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Recorded music is an intellectual property protected by laws in nations around the world. The Nigerian state recognises recorded music as an intellectual property, and has integrated some copyright laws into its legal frameworks. This study addresses the general concerns of copyright of recorded musical works in Nigeria, as it affects the musicians in the 21st century.

Nigeria today is faced with several developmental challenges. A lot has been said and done to alleviate the people’s suffering and enhance development across the country. These efforts appear to be less-visible in the rural areas and as such, raises questions of strategy and sustainability. Most government development programmes seem to be tailored around the top-down model of development which negates the participation and contributions of target communities.

A persistent issue in Nigerian formal music education is its European dominated contents and pedagogical reliance. The consequence of this is that music teaching has been less-culturally and socially relevant. In reaction to this phenomenon, researches in indigenous musical forms have been advocated as means to formulate music education contents with cultural and social relevance. This study, therefore, examines ìbejì festival music for the purpose of adopting and deploying the cultural values therein as learning material in schools, especially in southwestern Nigeria.

Copious literature abound on music and Nigerian traditional film productions, and on the enduring relationship between them. However, pragmatics import and musical rhetoric in traditional movies have not really occupied the minds of scholars in comparative terms, hence, the rather scarce scholarly writings on the subject matter. Whereas the descriptive and narrative capacity of music, especially, in Yorùbá movies is overwhelming, this has not been properly elucidated and documented by scholars.

Administration is the function of leadership at the highest level of an organisation. The duties of the chief executive is to establish and formulate policies that facilitate the administration towards achieving the objectives of the organisation. The success and failure of an organisation depends largely on it.

This paper examines the significance of songs in selected Chinua Achebe’s short stories in the collection, Girls at War. In the paper, the selected stories “Vengeful Creditor,” “Chike’s School Days” and “The Voter” are analyzed qualitatively with a view to ascertaining their type, content, meaning and general significance in their contexts towards illustrating the themes of the stories. The sociological theory is adopted as the theoretical frame work to guide the analysis of the texts.

In all significant ages of human development and progress, there has always been a close association of symbolic creative or artistic expressions to uncover the various principles which have institutionalized the notions of good and bad, right and wrong , beauty and ugly, truth and false, and patterns stability and shaved expectations. These creative or artistic expressions are symbolic designs, prescriptions, and responses, which are deliberately fashioned to guide all aspects of a people’s life.

Syncretism is said to be in effect when different phenomena across diverse spheres interplay. Nigerian hip-hop music (also colloquially referred to as Naija hip-hop) is Nigeria's local adaptation of the global hip-hop genre. This paper investigates the functions of the standard pattern (a traditional African rhythmic pattern) in Naija hip-hop musical syncretism. The purposive sampling method was employed in selecting three popular music of this genre, which constitutes the primary data for this study.

Playwright’s concepts of music in drama are typically incorporated in the play text. Music directors and other drama personnel study play texts to acquaint themselves with playwright’s musical vistas and lines for artistic realisation. This study notes and dilates on the approaches by which Nigerian playwrights incorporate music in their plays, by reviewing copious Nigerian plays. This study also outlines the 

Egwu-ede is a traditional music of Ovoko community in Enugu State, Nigeria. It is usually performed during the Ede title-taking and other special ceremonies, and represents the common musical heritage of the Ovoko community with unique socio-cultural implications. This study sets out to discuss aspects of Egwu-ede (Ede music), and the socio-cultural implications to members of the Ovoko Autonomous Community, Igbo Eze South Local Government Area, Enugu state, Nigeria.