Editorial Note
Editorial Note
The Benin Journal of Music and the Arts (BENJMA), which was established in 2021, is a publication of the Music Programme of the Department of Theatre Arts, Faculty of Arts, University of Benin, Benin City, Nigeria. BENJMA operates an open access policy of internet publication to facilitate easy accessibility and wide readership, and also produces complimentary print versions to meet the desire of readers who would want to obtain hard copies as alternative
and/or supplementary acquisitions. BENJMA is designed to publish at least one (1) Issue yearly, and to undertake the publication of Special Issues from time to time when the need arises.
BENJMA receives and publishes well-researched scholarly articles in music and the arts to promote scholarship and support the dissemination of research findings at local and global levels. It provides the forum for discourses on the historical, contemporary, and evolving subject matters that would serve as bases for the formation of future perspectives, the making of impactful predictions, and the galvanisation of developmental ideas.This present publication, Volume 1, is the maiden edition of BENJMA published in May 2022. This volume is a kaleidoscope of articles on music and the arts, featuring twelve (12) articles from a range of thematic areas such as musical syncretism, traditional festival, music education, music administration, church music, music copyright, music in drama, music in literature, music in movie, theatre for development (tfd), and aesthetics. Readers would most assuredly find the articles interesting, informative, educative, and thought-provoking.
Volume 1 , May 2022
Available records reveal that different areas of community musical arts have been employed in different countries of the world to engage youth collaboratively and curtail youth misdemeanor with a view to promoting social interactions, cohesion and development. It is however evident from literature, which studies on community music have not been widely explored in Nigeria by researchers and stakeholders in the field. This study therefore, examined community musical arts intervention of “Freedom For All Group” for socioeconomic development of youths in contemporary Nigeria.
This research examines the influence of exchange between Falz the Bahd Guy and his fans in the Nigerian society. Through focus group discussions and analysis of the findings, the study explores how Falz's music frames social issues and influences audience perceptions and actions. The research reveals that Falz's music effectively addresses significant social issues prevalent in Nigerian society, including religious and political corruption, inequality, gender roles, leadership incompetence, and other societal vices.
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.