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
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