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This study examines the financial dynamics and risk management within Nigeria's evolving music industry, which is characterised by unpredictable revenue, digital changes, and informal market behaviours. Financial fluidity refers to the seamless creation, transfer, and reinvestment of financial resources throughout the value chain, including production, distribution, marketing, and performance. The paper explores how artistes, record labels, managers and distributors handle fluctuating income sources like streaming, royalties, live performances, endorsements, and digital platforms.

This article compares the inclusion of Yoruba tonal and compositional principles in the music composition curricula of three universities in Southwest Nigeria, using a comparative document analysis approach. Selected for their differing backgrounds and emphases were three universities: Ajayi Crowther University, Obafemi Awolowo University and Olabisi Onabanjo University. The analysis of all three curricula involved categorising the titles of the individual courses into the following: Western, general African, Yoruba or Oyo-based and composition-designated.

Music education plays a significant role in cultural preservation, creativity development, talent cultivation, and national advancement. However, despite its recognised educational and socio-cultural value, music education in Nigeria has continued to experience persistent challenges that have adversely affected its growth and effectiveness at various levels of the educational system.

Music education plays a significant role in cultural preservation, creativity development, talent cultivation, and national advancement. However, despite its recognised educational and socio-cultural value, music education in Nigeria has continued to experience persistent challenges that have adversely affected its growth and effectiveness at various levels of the educational system.

Music occupies a central position in religious worship and serves as a medium through which adherents express faith, hope, devotion, and 

This study addressed the persistent problem that musical artefacts are often defined narrowly as physical objects - a limitation that requires urgent attention as musical heritage increasingly expands across digital, embodied, and transnational contexts. It examined this gap by analysing a curated corpus of 120 musical materials using a conceptual–analytical design informed by material culture theory, intangible heritage studies, and ethnomusicology.