May

Music is a global phenomenon that is integral to humanity; it is embedded in the cultural life of people as expressed in their norms, values and beliefs. Indigenous music in the church is religiously controlled and normally used to convey important social, moral and spiritual values. This paper focuses on the efficacy of Ukwuani indigenous music in the Anglican Diocese of Ndokwa. It emphasises the relevance and significance of Ukwuani indigenous music in promoting social, moral and spiritual values to congregants.

One of the most prevalent, popular, and indigenous cultural practices of Akwa Ibom people is the Ekpo music festival. It is founded on the belief of life after death and it is regarded as the soul or ghost of ancestors that return to the land of the living in masquerade form to participate with kinsmen. This is usually marked by exciting events during certain periods within each year, such as period of farming and rites of passage. However, the emergence of COVID-19 brought a great negative impact on the yearly cultural display of Ekpo music festival.

This paper explores the role of African musical instruments in contemporary music composition, with specific focus on Nigerian art and popular music styles. The research employs a qualitative approach, combining literature review, interviews, and musical analyses. The paper discusses the historical significance of African musical instruments in Nigerian traditional music, while highlighting their cultural importance and sonic characteristics.

The concept of costume in dance seems be paid less attention by the audience of dance performance. Visual arts that form the costume are seen as normal body adornments associated with dance or a mere cloth for traditional dance code. This misconception needs not to be ignored.

Existing studies have focused on different aspects of traditional drum music among the people of south-western Nigeria. These include studies on bata, dundun, agere and igbin ensembles. However, little has been done on the socio-cultural functions of Sato music among the Egun people of Badagry. This study adopted the ethnographic method, with the use of primary and secondary sources of data. The primary sources include in-depth interviews, which were conducted with five each of purposively selected Sato drummers and prominent traditional chiefs in the Badagry community.

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.