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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 x-

rayed 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 mid-

eighties, 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).  

  

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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. 

 

 

 

 

 

 

 

 

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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 

 

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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…       



 
 

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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 

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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

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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 

socio-

economic 

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 

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