



































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 self-

employment 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:  



 
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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 encounter-

space 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 



 
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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 self-

reliance 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 



 
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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 



 
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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). 
 



 
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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.  



 
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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. 

 

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