthrough that has been seen is the product of some level of skill on the part of the individual or individuals involved in its realization. these individuals needed to be educated whether formally or informally to be able to apply this skill. the development of any nation cannot be separated from its educational system. ibekwe (2009) supported this thus “education is regarded as the key to nation building (p.13). 106 awka journal of research in music and the arts (ajrma) vol 17 june 2024 skill is a pattern to grasp as far as life and work is concerned. every human endeavour requires skill. skill is required for any kind of profession or occupation that exists in our world. a country without a skilled workforce would barely attain its developmental goals and aspirations. no matter how well articulated and well planned a country’s policy may be, without an articulate and skilled manpower to realize its objectives, the country is headed for doom. one of the major challenges facing nigeria as observed by many researchers is the lack of skilled graduates. from the foregoing, we cannot disconnect skill acquisition as the basis of social, political and economic development of any country. the educational sector is the primary place where skills can be acquired and where there is a failure in this respect, the country’s capacity to turn around its socio-economic will be almost impossible. skill is so obvious that it distinguishes individuals, states, nations from among their contemporaries. countries that have enjoyed growth and development are countries that have developed the skills and competences of its people. it is on this premise that this paper sought out various ways on how children can acquire musical skills through practical music education. the acquisition of musical skills by children such as singing, composing music, dancing, or playing musical instruments can transform the lives of the young learners and become formidable tools in their hands in transforming the society at large. statement of the problem it was observed by the researcher that the music curriculum of nigerian primary schools lacks the element of skill acquisition; i.e. it has no provision for the learning of musical skills. the curricula are mostly based on the theoretical aspect of music and have little or no plan in helping pupils in the acquisition of musical skills. moreover, the little plan in the curricula for pupils to acquire musical skills is attacked by the problem of teaching strategies. there is little or no understanding about how individual pupils are and how differently they can learn. teaching of musical skills is done in a particular method which favors pupils that understand the method and leaving pupils that do not understand the method behind. more so, very few primary schools offer music; most of the primary schools that offer music have no musical instrument; and most of the primary schools have cultural and creative arts teachers instead of music teachers. purpose of the study the general aim of this study is to explore the relevance of music education in skill acquisition for children. to achieve this, the researcher intends to explore the following objectives: 1. unveil the status of music education in primary schools of anambra state 2. reveal the competence of the available music teachers in handling the subject. 3. the scope of the music curriculum in fostering musical skills. 4. find out ways of sustaining creativity in music education and fostering skill acquisition in children. the significance of the study it is hoped that this research will impact positively on the primary school music teachers whose responsibility is to teach the pupils practical music, the pupils themselves, educational policy makers, and curriculum planners.  the pupils should through this study realize the need for them to acquire musical skills that will foster self-expression, self-reliance and creativity. 107 awka journal of research in music and the arts (ajrma) vol 17 june 2024  this study will create awareness in music teachers on the importance of a child having a musical skill.  curriculum planners will gain insight on the various factors involved in curriculum implementation, especially when it involves acquiring musical skills.  the educational policy makers will see the need for consultation before adopting any educational policy. research questions these questions guided the research: 1. what is the status of music education in primary schools of anambra state? 2. how competent are the music teachers in schools? 3. to what extent can music curriculum help to instill creativity in primary schools? 4. in what ways can music education instill creativity and enable skill acquisition in the primary schools? 5. what suggestions can bring solutions to the problems? the scope of the study this study examined the situation of music education, particularly practical music, in eight (8) primary schools that are offering music in awka, awka south local government area at the time of study. the schools that will be covered will include; grace court international school awka, unizik nursery/primary school awka, blossom fount nursery/primary school awka, ridge valley nursery/primary school awka, grand hermano nursery/primary school awka, police children school awka, assured tender nursery/primary school awka, and handmaids infant jesus nursery/primary school awka. review of relevant literature conceptual framework relevant concepts appertaining to this study are outlined and explained in detail in this section. skill skill is the ability to do something well, usually gained through training or experience (encarta dictionaries, 2009). the skill referred to in this study is music skill such as the skill to play musical instruments like piano-keyboard, harmonica, recorder, guitar, oja, etc. skill acquisition since skill is the ability in engaging well in an endeavor seen across disciplines and human endeavors, it is therefore, acquirable. skill acquisition is the “the art of learning to do something in order to earn a living and or to survive” (wikipedia,2023). skill acquisition is not limited to the technical careers and professions; music has a place in skill acquisition also. skill acquisition in music is the mastery of music related activities. this can be the mastery of playing a musical instrument, singing, performing or dancing. in this study, skill acquisition for children through the learning of musical instruments was pursued. skill and content learning sequence in music gordon (1980) expatiates on this double concept thus: though each functions according to separate guidelines, skill learning sequence and content learning sequence are combined and are more mutually dependent in the learning process. one 108 awka journal of research in music and the arts (ajrma) vol 17 june 2024 cannot learn a given skill without a given music content, and one cannot learn a given music content without the use of a given skill (pg.130). the point here is that the pursuit of musical instrument playing skill is inseparable from the general learning content such as tone, pitch, or rhythm associated with the entire lesson. for example, one does not learn to play the recorder and avoid learning also about tone, pitch, or rhythm associated with the instrument. skills in productive thinking the relevance of skill goes beyond mere accumulation of virtue but for productive thinking. kirk & gallagher (1983) captured this idea succinctly: it is not just the accumulation of knowledge that is important but also how that knowledge is used to generate new ideas and solutions. the ability to generate new information through the internal processing of available information is one of the most impressive and valuable skills of mankind…. it is the ability to recombine the bits of this information into new meanings that sets mankind apart from the animals. it is the ability to perform these thinking processes well that sets the gifted student apart from the student with average ability(pg.97). education education is a process of human growth by which an individual gains greater understanding and control over himself and this world. according to nwadiani (1997) “education is a catholic social service, its meaning varies from time to time, from people to people and from place to place” (p.5). mbanugo (1999) also defines education as “a multi-faceted concept which simply refers to learning or intellectual attainment” (p.236). this means that education is diverse as so many things can be involved when it comes to learning. education is also a way to navigate our intellectual ability to its next level. education involves our minds, our bodies and our relationship with the people; and the world around us. onyeji (2008) writes that “education is generally perceived to be the process of discipline through training and studying in the acquisition of skills and knowledge” (p.150). nothing is known and no skill is acquired without education. education is at the root of everything that is known and every skill that is acquired. without education the world will never grow and innovations would be at a standstill. according to okafor (2005) “education is designed to equip the individual not only to earn a living but also for life itself, through the encouragement of socially desirable knowledge, attitude and skills” (p.190). education is not only geared towards making daily ends meet but also structured for the improvement of our lives. this is achieved through principles, values and morals that are passed to us through the society we live in. these principles, values and morals include; discipline, patience, love, kindness et cetera. nosiri (2010) defines education as “a process of harmonizing the individual within a given environment in such a manner as to enable him develops all his capacities for the overall interest and welfare of all (p.72). in other words, education means the modification of human behavioral patterns to complete themselves into the existing code of conduct as integral part of the total system of ideas, knowledge, law, and philosophy values, moral and belief that constitute the cultural content of the society they belong to. according to nnamani in yekini-ajenifuja (2009) “education is a process of transformation through which the individual is helped to attain the development of his or her potentialities and their maximum activation and when necessary according to right reason and to achieve thereby his perfect 109 awka journal of research in music and the arts (ajrma) vol 17 june 2024 self-fulfillment” (p.65). the development of any nation cannot be separated from its educational system. ibekwe (2009) supports this thus “education is regarded as the key to nation building (p.13). to build a nation, the human components must be built. there is a popular adage; ‘build a man and the nation is built’. this is where music teacher’s education has a role to play in the process of building the nation. teacher’s education must continue to be given a major emphasis in all educational planning because teachers are to implement what has been built into the programme. opadokun in ajewole (2010) states that “there is the need for majority, if not all citizens to be educated at least to a certain level”. for a nation to move forward, she must equip her citizens with education, which is the key to development. adande in ajewole (2010) states that education is the cornerstone to development. agu (2006) states that “education in nigeria is no more a private enterprise but a huge government venture that has witnessed a progressive evolution of government’s complete and dynamic intervention and active participation”. the nigeria government has adopted education as an instrument of excellence for effecting national development. education remains a potent and salient factor that enhances the change of the individual to contribute maximally to his/her society. bloom’s taxonomy of learning in perspective blooms’ taxonomy of teaching/learning models have given insight into the dimensions of learning which have serious implications for teaching. the strategies involved are geared towards the influence of three basic human domains which he labelled, cognitive – the intellect, psychomotorphysical, and affectiveemotions. child (2004) captures this clearly: “one outcome of developments in cognitive psychology has been the elaboration of ‘models’ of instruction or teaching. of these, the most useful has been bloom’s (1976)” (pg.395). engaging children in learning musical instruments invariably influences these three domains of learning in them for example, in playing the guitar; notes are learnt (cognitive development); they move their fingers in playing notes on the strings of the instrument (psychomotor development); they also enjoy the music they make with the instrument (affective development). exceptional children hallahan and kauffman in campbell and scott-kassner campbel (2010) define exceptional children as “those who require special education and related services if they are to realize their full human potential. the challenge has been to determine the nature of programs to support the varied and unique needs of these children and to fund such programs”. although the focus of this paper is not the education of exceptional children but it is necessary at his point of the paper to understand that an experimental research of this nature would surely encounter exceptional learners in the field. rote learning versus meaningful (practical learning) rote learning is learning by memorization. the learner memorizes numbers, symbols, and patterns that will form the basis of meaningful leaneing later. child (2004) explains that “some of the demands we make of children require rote learning. any symbolic form new to the child will require rote memorization. for example, the letters of the alphabet, numbers, musical notation and chemical symbols have to be learned ‘by heart’.” (p.135). rote learning is relevant in learning musical instruments because the basics of notes and their values, for example, need to be memorized first before the actual interpretation on the instrument. 110 awka journal of research in music and the arts (ajrma) vol 17 june 2024 meaningful learning takes place when the ideas that have been memorized come into play in practical demonstration or realization, for example, playing memorized notes accurately on the instrument makes meaning to the learner and also gives meaning to the abstract notes already memorized. schematic learning schematic learning has been defined as using organizations of past actions which become the seedbed for interpretation and development in future learning (child, 2004). this type of learning was explored in this study as it affected skill acquisition in children. music education music education has been defined by many musicologist and scholars. for okafor (1988) ‘music education is universal, touching all domains of learning; it is a fundamental component of human culture’. to buttress the above, yudkin (2008) writes that: music education is a field of study associated with the teaching and learning of music. it touches all domains of learning, including the psychomotor domain (the development of skill); the cognitive domain (acquisition of knowledge) and in particular and significant ways, the effective domain, including music appreciation and sensitivity. the incorporation of music training from pre-school to post school education is common in most nations because involvement in music is considered a fundamental component of human culture and behaviour. music and language are accomplishments that distinguish us as humans (p.4). while music education will normally reflect the place of music in a society, it must above all be the education of the human being. onyeji (2001) defines music education as a systematic instruction given to an individual or group on the usefulness of music and technical know-how on music making and individual relevance in the society (p.5). similarly, joel (2001) portrays music education as the: various ways of teaching and learning of various aspects of music with the aim of developing the learners vocationally, intellectually, emotionally, physically, and socially, a vibrant tool that leads to socialization, enculturation and transmission of what is worthwhile to those committed to it (p.5). in other words, adeogun (2006) declares that “music education is a discipline that helps prepare personnel that are technically competent in music making and capable of managing and mediating interaction between man, music, and society (p.105). concurring, anya-njoku (2007) describes music education as one educational process that entails the acquisition of knowledge skill and attitude in music that will foster the interest and ability of the learner to be useful to himself and his society musically (p.56). from the above definitions, we can deduce that music education is the programme through which a learner is equipped through carefully planned principles, processes and practices to recognize and develop his or her musical potentials to the highest possible level. a system that prepares citizen who could make music a relevant part of man’s experience as it relates to the society in which he or she lives. anya-njoku (2007), states that “a programme and its potentials and success can only blossom when the profession accepts its societal responsibility and assists the musical growth of all people in the society” (p.57). the need for music education in schools and most especially at the primary school level is correctly captured in this submission by regelski (1981: 111 awka journal of research in music and the arts (ajrma) vol 17 june 2024 music education does not necessarily seek to prepare professional musicians or critics or even dilettantes. music education seeks to discover and nurture potential musical talents but above all, seeks to bring music to all people as an engaging and rewarding activity worthwhile for its own sake. in a sense, music education seeks to make a rewarding, lifelong “hobby” for everyone (p.32). the purpose of primary music education programme in nigeria is to develop cultural arts embedded in performance experiences such as music, drama and dance of a child to its highest possible level. the reality of life in most countries, especially nigeria, is that this must be seen in the context of the development of the society. the development and changes required in human habits through music education can be harnessed with a realistic musical instruction. this realistic musical instruction should give children opportunities to listen to know or learn how to attain a value – enriched life through musical practices. the major aim of music education therefore is to provide a varied, significant and cumulative musical experience for every child. in other words, the purpose of the programme should be to recognize, groom, and release to the society trained musicians who would release music from the confines of the school and colonialism and make it relevant part of man’s experience as it relates to the society in which he/she must live. the aim of music education is to inculcate in the learner musical skills, understanding and attitudes that will enable him/her gain full grip on the total art and its societal functions. some of the benefits of music education in primary schools include: the promotion of music experience in the classroom, the emotional, intellectual, and physical development of the child. it also has been noted that music can help to enliven other subjects, and it can help the child to understand different aspects of his or her own culture and to appreciate aspects of other cultures. with all these aims and benefits, the outcome should be to produce pupils who will with enthusiasm carry the joy of music from the classroom to the society and earn a living through music. practical music education practical music education is preoccupied with engaging learners with various musical activities geared towards developing their innate abilities and skills such as singing, dancing, or playing musical instruments. campbell and scott-kassner(2010) explained this concept in detail using musical instruments pedagogy as example: for some children, making music is equivalent to playing musical instruments. the appeal of tapping, striking, shaking, blowing, and strumming musical instruments is one of the great joys in their lives. because musical instruments are extensions of the musical self, when children play they are often demonstrating what they know and express musically. to play a musical instrument is to deliver to others ideas that are not easily expressed verbally(pg.218). music appreciation versus music understanding music apprecia tion and music understanding are two musical concepts that have been confused amongst music educators for quite a long time and it is imperative that they are clarified here because of their relevance to the present study. gordon (1980) argues that: appreciation and understanding are concepts which have particular relevance to the psychology of music learning. the former has been largely associated with music education in the past, whereas the latter, because of enlightened educational theory, commands current 112 awka journal of research in music and the arts (ajrma) vol 17 june 2024 attention…. the purpose of music education is to provide one with the understanding so that he can express himself aesthetically to the extent his attitudes will allow, with both his body and abstractions…. music understanding as the primary goal of music education is gaining acceptance, and music appreciation is being placed in its proper perspective…. through music understanding, one learns music; through music appreciation, one learns about music (pg. 1-2). the whole point of gordon’s argument is that, even though both concepts have their respective places in music education, but it is necessary to guide learners towards basic understanding of music and not just appreciation. for instance, a child can dance happily to a folk tune without understanding the meaning and the musical idioms of the music. the music teacher should move from the level of appreciation to understanding by employing the same appreciated folk music to teach some musical elements embedded in the song. the same way should children be guided towards practical music understanding and performance using familiar tunes hence the point of this study research: “skill acquisition through practical music”. transfer of learning transfer of learning is simply the extension of learned behavior in solving other problems. kirk and gallagher (1983) reveal this: thus, another major instructional goal for the educator of the gifted is to enhance those thinking skills that allow the child to be creative; that is, to produce a unique product (from the child’s point of view) from the available data or information. one manifest special education goal is to help gifted children develop those skills that will eventually make them autonomous thinkers, not dependent on adults or teachers, but possessing the tools and ability to seek knowledge on their own (p.97). this idea is pertinent to this study because the skill a child acquires through learning a given musical instrument, for example, the recorder, is transferrable in learning and playing the saxophone. music curriculum according to nwankpa (1999), “curriculum is derived from a latin word, “currere” which may be interpreted as running a course (p.28). curriculum refers to the course or programme which pupils have to run in a school or an institution. the three components of the curriculum are the programme of studies, the programme of activities and the programme of guidance. in onyiuke (2006). tyler defines curriculum as: concerned with all the learning of students, which is planned and directed by the school to attain its educational goals. it embraces educational objectives, all planned learning experiences including extra – class and learning activities at home in so far as they are planned and directed by the school and finally the appraisal of students learning (p.33). according to olisaeke (2019), curriculum can be broadly defined as sum total of all the experiences a learner undergoes under the guidance of the school or institution. according to adeyinka (1988), it can be concluded from the various definitions that the purpose of all curriculum planning is to provide opportunities to the learners to benefit maximally from participation in selected learning activities and appraisal of learner’s learning. this participation of learners and teachers is known as instruction. instruction is thus the implementation of curriculum plan. the curriculum plan suggests or specifies activities to be carried out by learners as well as materials to be used. the teacher who implements such plan also carries out pre-instructional plan, which includes selection of teaching materials and activities. 113 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the term “curriculum” is often used to describe only the goals, objectives or plans, something distinct from the methods, materials and assessment. yet, since each of these components are essential for effective learning and since and since each includes hidden barriers that master learner’s curriculum design should consider each of them. the guideline which is the curriculum when applied to the general education, should meet the educational needs of most students including those with disabilities. the curriculum can help to guide the design of expectations, contents, methods and outcomes across differing classrooms in each school system. curriculum is a planning course or subject by the curriculum designer in education sector for all school levels to achieve their educational goals and can be developed and interpreted by each school curriculum team. curriculum is the outline of the skills, attitudes, performances and values, pupils are expected to learn from schools, it includes statements of desired pupil’s outcomes, descriptions of materials and planned sequence that will be used to help pupils attain outcome. the curriculum planners should consider the numerous and unresolved problems to be included in the school curriculum. in other words, curriculum should be able to meet the objectives of the educational policy in all angles. theoretical framework the theories that form the backbone of this research shall be reviewed in this section with the view of assaying their ramifications that affect the study. the bulk of theories and methodologies on music education are inexhaustible ranging from the works of thorndike, skinner, vygotsky, piaget, bandura, asubel, bruner, gagne, gordon, kodaly, orff, suzuki, etc. campbell, p. s. and scott-kassner, c. (2010) explain that: theories of learning, teaching, and instruction are embedded in nearly every musical experience. jeremy and bryan playfully explore the music making possibilities of spoons, cups, and pans: bruner (1966), vygotsky (1978), and jonassen (1991) have developed theories to explain this behavior…. theories about how children learn and how teachers can help maximize this learning are at the heart of every practical musical experience that teachers provide for children(pg.16). for the present study, two theories have been drawn as the theoretical framework owing to their relevance to the research. they are adedeji’s theory of ‘transformative musicology’ (adedeji, 2010) and okeke’s theory of ‘adaptive musicology’(okeke, 2020). transformative musicology the theory of transformative musicology proposed by prof. femi adedeji posits that “musicology should be geared towards the transformation of the individual and the society. it encompasses all musical activities that focus on transformative purposes. transformative musicology is the musicology that aims at the transformation of our environment and our world at large” (adedeji, 2010). pupils and young learners should be made to understand that music is not just for entertainment but also a tool for positive change or transformation. problems and challenges invading the society can actually be addressed and tackled through music. the fact that music reaches more people proves that it can effect more change to the ills and challenges of the society. pupils should be taught and encouraged to write and compose songs that address and offer solutions to societal challenges and shortcomings. this way, transforming them into change agents for knowledge, truth, integrity, justice and equity, etc. 114 awka journal of research in music and the arts (ajrma) vol 17 june 2024 the import of this theory to this study is so remarkable for the fact that engaging children in practical music education engenders not only skill acquisition but transforms them into artists, aestheticians, music makers, peacemakers, educators, etc. children become transformed also into problem solvers in society because mastering musical instruments is akin to problem solving. this theory also is a push for the transformation of the inert curriculum of music studies in the primary schools into a practical, demonstrative, and transformative one. the state of the curriculum will take music in the primary tiers of learning into extinction if it is not revamped to capture the necessities and imperatives of skill acquisition through practical music education which is the thrust of this paper. all that have been pursued in this research: experimentations with musical instruments, field work, educational methodologies, and classroom engagement with the pupils have all gained the support of this theory. the theory of ‘adaptive musicology’ the theory of ‘adaptive musicology’ by okeke (2020) posits that: the potentiality to excel in a given musical instrument is traceable to the individual’s adaptive features. that is, the capability to adapt successfully to the learning and mastery of a given musical instrument is native to the individual. because every musical instrument poses peculiar challenges in learning, it becomes necessary for the learner to be prepared for such peculiar demands and to choose the musical instrument/s that he or she can naturally adapt to. the piano demands long, thin, and strong fingers and learners with shallow and short breaths, under-bite, and cleft tongue should be guided away from the brasses and woodwinds because of their demands for good breathing, tonguing, and embouchure(pg.86). this theory provides another formidable framework on which this study rests. the import of the theory is that in learning music generally, or in teaching musical instruments specifically, care should be taken not to foist musical instruments on learners by rule of thumb. adaptability tests should be administered on each learner to ascertain their adaptability for several instruments to be learned. children for instance should be examined to find out their capabilities, possible health challenges, physical defects and dispositions before engaging them in learning any musical instrument. if this procedure is not brought into focus before the actual learning, the whole musical exercise would be futile. for pupils to acquire musical skills, this theory should be brought into perspective ‘by the virtue of our varied giftedness and build (adaptive features) some people excel in certain areas of musicology while others prevail in another’ okeke (2020). this encourages ease in skill acquisition in music because pupils acquire music related skill based on musical activities/instruments their biological builds naturally flow with. some methods of teaching music portray some traits of adaptive musicology. when pupils are encouraged to dance to music, clap to rhythm, or swing their arms to tunes, they are actually engaging in the tuning of their body parts to adapt to complex musical engagement awaiting them in the future such as singing or playing of musical instruments. some of these methods like dalcroze’s eurythmics which emphasizes early activation and sensitization of the body parts is quite relevant to this present 115 awka journal of research in music and the arts (ajrma) vol 17 june 2024 discussion. this argument is based on the premise that weak limbs and muscle control are usually induced by muscular inactivity in childhood as vividly portrayed by campbell and scott-kassner (2010), ‘as his eurhythmics approach evolved, students develop the muscular rhythm and nervous sensibility that would allow them to discriminate among even the slight graduations of duration, time, intensity and phrasing’ (p.45). when pupils are taught from early ages how to move in time to the tune of music, it makes it easier for them to engage in dance activities, playing of musical instruments, and even singing as they advance in age. this is because their bodies have ‘adapted’ to such activities owing to their engagements in them while they were younger. empirical review findings by several scholars relevant to this work were reviewed and presented here pragmatism in music education. music educators have increasingly discovered that it is not every theory or procedure works in the field of music teaching. even the principles and methodologies that are functional in a particular setting may not be feasible and relevant in another environment. okeke (2013) found out that the reactivation of recorder playing in primary school education helped revive music in the schools: reactivating recorder playing in schools would foster the development of aural sensitivity, pitch awareness, and general musicianship among the learners. teaching children to play recorder would also guide them into a successful instrumental experience, which they really enjoy, and this offers them a means for self-expression and self-worth. also giving children a foundation in recorder playing enhances basic fingering techniques which relate directly to the techniques of wind instruments and which can prove very vital in playing such instruments later in life(pg.115). okeke’s push above is to engage pupils with the recorder for music learning which is affordable, durable, and easy to learn instead of waiting in futility for the government to provide state-of –theart musical instrument for learning. this study, drawing from the finding above, employed recorders also in the research with commendable results. aninwene (2009) discovered that the state and future of music education in primary schools in nigeria was bleak and suggested therefore that: to achieve the future, grounds should be prepared for the teachers and students in terms of adequate facilities, instructional materials and relevant curriculum. music in the primary schools should not be passive, but rather involving. these are the ideals for a better future for music education (pg.48). aninwene’s regret that music has become passive in the primary schools is also one of the problems this study pursued to solve. the problem of cultural and creative arts (cca) and music teacher–incompetency in the primary schools was aptly captured by ekwueme (2009): implementation of music as part of cultural and creative arts, as a subject in the school system has been a problem. the role of music teachers and the attitudes of administrators toward the subject have not been encouraging…. an essential feature that can guarantee a successful music education programme is the supply of good quality teachers to support the scheme (pg33). 116 awka journal of research in music and the arts (ajrma) vol 17 june 2024 it is worrisome that after over a decade of ekwueme’s plea, that government has refused to heed the call as cca is still constricting and suffocating music education in primary schools. this study shall find a way around the problem by engaging pupils actively in practical music within the umbrella of music. in another interesting study regarding the curriculum of music studies in primary school, okeke (2015) found out that: there exists a disparity between what pupils are programmed to learn as stipulated in the curriculum and what is obtainable in actual classroom situation as regards music…. the current curriculum was found to be insensitive to the learning behavior of children, as it does not create room for a playful learning atmosphere; it is western oriented, neglecting traditional, folk, and recreational songs that would be more meaningful to pupils. it also gave music an imprisoned status by embedding it into other subjects as cultural and creative arts (cca) which was handled by every other teacher(pg.202). unfortunately, the recommendations of the research above have not been implemented despite the imperatives raised. part of the focus of the present paper shall be towards the review of the music curriculum to reposition it for adequacy. teaching strategies of music teachers the rainbow is beautiful because of its diverse colours and teaching will be interesting if it has diverse methods. “the music teacher must provide alternative learning strategies, that is, more than one way to attain a goal. children should be allowed to explore different path ways and if necessary pause along the way if they find a more relevant goal”, oguoma (2009). diversity in teaching creates room for effective learning and pupils should not be tied to attaining mastery in any musical skill without them exploring other skills. exploration can lead them to a skill they flow naturally with and this will enliven their spirits and quicken the joy and passion they have for learning a musical skill. the music teacher is expected to be diversified in his or her method of teaching. this would make the learner have more interest in the teaching. this diversity should not be random but systematic. it should be formed in such a way that it is geared toward the growth and development of pupils. “instruction in music must be systematically arranged to elicit specific development and growth in the behaviour of learners” ikediashi (2009). the music teacher should equally seek self-improvement as growth will never cease especially in learning regardless of age this is because “the music teacher is the key resource person in the teaching and learning of music. he or she is a vital factor in motivating and maintaining student’s interest in the classroom” ugochukwu (2010). qualities such as patience for pupils who are slow in the comprehension of what is taught, orderliness in teaching, care for challenged pupils (mentally or physically), and mastery of the subject matter should be coveted by a music teacher. “a good music teacher must possess and exhibit important qualities, mastery of the subject matter, orderliness, care and patience” egereonu (2011). such good qualities of the teacher according to egereonu, would usually yield the attitude of “being interested, enthusiastic and responsive to the teaching – learning process” (p.228) from the pupils. collaborative teaching and learning style collaborative teaching and learning style allows for the contribution of pupils during learning. a teacher whose mind is open to the pupils can learn how to teach the pupils better from the pupils. collaborative teaching and learning also involves the use of evaluation and assessment to get feedback 117 awka journal of research in music and the arts (ajrma) vol 17 june 2024 from pupils. these feedbacks narrow the teacher’s teaching techniques to his/her present pupils. in musical studies, particularly in practical music studies evaluation is often accused of being too harsh and too biased, but if it is well done, it is “the most appropriate way to make intelligent judgment in music pedagogy” (onuora – oguno, 2007). schematic learning schematic learning has been defined as using organizations of past actions which become the seedbed for interpretation and development in future learning (child, 2004). in an interesting study, skemp (1962, and 1986) in child(2004) found out that: the importance of schematic learning was underrated. in an intriguing experiment using a set of symbols he had invented to represent attributes capable of being combined to give more complex forms …, he showed that schemata were absolutely essential, even in relatively straightforward learning tasks, because of the meaning they gave to the learning in hand. in any new field the schemata first formulated have a lasting consequence on future learning in that field. therefore, the first and most important task for any teacher is to discover and carefully define the elementary schemata required to enable the most productive assimilation. he or she should proceed from a familiar framework to unfamiliar knowledge (pp.134-135). the import of this finding to the present study is that practical music teachers should draw from practical musical experiences of children and connect them to the present for a fulfilling learning. for instance, pupils who have had some experience practicing with the recorder should be encouraged and engaged in more practice for advancement on the instrument or other instruments. the schemata here being experience in learning through practicing on a musical instrument. music as a career education music is also a career education in the primary and post primary education. according to nnamani(2007), career education has been conceived as a way of reducing high rate of unemployment particularly among the youth. it further stresses the need to prevent pupils from leaving school without marketable skills or clear personal goals and helps them to examine the range of postsecondary options including those of technical and vocational jobs. summary of review skill acquisition in music for primary school learners is important and possible. it can be achieved through understanding that as animals have adaptive features, pupils also have inborn abilities that can cause them to excel without much difficulty in learning a particular musical skill. these inborn abilities can be sharpened by music education which is geared at understanding these innate abilities through organized and goal-oriented teaching. skill acquisition in music cannot be achieved if the curriculum does not aim at equipping pupils with musical skills. the curriculum should be structured in such a way that it promises at least a musical skill to a pupil who sits for music classes. music teachers should also understand that humans vary and so how they learn. this calls for diversity in teaching as the music teacher must provide alternative learning strategies, that is, more than one way to attain a goal. the music teacher should also allow children to explore different path ways and if necessary pause along the way if they find a more relevant goal. 118 awka journal of research in music and the arts (ajrma) vol 17 june 2024 assessment and evaluation should also be put in place as they serve as effective feedback after pupils are taught. for sometimes teachers think that pupils have a perfect comprehension of what has been taught till assessments and evaluations are given. musical skill acquisition is important and should be the goal of every primary school. the literature reviewed so far has helped in revealing the bulk of scholarly works and energy expended by scholars in reinvigorating music education in the primary schools. these scholarly works and empirical studies have also given a robust and solid support to this research but the research has delved deeper into the domain of musical skills that are acquirable by children through music. methodology research design the research design employed is the survey research design. “survey research is a specific type of field study that involves the collection of data from a sample of element drawn from a well-defined population through the use of questionnaire. survey research design seeks to gather information through the use of questionnaires, interviews, et cetera. the researcher made use of questionnaires and interviews for data collection. area of study this research was carried out in awka, town of anambra state. the academic area of study is domiciled in the field of music pedagogy. population of the study the population of this research study is made up of both the teachers and the pupils of all the primary schools in awka metropolis, anambra state. sample and sampling technique the sample of this study was drawn from all the teachers and pupils in awka metropolis that offer music as a single subject. in awka town which is the study area of this research work, all the public primary schools and some private schools offer cultural and creative arts, music being part of it. the researcher selected eight non-government primary schools which offer music as a subject for data collection. the eight schools are; grand hermano nursery/primary school awka, grace court international school, awka, unizik nursery/primary school awka, blossom fount nursery/primary school, awka, ridge valley nursery/primary school, awka, police children school, awka, assured tender nursery/primary school, awka, and handmaids infant jesus nursery/primary school, awka. since the population is small, the researcher made use of all the schools. in the schools, the whole music teachers from every school were included in the sample but five (5) pupils were selected from each of the schools. the researcher made use of random sampling to select from each of the schools two (2) male pupils and three (3) female pupils, totaling five (5) pupils for each school, making the total number of pupils forty (40) respondents. each of the school has only one (1) music teacher and so all the music teachers from the eight (8) schools were used for the study, giving a total number of eight (8) music teachers. in other words, the total number of respondents for the study were forty-eight (48). instrument for data collection: the researcher employed both questionnaire and oral interview in collecting the data. in the eight selected primary schools, questionnaires were distributed to the respondents and they were allowed to fill it. 119 awka journal of research in music and the arts (ajrma) vol 17 june 2024 method of data analysis simple percentage and item analysis in analyzing the data. the bar chart was also employed in sequencing and analyzing the data. discussion of the findings primary school music has helped pupils to know about musical instruments one of the purposes for introducing music in the primary school was to help pupils to know about music and musical instruments. this present research shows that 62.5% of the music teachers strongly agreed that learning music from primary school helps the pupils to know about musical instruments, while 37.5% agreed. no teacher disagreed. the implication is that early music education fosters the knowledge of musical instruments. music in primary school education fosters skill acquisition most of the music teachers in primary schools saw music as a skill acquisition in primary schools as a good idea. 50% of the teachers strongly agreed that music should be made one of the subject in primary curriculum for the future of the pupils. 37.5% agreed while 12.5% disagreed. the import of this is that music education in primary schools enhances skill acquisition. teaching music in primary schools have helped the children to have positive values for the development of their country 50% of the music teachers strongly agreed that teaching music in primary schools will help the children to have positive value for development of their country and while 50% of the teachers agreed with the fact that when the pupils learn music especially instrumental part of it, they do better in future, they are helping to add value not causing problem to the country. summary of the study despite the effort of nigerian education commission to make educational system favorable everybody, both the young and the old. there were some challenges that were still drawing using music as skills acquisition in primary schools back. regarding the pupils’ questionnaire almost 50 percent of the pupils confided in the researcher about not having music laboratory where musical instruments are kept. all the schools the researchers visited around awka and its environs they discovered that, most of the primary schools both private and public schools do not offer music as a subject. some offer cultural and creative arts while some do not offer at all. that was the reason the researchers chose only eight primary school mostly private for the research work. the researchers observed that there is insufficient music teacher in primary school education. some pupils do not have access to the musical instruments in their schools, because 85 percent strongly agreed that they participate in learning musical instruments while 15 percent do not participate. conclusion drawn from the findings the researchers observed that the music teachers are comfortable with making music compulsory in primary school education. if that is the case, government should work on the primary school curriculum to add music as a compulsory subject in the curriculum. primary school should build music laboratory where musical instrument will be keeping and also that they should post music teachers to primary school to teach the pupils both theoretical and practical aspect of music. with this, the researchers are of the opinion that the government should bring back music as a subject in primary schools to be used as skill acquisition and through practical music it can be achieved. 120 awka journal of research in music and the arts (ajrma) vol 17 june 2024 recommendations  there is serious need for curriculum of the primary school education to be reform and give way for music in it.  provision of opportunities for music teachers to be posted to primary school to teach the pupils the real music with practical demonstrations.  government should fund primary school and also help them to build music labs for better performance of the pupils.  the music teachers should allow all the pupils to participate during music practical so as to enable them learn the instruments well.  schools should make provision of period for practical music.  school should show enough interests in music as in other subject of the school curriculum.  schools should provide all the necessary facilities for the subject. references adedeji, f. 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[sourced: july 2023] https://nigerianjournalsonline.com/index.php/ajrma/article/view/1892 https://nigerianjournalsonline.com/index.php/njas/article/view/1348 http://doi.org/10.5281/zenodo.3976099 1 the nine lives of meki richard c. okafor bishop okoye university, enugu/ugwuomu-nike. abstract the life and works of professor meki nzewi pose a challenge to both students and musicologists alike. however, i have chosen to x-ray this music icon and giant to portray his activities in the music world in order to bring forth those attributes that have been sources of inspiration to his students and colleagues alike. hence, the title, the nine lives of meki was born. this has been broken down under the following sub-headings: meki, the teacher; meki and the african music theory; the nzewi school; concertizing meki; meki, the motivator; meki and the african theatre; meki and musicology; meki: the africanist and meki: the person. introduction there is such diversity in the one man, professor meki emeka nzewi, that one cannot present him in one form and possibly like pontius pilate say ecce homo-behold the man. the plain fact is that meki, as we like to call him, puts in all that he is to these diversities that we can call each province a life of meki. i have therefore elected to call this short and simple article the nine lives of meki because each of the road signs will point the way to one of these diversities. a woman i have read about provides me a useful alibi for when she was asked to state the age of her son, she said: „physically 10, intellectually 14, emotionally 12.‟ it is my opinion that my road signs direct the readers to the different lives of meki so that by focusing attention on them severally we shall together be in a position to compose the whole meki. meki: the teacher one of my sign posts points to meki, the teacher. for nearly 40 years (his looks won‟t say so). he has engaged himself in musical pedagogy. those of us here who have passed under his tutelage may have their recollections of him as a task master, guide or model. this much i know – that if meki had been a mere run-of-the-mill music teacher, this conference would never have come to be. indeed, many of us here can remember that for years there have been aborted plans to hold a conference or a memorial lecture in honour of one of the pioneers of igbo musical scholarship. but, the powers did not bless us with success, our bold visions and good intentions notwithstanding. nevertheless, our visions came true in 2008 when a national conference was organised in nnamdi azikiwe university, awka in honour of professor meki nzewi. awka journal of research in music and the arts (ajrma) vol. 9 2013 2 prof. meki nzewi encourages talents to develop and to contribute to musicology and music education. his strategy using master-musicians in the process of forming his students has been adopted and formalized into the national policy in education, which directs the same approach in music education from the primary to the tertiary level. all his students experience him as a powerful theorist who also makes very strong demands on practical musicianship. this has often brought him into conflict with some of his colleagues who accuse him of trying to turn music departments of universities into music academies. he drives his students to research into african music and to publish, thereby preparing them for later life as music academics. his musical pedagogy has reached from tertiary down to primary and secondary levels of education for which he has published some books for use by students and teachers alike. in addition to this, he shook up the traditional music education curriculum by proposing and insisting that the young pupil should begin by studying what is music in his own culture, certain that if he recognizes the intricacies of music in his own culture, he would recognize music of other cultures with their intricacies whenever he comes in contact with them. as former head of the department of music, university of nigeria, nsukka (unn), meki employed master-musicians, knowledgeable musicians and literate informers to impact on the education of his students. it can be said, without any fear of contradiction that the graduates of that regime were practical, well-rounded or holistic and very versatile, and several of them have made their marks in the nigerian society-musical academia, the media, and cultural activism. meki and the african music theory there is a part of meki that unsettled some scholars especially those who bask in the safe mediocrity of the past. this is the meki that subjects the nomenclature and vocabulary of the musicology of yesteryear to re-examination, and sometimes to redefinition, based on the perspective of giving the african mind a role in composing the international vocabulary of the universal phenomenon known as music. he believes that so many definitions derive from the perspective of the euro-american mind such that the owners of some cultural manifestations have been regarded as of no consequence in the formulation of musicological taxonomies, in such a way that their original ideas are sacrilegiously distorted. for example, the masquerade is so called because the europeans liken those figures to shrouded humans, singing and dancing just as in their native masques. on the other hand, to the african mind, nothing masquerades but spirits manifest in those forms from the other dimension of life for interaction with people in the human order on the earth plane. so, meki and some writers and scholars believe that based on this african philosophy, the correct terminology should be spirit-manifests. for the obstinate african or bell pattern, meki prefers phrase referent since all other instrumentalists refer to it in producing their own rhythms. when he felt dissatisfied with the limitations of the old notation in expressing the sounds and languages of the african drum, he devised his own notation, which he taught people of the non-african cultures to read and use in performing african music so that african drums sound and talk like african drums. simply put, meki in this way really devised an international notation that could enable 3 african drums to speak in many tongues. meki thinks of the song, the instrumental music and the dance as so intertwined in african music that it would be better expressed by the term musical arts than merely as music since the african conceives song, musical instrument playing and kinetic movements or the dance as an integer a three in one. some of his musical concepts include melo-rhythmic essence in nigerian folk-music (1974) and phonic preferences and psychical tolerance (1983a). in phonic preferences, meki identifies that music should have peculiarities which differentiate it from that of other cultures while psychical tolerance further models the peculiarities, effect, group and personal appreciation and the usage of music types. the nzewi school meki‟s idea and perspectives of african musicology are so fundamental and far-reaching that some researchers and musicologists admit that the term nzewi school is not only appropriate and deserving but accurate and factual. in order to propagate his concept of african classical music, he has taken african musicians on concert tours to the five continents (africa, americas, europe, oceania and asia), wining audiences from many cultures to his perspective of the universality of music as one language with many dialects. the nzewi school soon began to carry meki‟s musical philosophies beyond the nigerian national frontiers. joshua uzoigwe took his african pianism and ukom to the british isles, the americas, and oceania. christian onyeji, a fine and talented flutist and composer, appeared with meki for several years on the concert halls of europe and southern africa. his symphonic poem, abigbo, is testimony that african music, on its own validity, can make strong statements on western classicism. odyke nzewi, a virtuoso drummer boy, kept the family flag flying in the tertiary institutions and concert stage of nigeria, south africa, britain and germany. concertizing meki the picture of one not-heavily-built man hanging his whole orchestra over his back and striding across airport terminals must be very familiar to the immigration services of many nations of europe, asia and the americas. this is meki on his concert tours carrying his ese drums by himself as he makes his brand of music serve a two-fold purpose of entertainment and african musical evangelism – opening african music to the euro-american and asian minds. the wonder of meki on the concert stage is that he is one man playing many parts but all his acts are not nine ages. one can recognize, looking at meki that he seems to have discovered the elixir of life. he matures without ageing. all these notwithstanding, it would be wrong to link meki with african musical insularism. his training as a musician followed the standard western classical pattern. it was therefore not a surprise that his early performances between 1965 and 1986 were as a concert clarinetist. he composed and performed concerts and broadcasting his reverie for clarinet and piano. nevertheless, meki had a deep burning conviction that since music is a cultural expression, africa must be her own interpreter of african music – an argument that can hardly be faulted. he totally agrees with herndon (1976) who states: 4 what i may think does not in any way affect another group of people‟s ideas about their music. what they think of as music, and how they manipulate and develop those ideas, however, affects the form and substance of that music. (pp. 222-223) holding on to that conviction and burning with that africanist philosophy, meki burst on the world stage drumming his africanist philosophy into the audiences and the music curriculum of several lands. in 1989 meki performed the ese classical drum solos and ese/saxophone duet; solo concert of ese classical drum and ese classical drum solos and ese/mrin gandam duet in coburg, herz, nurnberg, duisburg, bonn, and bayreuth – all in germany. in the same year, he held a concert-jam session and concert of improvisations with both charlie marhiana (saxophone/flute) and tunji beier (indian drums) at erlangen and bayreuth in germany. it was also at this period that he published his ese music notation and modern concert presentation (1990) having found out that the old notation to which western music is so much tied is incompetent to handle the sounds and rhythms of the drums of africa. on january 10 and 12, 1990, he performed his drum trio concert – ese classical drum solo and drum improvisations at the german school and the goethe institute, lagos. in the same year, he organized a concert of traditional drums pop music with drum singing with his trado-sound ensemble on 1 january at the university of nigeria, nsukka. in 1991, he performed his ese concert flute duets, solo concert of ese classical drum music and ese classical drum solos at various countries including germany, belgium and the usa. on 23 march, 1992, meki performed in munich and in april in london and germany. later that year, he also performed at the british council, enugu, on 25 june. and, under the auspices of the nigerian society for music education (nismer), he performed the same ese classical drum solo and drum poems with ululation at the enugu state broadcasting service (esbs), enugu, on september 25. in 1993, meki was more home-based with performances of his ese drum solo and ese/voice duo at the goethe institute, lagos, on 2 february and at the hotel presidential, enugu, on 5 may. his performances in 1994 could be likened to those of 1989 when in the months of january, september, november and december he organized many concerts on the ese drums in holland and germany. between 1995 and 2002, the story was the same. meki continued his performances in nigeria, austria, south africa and germany. what a world man? meki: the motivator one of meki‟s lives has been to motivate and spur others towards self discovery, self development, self realization, self actualization, and certain degrees of venture and entrepreneurship. when i was a junior fellow at the university of nigeria, nsukka (unn), in 1977, i applied and secured admissions to the british columbia university, vancouver, canada, and queen‟s university of belfast for my ph.d. opinions were diverse, but when i contacted meki, who was already at queen‟s, with my plans, he replied in his typical unambiguous manner, virtually insisting that i come to belfast: “professor john blacking 5 knows the music of your grandmother.” i went to belfast, studied under professor john blacking and discovered that even meki had understated the immense values that one derived from meeting the great john blacking, as we used to call him. some of us in the association of nigerian musicologists (anim) had the same experience as meki spurred them to go to the university of pretoria, south africa, for their terminal degrees. such persons include dr. christian onyeji, dr. (mrs) young-sook onyiuke, dr. adebowale adeogun, and dr. ovaborhene idamoyibo. prof. meki nzewi is one of the most widely published and travelled of nigerian academic musicians. and, no one who has studied under him or been influenced by him has escaped being bitten by the meki nzewi bug. in the academic life of scholars, where the golden dictum is “publish or perish,” many of them have chalked up long and still lengthening lists of publications in national and international journals, as well as books on musicology and ethnomusicology. equally important, several of them stage musical concerts in other lands to broaden their experiences and expose their maturity in practical musicianship. in addition, meki has produced lecturers, associate professors and professors, all of whom can credit their advancement to suggestions made by him in his usual brash manner that miraculously leaves no after taste. professor nzewi‟s mission of bringing the authentic african art to the world led him to found the ama dialog foundation at nsugbe in anambra state, in 1993. the institution, which has accommodation built in the traditional igbo african architecture, has been listed as a destination for people who engage in art and cultural tourism. every year, more than a score of tourists from germany, the netherlands, and other western european countries spend their summer holidays in the huts of the ama dialog foundation mixing with the rural population as they go to the farms, sing and dance for entertainment or as part of ceremonies. indeed, some of the tourists have ordered the construction of some african huts for themselves and their families. in an age when most developing countries have charged globalization with the offence of using their enormously powerful technologies to crush their own cultures, meki used the ama dialog foundation to return the euro-american cultural offensive, measure for measure. the centre taught the local women to transfer their mud wall art to canvass art in the style which meki named upaism (from upa or the red laterite). the paintings are then sent to europe where they are sold and the money remitted to the village folk who find that what they do as part-time has economic value elsewhere. the money they made from each transaction keeps their families going for about a year during which they supplement their newly acquired higher standard of living from proceeds from peasant farming. an important by-product of the ama dialogy foundation is that the visitors sometimes donate their one year‟s earnings or so to the improvement of maternal and child healthcare in the village. mark you! all this is not done in meki‟s hometown or village, nnewi or otolo. in dealing with persons or groups, the motto with meki is “talent without borders.” 6 meki and the african theatre there is a side of meki that even some academics have never understood. it is the meki of the theatre who writes plays and musicals and produces them for the stage. when one theatre academic questioned meki‟s right or competence to engage in theatre productions, meki riposted that he had known one or two professors of theatre arts who also recorded and released popular hits and did not have to explain what they were doing dabbling into music. the fact is that meki had always taught his students that the african concept of music involves three main activities, namely singing, playing instruments, and dancing or miming. all the three require spaces, actors and audiences or spectators – the very same things which are required for the artistic production that some people call theatre. this has thrown meki into the sphere of communication of ideas by theatre. theatre, according to some authorities, has three main principles. first there must be an actor or actors. and, in the case of mmanwu/mawu, it is not only human actors but spirit and human actors. then, there must be space, which does not have to be inside a building. it can be anywhere. perhaps, we can take the village arena/square or anywhere that mmanwu/mawu performs to be the space. and, the third principle is that there must be an audience – people who will watch or listen to the actors or actresses. enekwe (1987) gives an opinion that cannot be impeached: however, i would like to add that theatre usually occurs in public space. if we conceive the audience as a community with shared values and emotions, then we can understand why theatre is usually public. these factors, therefore – actors consciously playing for the entertainment of others, an audience and public space, all of which imply one another – are the quintessential conditions that govern the theatre. (p. 35) in the african context, public must have its own definition since african architecture caters for individual and pubic needs. when the federal government of nigeria wanted to communicate messages of rural and community development, they invited many artists who produced sketches and variety shows. when meki designed his road show, he chose to have the messages conveyed by the medium that rural igbo folk could not, and dare not doubt. he chose to have the messages sent by masquerades or spirit-manifests, and gave the production, the title of ozi mmanwu – the message from the spirit-manifests. with that design, he captured much of rural igboland because he understood and engaged their psychology and psychic tolerance and accommodation. in further pursuance of his interest in the theatre, he founded and incorporated a professional theatre and cinema company, made up of young boys and girls who were interested in making their living through the theatre and prepared, if possible, to go it alone without any support from the government. that company produced young dramatists some of who are today household names and very active in nollywood as script writers, actors, and make-up artists. his major artistic outburst in the theatre includes opera, music-dramas and musicals. opus 1: music-drama works (dialogue and music score) including the lost finger 7 (1980); ombudspirit on politics (1981); the third coming; kunje (danced drama theatre); regeneration; and the rhyme of sangobeni (danced drama theater). opus 2: musicals including lazy bones; a drop of honey; we the people; the kola cola kid; the moonsage hero; the saviour comes again; and the woman of samaria. opus 3: operas including adaora; mystery is illusion; and omaledo (children‟s opera) a whole point of meki playing so many parts in public and academic life is that he does not approach whatever part from the perspective of the make-believe. he puts in all he is in such a way that, that part becomes and not only reflects meki. no wonder he becomes an expert in a very short time. in addition, he becomes the elephant, which was placed for identification by six hindustani blind men. and one blind man caught its squirming tail in his groping hand and declared that the elephant was just like a snake. the blind man who touched its ear declared that even the blindest man would know that the wonder of the elephant was just like a fan, while the blind man who fell against the side of the humongous beast proclaimed to the world that it was just like a wall, just as the blind man who touched its leg said that the elephant was just like a tree. all the blind men went away in heated argument, everyone believing his own description. but, the naked truth is that everyone of them was wrong and everyone was right. so be it with meki. meki and musicology any friend or colleague of meki‟s can easily testify that meki does not complain. if he is not satisfied with the state of anything, he tries to do something about it to effect a change. for example, when he came into music academics, he was not satisfied to find that musicology existed in a strait jacket, constructed by euro-american ethnocentrism, which provided the technologies and parameters for musical study and discourse. he was particularly distressed by the way in which african music was treated in this scheme – as a phenomenon which did not exist in its own right but had validity only if it flitted into the perspectives of european anthropologists, missionaries or colonial officers and traders. with this idea of doing something positive in the scheme of african musicology, he broke the cherished rule in physics, which holds that like poles repel each other while unlike poles attract. he attracted like-minds like this writer, professor richard okafor, the late dr. joshua uzoigwe, lawrence emeka, professor dan agu, dr. yemi olaniyan, dr. christian onyeji, dr. sam chukwu and dr. bode omojola, and in this way the nzewi school was born. this idea has found acceptance, through a. m. jones and hugh tracey, in east and southern africa – hitherto the citadel or shrine of the old style african musicology. meki invented his own notation for ese tuned drums. on first looking at this notation, any simple literate mind could say that “here is nsibidi or the old egyptian hieroglyphic.” but, it works. just hear them spring to life when meki picks up his drum sticks and you could call them the miracle of the millennium. 8 a good book they say “is the precious life blood of a master spirit.” and for fulton j. sheen: “books are readily available, and what companions they are. a good book is the same today as yesterday. it is never displeased when we put it down; it is always inspiring when we pick it up. it never fails us in times of adversity.” for joseph addison: “books are the legacies that a great genius leaves to mankind, which are delivered down from generation to generation, as presents to the posterity of those who are yet unborn.” this is in synchrony with the great american statesman, writer, and sage, benjamin franklin, who stated: “if you would not be forgotten as soon as you are dead and rotten, either write things worth reading or do things worth the writing.” meki has shared his ideas with the world through several publications, which made their way to the bookstands on their own merit and the force of the ideas they convey. it is not difficult to find that many of them are radical or revolutionary – made to unsettle the starchy mind: (1990). ese music notation and modern concert presentation. (1997). african music: theoretical content and creative continuum. (2000). musicology vs. ethnomusicology: african vs. the contemporary perspectives. (2003). african musicology in the global thrust: redemption for disorienting human pulse. (2005). modern art music in african: whose modernism? (2006). growing in musical arts knowledge versus the role of the ignorant expert. (2007). a contemporary study of musical arts – informed by indigenous knowledge systems (vol. 4). many of meki‟s past students affirm that he was the first person to teach them in a formal classroom-setting that masquerades are wrongly termed as such by euro-american anthropologists and musicologists. and that they should be termed what they really are in african philosophy and systems – spirit manifests – for according to the teaching of our fathers, our father‟s fathers, and their fathers before them, what we see or hear perform are spirits, which come out through ant holes after appropriate sacrifices and rituals have been performed, and manifest themselves so that human beings can see and hear them. indeed, in many an african system, nothing masquerades and there is no mask. everything that appears is the spirit in that form and manner. meki: the africanist there is the story of a patriotic american who told his audience that americans have achieved so much because the last four letters in american reads „i can,‟ and so, americans approach every enterprise or undertaking with the spirit of „i can.‟ someone in the audience politely reminded the speaker that african ends in the same letters as american and that it was in the same spirit of „i can‟ that africans founded the ancient egyptian civilization that produced the only wonders of the ancient world still standing as wonders in spite of all that the third millennium science and technology can do. that man in the audience was not meki nzewi but might well have been. hardly is there an academic whose whole life – academic and extra academic – symbolizes the african spirit more than meki. indeed, it is an understatement to say that meki is a strong defender of african music. he has a holistic approach to african music and african culture. his is the life of holistic africanity. the 9 wonder is that in its promotion and stout defence, meki has not burnt himself out with apoplexy. thank god that it is not only so but also that he gathers disciples and followers as he rolls along. meki: the person professor meki emeka nzewi was born 70 years ago to the nzewi family of umuanuka, otolo village in nnewi, anambra state, nigeria. nnewi has a culture of producing hardnosed business men, entrepreneurs, and philanthropists like ekene dili chukwu. but, meki did not and does not have any strain of shylock on which many people have stood to amass their wealth or pelf. he is humane, gentle and generous, unstinting in providing help to his friends, and careless of discomfort in helping or inspiring others. when i was a junior fellow at the university of nigeria, nsukka (1976/77), meki gave me his boys‟ quarters, free of charge, thereby providing an accommodation as well as an opportunity to be exposed to his philosophy, practice and life. and his kindness can also be seen in his wife, philo, his three sons (atuegwu, odyke and chimdi) and two daughters (ogochukwu and ifeoma). meki‟s family is making excellent progress. in addition, he is self-effacing and his status, age or rank easily melts away when he is working as a member of a team or in the company of his colleagues. he has the knack of creating his students into his colleagues or even mentors, since he does not care from whom or from where a good idea emanates. again, “talent without borders.” a thoroughbred academic, meki has supervised many ph.d. and masters‟ degree candidates in nigeria and the diaspora. prof. meki emeka nzewi is the author of over 10 books and more than 60 book chapters and journal articles, most of them published overseas. besides, he has attended and presented over 100 papers at both national and international musical arts conferences. professor meki emeka nzewi is a member of many professional, national and international bodies, namely: 1. international society for music education (isme) – member/board member, 2002 – 2004. 2. international council for traditional music (ictm) – member. 3. pan african society for musical arts education (pasme) – president, 2001 – 2005. 4. society for ethnomusicology – full member. 5. founder and centre/programme director for the centre for indigenous instrumental music and dance practices (ciimda). 6. the nigerian society for music education and research (nismer) – founder/member. 7. ama dialog foundation, nsugbe – co-founder/director. 8. association of nigerian musicologists (anim) – member. many people who know about meki‟s tenacity of purpose and doggedness in fighting for a cause he considers just will be surprised when they meet the meki who will not push himself beyond a certain point in fighting for his entitlement. in this situation, the person of meki 10 that takes over is the one which believes that justice will eventually be just, no matter how long or what it takes. we have made, albeit, a cursory survey of professor meki emeka nzewi as an africanist supremo, teacher, composer, dramatist, scholar, motivator, concertizer, and cultural entrepreneur. what we have heard, known and seen makes it all the more harder for us to say ecce homo – behold the man – and to present the person behind the personality. a national feather of honour is added to the several ones already in meki‟s cap. many more honours are coming. the cap fits, the feathers adorn it and the head wears it well. when we have role models which we look up to, we strive harder. by standing on the shoulder of giants, we see farther. references adeogun, a. 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(2003). thought systems informing the musical arts. in a. herbst, m. nzewi and k. agawu (eds.), musical arts in africa: theory, practice and education (pp. 38-51). pretoria: unisa press. tracey, h. (1948). chopi musicians: their music, poetry and instruments. london: o. u. p. tracey, h. (1954). the social role of african music. african affairs, 53, 234-240. 14 umezinwa, e. c. (rev. fr.) (2008). identity, freedom and logic in igbo music genres: the resonance of the metaphysical essence undefended (towards a philosophy of african music). doctoral dissertation, nnamdi azikiwe university, awka. uzoigwe, j. (1992). akin euba: an introduction to the life and music of a nigerian composer. bayreuth: eckhard bratinger. uzoigwe, j. (1998). ukom: a study of african musical craftsmanship. okigwe: fasmen communications. uzoigwe, j. (2001). tonality versus atonality: the case for an african identity. in m. a. omibiyi-obidike (ed.), african art music in nigeria: fela sowande memorial (pp. 161-174). ibadan: stirling-horden. 182 basic microphone technniques for live performance and music recording in nigeria. udeozor, vincent chukwuma music department, nnamdiazikiwe university, nigeria. emailvincezzo4u@yahoo.com abstract: this study exploits several ways by which microphone can be positioned/placed during live performance and recording in nigeria. musical performance cannot be appreciated without proper microphone techniques. participation, observation as well as literature reviews from the research methodology are used in carrying out the research. challenges facing this work would be highlighted as well as possible solutions and recommendations. introductions we cannot digest this discourse without knowing the meaning of this instrument called microphones. from the acoustic point of view, microphones are familiar, and almost ubiquities piece of sound equipment that changes sound energy into electrical energy. a lay man‟s understanding will have it as an instrument for singing. perhaps the best way to emphasise the importance of the microphone is to say that without it, with the exception of electronic instruments and computers, audio in the recording would not exist. going to the historical lain, it should be noted that the earliest recordings were made through a horn; sounds were emitted into horn and recorded directly onto a cylinder or disc. this type of acoustic recording was supplanted by electrical recording around 1925, and then microphone took over, in 1876, emile berliner invented the first microphone used as a telephone voice transmitter. at the us centennial exposition, emile berliner had seen a bell company telephone demonstrated and awka journal of research in music and the arts (arma) vol. 10 2014 183 was inspired to find ways to improve the newly invented telephone. in 1878, the carbon microphone was invented by david edward hughes, and later developed during the 1920‟s.hughes‟s microphone was the early model for the various carbon microphones now in use. the ribbon microphone was invented in 1942 for radio broadcasting.in1964, bell laboratories researchers james west and gerhard sessle, invented electro acoustic transducers, an electric microphone. the electric microphones offered greater reliability, higher precision lower cost and a smaller size. it revolutionized the microphone industry with almost one billion manufactured each year. during the 1970‟s, dynamic and condensermics were developed allowing for a lower sound level sensitivity and a clearer sound recording. operating principles the recording industry which is changing rapidly has one area where the technology is almost the same as it always was and this area is microphones. when choosing a microphone, there are three things to consider: operating principles, directional characteristics and sound response, cost and durability may be two other considerations. going back to our physics class, microphones are transducers. they change sounds acoustics energy (variations in air pressure) into electrical energy (variations in voltage) from a technical design standpoint; therefore, the most basic way to classify different types of micsis by the methods they use to do this. microphones use a diaphragm usually of twin, lightweight material, that is struck by sound waves and vibrates accordingly into an analogous pattern of varying voltage and the electrical signal is then available for recording and processing. based on this way we can break microphones down into the following categories:  dynamic moving –coil designs (the diaphragmis attached to a coil of wire)  ribbon (actually, dynamics as well, but with a ribbon of a moving coil) basic microphone technniques during live… udeozor, vincent chukwuma 184 condenser (i.e capacitor mics, where the diaphragm is part of capacitor) dynamic movingcoil microphones designs, better known as dynamic mics, use the principal of electromagnetic induction to convert acoustic energy to electrical. the diaphragm is attached to a coil, which lies in a magnetic field (generated by a magnet incorporated into the mic).when sound waves strike the diaphragm, it vibrates accordingly, and this causes the attached coil to move within the magnetic field generating a voltage which varies in accordance with the pattern of the original sound wave (a typical loudspeaker works by the same principle, only in reverse) moving-coil designs are usually sturdy and rugged and so are popular for live use, especially hand – held applications. moving-coil microphones are rugged, generate low self-noise, tend to be less susceptible to humidity and a wide temperature variations, and handle high sound –pressure levels without distortion. they are less expensive than other professional microphones. ribbon microphone is another type of mic design that uses electromagnetic induction. people refer to this design as „‟ribbons‟‟. a thin (usually) corrugated ribbon of metal foil is used as diaphragm again suspended in a magnetic field, inducing a voltage whose pattern is analogous to the original acoustic sound wave‟s as above. in older ribbon designs, the ribbon material itself was extremely fragile, making these mics more suitable for studio use than live. ribbon microphones are not widely used today, except in music recording and for the speaking voice. they are more expensive than many movingcoilmics and have to be handled with care particularly when it comes with loud sound levels. recently developed ribbon microphone technology is the active ribbon microphone which uses an amplifier system that requires phantom power. phantom power is a method of remotely powering an amplifier or impedance converter by sending voltage along the audio cable. basic microphone technniques during live… udeozor, vincent chukwuma 185 among the advantages of the active ribbon microphone over conventional ribbons are higher output and sensitivity, wider and flatter frequency response and the ability to handle higher sound levels before distortion (alten: 1981) performance characteristics microphones have their individualistic approach for a particular application. moving-coil microphones are rugged, generate low selfnoise, tend to be less susceptible to humidity and wide temperature variations and handle high sound pressure levels without distortion. they are usually less expensive than the other professional types and come in a wide variety of makes and models. the element of a movingcoil mic has more mass than that of a ribbon of capacitor microphone and, therefore, has greater inertia in responding to sound variations. this results in a slower response to transients sounds that begin with a quick attack, such as a drum hit, breaking glass, and then quickly decay. ribbon microphones are not widely used today, except in music recording and for the speaking voice. they are more expensive than many moving coil mics and have to be handled with care, particularly when it comes to loud sound levels. ribbon mics generally have low self-noise, but they also have the lowest output level of the three major types. this means a power signal-to-noise ratio if the mic is too far from the sound source or if the cable runs us too long. capacitor microphones are highly-performance instruments. they reproduce clear, airy, detailed sound and are the choice among professionalquality microphones when it is necessary to record sounds rich in harmonics and overtones. capacitor mics have high sensitivity, which make them the preferred choice for distant miking: high-end response is not hampered by extended mic-to-source distances. the capacitor microphones are generally more expensive than moving coil and ribbon microphones. basic microphone technniques during live… udeozor, vincent chukwuma 186 behavioural characteristics the way in which a microphone responds to sound in the air around it is expressed as the mic‟s pattern. this describes the microphone‟s sensitivity to sound coming at it from the front, sides and rear of the diaphragm-in other words, the microphones directional characteristics. microphones has three basic directional characteristics a. omni-directional: the mic responds with equal sensitivity to sounds from all directions (front, rear, sides). b. bi-directional: the mic is sensitive to sounds from the front and rear (00 and 1800 respectively) but rejects bounds from sides within 900-2700. c. uni-directional: the mic is primarily sensitive to sounds from one direction (cardioids, super-cardioids, and hyper-cardioids) and rejects sounds from the rear. as mentioned earlier, an omni-directional mic which picks up sounds from everywhere consists of a disc-shaped diaphragm in a sealed enclosure, open only at the front. that means all sound is picked up by direct pressure on the (front of the) diaphragm. omnimics can be referred to as pressure mics. when sound waves from the side (9002700) strike, both sides of the diaphragm at the same time resulting in equal but opposite pressure on the front and rear, the sounds from the sides will be cancelled, that is to say that the mic therefore picks up sound waves from the front and rear and rejects sound from the side, this is a pressure gradient design, also known as a bi-directional mic. the microphone that falls under this category is condenser microphone and are mostly used for choir applications, they are generally more capable of flat, wide-range frequency response rather than one microphone per sound source the object is to pick up multiple sound sources (or a „‟large” sound source) for one microphone picking basic microphone technniques during live… udeozor, vincent chukwuma 187 up a typical choir, the suggested placement is a few feet in front of, and a few feet above, the heads of the first row, it should be centred in front of the choir and aimed at the last low. a cardioids microphone can cover up to 15-20 voices, arranged in a rectangular or wedgeshaped section, for larger or unusually shaped choirs, it may be necessary to use more than one microphone. uni-directional unidirectional comes into play where a more restricted pick up characteristics would be desirable. sound waves arriving at the rear of the diaphragm are delayed, usually by rear entry ports (acoustic chambers) in the body of the mic. this delays the arrival of a sound wave relative to its arrival at the front of the diaphragm-in other words it puts the sound coming in at the rear out of phase with the same sound coming in at the front. this type of mic is very sensitive to the sound coming from the front, and which rejects sounds from the rear. when the pattern of this kind of unidirectional design is plotted, it looks like a heart shape and so is commonly referred to as a cardioids pattern from the latin word for „‟heart‟‟. this type of mic can be used in mixing a bass drum since it has its concentration in the front. also close mixing guitar cups, drum kits, close on trumpet bells. vocal mixing techniques some singers, even professional find it very hard to perform with microphones especially during live recording or performance. these bad techniques often times result in some fantastic voices being over looked due to poor sound quality. basic microphone technniques during live… udeozor, vincent chukwuma 188 things to bear in mind while handling the microphone 1. pointing the microphone towards a speaker when you are two close causes a high pitched noise called feedback. 2. aiming the volumes too high will cause feedback and distortion. 3. holding the microphone too close or too far from your mouth. this results in your singing sounding multiple and distorted. set your volume controls so that the backing track is lower than your singing. to avoiding, ensure the mic is held no closer than 2 to 3 inches from your mouth during normal singing. also, when aiming for high notes, avoid moving the microphone closer to your mouth. furthermore, point the mic at about a 45 degree angle above; below; or to the side of the performer‟s mouth, depending on the mic‟s pick up pattern‟. cardioidsmics are best suited for this. ideally, hand held mic should be positioned 6 to 12 inches from the performers mouth at an angle of 45 degrees or less. positioning the microphone at the angle of about 90 degrees may result in popping sounds when consonants like p and t are pronounced. snare drum use a capacitor mic which makes snare to sound richer or crisper or moving coil mic that tends to give it a harder edge in mixing the snare drum. point your mic 6 to 10 inches from the drum head and aim the mic so that its pick up pattern is split between the head and side of the drum. bass drums this drum purpose in most music is to provide transient, lowfrequency energy burst that help establish the primary rhythmic pattern of a song.the kick drum‟s energy is primarily focused in two areas:low-end timbre and “attack”. although this varies by individual drum, the attack tends to be in the 2.5-5khz range. basic microphone technniques during live… udeozor, vincent chukwuma 189 tom tom the kick and snare establish the low and high rhythmic functions the toms are multiple drums that will be tuned from high to low between the snare and kick. they are primarily used for fills during performance, but may also be consistent parts of the rhythmic structure. the attack range is similar to snare drum, but often with more sustain. an individual directional mic on the top head near edge can be used on each drum and panned to create some spatial image. hi hat cymbal the hi-hat cymbal produces too sounds; a clap and shimmer; depending on how important these accents are to the music, the hihat can either can either share the snare drum‟s mic or have a microphone of its own. if it shares, place the mic between the hihat and snare and adjust the sound balance through mic placement. if your miking only the hi-hat place the mic at the edge of the hihat to produce a brighter sound. acoustic guitar when recording an acoustic guitar, place your microphone about 6 inches above the bridge and even within the front of the guitar brightens the natural sound of the instrument. aiming a microphone at the centre of the guitar hole 2 to 3 feet away produces a sound with balanced highs, middles, and lows. basic microphone technniques during live… udeozor, vincent chukwuma 190 congas this is a special instrument in africa, miking such an instrument that has its sound concentration both in the middle and at the edge of the instrument would require a special skill in the sense that the instrument is play with the expression of the body as part of its skill. miking the instrument from top may engage the player and microphone in a “fight” but not that a good result may not be achieved miking from the top, but to achieve a more desirable result, is preferably good to mic beneath the instrument. conclusion trying to exhaust the microphone technique of all the instruments may not be possible in this discourse as we have numerous musical instruments. the basic thing or aim of this work is to create consciousness in the use of microphones especially in the vocal technique. we should also bear in mind that mixing something that makes sound; use a microphone with a frequency response that is suited to the frequency range of the sound, if possible, or filter out frequencies above and or below the highest and lowest frequencies of the sound. basic microphone technniques during live… udeozor, vincent chukwuma 191 references internet sources www.recordingmag.com/resources www.adorama.com/basic-miking www.music.tutsplus.com benade, a. h. fundamentals of musical acoustics. parker, s. p acoustics source huber & runstein modern recording techniques. everest, f. a (1981).the master hand book of acoustics alten, s r. audio in media 7th edition hornby, m s. production in pro tools kristin, p & reil, k. r (2014).basic miking techniques for recording pop\rock music. basic microphone technniques during live… udeozor, vincent chukwuma http://www.recordingmag.com/resources http://www.adorama.com/basic-miking http://www.music.tutsplus.com/ tonemic substitution 1 awka journal of research in music and the arts vol.15 (2021) 1 change and continuity in the performance practice of keku dance music of the jukun omotolani ebenezer ekpo, eyitayo aderonke soretire & jonathan chinelo arum abstract hange is a constant phenomenon in our world, while knowledge is acknowledged as the power that rules the world. the combination of these two words about indigenous music seems to pose a sense of conflict, especially with the ongoing crusade for preserving african indigenous music heritage. change is inevitable as consistently displayed in recent occurrences of the world; such as climate change, economic change, political change, fashion trends etc. the performance of keku dance of the jukun has experienced some level of changes over the years, some of which will be discussed in this study. the coherence of the knowing and the change experienced in the performance of this music will also be examined. through an ethnographic study of the music and the musician in the context of its performance and cultural implications, this study looks at the changes the music has experienced so far and their effects on the cultural posterity of the music. therefore, this paper concludes that while maintaining the truism of change as an inevitable phenomenon, the knowing (i.e. the knowledge of the principal idioms) of the music are yet to be compromised, this consequently has preserved the music till date. keywords: knowing, change, performance, jukun, keku dance c awka journal of research in music and the arts (arma) vol. 15 2021 ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 2 introduction consistently, every aspect of human existence changes. times and seasons unfold with innovations or development on existing inventions. music of the world has a rich history of various periods and their peculiarities which best describe them. african indigenous music has experienced some distinctive changes as a result of various cultural interferences. the ‘keku dance’ is one of the prominent cultural music of the jukun which has experienced three major changes in its performance in recent decades. however, the prominent musical elements and idioms of the music are still held tenaciously by the musical group. in other words, the major characteristics of the music in terms of instrumentation, rhythmic patterns and melodic patterns are still maintained till date. the knowing of the keku dance can be hung on its functionality and participation. at the earlier stage of the music, it was said to be restricted in its functionality, but flexible in its participation. this has switched position over time; in that, it is now flexible in functionality and restricted in participation. the advent of globalization and political occurrences has brought the music to limelight and called for some modifications in its presentation. it is of huge importance also to note that the existing knowledge of the music, informs the changes it has undergone. a discuss on change simply connotes an extinct way of doing such a thing; which may be an outright displacement or modification of a phenomenon. in the cause of this study, both the ‘knowing’ and the ‘change’ will be reconciled about the performance of keku dance among the jukun. the “knowing” or “know-how” in the discus of “knowing”, learning comes to play and change cannot be ignored. the term knowledge is described as the codification of experience in some form of cognitive structure or behavioural pattern, ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 3 and of learning as the process through which such structures and patterns change (kim, 1993; fiol and lyles, 1985). the concept of knowing and learning extensively forms an expedient impartation of ideas that facilitates human development and cognitive capabilities. the word “knowing” is conceived as an inherent virtue that resides in human minds, which is often used in explaining and displaying individual potentials. this concept, views knowing/knowledge as a mere mental substance that is expressed in written texts, representations, and consistent behavioural pattern (nicolini, gherardi, and yanow 2018). although considered by some other schools of thought to be an unacceptable level of simplification and superficiality, void of intellectual sophistication. it remains the edge an individual or group has over another. from the perspective of “know-how”, knowledge can be viewed as the indispensable acquired skill on a craft or trade; which embraces the nicolini concept of knowledge as a process which is subjected to time. here the “know-how” or knowing depends solely on the conscious and structured mode of learning and training. thus, by constant practice or work routine, the skill on the job is attained. in an oral interview with ashu (2018), the art of keku dance overtime is taught by observation and participation, which requires an intense commitment on the part of the trainee, by being always available at every instance of the music performance. moreover, in addition to the aforementioned concepts of knowing about keku dance, one can also view the term knowing as the basic rules and concepts that informs the creation of the music. in the same vein, the knowledge of the music can be realized by the distinctive elements and idioms that forms its functionality and identity respectively, irrespective of changes experienced; this is similar to distinctive features of a man or woman even when either of them chose to dress or behave differently from the general norm, ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 4 there will always be an indispensable feature that will betray the disguise. generations come and generations go leaving behind a landmark for succeeding generation to adopt or improve on. culture is not static; it is perpetually vulnerable to change as time goes by. likewise, music being a powerful cultural force is well disposed to change, of which to a large extent has enhanced its growth through ages and across the globe. our world holistically has experienced a change in all sphere of human existence; ranging from the ecological realm to social interaction, to economical experiences, to political occurrences and religious practices to mention but a few. therefore, aligning this study with the recent drastic change in the nation’s economy, indigenous musical practices that are fundamentally functional are becoming mere entertainment performances to raise funds to make ends meet and satisfy politicians ego at the detriment of musical cultural heritage. theory of continuity and change this study employed the theory of continuity and change which is identified with herskovits and bascom (1975). many scholars have adopted the theory of continuity and change, also known as cultural dynamism, to explain various musical genres in nigeria. such scholars include euba (1990)–dùndún music; alaja-browne (1989) -jùjú music; and samuel (2009) dùndún music. cultural practices, especially in the music domain, are subjected to the danger of outright extinction as a result of civilization and globalization respectively. the amalgamation of ethnic groups into geopolitical zones and economic activities have submerged minor indigenous societies and their cultural heritage into obscurity. james mahoney’s (2000) treatment of path dependence in historical sociology maintains that the positive feedback mechanisms sustaining a self-reinforcing sequence often lead to institutional persistence. the sustenance and reinforcement of indigenous heritage ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 5 like music require positive feedback on the part of the indigenes and the researcher, such that the interpretation of the details of the music adequately connotes the actual intent of the performers. one of the major problem faced in sustaining the elements and idioms of traditional music has always been an issue of misrepresentation of data. however, the sustenance or continuity of any cultural heritage is not without some iota of change resulting from certain revolutionary events, policies and dynamics of creativity. migrations of indigenous people as a result of war, trade, natural disasters, marriage and so on tends to bring about changes in existing cultural practices. in terms of music, the introduction of new musical instruments, costume, dance steps, rhythmic and melodic motive as the case may be, constitute a remarkable change in the composition and performance of such genre; which may be a modification or complete departure from the original music. this study discusses the significant changes experienced in the composition and overall performance of keku dance over the decades using the theory of continuity and change against the background of some factors responsible for the sustenance and creative dynamics in musical performances. the agreement is that keku dance music of the jukun has gone through two major changes in its performance and functionality but still maintains its creative elements and idioms. . jukun traditional music the jukun like every other african indigenous society views music as a functional art which is integral with life and rhythms of life (akpabot, 1986; nzewi, 1991; agawu, 2003 okafor, 2004, 2005). in other words, musical activities among the jukun exhibits some remarkable elements that portray it as an entity rather than mere aesthetics and creativity. to them, music is an embodiment of total spirituality which may be ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 6 expressed mentally, psychologically, socially, emotionally or otherwise. it is text woven and it addresses specific socio-cultural events such as coronation, birth rites, marriage rites, funeral rites, socio-cultural and political sensitisation, moral values, rituals and initiations etc. meanwhile, it is important to note that the jukun as submitted by historians like c.k meek, h.r palmer, s. abubakar and t.m tamuno in dauda (2017) migrated to nigeria. the jukun originally came from yemen, from where they crossed kordofan, the fitri region, the mandara, the gongola region and finally reached and settled at the benue basin. this record is further buttressed by the present king (aku-uka) of wukari in an oral interview. as a result of their internal and external activities, the jukun were compelled to migrate further south and founded a new capital at puje and subsequently at wukari in the middle benue, from where they spread their influence over non – jukun groups and rebuilt their institutions till date. the jukun are categorised into two major groups; the wanu (waterside, predominantly fishermen located at ibi) and the wapa (the wukari jukun who are predominantly farmers. the jukun possesses a large array of musical instruments which are used either individually (as an accompaniment to singing) or in large and small ensembles. some of their music allows audience participation, a kind of communal sharing and interaction. music among the jukun is learned as part of cultural and practical education for posterity. most often young children listen and observe the adults while performing, but as they get older they begin to actively participate in the musical functions of the community. invariably, jukun music is characteristically complex; it is often heterophonic, polyrhythmic and polyphonic in nature. although, players of simple solo instruments (such as the musical bowgoje/keku) ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 7 manipulate the instrument skillfully to produce simultaneous sounds by producing overtones with the bow. also, percussive quality of sound is often derived from their idiophones and membranophones; with their melodies consisting of two balanced phrases, often in a call and response performance. the polyphonic performances are generally structured such that two parts or two groups of vocalists or instrumentalists perform in antiphony. the binary musical form among the jukun is expressed with variations or improvisations on short melodic motifs, which is repeated and sustained throughout a piece (litany type) or on strophic forms (i.e. the stanza type). most of the jukun music is associated with dance, which complements its multidimensional effect of presentation characterised by density and motion. among the jukun, the hocket technique is an important instrumental and vocal device and is frequently paired with multi-ostinato. some of the music found among the jukun include – ajo-niku farming dance (work song), adiyamando (war song), akishe dance (marriage music), garaza, ajo-bwi, ajokovo, agyogo and keku (goje) dance. the keku dance the keku dance is one of the prominent musical genres of the jukun. it is named after the lead instrument called ‘keku’ in jukun language but popularly known as goje (african fiddle). the ‘keku’ dance according to oral tradition is peculiar to the jukun and plays a significant role in conveying the new king from the coronation site to the palace. although in recent times due to civilization, its performance is now extended to other major celebration of the people. ‘keku’ dance is open to any interested member of the society and still maintains its original musical instruments and modes of performance with slight modifications in their costume. the music like many african heritages is maintained and transferred to the younger generation by ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 8 observation, training and participation. initially, the performance of keku dance involves the women too, but this gradually faced out because of the vigour required in its dance. ‘keku’ dance employs three major instruments namelythe akwe (calabash), akacha (leg bracelet) and keku (african violin). the akwe and the akacha play the percussive role and maintaining the rhythmic dynamics of the dance while producing pleasurable percussive sounds that inspires the dancers. the ‘keku’ on the other hand plays the lead role, and is often accompanied with a brief vocal response during the procession to the stage; with the melodies mostly consisting of two balanced phrases. there is often a leader/chorus relationship in the performance of ‘keku’ dance, creating room for variations or improvisations on short melodic motifs. the presentation of keku dance is meant for celebration with no mystical implication. its performance connotes dance skill competition to show who can dance best and outwit the other. density and motion broadly characterize the performance of keku dance, coupled with high degree amplitude due it being mostly an outdoor performance. there also exists an overlapping instrumental antiphony and responsorial interaction between the three instruments. also, some canonic imitation may occur in responsorial or antiphonal sections during its performance as a result of the repetition of the first phrase or the introduction of the new melodic material in the form of a refrain. analysis of keku dance music ensemble: the music is of a mixed ensemble of vocal, dance and instrumental ensemble, with dominance given to the dance and instrumental ensemble. ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 9 structural form: this piece of music is in strophic form, although it has three major sections, there is mainly a chordophone solo and vocal and instrumental backup. instrumentation: there are only two categories of three instruments; the chordophone ‘goge’ which is the main and solo instrument, and the idiophones, comprising of leg shakers and calabash, which play solo and time referent respectively. rhythm: the rhythmic pattern employed is additive and asymmetric rhythmic patterns. time signature: the musical piece is in a simple time 4/4 quadruple meter. scale: the scale of this music is pentatonic. although, with little alterations. tempo: the music begins with a moderately fast tempo and gradually increase speed until getting to a very fast tempo and thus end. melody: there is a melodic arm-bit of a3-g5, (using piano pitch measurement method) key: c major the changes in the performance of ‘keku’ dance music according to ajiduku (2017), the ‘keku’ dance at inception was performed by both men and women and strictly as the music that ushers in the new king from the coronation site to the palace. as discussed earlier on the basic musical instruments employed were the akwe (calabash), akacha (leg braclet/rattles) and ‘keku’ (fiddle). the ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 10 music is a combination of vocal, instrumental and dance music. the dressing of the performers was not necessarily uniform, probably because the people at the early ages had limited wears at their disposal, so the performers simply dress presentably to fit into the celebration and royal aura of the coronation. the ‘keku’ dance along other african indigenous music underwent some level of changes which is evident majorly in the participation, functionality and aesthetic presentation of the music over the decades. the initial flexibility in the participation of keku dance has over time metamorphosed into strictly masculine musical dance showmanship. according to ajiduku (2017), this resulted from the often need for performance and the rigorous dance gestures involved in the performance of the dance. secondly, the restriction in the functionality of the music as the conveyor of the new king from the coronation site to the palace, which allows very minimal public performance of the music. the aesthetic representation of the music now employs the use of uniformed costume and dance formation, where the dancers sing and dance in structured patterns that reveal the masculine strength of the legs and the shoulders of a jukun man. unlike the original consciousness of the functionality of the performance which governs the presentation of the music and dance, the people are more concerned about audience acceptance and economic implication of the music. conclusion in conclusion, this paper is able to reconcile the concept of “knowing and “change” in the performance of jukun keku dance by establishing the obvious inevitability of “change” as a phenomenon of life; and that the performance of ‘keku’ dance of the jukun has experienced majorly functionality, participatory and aesthetic performance of the music dance. the coherence of the “knowing” and the “change” experienced in the performance of this music has been presented as being ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 11 dependent of each other. these changes experienced so far in the performance of the dance music and their effects on the cultural posterity of the music are discussed. therefore, this paper concludes that while maintaining the truism of change as an inevitable phenomenon, the knowing (i.e the knowledge of the principal idioms) of the music are still maintained, this consequently has preserved the music till date. references agawu, v.k (2003). representing african music: postcolonial notes, queries, positions. new york. routiedge. ajala browne, a. (1989). the origin and development of juju music. the black perspective in music. foundation for research in the afro-american creative arts. vol. 17, no. 1/2. 55-72. retrieved from http://www.jstor.org/stable/1214743 on july, 2013. ajiduku (2017). an oral interview on the history, composition and performance of jukun keku dance. akpabot, s. e. (1986). foundation of nigerian traditional music. ibadan: spectrum books limited dauda a.a. (2017). a history of leisure and entertainment among the jukun people of the lower benue valley of nigeria. ph.d thesis, school of postgraduate studies, benue state university. euba, a. (1990). yoruba drumming: the dundun tradition. bayreuth. african studies series. fiol, c.m., and lyles, m. (1985). organizational learning. academy of management review. 10(4): 803–813. herskovits, m.j. and bascom, w.r. (1975). the problem of stability and change in african culture. in w.r. bascom, and m.j. herskovits (eds.) continuity and change in african cultures. chicago. university of chicago press. 1-14. kim, d.h. (1993). the link between individual and organizational learning. sloan management review 35(1): 37–50. ekpo, o. e., soretire, e. a. & arum, j. c.: change and continuity in the performance... awka journal of research in music and the arts vol.15 (2021) 12 mahoney, james (2000). ‘path dependence in historical sociology’, theory and society 29: 507– 48. nicolini, d. silvia gherardi, s. & yanow d. (2018). toward a practicebased view of knowing and learning in organizations. http://www.knowing/knowledge.com nzewi, m. (1991). musical practice and creativityan african traditional perspective. bayreuth: iwalewa haus, university of bayreuth. okafor, r. c. (2004). evolution of nigeria as a political unit. nigerian peoples and culture, 4th edition (pp.319-346). enugu new generation books. okafor, r. c. (2005). music in nigerian society. enugu: new generation books. samuel, k. m. (2009). female involvement in dundun among the yoruba of southwest nigeria. phd thesis. institute of african studies, university of ibadan, ibadan. http://www.knowing/ 125 the philosophy of african music as oral literature eunice u. ibekwe department of music nnamdi azikiwe university, awka. abstract the nature, quality and structure of african music are such that create, propagate and define elaborate potentials which reflect cultural experiences in the day to day activities of man. obviously, the philosophy of african music can neither be fully explicated nor better conceived or appreciated outside its functional and utilitarian point of view. the primary issue therefore, centres on the effective implementation, utilization and or application of virtues that give african musical arts its desired concept and cultural meaning. in essence, the purpose of this paper is to critically examine african music as oral literature and to discus those aspects of literature that the music propagates, which validates as well as give credence to both cultural and conceptual relevance and applicability that engender its philosophical import. introduction: african identity a good number of music scholars, educators, ethnographers and researchers have raised a lot of debate concerning the homogeneity, the uniqueness or the commonness of africa as a people or race yet the more people try to submit to a common opinion the more the issue of diversity arises. being confronted or challenged with this problem of common identity, agawu (2003) questions whether the matter of historic origin is enough to establish an african identity or to consider how people wish to be identified. talking on the heterogeneous nature of africa caused by external influences and encroachment on the border areas, nketia (1974) affirms that the continent of africa is not culturally homogenous in the sense that those in the north are influenced by the arab world of the middle east while those in the south are dominated by settlers from europe. he also identifies over seven hundred distinct languages spoken by different societies that make up the so-called africa. in that regard, the issue of common identity for africa becomes a problematic discourse. in trying to reduce or narrow down the ambiguity, the vastness and the divergence strata of africa and its cultural disposition, oehrie and emeka (2003) recognize africa which comprises “twelve culture areas or geographical territories within which inhabitants share most of the elements of culture such as related languages and similar ecological conditions, economic, social ideological and social system” (p. 40). culture area according to onwuejiogwu in oehrie and emeka is “a geographical territory occupied by people whose awka journal of research in music and the arts (ajrma) vol. 9 2013 126 cultures exhibit a significant degree of dissimilarity with the culture of others” (p. 40). in that direction, oehrie and emeka emphasize that the way of culture in traditional african societies had been and really still is unity in diversity” (p. 40). it is probably this distinct group whose inhabitants share most of the elements of culture that nzewi (2003) refers to as “indigenous africa” (p. 14). this paper argues that, it is based on those aspects of unity, common features and attributes, styles, practices and usages that the philosophy of african music finds its consummation. definition of african music in the words of agawu (2003) “the apparently simple statement that african music is music made by africans is not so simple after all” (p. 1), considering the effect the polarity of cultures (as a result of external influences) has on the homogeneity of africa as a people. in such instance then, one is constrained to regard any particular music as african music. nevertheless, nketia, (1974) eschewed this predicament by excluding all those external influences and border encroachments and considers africa with common or related traditions. in that direction he said: when we turn to the rest of africa, we find african societies whose musical cultures not only have their historical root on the soil of africa, but which also form a network of distinct yet related traditions which overlap in certain aspects of style, practice, or usage, and share common features of internal pattern, basic procedure, and contextual similarities… distinct from those of the west or the orient in their areas of emphasis. (p. 4) anchored on the above submission, one can now make bold to assert that, african music is traditionally oriented music in content, context and concept which are located within the frontiers of african cultural milieu. in which case, any traditional music that has not totally lost its indigenous flavour can be definitely considered adequate to portray the philosophical import of african music. african music has special features that distinguish it from the music of other world cultures. the melodies are short and easily committed to memory. above all, it engenders oral tradition. in his discussion on the characteristics of african songs, agu, (1999) states that “the main characteristics are found in their scale and tonal organization, pitch and melodic range, vocal techniques, shifting tonality, correlation between speech and melodic contour, harmonic principles and styles” … (p. 33). he also identifies the structural forms of african songs to include; solos, call and response, call and refrain, solo and chorused refrain, and mixed structural forms (p. 15). therefore the practical demonstration or application of these features in traditional musical practices defines the concept or nature of african music. apart from vocal form, the nature of african music is also evident in the use of musical instruments. they are culturally controlled in both function and performance. in the constitution of instrumental ensemble certain criteria are followed both in the choice of instruments and the role the instrument is meant to perform. agu (2000) posits that, “this exercise is not a random one… the functions and utility of the music performed by the group determine the size and composition of the instruments to be used” (p. 80). he further stresses that: psychological implications are also considered while making choice of instruments. for instance, a group whose activities are often secret is expected to have a 127 psychological hold on the public during performance; such a group therefore makes use of instruments, which are believed to achieve the required psychological hold on the audience. (p.80) in the same direction, akpabot (1986) opines that, “any definition of african instrumental music must take into consideration two chief points (a) factors which influence the instrumentation and (b) the general characteristics of the various ensembles” (p. 9). he went on to say that the african performer, who is also a composer has an extraordinary feeling for colour which he brings to bear upon his instrumentation (in the sense that) the worship of an ancestral god is for him a very serious affair; and therefore, the music for such ceremonies rarely uses any musical instruments that would give impression of carefreeness. usually only the drums are used to invoke the spirit of the gods, although there are a few instances where the gong is introduced into the ensemble. it is safe to conclude that the gayer the mood of the music the more the preponderance of percussive instruments other than drums. the more serious and traditional the music the more definite and exact the orchestration. (p. 9) all these submissions above tend to establish the fact that instrumentation in african context dwells much on the nature and function of the ensemble, and therefore becomes a problematic issue when we begin to see african instrumentation from western perspective in terms of standardization in tuning, melodic, rhythmic and harmonic principles and developmental devices. in africa, instrumental melodies and rhythms are not independent; they are most often guided by the established structure or pattern of vocal melodies which are strictly tonal. harmonies can be observed when different instruments interlock in a contrapuntal manner, whereby each instrument struggles for attention/audience. developmental devices do not occur as in classical allegro form, rather, a whole performance or composition is a process growing out of a single germ. in the course of this process, extemporization sets in and what starts out as a probing melodic or rhythmic fragment announced by a cantor or the leader of an instrumental ensemble on his instrument; is picked up by members of the ensemble who shift this melody or rhythm from one voice part to another until all the instruments have been heard in one form or another. next follows a section where the opening motif is repeated many times in varied forms usually by means of embellishment. (akpabot, 1986: 11) african music in its broadest sense is all embracing and collaborative. most often the outcome of complex rhythmic actions of various instruments is observed in a dramatic and artistic response of the body in form of dance. nketia (1974) is of the opinion that “music that is frequently integrated with dance is bound to emphasize and develop those features that can be articulated in bodily movement or to relate its form and content to the structural and dramatic requirement of the dance” (p. 106). he further states that: the importance attached to the dance does not lie only in the scope it provides for the release of emotion stimulated by music (but) can also be used as a social and artistic medium of communication, (which) can convey thoughts or matters of 128 personal or social importance through the choice of movements, postures and facial expressions. (p 107) therefore, when one discusses african music, one is confronted with a tripartite dimension of musical expressions which are designed or combined to give a holistic approach to the proper understanding of the nature and content of african music. philosophy of african music: philosophy as a concept has defied a single definition. many definitions abound as there are number of definers but “whichever way it is viewed circles around wisdom, knowledge, ideas and behaviour of man and his environment” (ibekwe, 2010: 37a). going by such view, it implies that african music obviously has some set goals which guide its performance and which invariably hinges on man’s ability to harness and explore such potentials for better result. the philosophy of african music can better be appreciated if viewed from its functional perspectives as can be seen below. historical function: every community within africa or beyond has it as a duty to record, protect and preserve her history. african music carries information needed about the life and events of a community. it traces the past, consolidates the present and forecasts the future. in that regard, nzewi, (2003) says: in traditional african cultures, songs, poetry and archaic musical arts theatre could be repositories of historical records. costumes, instruments and other production properties could carry historical texts. some musical arts genre may be conceived specifically to relate and update historical accounts, such are the griots (bebey 1969) – vocal artistes that specialize as repositories of historical records in the sene-gambia region of western africa – and the praise singers in some south african cultures. (p. 18) in a similar instance, african musicians being aware of their musical expectations employ historical facts as the main ingredients in choosing their texts during composition. musicians capture every eventful period and make full use of the relevant texts – both spoken and written information in their composition. such eventful phenomena include – independence day anniversary, outbreak of influenza or epidemic, war, hunger, flood or fire incidence, death and other related events that need to be remembered, so that whenever the music is played, it refreshes the memories of the old and informs or equips the minds of the young. the philosophy of african music does not stop at the historical function; it extends to cultural, social, religious, and educational dimensions. culturally, the philosophy of african music in its capacity to preserve, conserve, propagate and consolidate culture is indispensible. one of the surest ways to portray the culture of a society in african tradition is through music. the use of song texts, costumes, body movements, and designs on musical instruments indentify a particular culture. even body designs and adornments of performers make culture statements or act as a pointer to the owners of such tradition. music is so knitted in culture that for one to fully understand the context of a given musical performance, one has to primarily understand the culture of the people that owns the music. nettl in onyeji (2008) opined that, “a music cannot be properly 129 understood and appreciated without some knowledge of its social and cultural context” (p. 124). he further states that, “what determines the nature and character of the music of a particular society is something – we may not know what, but something in the character of the culture” (p. 124). suffice it to say that the performance of african music implies the full exposition of the culture of african people. no wonder akpabot in ibekwe, (2008) advocates that, “one way of knowing about the culture of a people is to examine how they conceptualize their music” (p. 37). in other words, music interprets the culture in such a way that a society is never complete without it. the social function of african music validates its communal nature and purpose. traditionally, performance in africa favours communal participation or group activities. according to ibekwe, (2010b) “group performances often evoke societal appeal more than individual expression due to the close association or interaction existing between the performers and the audience” (p. 197). in essence, performance or music making in african context fosters socialization in dual capacities. firstly are the performers who enjoy a common bond of oneness and communality within the group, and secondly, the audience who share the same communal fraternity through direct or indirect participation. in her discussion on the importance of social development among children, ibekwe (2009) infers that during musical activities, individuals “are trained to associate, accommodate, and relate with one another in a most friendly way. individual differences are tolerated, and harmonious co-existence is ensured” (p. 56). she goes further to assert that, “music as a social activity provides supporting material for public interaction… enhances greater chances of adaptability and situational adjustment in one’s life experiences” (p. 56). therefore, the idea behind music making in african culture cannot be adequately perceived if removed from its social context. it is believed that music offers the greatest avenue for socialization and “a person without solid social foundation lacks sound and complete life development” (ibekwe, 2009: 56). this goes on to support oguguo’s opinion in ibekwe (2009) that: “the power and strength of music lie in its potentiality and capacity to address the entire personality structure of man.” (p. 56) religion is another practice which any african man does not take for granted and that informs the type of bond or affiliation between religion and music making among africans. they strongly believe in ability of music to transform and transcend beyond the celestial borders and link the supernatural powers in a kind of spiritual communion. the type of affinity that exists between man and supernatural beings is well articulated in the type of music ordained for the worship of gods and goddesses. music making in africa takes into cognizance the religious inclination of the people as such the content of music in most cases portrays articles of faith, words of invocation, oblation, libation and incantation. there is hardly any religious celebration that goes without music or which music does not constitute the central or rallying point of such event. even in cult practices, initiations and festivals, the position of music is not compromised. the philosophy of african music is all embracing; it takes into consideration all the existential needs of man. taking a stance from educational point of view, its role in the education of the masses is enormous. it provides avenue through which societal values are learnt. folksongs and folktales remain the vehicle or transporting media. they instruct, 130 advise, admonish, encourage, criticize, and in fact address the overall personality construct of man. little wonder then, why children engage or are exposed to them quite early in life, so that by the time they become adults they have attained a formidable mental reasoning to face possible environmental challenges or manipulations. at this point, a discussion on folksongs and folktales becomes imperative. folksong: folksong is the spontaneous and traditional music of a people, race, region or nation handed down aurally from generation to generation. it is more directly associated with tradition, religious and political systems. since folk music is preserved by tradition, the original composer is often unknown. and since it is a spontaneous creation, folk music naturally reflects the musical idiom of its people. (agu, 1989: 115) the above definition has unraveled what folksong stands for in african traditional society. in some cases, folksongs and folktales go together. they operate in a sort of symbiotic association, whereby the folktale gives the message; the folksong adds variation in form of songs. in other words, folktale is as important as folksong in african tradition. given the fact that both terms are congruently applied, there still exists some measure of disparities; as a result, it becomes necessary to briefly look at the definition of folktale. according to ogbalu, (2011), folktales by their nature as well as their definitions are regarded as fictitious, fabulous, mythical, totally removed from real life situation and event. in their appreciation in actual life performance, one discovers that folktales exhibit some elements of truth that somehow translate them into realism and true life situation. (p. 55) similarly, ibekwe (2010) observes that “although animals such as tortoise, ant, grasshopper, lion and many others are usually personified as human beings during storytelling and folktale sessions, the images they create do not in any way reduce or affect the messages they are meant to give” (p. 394). she also maintains that no matter how “fictitious, fabulous and mythical (folktales appear) they (still) posses the potency, the charm and the transforming power that affect the life of the listener.” (ibekwe, 2012: 346) from the above definitions folksongs and folktales are age long tradition that impact on the life of the practitioners. nevertheless, there are some folktales that are self consummated without the intervallic punctuations of folksongs and vice versa. the most outstanding feature or attribute which folksongs and folktales share in common is oral tradition, and that is the main reason why there are always variations and inconsistency in presentation and performance among different communities, but in whichever way they are performed their primary functions revolve around entertainment, socialization, morality and self realization. oral literature in the words of akporobaro, (2012) 131 oral literature or folk literature refers to the heritage of imaginative verbal creations, stories folk-beliefs and songs of pre-literate societies which have been evolved and passed on through the spoken word from one generation to another. (or)… songs, stories, beliefs and legends which have artistic merit and cultural values and which form the cultural traditions of a people and are usually handed down from one generation to another. (pp. 33-34) oral literature according to him has basic forms which include, “folktales, ballads and songs, epic narratives, myths and legends, songs, riddles, proverbs, recitations and chants, orations, festival dramas and ritual performance.” (34) he goes on to say that, these forms constitute in a real and significant sense, the literary tradition and of indigenous african societies. they are the manifestations of traditional creative imagination, beliefs, and perceptions of social reality. they are modes which construct and deconstruct the social-cultural milieu of the people. these are the verbal, auditory manifestations of man’s creative impulseexpressing his innate creative sensibility. (pp. 34-35) from the above expressions, it could be seen that folksongs and folktales are located within the confines of oral literature. it could also be deduced that oral literature is a compendium of cultural values which can as well be expressed in any of the forms listed above. folksongs and folktales as aspects of oral literature equally have the ability to integrate other elements of the forms in their mode of expressions. it is the functional and utilitarian imports of these genres that inform the philosophy of african music. some basic forms of oral literature and their musical relevance in african culture folktale, which has been discussed above as having a very strong tie with folksong is one of the outstanding forms of oral literature. folktale is so integral to life that its performance is generally characterized by comic, humorous or even pathetic and emotional situations. the punctuation of tales with songs creates varieties and sustains interest. whether the characters in the tale are removed from the realities of everyday experiences or natural factors, it does not fail to achieve its didactic role, which illuminates love, kindness, or retributive justice towards animosity, jealousy, envy and wickedness. the relationship between folktale and song is intensified by interaction between the narrator and the audience. in folktales, songs bring or promote the enjoyment of the story and make it more exciting. akporobaro (2012) infers that, “the songs in folktale constitute what are called the musical interludes” (p. 117). according to him, most musical interludes in the folktales have two basic functions which include: (a) they provide a context for the revelation of information about the identity, or experience in the form that is highly poetic and hence emotionally moving to the audience. (b) because the songs are often in a call and response form, they enhance the dramatic quality of the story. this is so in the sense that the story becomes a kind of lively performance interinvolving audience and narrator in a 132 participatory performance and quasi dramatic act of hand clapping, body movement and singing and at times dancing. (p.117) obviously, the importance of songs in folktale can never be over emphasized. a good narrator utilizes the medium to achieve better result or a desired goal. recitatives and chants are most conspicuous during devotion, worship or performance of rituals. the diviner may engage in a long chant or incantation which he believes has some magical powers to conjure the super naturals. in the same vein, akporobaro (2012) adds that, “the character’s wish may be to procure a cure for an illness, to overcome an enemy, and to achieve success in some endeavour.” (p. 60) ballard is another form of oral poetry or song which normally centres on events of local interest. it can be chanted in a free rhythmic pattern to give room for full narrative expression. akporobaro (2012) says that, “ballads are normally sung in the form of chanted folktales, musical interludes or narratives” (p. 57). he goes further to say that, “these forms of oral poetry are occasional artistic forms, being bound up and shaped by the matrix of social cultural occasionsbirth, marriage, installation of chiefs, burial and festivals, rituals….” (p. 57) in african culture, other forms or aspects of oral literature such as myths and legends, proverbs, epic narratives, and so on can be integrated into praise poetry which akporobaro (2012) described as “a form of poetry that is specifically designed for the eulogistic portrayal of the virtues of a given subject which may be a king, a chief, a war leader, an animal or plant” (p. 56). nketia (1974) in his own view described them as historical songs. according to him, “the cultivation of historical songs usually finds its highest expression at the court of chiefs and princes. here chronicles of kings and genealogical references that link the present generation of royalty to their ancestors helps to strengthen the position of those in authority or to legitimize their claim to power.” (p. 197) he further said that “such songs are also intended to exhort the king, to encourage him to emulate his predecessors, and may also be intended as praise songs” (p. 197). it is therefore a common practice in african tradition for a performance to serve many purposes depending on the performers’ intention and the situation available. conclusion this paper has tried to discuss the philosophy of african music as oral literature under various conceptual frameworks. africa is a heterogeneous society but yet shares a common cultural attributes or what oerhie and emeka (2003) call “unity in diversity” (p. 40). african music is so knitted to life or nature that no average african man can deny its expressive power. in that respect, babey in umezinwa (2012) says, the more one listens to native music the more one is conscious of its vital power. it touches the chords of man’s inmost being and stirs his primal instincts. it demands the performer’s whole attention and so sways the individual as almost to divide asunder for the being, mind and body. it is intensely passionate, and no 133 great effort of the imagination is required to realize that such music could only have originated with the son of cain. 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(2010b). individuality and identity construction in igbo indigenous music performance. ama journal of the theatre and cultural studies, 5(1), 197-209. ibekwe, e. u. (2010c). cultural education and global challenges for music educators. in a. b. c. chiegboka; t. c. uto-ezeajugh and g. i. udechukwu (eds.). humanities and globalization in the third millenium, 393-399. nimo: rex charles and patrick ltd. ibekwe, e. u. (2012). children’s early exposure to folk music: an approach towards achieving good governance. in a. b. c. chiegboka; t. c. uto-ezeajugh; e. u. ibekwe; c. c. nwosu; n. c. onuora-oguno, and k. l. nwadialor (eds.). the humanities and good governance, 345-356. nimo: rex charles and patrick ltd. nketia, j. h. k. (1974). the music of africa. london: mgbo publication limited. nzewi, m. (2003). acquiring knowledge of the musical arts in traditional society. a. herbst; m. nzewi and k. agawu (eds.). musical arts in africa, theory, practice and education, 13-37. university of south africa: unisa press. oehrie, e. and emeka. l. (2003). thought systems informing the musical arts. in a. herbst; m. nzewi and k. agawu (eds.). musical arts in africa, theory, practice and education, 38-51. university of south africa: unisa press. ogbalu, u. j. (2011). appreciation of igbo folklores and songs versus realism. ujah, unizik journal of arts and humanities, 12(1), 55-75. onyeji, e. (2008). culture and literary music education in contemporary nigeria: a spot light on solo folksong arrangements for studies in voice. awka journal of research in music and the arts, (5) 123-139. umezinwa, e. c. (2012). in search of essence in igbo traditional music in a. b. c. chiegboka; a. i. okodo; e. c. umezinwa and i. l. umeanolue (eds.). a bountiful harvest, festschrift in honour of very rev. msgr. prof. j.p.c. nzomiwu, 673-679 nimo: rex charles and patrick ltd. 286 awka journal of research in music and the arts (ajrma) vol 17 june 2024 analytical study of traditional marriage songs texts of ezinifite aguata women, anambra state, nigeria ifeanyi onyedika okafor if.okafor@unizik.edu.ng abstract music forms part of virtually all activities in the traditional igbo society of nigeria, including births, occupations, worship, ceremonies, festivals, children upbringing, social control, rites of passage, politics and so forth. every community in igbo land manipulate music to lend voice and sound to their ideology, actions and even spirituality. women play very active roles in some of these musical activities. this paper, therefore, studies the songs performed by women of ezinifite in aguata local government area of anambra state, nigeria during traditional marriage ceremonies in order to enhance the events. the focus of this study is on the songs’ texts. however, mere translation of the texts of these songs which are in igbo language to english or any other language does not suffice for the true meaning, hence the textual analysis. also, there is a noticeable gradual decline in number of women participation during the performance of these marriage songs. and this, consequently, poses a great threat on these songs which may gradually lead to their extinction. data for this research was collected through oral interview and fieldwork. this paper finds out the reasons for this loss of interest among the village women, provides notational document of the songs as well as their textual analysis. it therefore concludes that beyond mere textual translation of a song, there is need to know the culture of the people for vivid understanding the meaning. introduction festivity is an intrinsic part of the life of the igbo people of south-eastern nigeria, in that most events and activities are turned into celebration and feasting. such events include child birth, puberty, death, commemoration of past events, ritual sacrifice, festivals, marriages and so forth. according to okafor (2005), “the igbo appear to be a people perpetually celebrating. every month, some community somewhere is celebrating. the igbo year, arọ, is a round of festivals and ceremonies, which vibrate with life, sounds and meaning” (pp. 75 & 76). accordingly, music and dance accompany virtually all the events and activities in igbo culture. the music that associate various festivals and ceremonies are not merely for entertainment but are functional, that is; they are contextual with the particular event(s) they are meant for. that is why there are songs peculiarly meant for birth, works, funerals, marriages, worships, periodic and nonperiodic festivals and so forth. the texts, sounds and rhythms combine to depict the mood of the event. according to nzewi in ibekwe (2019), “the themes of songs tend to centre on events and matters of common interest and concern to the members of a community or social groups within it, they may deal with everyday life or with the traditions, beliefs and customs of the society” (p. 1). echezona in okafor (2019) also notes that life, to every igbo has a melodic and rhythmic orientation, and again, no event happens that is not associated with music. however, women participate actively in various musical activities in igbo society. although they are regarded as being inferior to men, their musical roles cannot be overemphasized. omibiyi-obidike 287 awka journal of research in music and the arts (ajrma) vol 17 june 2024 (2013), notes that previous suggestion which held that nigerian women by virtue of gender are excluded from specialized musical events has been debunked by more recent studies. she also asserts that among most linguistic groups in africa, specifically nigeria, women occupy special positions in musical performances during traditional events. okafor (2005) highlights various musical roles women play in igbo culture which include serving as first teachers of music for young children, who are encouraged by the women to join in iro/ifo/iwho (dialectical variations), that is stories in song. the children begin with singing the refrains, and in the end, learn how to sing the song. women chant salutations to announce the birth of a child, sing lullabies and some other songs as they go about their domestic chores, such as cleaning the house and cooking. the women’s musical role also extends to ceremonies and festivals, such as marriages, cocoyam festival, fattening room, title taking, chasing of year and so forth; social control; religious activities, as well as minstrelsy. the focus of this paper, therefore, is on the songs performed by the women of ezinifite in aguata local government area of anambra state, nigeria, during traditional marriage ceremonies in order to enhance the event. obviously, there is a noticeable decline in the number of women participation in the performances. the causes of the decline, as found out by the researcher will be discussed later in this work. women in igbo society the traditional igbo society is known to be patriarchal, that is, women are given less prominence than men. this is evident in the deprivation of certain rights and privileges from women such as involvement in the community politics, inheritance of immoveable property in their natal homes because they would get married to another man, being present where land disputes are settled or their witnesses allowed. also, another unpleasant experience that women have in their husbands’ homes come as a result of infecundity and male-childlessness. this as a result, poses great threat to the marriage security of such women. male children are preferred because they are believed to be bearers of identity as well as sustainers of lineage. isiugo-abanihe in nwokocha (2007) further explains that: a man who died without a son lived a worthless life; he is inherited by his brothers, and is soon forgotten since his branch of the family tree has ended... for a woman, the birth of a male child is of paramount importance as well, because it establishes her firmly in the family. she is said to have 'taken root' or 'established a solid foundation' when the first son arrives. (pp. 219 & 220) nevertheless, the role women play in ensuring continuity of igbo culture cannot be overemphasized. ibekwe (2012) points out the indispensability of african women with reference to their contributions in the existential functioning of man and humanities at large. ibekwe insists that their job exceed child bearing and extends to sustenance of african cultural practices such as language, communality, body adornment, dedication to gods and goddesses, child rearing practices, artistry and so forth. though women seem to be subjugated in igbo culture, yet, they devised means through which they exercise their power and control of their own affairs. this they achieved by formation of two strong institutions: ụmụada/ụmụọkpụconsanguine sisters and ndᴉnwuyedi/inyomdi/alụtaradico-wives association (women married in a village community). the formation of these women institutions according to okafor (2005) was as a result of igbo rule of exogamy. ezeigbo (1990) disagrees with some early scholars, especially those from europe and america that made some statements of generalizations about utter powerlessness of women in african societies which she regarded as publications of half-truth. one of the misleading information according to her is found in basden’s submission about igbo women: 288 awka journal of research in music and the arts (ajrma) vol 17 june 2024 women have but few rights in any circumstances, and can only hold such property as their lords permit. there is no grumbling against their lot; they accept the situation as their grandmothers did before them and, taking affairs philosophically, they manage to live fairly contentedly. (p. 149) ezeigbo maintains that the above statement by basden is as a result of “his lack of knowledge of the socio-political system of power distribution and the concept of role differentiation in terms of gender and sex among the igbo in the society of that time” (p. 149). the power which igbo women possessed emanated from the two strong women’s organisations in every igbo community: the ụmụada (organisation of patrilineage daughters) and alụtaradi (organisation of patrilineage wives)…the ụmụada wielded great influence in their natal homes and their advice and sometimes their decisions were accepted with little opposition from the male members of the patrilineage. thus, even though women had little power in marital homes, they were always respected and listened to in their natal homes, where they had the right to 'come and go' as they wished. the ụmụada had the power to discipline erring wives in the patrilineage and impose punishment on such offenders. the alụtaradi constituted the weaker of the two organisations, but the strength of its members lay in their unique ability to cooperate fully amongst themselves to make their grievances and wishes heard and implemented by their men. (ezeigbo, 1990, p. 152) according to amudiume in ezeigbo (1990), “if lineage men proved stubborn, wives went on strike, in which case they would refuse to cook for or have sexual intercourse with their husbands. in this culture, men did not cook: control of food was therefore a political asset for the women” (p. 152). other means through which women overcome dilemma of childlessness or not being able to give birth to a male child in traditional igbo society include the practice of woman husband, whereby a childless woman would marry another woman in order to produce children on her behalf; male daughter, whereby a daughter from a lineage without a male child is allowed to remain at home in order to produce male child/children who would be heir of her father’s property and by this, the daughter exercises control over her father’s property until the son grows. these practices are for genealogical sustenance. additionally, women contribute to community development. okafor (2005) informs thus: there is an interesting development in the musical culture of igbo women which was not needed in the past. then, people contributed directly the materials and labour required for communal projects. today, a generation of people have been extracted from their village environment and gone to live in urban centres, where they form dance groups. these provide a big attraction in the cosmopolitan centres, and generate funds. the proceeds are sent to the home villages, particularly for the things that concern women, such as maternity clinics, schools and halls which may be hired to the people. (p. 84) therefore, it could be deduced from the above discussion that women in igbo society are not powerless but are strong and creative beings. their roles in ensuring cultural continuity as well as community development cannot be underestimated. igbo traditional marriage the western concept of marriage is totally different from that of the igbo traditional marriage. for the westerners, marriage is between husband and wife whereas marriage in igbo culture involves two extended families. some people believe that the two most important ceremonies in igbo culture 289 awka journal of research in music and the arts (ajrma) vol 17 june 2024 are marriage and funeral ceremonies because of all the ceremonies observed in igbo society, only these two ceremonies involve the role and responsibility of the extended families. okafor (2005) corroborates thus, “in igbo society, two persons do not marry; two families do. by their very nature, igbo marriages are a community affair” (p. 76). the igbo traditional marriage is not a one-day event but requires about two or three visits by the groom and his kindred, led by the groom’s father to the bride’s family before a date will be fixed for the ịgba nkwu/akwa nkwụ/ịgba mmanya-wine carrying, that is traditional marriage ceremony. where the groom’s father is late or ridden with sickness, the oldest man in the groom’s patrilineage represents the groom’s father in the marriage. it is important to note that it is a father that marries for his son according to the igbo tradition. however, each day of visit has its own list of requirements to be presented by the groom to his in-laws to be and every marriage activity takes place at the bride’s father’s house. conversely, the list of requirements for marriage varies among various communities in igbo society. in some communities, the requirements are so costly that some suitors find it difficult to afford. the belief of such communities is that since they have spent so much to raise their daughter from infancy to adulthood, another man must have to pay hugely to take her as wife. on the contrary, some other communities make the burden light for those who would wish to marry their daughters, believing that nothing brought by any suitor can equate what they spent in training their daughters. their major concern is that their daughters be taken good care of by their husbands. the first visit is usually an introduction, known as ᴉkụ akaknocking at the door. for this first visit, the groom alone and his father embark on it or they may be accompanied by one or two of the groom’s lineal brothers. the groom’s father introduces himself and his son to the bride’s father and makes known the intention of their visit. “culturally, this is only a visit and does not warrant any gift of item. however, as goodwill, the groom and his family are free to go with kegs of palm wine, a bottle of hot drink and kola nuts” (nwabude, 2022, p. 226). after the introduction/contact establishment, both families can go on to make enquiries about each other’s background and history. subsequently, the groom’s family visits again and seeks consent from the bride’s family as to whether their proposal is accepted. if there is no objection to the groom’s proposal after all investigations must have been carried out, another meeting is scheduled for payment of dowry/bride price which authenticates marriage. eniola and aremo (2020) corroborates that the bride-price therefore, is a blood cleanser that removes shame and insults from the woman; evidence that she is legally married to her husband in accordance to the tradition and culture, which again gives her honour and a sense of community value amongst her peers in her husband’s home and his family. afterwards, a day is fixed for the traditional marriage ceremony proper which is the only event that takes place outdoor and open for the collateral relatives, friends and well-wishers to attend. before the ceremony commences, there will be an inspection of the items brought by the groom as contained in the list of requirements for marriage. if the items are complete, then, the marriage ceremony will now proceed but if the items are not complete, the suitors may be required to bring money equivalence of the missing item. having stated earlier that marriage in igbo culture is a community affair; the list of items for marriage is a combined list for the bride’s parents and kindred, the patrilineage daughters, patrilineage wives and the spinsters. it is important to note that the marriage process 290 awka journal of research in music and the arts (ajrma) vol 17 june 2024 could be abridged in terms of the number of visits, but all the requirements meant for all the visits must be provided completely by the suitor. in ezinifite, aguata local government area of anambra state, nigeria, it is during the ceremony that the women perform their songs. every group that has a share in the marriage list will have to present their welcoming gifts, usually garden eggs and kola nuts to their in-law. it is during and after the presentation of kola nuts, first by the patrilineage daughters and then, the patrilineage wives, that the women are given opportunity to perform their songs. ethnography of ezinifite, aguata in anambra state, south-eastern nigeria, there are two towns/communities that bear the name, ezinifite: one in aguata l. g. a. and the other in nnewi-south l. g. a. whether or not there is any migration history about the two communities, the researcher was not able to find out. ezinifite aguata is one of the fourteen towns/communities that make up aguata local government area of anambra state. the communities in aguata l. g. a. include ekwulobia, akpo, achina, uga, igboukwu-ukwu, isuofia, umuchu, aguluezechukwu, ezinifite, ikenga, amesi, oraeri, umuona and nkpologwu. it is made up of three villages, amaekwulu, aku and ifite. it lies between longitude 7 ͦ and 7.02 ͦ e and latitude 6.5 ͦ and 6.52 ͦ n. thus, ezinifite town lies completely within the tropics. it is situated at the extreme south-western end of aguata lga and has common boundary with seven communities, namely: ekwulobia in the north, nkpologwu in the north-east, uga in the east, unubi in the south-east, ekwulu-mili in the south-west, igbo-ukwu in the west and ikenga in the northwest. ekwulu-mili and unubi are in nnewi-south l. g. a. ezinifite and its neighbouring towns share similar traditional practices, including music. some of the songs performed in ezinifite are also performed in its neighbouring communities either in the same contexts or similar contexts, although there may be some dialectal variations. texts of songs sung in a particular community are also modified by another community for a different context. traditional marriage songs by ezinifite women the themes of the traditional marriage songs by the ezinifite women are mostly centred on childbearing/rearing because of the high premium placed on children in igbo culture. the ụmụada and ndᴉ nwunye di have their respective songs which they render at the appropriate time during the marriage ceremony. these songs express what the various women institutions stand fortheir philosophy, ideology and igbo world-view. a mere english translation of the marriage songs texts cannot grant an in-depth understanding o the songs to a non-indigene of igbo, except an individual is acquainted with the place of women in igbo culture. the songs are performed a cappella and are learned through imitation by participation. however, the number of women participants in the rendition of these marriage songs has continued to decrease. the causes as identified by the researcher include rural-urban migration, religious belief, acrimony that exists among the members of the community. also, insecurity and time constraint pose great threat on the continuity of these songs. i. rural-urban migration: many families reside in the cities, very far from their hometown. they visit their community mostly during festive seasons like christmas, easter and the women august meeting held annually. they only participate in the marriage ceremonies held within these festive periods. ii. religious belief: some christian women no longer participate in performance of the marriage songs because they are not christian songs. since ‘jesus’ or god is not mentioned in the songs, 291 awka journal of research in music and the arts (ajrma) vol 17 june 2024 they are not part of the rendition because, according to them, those songs do not give god glory. iii. acrimony that accrues among various families in the community, which could be as a result of land dispute, disagreement among individuals in their kindred or in village politics is also a major factor in the reduced involvement of some women. some women may decide not to attend any event held in any family they are not in good terms with. iv. time constraint: in many occasions, the traditional marriage ceremony starts late. also, payment of the bride price may take place the same day and the in-laws may have come from a distant community, of which they will have to leave in good time back to their destination in order to avoid late night travel. these as a result lead to omission or truncation of some activities with performance of women songs inclusive. for this paper, five of the songs performed by the women during traditional marriage ceremonies in ezinifite, aguata are presented: two by the ụmụada and three by the ndᴉ nwunyedi. it is pertinent to note that these songs are not exclusively performed in ezinifite, aguata. these songs are not exclusively performed. they could be heard in some other communities in aguata lga with some dialectal variations, as reflected in the adage igbo na-asụ n’onu n’onu mana akwaa ụkwala, ọbụrụ ofu, meaning that the igbo speak in different tongues but when they cough, it becomes the same. some of the songs may also be performed either in the same or similar contexts in other communities or the texts changed to suit a different event. song no. 1 292 awka journal of research in music and the arts (ajrma) vol 17 june 2024 text translation call: ọmụmụ erichala m ego, childrearing has cost me so much money, ya ribe let it be, ezigbo ọmụmụ erichala m ego, good childrearing has cost me so much money, ya ribe, m gbole a kwụba m ya mmaji let it be, shortly, i will be paid back immeasurably. resp: ọmụmụ erichala m ego, childrearing has cost me so much money, ya ribe. let it be. ọmụmụ nke a erichala m ego, this childbearing has cost me so much money, ya ribe, mgbole a kwụba m ya mmaji let it be, shortly, i will be paid back greatly. this song is in solo and chorused refrain form, based on agu’s (1999) criteria for analysis of african music; that is, the lead singer intones the song while the chorus repeats the song exactly as was 293 awka journal of research in music and the arts (ajrma) vol 17 june 2024 presented by the lead singer, although the lead singer may occasionally improvise. it is performed by the ụmụada, as they proceed to present their ọjᴉ-welcoming gifts, usually garden eggs and kola nut, to their in-laws. in this song, the ụmụada states that they have really spent hugely on training their daughter, the bride; hoping that shortly, they would begin to regain bountifully, all that they spent in raising her. women, as we earlier stated wield great influence in their natal homes and as a result, assume motherhood of their brothers’ children. the upbringing of a child in igbo society is a collective responsibility of the community, although they may have contributed nothing for the training of the bride. plate 1. ụmụada proceeding to welcome their in-laws during marriages in igbo society, it has always been the wish of both families of the bride and the groom for an intimate relationship, hence the statementije anyᴉ ga-bụ ije mmilri, ọ gaghᴉ abụ ije nkụ being translated: our journey shall be one to the stream and not to fetch fire wood from the bush. a journey to fetch water from the stream is a daily routine and it continues each day until enough water for each day is provided for the household, whereas the journey to fetch firewood is not done daily but at times, weekly or even monthly. a man, therefore, is expected to pay a regular visit to his inlaws and the visit is not done empty-handed. song no. 2 text translation amụlụ ya amụ na nnukwute obi she was born in an affluential family, a ga-anu ya anụ n’okotoko obi she will be married into a wealthy family this song is also in solo and chorused refrain. it is performed by the ụmụada, after presenting their welcoming gifts, usually garden eggs, to the family of the groom. in the text of this song, the 294 awka journal of research in music and the arts (ajrma) vol 17 june 2024 association of sisters tries to project their own fathers’ family as a wealthy one and their sister, the bride, as an invaluable gift being given out to the groom. they also express their good wish that the family into which their daughter, the bride, is married would be a good and wealthy family that would be able to take proper care of her. song no. 3 text translation call: nnwa le, nnwa n’elu ụwa le, child, child born on the earth, ụwa m ja-abᴉa nnwa akọna mụ, eh! in my next world, may i not lack a child. resp.: nnwa le, nnwa n’elu ụwa le, child, child born on the earth, ụwa m ja-abᴉa nnwa akọna mụ, eh! in my next world, may i not lack a child. call: nnwa nkea atọgbuona onwe ya, this child is so sweet, ụwa m jaabᴉa nnwa akọna mụ, eh! in my next world, may i not lack a child. resp.: nnwa le, nnwa n’elu ụwa le, child, child born on the earth, ụwa m ja-abᴉa nnwa akọna mụ, eh! in my next world, may i not lack a child. this song is performed by ndᴉ nwunye di (co-wives association) as they march to present kola nut to their visitors. the text of the song reflects their joy of fecundity which make them firmly established in their husbands’ homes. their wish is that they will never be without children even in their next world. 295 awka journal of research in music and the arts (ajrma) vol 17 june 2024 plate 2. ndᴉ nwunye di marching to present their gifts of welcome to their in-laws song no. 4 text translation ọmụmụ amaka, child-bearing is good, ọmụmụ amaka, child-bearing is good, ọmụmụ ebuina anyᴉ oche, child-bearing has given us seat, nnọdụ m ukwu esie m ike, when i sit, my waist balances well, ọmụmụ ebuina anyᴉ oche, child-bearing has given us seat, ọmụmụ amaka is performed by the co-wives association. the song is also performed while celebrating child birth. in the traditional igbo society, what makes a woman firmly established in her husband’s house is her ability to produce children. however, any woman who could not bear children most times, suffers humiliation in her community; if it is not from her mother-in-law who might always use harsh words on her, it may be from a co-wife who derides her regularly for not having a child or even from her husband, even though medically the fault might not actually be from her but from her husband. the husband may decide to send her packing and marry another wife or allows her to stay while he marries a second wife who can bear him children. in some cases where the husband is not bothered about his wife’s infecundity, his family members might begin to mount pressure on him to marry a second wife in order to have children so that his generation will be sustained. plate 3. ndi nwunye di dancing in circular to their songs song no. 5 296 awka journal of research in music and the arts (ajrma) vol 17 june 2024 297 awka journal of research in music and the arts (ajrma) vol 17 june 2024 text translation call: bᴉa maᴉ, bᴉa maᴉ aka n’ite ọmụmụ kulu come and dip, dip your hand into the pot nnwa. of fertility and carry a baby. resp.: bᴉa maᴉ, bᴉa maᴉ aka n’ite ọmụmụ kulu come and dip, dip your hand into the pot nnwa. of fertility and carry a baby. call: onye ọbụna bᴉa maᴉ aka n’ite ọmụmụ everyone should come and dip their kulu nnwa, hands into the pot of fertility and carry a baby. call: ọ mụta ejima ᴉbụọ, anyᴉ ga-ekucha ya. if she gives birth to a twin, we will nurse them. resp.:bᴉa maᴉ, bᴉa maᴉ aka n’ite ọmụmụ kulu come and dip, dip your hand into the pot nnwa. of fertility and carry a baby. call: ọ mụta ejima ᴉtọ, anyᴉ ga-ekucha ya. if she gives birth to a triplet, we will nurse them. resp.: bᴉa maᴉ, bᴉa maᴉ aka n’ite ọmụmụ kulu come and dip, dip your hand into the pot nnwa. of fertility and carry a baby. ite ọmụmụpot of fertility is in call and response. this song is performed by the co-wives association. while they sing, they dance in a circular formation with a clay pot containing water placed at the centre. the bucket of water symbolizes pot of fertility, into which they call on everyone to come and dip their hands and carry a baby or babies, especially, those that have not given birth to children or those who are yet to marry. sometimes, those who have children also join in dipping their hands into the bucket on behalf of some other persons who have not given birth to children. conclusion the life of the igbo people of nigeria is characterized by festivals and ceremonies, in that most of the events and activities are turned into celebration and feasting. music is regularly used to spice up such activities. however women play active roles in some of these festivals and ceremonies. one of such activities is traditional marriage ceremony. in the traditional marriage ceremonies in of ezinifite in aguata local government area of anambra state, nigeria, the two women institutions in igbo culture variously contribute musically in songs to enhance the events. the analytical study of the songs’ texts reveal that they are not merely for entertainment but are based on what the two women institutions stand for in igbo culture. references agu, d. c. c. (1999). forms and analysis of african music. enugu: new generation books. eniola, b. o., & aremo, j. i. (2020). bride price and sexual and reproductive rights of women: a case study of south africa and nigeria. journal of law, policy and globalization, 96, 26-33. ezeigbo, t. a. (1990). traditional women’s institutions in igbo society: implications for the igbo female writer. african languages and cultures, 3(2), 149-165. 298 awka journal of research in music and the arts (ajrma) vol 17 june 2024 ibekwe, e. u. (2012). women as agents of cultural sustenance: the musical implication. in f. shaka & m. omibiyi-obidike (eds.), music and theatre arts in africa (pp. 249-256). lagos: centre for information, press and public relations, lagos state university. ibekwe, e. u. (2018). children’s folk songs in igbo society. usa: lap lambert academic publishing. nwabude, a. a. r. (2022). traditional african (the igbo) marriage customs and the influence of the western culture: marxist approach. open journal of social sciences, 10, 224-239. https://doi.org/10.4236/jss.2022.102016 nwokocha, e. e (2007). male-child syndrome and the agony of motherhood among the igbo of nigeria okafor, r. c. (2005). music in nigerian society. enugu: new generation books. okafor, r. c. (2019). a study of igbo folk songs. enugu: esut press. omibiyi-obidike, m. (2013). female performers of music in nigeria: continuity and discontinuity of the tradition of performance culture. journal of the association of nigerian musicologists (janim), 7, 41-55. https://doi.org/10.4236/jss.2022.102016 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 287 economic constraints on the development of traditional ensembles in kalabari kingdom – a case study of the united voice of kalabari mrs. peremoboere ayebatonye-fatayi email: perebeulah@gamil.com & prof. eunice ukamaka ibekwe email: eu.ibekwe@unizik.edu.ng abstract economic constraints on the development of traditional ensembles in kalabari kingdom – a case study of the united voice of kalabari, seeks to highlight the impeding effect of the paucity of funds on the development of traditional ensemble groups in the niger delta. this study, which is anchored on abraham maslow’s (1943) theory on motivation in relation to human needs, with the most basic needs influencing one’s action; is vital to the knowledge of the growth of traditional institutions in a changing world as it reveals how the group is able to sustain membership and advancement in the face of social, economic and religious changes within its society. data for the study was derived from interviews, participant-observation and analysis of the environment under study. the study examines the communal role played by the united voice of kalabari; how economic realities affect the development of traditional ensembles. the study reveals that the collaborative support of the group to each member is what motivates their socialization and subsequent continuity as a group. it further charts a course for the sustenance and growth of traditional orchestral groups in african communities at large using the monetary contribution method. introduction musical ensembles in african traditional communities are creative musical entities that foster communal cohesion, transmission of culture and promotion of social consciousness, as well as sustenance of filial bonds among members of the community. the united voice of kalabari, which originated and is located in buguma town, akuku-toru local government area of rivers state in nigeria is one such group. the functionality of their art in communal activities such as burials, marriages, coronations and rites, is vital to the fullness of these events. ibekwe (2013) highlights “the social function of african music validates its communal nature and purpose… group performances often evoke societal appeal more than individual expression due to the close association or interaction existing between the performers and the audience” (p. 129). idolor in igbi (2018) observes that “music is regarded as an effective means of expressing satisfaction or redress, love or hatred, praise or rebuke, to entertain, educate and keep the community lively” (p264). employing the musical styles peculiar to the kalabari, the group serves the purposes of transmitting history, preserving the culture of the people through the oral instrument of songs (ibekwe, 2013). they also serve as a medium of traditional entertainment. as awka journal of research in music and the arts (ajrma) vol. 16, september 2023 288 such, their activities as a communal force are worth documenting to divulge their allimportant role in kalabari society. however, the changes in the society, especially those brought about by the present economic realities incise an impeding effect on the survival and development of such groups. studies and theories of motivation have shown that reward is an important factor in driving stable continuity to any task, and economic reward is a key determiner. thus, this study seeks to reveal the activities of united voices, how it has succeeded in maintaining and sustaining membership in the face of declining traditional ensemble groups within the society; their aspiration to advance beyond their present standing, thereby using their approach to proffer solutions to the decline of this valuable cultural property within traditional african societies. the significance of the study is a double barrel solution to the decline of musical practices within kalabari society. the present spate of unrest in the niger delta region of nigeria where the kalabari are located, of which they have also had their quota, is owing to several factors; chief of which are militancy and political clashes. ibude (2013) highlights factors that have brought about change within kalabari burial culture, which have affected the musical culture in return. he noted that religion (i.e. christianity), economic factors and militancy have transformed the face of music creativity, presentation forms and performance practices among the kalabari in a retrogressive manner. beyond these factors, ibude posits further in his discourse on ‘music in kalabari traditional funeral rites that ‘the kalabari of the niger delta are a group of people whose musical culture has not received much attention in terms of research’ (p. 141). the study therefore promotes the knowledge of the people’s musical culture. kalabari kingdom kalabari kingdom is located in rivers state within the eastern niger delta of nigeria. it is also called elem kalabari and is the independent traditional state of the kalabari people, an ijaw ethnic group. its political structure constitutes kings and chiefs as the ruling class from pre-colonial times. a king along with his council of chiefs, most of who are royal princes make up the traditional kalabari ruling house. several authors (horton, 1969; alagoa, 2005; derefaka & orugbani, 2009; ejituwu, jaja, & enemugwem, 2009; ndimele, kari & ayuwo, 2009) have written extensively on the history, language, politics and other aspects of the kalabari people. kalabari as a group is sometimes referred to as new calabar (but this name is no longer fashionable). the kalabari language is spoken mainly in asari-toru, akuku-toru and parts of degema local governemnt areas of rivers state. jenewari in ndimele et al (2009) claims that “kalabari was, as far as is known, the first nigerian language recorded by the europeans” (p.79). horton in ibude (2013) established that there are twenty villages that are broadly kalabari in language and culture. three other villages are partially or minimally acculturated into kalabari and three large towns derived from the nineteenth century kalabari metropolis. in addition, there are dozens of fishing camps and two plantation settlements that are seen as work-places awka journal of research in music and the arts (ajrma) vol. 16, september 2023 289 rather than home bases…. they are classified under the great bloc of ijo-speaking subgroup exemplified by their dialect and culture (p. 141). various scholars have written extensively on the origin and history of the kalabari people and postulated different scenarios by which the kalabari would have settled in the eastern niger delta. oral traditions and research findings reveal that villages were made up of a number of descent-groups, whose founding ancestors are considered to be distinct from others around them and believed to have migrated into the area from parts of the delta to settle at their present location. the basis of identity of the kalabari before the pre-atlantic trade is a culture common to all its members which is distinct in every way from that of their neighbours. due to their involvement in the trade with the british, they were considered wealthy; all houses had royalty vested on them as this was achievable when a member of a house acquires wealth and influence. as such this disposition of affluence is reflected in the dressing, carriage and all aspect of their lives. the concept of traditional ensemble basically, an ensemble is a group of musicians, actors or dancers who perform together. the use of the term ‘traditional’, in this discourse refers to the appearance of the phenomenon within a distinct cultural milieu. ibude (ibid) noted different types of music which exist and are used in funeral rites in kalabari kingdom, one of which is ogbo be nume, which refers to choral music or ensemble. the music art of the united voice of kalabari would place their performance among the ogbo be nume (group singing or orchestra). he defines it as “songs performed by male and female singers either in single (all male or all female) or mixed (male and female) ensembles (p. 142). these songs, especially texts, which communicate diverse themes occupy a major part of both traditional and christian funeral rites among the kalabari. they are accompanied by dance performances and instruments such as drums, clappers and bells. however, the focus of such performances is the song rendered during funeral as the dance movements are unregulated. these songs require a limited number of instruments like a drum and a bell or a pair of wood block which provide the super structure as the songs are performed. thus, traditional ensembles are those made up of singers who make use of instrumental accompaniment within any traditional milieu. theoretical framework various psychologists have studied human behaviour and have formulated various motivation theories based on their findings which have provided thoughtful insight into human behaviour in relation to work or other activity as it relates to their sense of reward. gartenstein (2019) opines that “money is a powerful motivator but it is hardly the only incentive that will inspire your staff to do good work”. this concept highlights the relationship between financial reward and motivation. it draws its hypothesis from abraham maslow’s psychological theory of motivation. in his hierarchy of needs which awka journal of research in music and the arts (ajrma) vol. 16, september 2023 290 he proposed in his paper “a theory of human motivation (1943), abraham maslow postulates that a person will be motivated when his needs are fulfilled. he identified five levels in the hierarchy of needs vis, physical needs, safety needs, social needs, selfesteem and self-actualization needs. the needs starts from the lowest level, which is basic needs and keeps moving up as a lower level need is fulfilled. this theory implies that once people have certain basic needs, they would not be fired up to take on certain activities which they feel would not satisfy their need. according to the encyclopedia of critical psychology, “motivation is the force that initiates, manages and maintains our goal-oriented behaviours. motivation is what compels us to take some sort of action, which can be as simple as reaching for a snack to satisfy a craving or as significant as moving across the country”. the theory identifies that humans have a motive that propels them to particular actions, they are either intrinsically moved towards that action or decision, or extrinsically propelled by an incentive towards some end-goal. a related view asserts that “motivation is a state of the mind, filled with energy and enthusiasm, which drives persons to work in a certain way to achieve desired goals” (knowledgehut.com). motivation is a force which pushes a person to work with high level of commitment and focus even if things are against him. motivation translates into a certain kind of human behaviour. from maslow’s hierarchy of human needs, physiological needs, which concern physical survival necessities such as food, water and shelter are the lowest and most necessary needs of an individual. the present economic situation within the nation, which also reflects in kalabari kingdom would certainly trigger behaviour that show people to be inclined to work or services that would easily satisfy these needs. when these physical needs are met, safety is the next need that motivates human behaviour in relation to action. every right-thinking person has the need for protection from threats, deprivation and other dangers. the spate of insecurity both to life and source of livelihood within the environment poses a threat to safety. as such the need for safety can affect the disposition of gifted individuals, such that engaging in social activities such as ensemble groups would not be a ready pursuit. the relevance of this theory to this work is that it supports the writer’s position that the present economic realities within the nation have a strong impeding effect on the growth and development of traditional ensemble groups. however, the united voice of kalabari appears to have defied these odds, or is it that its members are persons who have moved up the motivation ladder beyond the physical and safety needs? oral interview with the group’s secretary suggests otherwise. rather, these group of mostly female singers (with a male lead vocalist) have chosen to respond to a higher need within maslow’s pyramid, which is the need for association, affiliation and conviviality amidst the present economic and social realities. as such they stand out as a beacon of hope awka journal of research in music and the arts (ajrma) vol. 16, september 2023 291 that traditional institutions which foster the growth and development of african culture can still survive and go on to develop and transform positively despite societal changes. united voice of kalabari the united voice of kalabari is a distinct traditional ensemble group with the rallying call “we set the pace, others follow”. this group was founded in 2016 by madam otelemagba george. it is an offshoot of the traditional compound or egede rallying to sing for a deceased member. however, over time, the founder was able to create an ensemble, which can be hired for not just compound affairs but for any occasion. other interested members of the community and kingdom, who indicate interest in joining the group, were accepted if they meet the conditions for membership. the responsibility of the group’s welfare is a collective one; the members groom themselves collectively in preparation for performances to which they are invited. their engagement usually comes from within buguma, abonema and other kalabari communities; nonetheless they are open to invitations from the diaspora. the method of engagement is quite simple. an interested person who wishes to engage them can contact them through any of their members. a stipulated sum is paid depending on the eminence or status of the person for whom they are to perform. the lead vocalist who is a male (john tamunobere) employs the use of information or biography about the celebrant or deceased person to create song texts. such information as the person’s date and place of birth or period of birth, their career, lineage, hobbies and so on are very essential materials the group relies upon for their craft. the members of the group at present are within their middle ages (between 35 years and 50 years of age). membership of younger members (mainly women) is encouraged, to ensure continuity, so that there would be a younger generation to hand the baton of the group’s art to when the present generation retire. all their songs are rendered in the kalabari dialect. as such understanding and ability to speak the dialect forms the first criterion for membership. as long as a person can speak the kalabari dialect, regardless of their tribe, they can join the group, following their qualification in other selection criteria. the music is patterned to the kalabari style of singing, employing melodic minor notes, with tonal inflections and maintenance of the harmonic principles akin to the people. in this manner, the group transmits and transfer their ancestral musical culture and idioms. this however does not hamper creativity. they employ the use of folksongs and tunes in their singing, of which ibekwe (2019) underpins that “cultural values of a society can be transmitted, sustained and consolidated through folksongs” (p. 3). okafor (2017) states that “a folk song is one which people have found as an integral part of their culture” (p.17), as such singing of the known folksongs of the community helps to sustain their survival and is a practical tool in transmitting their history and traditions orally. the music of the united voice of kalabari is non ritualistic. it can be classified as ogbobe nume (ibude 144). at a burial event in honour of mrs. sele amachree (nee awka journal of research in music and the arts (ajrma) vol. 16, september 2023 292 kingson) on the 26th of june 2021, they performed on the eve of the burial; during the lying-in-state of the deceased, and after the interment. they also incorporated akwa (instrumental/drum ensemble) this they achieved by hiring a drum orchestral group in the community, who respond in drum language to their singing. most members of the group are literate, can express themselves in good english and come from various works of life. in essence the financial benefit gained from their art is only an additional source of income. during individual interviews conducted with about five different women in the group, they expressed their joy in socializing through the ensemble more than the financial benefits gained from it. literally, it does not appear that financial benefit is a motivating factor in joining the group; rather association is a stronger driving force. however, the importance of financial benefit of some sort cannot be ruled out. economic constraints on the united voice of kalabari this group has gone ahead to develop a system where they support each other by making routine monetary contributions for members. it is disbursed in turns. every member contributes monthly and it is given to a single person for a month. he/she is free to use the money as they please. this technique has become a motivating factor for members of the group. new members are expected to have stayed long enough and contributed for a full cycle to the welfare of existing members before they can benefit from the system. this way, the united voices have proffered a solution to the dearth of membership to their group. at the time of the interview, the leader of the group madam otelemagba george was reported to be bedridden. the secretary, madam love johnbull, has been the acting-leader while maintaining her role as secretary. the group also identified with a patron, whose identity was not disclosed for reasons best known to the leaders who spoke with me. interview with the secretary of the group reveal their desire to produce recordings of their ensemble, as well as music videos to promote the group and retain a legacy for the future. they believe that their patron who is a lover of traditional music and the kalabari culture will offer them sponsorship. similarly, an interview with the lead singer of the group, mr. john tamunobere, who happens to be the only male member of the united voice of kalabari, also reveal that the group grew out of the traditional kalabari egede ensemble pattern, where people rally to sing and dance especially for the purpose of burial. in the course of such rallying, some quarters in the community do succeed at creating the emergence of a singing ensemble. presently, there are about four traditional ensembles still existing in the community. however, there is a decline in the practice of traditional ensemble groups in the area. aside economic factors that impede the survival of these groups, christianity that condemns the eulogizing of the dead and other social singing as fetish is also a salient declining factor. since christianity now dominates the religious space within the kalabari society, to which most persons are adherents (including members of the united voice), the nume (song/singing) culture has been modified to suit what is considered appropriate by the church. adegbite (2006) emphasizes christianity’s influence in bringing about awka journal of research in music and the arts (ajrma) vol. 16, september 2023 293 modifications and change on the musical culture and social commitment of the yoruba. the same paradox is witnessed in the traditional musical culture of most nigerian communities especially in the southern parts of the country. another factor is old age of the earlier practitioners. in the past, charges were not placed for the ensemble service as talented singers gladly indulged in such singing as a means of contribution to the occasion, whether they are called upon or not. tamunobere john (2021) opines that lack of financial incentive discouraged people from participating in ensemble singing, this is what led to the formation of the ensemble groups or clubs. as a club, people who wish to invite the group to grace their events will have to pay charges stipulated by the group. this way, club members who have to leave their jobs or means of livelihood to participate in the performance find a sense of reward. performance norms the group engages in rehearsals when it is approached for a performance as well as during specified days of the month as directed by the leader. they meet every last sunday of the month and the first wednesdays of every month to pray for the welfare of the group, their members and the community. john tamunobere does the song compositions together with other gifted singers. the lead singer is assisted by a second lead singer, while the others chorus and clap with two bars of flattened sticks which is express people’s musical technological nuance. their formal wear is white or other coloured lace blouses tied with injiri (jorge wrapper) on the waist and head. all group members must appear uniformly dressed. song examples from the burial of mrs. sele amachree song example one song example two song example three: vernacular english translation alabo kingye oh ikorite oh, (thrice) mina belema oyibo ori ibiminabo osete adiwiari oh. chief kingye oh, you have done very well, (thrice) a lover of kin he stands firm to bury his sister…. vernacular english translation tekenari amachree oh, elem njiri kei kpukpu kpote thrice kuroma yingima diwi okpara jinejinei okpara lamo oh tekena amachree oh, tie your loins strong with an injiri guard yourself with strength to bury your mother you are a capable/worthy first son. vernacular english translation kariboye abbi warime buanie apakaye oh, apaka barame ake abomaba (3x) abbiye ogujofo ari adapu iyimo oh. she is a descendant of king abbi karibo amachree, awka journal of research in music and the arts (ajrma) vol. 16, september 2023 294 textual analysis of song examples according to ibekwe (2013), musicians capture every eventful period and make full use of relevant texts – both spoken and written information in their composition (p. 128). this is evident in the text of the song examples in this study. song example one hails the benevolence of chief kinye, brother of the deceased, who stood firmly to give his sister a befitting burial. according to tradition, burial ceremony in kalabari kingdom have heavy financial implications, therefore a relative who ensures that the family member gets a befitting burial is worthy of praise. this is more so when the relative is capable of engaging the services of an ensemble to enact the nume for their late relative. the second song example is a song of encouragement to the first son of the deceased to gird himself courageously to bury his mother. the pride of being a first son (okpara) is proven during the burial of one’s parents, hence the encouragement to be girded with strength in burying his mother. song example three gives an account of the genealogy of the deceased. an average speaker of the dialect is able to recognize the historical record keeping essence embedded in the singing, “engendering oral tradition” (ibekwe, 2013). as such the songs become a source of historical documents as the lineage of the deceased is narrated in the songs. it is evident from the texts that the songs were specifically written for the burial of mrs. sele amachree. structural analysis of song examples the songs are sung in the kalabari dialect, employing the main forms in african music (agu, 1999) – solo (in sample 1 and two), call and response (section of sample 1), as seen in song sample 1. the melodic phrases of the songs are short, employing repetition liberally to extend the songs and extemporize continuously as seen in song samples 1 and 2. song texts are inflective of the spoken language. as such “pitchless tones” (ibekwe, 2019, p.16) occur but are assigned a tone (see sample 1, bars 3, 9, 13). the songs fall into the diatonic scale, however, the key signature in the transcriptions are conceived for the purpose of transcribing the songs. the melodic intervals show tonal leaps in thirds and fourths as observed in sample 1, bars 1, 3, 5 and 6 (f to d ), while those in sample two are short, gliding between m, d, r, f, and s. rhythmically, both song samples are in duple time. this represents the main rhythmic style preferred by the group. the phrases are short and slurred in many cases (see sample 1, bars 4 and 5; 10 and 11, 14, 15 and 16). tonal shifts are replete in both song samples as the main section of the song is repeated with variations in tone (see first section of both songs – bars 1 – 16). summary/conclusion ada kingsonbe a-ngima simemo oh, egede warime bio (3x) ori ka dibiaye fynn be gladdys iyimo oh i will praise her according to her history (3x) prince ogujofo abbi gave birth to her grandfather. her father kingson married her mother gladys from egede west compound (3x) elder fynn west gave birth to gladys. awka journal of research in music and the arts (ajrma) vol. 16, september 2023 295 the economic constraints on the development of traditional ensembles as found in the united voice of kalabari reveal that financial reward can intrinsically motivate ones’ involvement in traditional ensemble singing. furthermore, it reveals that in these days of economic downturn, ones’ inherent gifts (music making in this case) can be a means of additional income to cushion the effects of the recurring global economic recession. while the members of the united voice of kalabari do not consider the rotational financial contributions that accrue to its members as a stimulant to continuing in the group, in-depth investigation shows that the absence of incentive leads to a decline in participation and existence of ensemble-singing among members of buguma community as evidenced by the decline in the number of such groups, that do not practice the monetary contribution and reward system adopted by the united voice of kalabari. it is therefore a commendable and recommended solution to the dearth of traditional ensembles in kalabari land and other traditional societies. the model can be planted in other circles of human interaction for effective continuity. song sample 1: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 296 song sample 2: awka journal of research in music and the arts (ajrma) vol. 16, september 2023 297 awka journal of research in music and the arts (ajrma) vol. 16, september 2023 298 references adegbite a. (2006). modern trends in yoruba social musical practice: continuity and change in creative performance process in nigeria. awka journal of research in music and the arts, 2, 41 – 57. agu, d. c. c. (1999). form and analysis of african music. enugu: new generation books. alagoa, e. j. (2005). a history of the niger delta. port harcourt: doval ventures ltd. derefaka, a. a. and orugbani, a. (2009). the eastern delta (493-522), in e. j. alagoa, t. n. tamuno& j. p. clerk (eds.), the izon of the niger delta. port harcourt: onyoma research publications. ejituwu, n. c., jaja, j. m. and enemugwem, j. h. (2009). the eastern delta limit (523 547), in e. j. alagoa, t. n. tamuno& j. p. clerk (eds.), the izon of the niger delta. port harcourt: onyoma research publications. horton, r. (1969). from fishing village to city-state: a social history of new calabar, in m. douglas and p. m. kaberry (eds), men in africa. london: tavistock publications. ibekwe, e. u. (2013). the philosophy of african music as oral literature. awka journal of research in music and the arts, 9, 125-133. ibekwe, e. u. (2019). children’s folk songs in igbo society. awka: fab education books. ibude, o. i. (2013). music in kalabari traditional funeral rites. awka journal of research in music and the arts, 9, 140-158. igbi, o. (2018). gender roles in okpe traditional music and the roles of men and women in ensembles. journal of the association of nigerian musicologists,12, 260-273. ndimele, o., kari, e. e. and ayuwo, j. g. i. (2009). language:some historical implications(69 89), in e. j. alagoa, t. n. tamuno& j. p. clerk (eds.), the izon of the niger delta. port harcourt: onyoma research publications. okafor, r. c. and emeka l. (2013). some traditions and culture areas in nigeria (pp. 78 100). nigerian peoples and culture. enugu: new generation books. okafor, r. c. (2017). a study of igbo folk songs. enugu: academic publishing company. internet sources: 1. knowledgehut.com. motivational theories. retrieved july 24, 2021. 2. thomas, t. (2014). encyclopedia of critical psychology: originally published january 31, 2014https://www.springer.com-books 3. gartenstein, d. (2019). the financial and nonfinancial theories of motivation. coursehero.com. reviewed by michelle seidel. updated may 8, 2019. 4. maslow, a. h. (1974). a theory of human motivation. midwest journal press © 2016. oral sources: 1. madam love johnbull, (june 2021). secretary, united voice of kalabari 2. mr. john tamunobere, (june 2021) lead vocalist, united voice of kalabari 3. deacon paul yerikema (july 2021) songs translations from kalabari to english https://www.springer.com-books/ 256 awka journal of research in music and the arts (ajrma) vol 17 june 2024 rhythm and results: investigating the role of music in enhancing chinese language learning outcomes ozioko emmanuel chibuzor nnamdi azikiwe university, department of chinese studies emaill: 266901256@qq.com 07030708154 abstract this study examined the effect of using chinese songs as a motivational factor in learning chinese language. one hundred participants from st patrick’s college awka anambra state was randomly selected and assigned to experimental and control groups. statistical package for the social sciences (spss 25) was used for data analysis and the statistics used which was descriptive showed that chinese songs have a motivating effect towards chinese language learning and also that females are more likely to learn chinese language when music was used as a motivational element. the study recommended introduction of strategic chinese songs at various levels of learning to help the students have a better grasp of the language. key words: chinese songs, motivational element, learning, chinese language introduction this study aims to examine the extent to which chinese songs serve as a motivational element in learning chinese language. before delving in，it is pertinent to examine the nature of chinese language and its dialects. according to chinese traditionalists, chinese is a language with several dialects. it is understood that chinese people read and share the same writing system called hanzi (characterbased), despite speaking in different ways. dong (2004), zhou and marslen-wilson (1994) see chinese as a language that is very complex and difficult to understand. there are so many arguments on this issue and various schools of thoughts which will not be further explored as it is not the focus of this paper. summarily, chinese language is usually perceived by their native speakers as dialects of a single monolithic chinese language, rather than separate languages, although this identification is considered inappropriate by some linguists and sinologists (mair, 1991). the chinese language is a language or language family consisting of varieties which are mutually intelligible to varying degrees (crystal, 1987). chinese is distinguished by its high level of internal diversity, although all varieties of chinese are tonal and analytic. there are between seven and thirteen main regional groups of chinese (depending on classification scheme), of which the most spoken, by far, is mandarin (about 850 million), followed by wu (90 million), cantonese, locally called yue (70 million) and min (50 million). of these varieties of chinese language, mandarin, also called putonghua or guoyu and hanyu is the official language of the people’s republic of china (prc) and taiwan, as well as one of four official languages of singapore. it is one of the six official languages of the united nations. cantonese is popular in guangdong province and cantonese-speaking overseas communities, and one of the official languages of hong kong and macau. min is widely spoken in southern fujian, in neighboring taiwan and in southeast asian, known as hokkien in philippines, singapore and malaysia. 257 awka journal of research in music and the arts (ajrma) vol 17 june 2024 in this study we are only interested in mandarin chinese. mandarin is a standardized form of spoken chinese based on beijing dialect, called beifanghua. mandarin is known as putonghua in mainland china, guoyu in taiwan and hanyu in singapore. mandarin chinese history can be dated back to the 19th century, particularly by the upper classes and ministers in beijing. the english word ‘mandarin’ (from portuguese mandarim, from malay menteri, from hindi mantra, from sanskrit mantrin, minister or counsellor), originally meant an official of the chinese empire. ‘mandarin’ refers to standard chinese, which is often simply called ‘chinese’. in study, mandarin and chinese language are used interchangeably. mandarin is now used in education, media, and formal situations both in china and taiwan. it can be spoken intelligibly by younger people in mainland china and taiwan, with various regional accents. all spoken chinese use tones. a few dialects of north china may have as few as three tones, while some dialects in south china have up to six or ten tones, depending on how one counts it. one exception from this is shanghainese which has reduced the set of tones to a two-toned pitch accent system much like modern japanese. mandarin has four major tones with a neutral tone making it five in number. a very common example used to illustrate the use of tones in mandarin are five tones applied to the syllable ‘ma’. the tones correspond to these five characters. s/n tone mark meaning example character english meaning 1 high level mā 妈 mother 2 ´ high rising má 麻 numb 3 ˇ low fallingrising mǎ 马 horse 4 ` high falling mà 骂 scold 5 (no mark) neutral ma 吗 question particle bing(2022) emphasized that the positive role of chinese songs is to help a learner to acquire a sense of language: 1.1 chinese songs and voice sense first, the relationship between language and music is already very close (dalia et al.,2022). wang li (1990), a modern chinese linguist, pointed out that “the relationship between language and music is very close, and there is interoperability between language and music”. as a sound-based tool for conveying information and expressing emotions, marx has also recognized music as “the second language of mankind”. the three essential elements of music are pitch, rhythm, and timbre and the phonetic characteristics of the chinese language are precisely in line with these three essential elements of music. meanwhile, chinese belongs to the sino-tibetan languages, and its syllables are composed of three parts: consonants, rhymes and tones and the change of tones is also one of the characteristics of chinese. tone changes include the level tone, the rising tone, the falling-rising tone and the falling tone. its permutations and combinations give the chinese language a rhythmic sense of staccato. this kind of rhythmic sense of chinese speech with its high and low changes also coincides 258 awka journal of research in music and the arts (ajrma) vol 17 june 2024 with the expression form of music. therefore, while appreciating the rhythm and melody of the songs, chinese songs also help to improve the learners’ ability to recognize sounds and pronounce chinese. ultimately, the goal is to improve the phonological sense of second language learners. 1.2 chinese songs and sense of awareness according to the affective filtering hypothesis proposed by stephen d. krashen, the process of second language acquisition will be affected by three affective factors: the learner’s motivation, personality, and affective state. motivation is the intrinsic power that propels an individual to engage in a particular behavior. if the learner is strongly motivated and driven, the learning efficiency is higher, and the learning effect will be better; the affective state mainly refers to anxiety and relaxation; if the learner has a weaker sense of anxiety, a high degree of mental relaxation and a low affective barrier, they are prone to get more input. both are constantly changing under the influence of subjective factors of second language learners. applying chinese songs in teaching chinese as a foreign language can enliven the classroom atmosphere, reduce the learners’ sense of boredom in learning chinese, enhance their motivation to learn chinese, reduce their anxiety about second language learning, stimulate their interest in learning chinese, and make them actively participate in the process of second language learning. secondly, from the division of labour between the left and right brains, it can be found that the left brain processes language. still, if the right brain can be brought into full play in second language learning, it will be more conducive to the learners ’ language learning. chinese songs are characterized by lively language, and a distinctive sense of rhyme and rhythm. 1.3chinese songs and grammatical sense the fact that chinese grammar does not emphasize the order of words but the meaning of words makes grammar learning especially difficult for second language learners. in addition to the complexity of chinese grammar, grammar teaching in chinese as a foreign language classroom often needs to be more exciting and acceptable to learners. even teaching grammar is difficult, not to mention cultivating learners’ sense of chinese grammar. chinese songs are rich in grammar teaching materials; some contain repetitive sentences or chorus parts emphasizing grammatical structures. these songs can be used to consolidate grammar points vividly, turning abstraction into something concrete and tangible. as a result, applying chinese songs in teaching chinese as a foreign language can effectively improve the learners’ sense of grammar while changing the classroom atmosphere of grammar knowledge explanation from boring to lively and exciting. flow chart of how to improve grammatical sense quiet environment chinese songs short-term memory repetition long-term memory 259 awka journal of research in music and the arts (ajrma) vol 17 june 2024 1.4chinese songs and vocabulary sense chinese songs are rich in themes and all-encompassing, and the vocabulary used in the lyrics is primarily daily idioms. most of the lyrics are straightforward and easy to understand and most of the language materials and expressions come from daily life, which is more likely to arouse the learners’ interest and enthusiasm and more likely to be accepted by chinese language learners. therefore, the application of chinese songs to the teaching of chinese as a foreign language can not only help students better understand the meaning of words and their usage but also help them understand the meaning of words in specific contexts, make their memory of words more profound and thus improve their sense of the chinese vocabulary. motivation, cognition and learning context in pintrich’s theoretical model this theory can explain learning process in classroom settings, pintrich 1994, 2000b, 2003a, pointed out three types of elements  motivation elements such as achievement goal/ orientation, expectancies for success and failure, self-perceptions of ability and competence (self-efficacy belief) control beliefs, task value and affective and emotional. chinese songs can affect mood of the learners in positive way.  cognitive elements, such as cognitive self-regulation strategies, meta-cognition, activation of prior knowledge, etc. the more the songs played repeatedly, the more the activation of the prior knowledge of tones, grammar point and vocabulary.  learning context elements such as task features, classroom context, success perception of both the task features and the classroom contexts, goals promoted in the classroom, type of work structure, teacher’s behaviour, type of interaction between teachers and students. when the learning is going on in a noiseless environment and the teacher is accommodating, the students are likely to learn more. pintrich considers motivation a multifactorial construct (linnenbrink & pintrich, 2002b) according to pintrich (2003b), integrating cognitive and motivational elements is necessary for completing our understanding of learning process in school contexts and for understanding difficulties that may appear during the instructional process. when chinese songs are played students know the meaning of the songs, if those songs are subtitled in english and pinyin (spoken chinese), it is more likely to trigger their interest to learn the language. this study considers the theory of cognitive development by piaget (1896-1980) in participant’s selection and songs selection in other to add something new to existing knowledge. this developmental psychologist emphasized that for learning to be effective, one has to consider the age and the cognitive development of the child. the two songs that the researcher used in this study; the first one is talking about the importance of friendship and the second one is talking about importance of mother in the life of a child. methodology context and participants 100 senior students of st patrick college, awka within the age range of 15-16 who are studying chinese language were randomly selected for the experimental study. instrument 260 awka journal of research in music and the arts (ajrma) vol 17 june 2024 laptop that is connected with wifi, projector . procedure the focus was senior students of st patrick college awka who chose chinese language as one of the foreign languages they prefer to study. their informed consent was sought and they were randomly selected and assigned to control and experimental groups. the study was carried out in a controlled environment to avoid noise which is an extraneous variable. the experimental group were promised to be taught different chinese songs and informed about how learning them could help in understanding chinese culture and language. this information was not passed to the control group. after the information, a song by emil chau titled (( 朋友)) meanings friend in english language and a chinese folk song by kim friesen wiens was played with a laptop that is connected and projected to the wall. after playing the chinese song which had english, chinese and pinyin (spoken chinese) as the subtitle, independently and monitored for 30mins for each song, they were presented with the print out of the lyrics of the songs mixed with other chinese characters of the first song, to choose the correct option and the second song was used to test their ability to memorize and read correctly. first song -the english version of the lyrics english version all these years, me alone been through wind and walk through rain had tears, had mistakes when had i insist something only the one who had loved will understand, will understand, will be lonely, regret. still have dream and you in my heart friends walk together all life time these days won’t come back one sentence, one life time one love, one cup of wine friends are never lonely one-word friend, you will understand still have wounds, still have pain still need to walk, you still have me chinese version 这些年一个人风也过雨也走 有过泪有过错还记得坚持甚麽 真爱过才会懂会寂寞会回首 终有梦终有你在心中 朋友一生一起走那些日子不再有 一句话一辈子一生情一杯酒 朋友不曾孤单过一声朋友会懂 还有伤还有痛还要走还有我 pinyin version zhѐ xiē nián yī gѐ rén fēng yӗ guò yŭ yӗ zōu yŏu guò lѐi yŏu guò cuò hái jì de jiānchí shén me zhēn ài guò cái huì dŏng huì jì mò huì huí shŏu zhōng yŏu mѐng zhōng yŏu nǐ zài xīn zhōng péngyou yīshēng yī qǐ zōu nà xiē rìzi bù zài yŏu 261 awka journal of research in music and the arts (ajrma) vol 17 june 2024 yījùhuà yībѐizi yīshēng qíng yībēijiŭ péngyou bù céng gū dān guò yīshāng péngyou nǐ huì dŏng hái yŏu shāng hái yŏu tòng hái yào zōu hái yŏu wŏ the chinese character version of the lyrics was printed with gaps to fill when the first song was stopped to determine their performance: 这些年一个人风也过雨也走 _____过泪有过错还记得坚持甚麽（没有 or 有） 真爱过才会懂会寂寞______回（能 or 会） 终有梦终有你在心______（理 or 中） 朋友一生一起走那些日子不在______（有 or 没有） 一句话一辈子一生情一杯________（水 or 酒） _______不曾孤单过一声朋友会懂（妈妈 or 朋友） 还有伤还有痛还要走还有________(我 or 你) second song -the english version of the lyrics mom is the best in the world. a child with a mother is like a precious gem. throw yourself into your mother’s arms and you will find happiness. mom is the best in the world. a child without a mom is like a blade of grass. away from your mother’s arms where will you find happiness? pinyin version shì shàng zhǐ yǒu mā mā hǎo yǒu mā de hái zì xiàng kuài bǎo tóu jìn mā mā de huái bào xìng fú xiǎng bù liǎo shì shàng zhǐ yǒu mā mā hǎo méi mā dè hái zì xiàng gēn cǎo lí kāi mā mā dè huái bào xìng fú nǎ lǐ zhǎ chinese version 世上只有妈妈好 有妈的孩⼦像块宝 投进妈妈的怀抱 幸福享不了 世上只有妈妈好 没妈的孩⼦像根草 离开妈妈的怀抱 幸福那⾥ 262 awka journal of research in music and the arts (ajrma) vol 17 june 2024 data analysis table 1 variable frequency percent gender male 5050 female 50 50 age 16yrs 17 83 15yrs 83 17 group experimental 50 50 control 50 50 class ss1 50 50 ss2 50 50 the above table 1 shows the descriptive statistics of the participants; 100 male (50%) and female (50%) senior students were randomly selected from ss1 (50%) and ss2 (50%) with the age range 15-16 and they were randomly assigned to control (50%) and experimental group (50%) table 2 performance excellent poor total gender male 24 26 50 female 27 23 50 total 51 49 100 the above table 2, shows that females in the experimental (27) group performed better than the males (24) in the experimental group the result shows that chinese songs can be used as a motivational element in learning chinese language. this study also shows that females are more motivated to learn when songs are used as a learning tool. conclusion the researcher discovered that the 27 females in the experimental group performed well in the song test. they showed interest in the study because they were promised to be taught chinese songs stressing the importance of chinese songs in learning chinese language. this shows that chinese songs can be used as a motivational element in learning chinese language, especially ss1 and ss2 of st patrick’s college awka. the result of this study also shows that females can learn more when chinese songs are used for teaching. generally, the results of the findings in this study strongly agree with the bing (2023), assumptions on the role of chinese songs in learning chinese language. based on the above findings, the researcher therefore makes the following recommendations. 263 awka journal of research in music and the arts (ajrma) vol 17 june 2024 recommendations opportunities for inter-secondary school chinese songs competition should be made available. this will enable the senior secondary students to learn and speak chinese language while they put in efforts in winning the prizes. this would motivate them to learn more chinese vocabulary, pinyin (spoken chinese) and hanzi (chinese character). chinese language teachers should play a pivotal role in secondary schools by employing chinese songs effectively in teaching chinese language. they should be selective in their choice of chinese songs picking songs that are interesting with moral lessons, idioms and sub-titled in english, chinese character (hanzi) and pinyin (spoken chinese). they should ensure a conducive learning environment by ensuring they are free from noise. most importantly, the chinese language teachers in st patrick’s college awka should be empowered to put more effort in the discharge of their duties. since learning and teaching chinese language is especially difficulty for a non-native of china, the effort of the chinese teachers should be rewarded with good salaries and various incentives. when the efforts of the chinese language teachers are generously rewarded, it will boost their morale and increase their zeal to provide effective teaching. references bing .q.(2023). the application of chinese songs in teaching chinese language sense as a foreign language. world journal of educational research issn 2375-9771 (print) issn2333-5998 (online) vol. 10, no. 4, 2023 www.scholink.org/ojs/index.php/wjer crystal, d. (1987). the cambridge encyclopedia of language. cambridge: cambridge university press. dalia .b., maría elena.g & cristina a .(2022) . the relationship between music and second language. servicio de publicaciones difusión científica universidad de las palmas de grancanaria. el guiniguada, 31 (2022), pp. 69-80 print issn: 0213-0610 –eissn: 2386-3374 dong, x . (2004). 汉语的词库与词法 hanyu de ciku yu cifa (chinese lexicon and morphology). beijing: beijing daxue chubanshe mair, v. h. (1991). what is a chinese “dialect/topolect”? reflections on some key sino english linguistic terms. sino-platonic papers, 29, 1-31. pintrich, p.r. (1994). student motivation in the college classroom. in k.w. prichard & r.m. ct: sawyer (eds.), handbook of college teaching: theory and applications (pp. 23-43). westport,greenwood press/greenwood publishing group. pintrich, p.r. (2000b). the role of goal orientation in self-regulated learning. in m. boekaerts, p.r. pintrich, & m. zeidner (eds.), handbook of self-regulation (pp. 452502). san diego, ca:academic press. pintrich, p.r. (2003a). a motivational science perspective on the role of student motivation in learning and teaching contexts. journal of educational psychology, 95(4), 667-686. zhou, x. & marslen-wilson. w . (1994). words, morphemes and syllables in the chinese mental lexicon. language and cognitive processes,9, 393-422. http://www.scholink.org/ojs/index.php/wjer 147 screened music in a globalised world: its implications on pop musical arts in nigeria sunday-kanu, rita adaobi department of music university of port harcourt. email: rita.sunday-kanu@uniport.edu.ng or nwakwesilirita@yahoo.com phone number: +234 (0) 8134997014 abstract screened music has become the order of the day in the developed, developing and even underdeveloped countries of the world. this has constituted some level of acculturated musical arts in different nations including africa. this dispensation of high technological revolution and its invention of internet have left mixed cultural musical arts as the trend of 21st century. it has consequently, resulted to the borrowing, and adoption of other world musical arts. this have recently dominated the african musical arts and its expression. this study investigated the height and influence of screened music on the nigerian pop music scene, its application and implication to nigerian pop musical arts. however, findings proved that this trend has resulted to multi-cultural musical art form that is noticeably in nigerian pop music scene. the related arts such as; texts, phonetics, dance steps, arrangements, settings, paintings, rhythmic progressions, styles applied, costumes and drama reflect these influences. this development left nigerian pop stars on the verge of being considered neither nigerian nor western in their musical art forms and expressions. data collection was drawn from historical records, personal observation, oral interviews and review of related literature. awka journal of research in music and the arts (arma) vol. 10 2014 mailto:rita.sunday-kanu@uniport.edu.ng mailto:nwakwesilirita@yahoo.com 148 introduction music is part of virtually every culture of the world; music showcases the identity of a people, their norms, values and believe system. this is why music varies widely among cultures in style and structure. the music of a people articulates the concepts, principles and their life experiences. therefore, symbolic meanings or visual literacy are embodied in art expression and musical instrument involved in the music performance of any culture. the texts of the music are primarily use to relate experiences, criticise, evaluate opinions, thought and formulate of public opinion. although popular music has been perceived as music for the masses which gears toward entertainment of the people and commercial purposes, but that does not deprive pop music of a people from relating their immediate environment and culture for proper acceptance and appreciation in their society. before now, the early popular musicians endeavour to portray the socio-cultural integrity of the nigerian people. as a result of global boundary elimination and great consumption of western music and culture via new technology, nigerian people and their musical art expression has been significantly influenced. nigeria pop musical art expression has deviated from being people‟s voice on contemporary issues and experiences. recently, pop musical art expression in nigeria appears too foreign to even society. what nigerians culturally consider immoral and indecent forms the bulk of the texts and related art expressions of pop musical art. for instance, projection of nude girls and their sexually aroused gestures dominating nigeria pop scene today does not articulate nigerian ethics and integrity. the pop stars are basically carried away by american musical culture which does not in any way integrate nigeria cultural values. ojakovo (2010:105), expressed that the early contemporary popular music like fuji, urhobo disco, highlife, afro beat, apala, waka, juju and afro juju fused traditional music and the screened music in a globalised world… 149 western musical idioms together to satisfy the present nigerian citizens. they were propagating cultures of various ethnic nationalities in nigeria. okafor (2005:1), opined that music should be cultural expressed, determined, moulded, interpreted and addressed or colored by the culture and the cultural environment of the people. music is part of creative arts form and therefore, does not go in isolation from people‟s perspective of life and experiences. this applies to every other form of arts that goes with the music, such as, the performance style, cartoons, drama, painting and costume. all these turmoil in nigeria pop music scene came as a result of screened music in this technological era. screened music in this context is referred to musical works that are displayed on the monitor for both audio and visual consumption. this enables musicians to enrich their work and seek inspiration from other musicians and composers from within and outside their culture. to non musicians the combination of other related arts in the music on screen helps them in their enjoyment of music, understanding and appreciation of musical work beyond mere listening. nigerian pop musical arts in 21st century musical art culture and expressions changes over time and age due to some factors, such as socio-cultural, economical, political and technological revolution. for instance, the 21st century pop music performance styles, production, dissemination and consumption in nigeria, have received great influence from globalization, late modernism, technological revolution and general global socio-cultural restructuring. these have lately, altered and interfered with pop musical art form in nigeria. thereby, making it difficult to come in contact with unadulterated or unmodified art musical form and identity as portrayed in nigerian popular music culture. hence, cross fertilization of musical arts was boosted up by the advancement of sunday-kanu, rita adaobi 150 information technology, resulting to mix socio-cultural phenomenon which have constructed a new framework of art expression in the nigerian pop musical arts practices. drawing from historical account, this influence became wildly notice as a result of screened music. screened music gave room to great consumption of western pop musical culture as a result of advancement in technological revolution as thus, from cinema to television, to video home system (vhs), video compact disk (vcd), digital video disk or digital versatile disk (dvd) and now the internet which has become more prominent with its use via the laptop, palm top and mobile phones has gone beyond mere transformation of pop music in nigerian but, also has posed a socio-cultural phenomenon. presently, massive dissemination of music product through bluetooth device both on personal computers and on cell phones have allow sharing of all sorts of musical arts products amongst nations of divers culture. the internet has made it generally easy for every one to access all sort of musical product from anywhere in the world, with it elimination of boundaries in the virtual world. consequently, the lingering fear of losing the real touch of nigerian art form in the pop music scene is the great challenge this trend has posed to future nigerians. nigerian pop music in the new world the technological revolution at its invention of computer system and network increasingly enhanced global anxiety over new media with its connectivity, boundary elimination and personal computer practices, which exposed the society to a new trend of digital music consumption culture. this obviously influenced the behavioral attitude and imaginations of the nigerian pop stars, especially, in the way they think, the models they set for themselves, the standard they measure with, perception, acceptance and representation of themselves as depicts in today‟s nigeria pop musical arts and expressions. these screened music in a globalised world… 151 therefore, contributed lots of cultural tendencies, even to the majority of nigerian youths who are the primary consumers of pop music. what is happening in nigeria today may be described as purely cross-fertilization and fusion of musical arts and culture. music created and performed using foreign languages or combination of english and nigerian pidgin-english, western dance and african dance form, western musical instruments and intonation, computer voicing and effects backups, have become a key expression of 21st century nigerian pop music. this is probably because, many people now have access to creative digital music tools through the widespread dissemination of portable computing technology, the internet and software applications which enables music creation, dissemination and reception from various parts of the world and culture. consequently, the 21st century pop stars in nigeria have expressed immense exchange of musical arts and culture in pop music scene. butler 2006 expressed that, during the 20th century, most music has become accessible worldwide through a technological revolution that has produced high-quality sound and video recording, radio and television, and computers. it is difficult to overstate the importance of these innovations on musical cultures around the world. it has become possible to record music of the many musical cultures in the world, including music that has traditionally been learned and passed on orally or aurally. on the other hand, the boundary lines among many cultures, and between subcultures, have shifted dramatically and in some cases have disappeared. there has always been some cross-fertilization among musical cultures, and this is often a sign of healthy cultural and artistic growth. one well-known example is the musical mixture of hispanic and germanic cultures in the american southwest during the 19th century, which produced the conjunto or texmex style still popular in the region today. (counted, 2011). sunday-kanu, rita adaobi 152 however, while some scholars worry that cross-fertilization amongst musical art cultures will eventually drift towards a single global music that is weak, lacks creativity and unvaried, others on the other hand, mostly conservative scholars argued that this development implies a growing counter movement to preserve the diversity of cultural heritages, including nigerian traditional music arts and expressions. this new trend of assisted internet music consumption culture has introduced a new aesthetics and culture amongst our pop star. considering recent albums of some nigerian pop stars like, psquare, tuface idibia, dibanji and so many others, one can hardly place their expressions, dance steps, drama, costume and even their setting to depict nigerian arts and expression. rather what we see on stage end up resulting to americanized nigerian pop stars. this appears too difficult to control due to the advancement of technology today. on the provision of good digital storage devise with capabilities of storing both audio and visual music performance for personal use and consumption, the quest for nigerian pop stars to imitate, compete and measure up with their counterparts in the western world increased. this expedition by nigerian pop stars denies the room for expression of nigeria popular music culture. this will continue to facilitate new approaches to nigerian pop musical arts because, the adoption and borrowing of new arts forms from other culture‟s musical arts may never let our pop musical practices to run in the core of nigerian notion, rather, it will continue to follows a string of change that is not just a simple fashion but a truly deep sociological phenomenon that has important socio-cultural, moral and economic implication. in view of this, robson confirmed that, the global culture is producing a musical multiculturalism that takes a number of forms — it only has a trivial string of its root; there is no folk-level trace anymore. these are often framed with neo-traditional nametags. hybrid musical forms cross the boundaries between classical, contemporary r&b and hip pop and folk or afro musical forms within the various cultures they bridge. (robson: 2009). screened music in a globalised world… 153 western pop stars on nigerian screen; its pressure on pop musical art in nigeria quite unlike in traditional nigerian societies, where music making and consumption are generally organized as a social event while music performance and consumption takes on occasion when members of the community come together for an event of ceremony, rite or recreational activities and those who get together in such social event generally belong to one ethnic and language group (odunuga, 2009. 74). nigerian pop star in recent days are under pressure to be like their counterpart from the united states of american. their quest to americanize both them selves and the musical arts are often raised by their fans who seems to patronize western pop stars more than they do to local pop musicians here n nigeria. thus instead of nigerian pop scene taking on nigeria traditional mode of production, performance and dissemination, they chose to imitate and copy the western traits of musical arts via internet, television, cinema etc. most of them now go to the extent of setting their musical albums in foreign environment as well as, co-producing with popular american artist. thus, losing every trait of nigerian musical arts in their productions; their dance steps takes after western dance style as can be seen in p-square‟s album titled „personally‟. the entire dance steps used here was likened to that of late michael jackson, who was the acclaimed king of pop in the united states of american. however, this trend is not in tune with the production and performance musical arts in nigeria where music production in its framework often assumes multiple roles within the community and at the same time serves as an opportunity for sharing in creative experience. historically, music (instrumentals), song (vocal), dance and story-telling are among the ancient art forms that have flourished for many centuries in nigeria. and they characterized nigerian musical expression which plays very important roles in the lives of the people. in fact, it is impossible for any nigerian community to exist and sunday-kanu, rita adaobi 154 function well without music and its related arts forms. such musical arts have served both functional and aesthetic purposes. nevertheless, early historical accounts of music and dance among nigerian‟s can be found in oral literature that took different forms such as folk tales, myths, epics, praise poems and historical accounts on rituals. the utilitarian function involves the use of music in everyday activities, including music at birth, child‟s naming ceremonies, child rearing practices, initiation rights, agricultural activities, national ceremonies, war times, religious ceremonies, death etc. in other words, nigerians traditionally have a very rich oral tradition that insures the transfer of musical art practices from one generation to another. it is good to mention that the reception and consumption style of nigerian musical performances have been very important skills that contributed to perfected oral traditional practices, even though, in this 21st century, only very few musical arts and dances are still transmitted in oral forms only. this is probably as a result of technology that has swallowed every facet of musical practices. thus, musical arts of nigerians today, just like every other art forms reflects the widespread system of cultural and technological evolution. coming from the oral transmission of musical arts from one generation to another, to people tuning to radio fms and later to television stations just to listen to and watch current music and dance. presently, internet and music software revolution have brought about new trend of online sites streaming music, for less cost and wider accessible to different worlds music, of which some are more or less free of charge. this has made it that users can stick to their own choice of music rather than waiting for whatever piece of music that the radio/ television presenter chooses play for them or worst still, waiting for communal musical practices before they will enjoy the music they like. consequently, the motive of traditional nigerian musical arts and culture which conditions the desire to join and improve communal living is gradually being murdered by this new technological /digital screened music in a globalised world… 155 drift. many people now use utube as a music player, having both the video clips with the music they desire listening to. a number of people also use the music service itunes (usually in conjunction with ipods) to acquire their music. they often download musical products to enable them listen to them at their convenient time, more so, as most phones and personal computers have bluetooth support and bluetooth is free in dissemination of musical product, so they utilizes its features to send and receive music clips, videos clips and pictures from friends. nevertheless, the invention of various computer music based tools and their application in music creativity, performance, dissemination and consumption have lasted for several decades and now it is an integral part of our every day life, it has eating deep into our society so much that it actually dictate the direction, tone and pace of nigerian pop musical arts. (robson: 2009). conclusion / summary integration of western musical arts styles and forms into the context of nigerian pop musical art expression have initiated an unprecedented revolution in the musical art idiom in nigeria. this inclination is prevalent mostly amongst nigerian young pop stars. as a result, music production, performance, dissemination and even consumption have significantly introduced a whole new era of multicultural musical arts expression and culture in our society. this trend has made it very difficult for nigerian popular musician to stick to their own language, even when they are addressing audiences within their linguistic territory. this has therefore offered a new framework of thinking and behavior; amongst nigerian youths who are the major consumers of such music. however, the reception of pop music in nigeria today is purely for entertainment, no cultural integrity attached, and it has embraced the new media as a means for mass dissemination and consumption. consequently, pop music and other genres of musical art expression in nigeria are sustained by sunday-kanu, rita adaobi 156 media industries. but, the impact of these sonic materials and borrowed musical idiom and expressive arts can be said to have more than contribute to the loss of nigeria identity, norms, values, cultural ethos and beliefs. this trend of mixed cultural heritage in nigerian pop musical arts has succeeded in preventing cultural transmission in nigerian society. originally, african musical arts and expressions have been found to be more effective in cultural transmission where there are close links to believe, language, aesthetic, artistic values and cultural ethics or within a particular community, geographic location and age etc. nevertheless, this new mode of musical expressions, and reception sites like internet mediated, public spaces and personal audio systems have made it almost impossible for the past few decades to find a folk-level musical culture within which listeners are exposed to only the music of their own culture and no other. consequently, the implication of screened music and globalization in the contemporary nigeria pop music scene, has posed challenges on the guarantee of retention and relevance of nigerian values, ethics and moral in their pop musical art expression. recommendation measures should be put in place by the ministry of arts and culture to check the degree of external cultures and values to be allowed in nigeria pop music scene. scholars of ethnomusicology and related field of study may assist by means of projecting nigerian musical culture, traditions, values and aesthetics via internet media for history purposes. these to some extent may help to resolve and retain reasonable degree of nigeria musical culture and identity in this new world. screened music in a globalised world… 157 references aoki, k and downes, e. 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