THE PRODIGIOUS MUSICOLOGIST: Celebrating PROFESSOR AGATHA IJEOMA ONWUEKWE (UGONABO)
CHAPTER 1: REVEALING THE PERSON OF THE PRODIGIOUS MUSICOLOGIST, PROFESSOR AGATHA IJEOMA ONWUEKWE (UGONABO)
The Biography and works of Prof, Agatha Ijeoma Onwuekwe and interview of the celebrant.
Copyright (c) 2023 THE PRODIGIOUS MUSICOLOGIST: Celebrating PROFESSOR AGATHA IJEOMA ONWUEKWE (UGONABO)
CHAPTER 2: TRAINING OF MUSICIANS IN NIGERIA: THE CONTRIBUTIONS OF PROFESSOR AGATHA IJEOMA ONWUEKWE
This work focuses on the training of musicians, and the contributions of Prof. Agatha Ijeoma Onwuekwe to music. As a musicologist, Prof. Agatha has so many publications that have contributed to the development of music in Nigeria. This paper employs the qualitative method of research. It focuses on the collection of data in a rational setting with a view of gaining insight into issues of interest about the method of collection. The study finds out that the training of musicians is intended to help musicians to gain more skills and knowledge under the guidance of a skilled teacher or an instructor such as Prof. Agatha Onwuekwe. In conclusion, the study recommends the need for good training and more instruction for all musicians to develop music leadership that will expand music display experiences. Keywords: Training, Musician, Nigeria, contribution, and Prof. Agatha Onwuekwe.
CHAPTER 3: PROFESSOR AGATHA ONWUEKWE AND THE QUEST FOR AN AUTHENTIC AFRICAN IDENTITY
African history records a time when the Western Powers colonized the continent. This paper disparages that period and the effort by the colonialists to obliterate the African identity, especially her cultural practices. It then takes a swipe at the activities of the early African musically literate and Western-educated precursors. Thereafter, it takes us through a maze of efforts by African activists, musicians and musicologists in their quests to indigenize their musical output: a move which is established was spurred by the activities of the colonialists. It gingerly examines Professor Agatha Ijeoma Onwuekwe's exploits in this direction. The paper notes her conviction that this could be achieved through the sourcing of African music idioms. It asserted that this well-known teacher of music composition focused her attention on the need to develop a style of composition that would be uniquely African. This writer based his work on a personal interaction with the Professor and cited one of her works entitled 'Akwankwa' in support of this assertion. While highlighting the fact that Professor Onwuekwe is a woman of many parts, it examines the process she engaged in to achieve her point. The paper identified with the position of the Professor that one way forward for the African composer is to delve into his roots for enduring inspiration. The method which may be considered ethno-musical has shown the capacity for showcasing the rich and varied African musical heritage to the world. Information from personal interaction, the internet and journals make up the content of this paper. Keywords: Indigenous, African, Akwankwa, and heritage.
CHAPTER 4: AGATHA ONWUEKWE: THE LIVING MUSIC LEGEND
Music, be it traditional, neo-traditional, popular or academic, runs through the hands of many in form of composition, performance, musicology, music technology and ethnomusicology. The difference is always clear depending on how it is handled. There are quacks and professionals, but the beauty lies in the proper handling of it and its production. Agatha Onwuekwe is an outstanding academic musician and composer who has proven to the world that she is a living music legend. Qualitative method, historical approach and other extant literary materials were used in the research. This paper seeks to discuss and document the outstanding achievements of a committed academic who has made it to the top creditably in her chosen career, music. Discussing the achievement of this great musical icon will ginger many to wake up from their sleep and slumber, and seek to fulfil their passion and calling on earth in any chosen profession. Keywords: Music, legend, achievement, motivation, and goal-setting.
CHAPTER 5: PROFESSOR AGATHA IJEOMA ONWUEKWES' CONTRIBUTION TO MUSIC EDUCATION: A STUDY OF EVERY STUDENT A MUSICIAN AT MOUNTAIN TOP UNIVERSITY
This paper, Prof. Agatha Ijeoma Onwuekwe's Contribution to Music Education in its objectives reviews the musical program at the Mountain Top University titled `Every Student a Musician`, identified methods of teaching theory and practical courses in the program, and suggests adequate and appropriate methodology for the teaching and learning of music courses in the program. This study examines the pedagogical approaches used to impact the adequate musical knowledge of the students. The paper makes use of the Music Learning Theory by Edwin Gordon as well as other pedagogies of music teaching which are still in use to date as its theoretical framework. The method employed a questionnaire and interview. The findings of this paper extract that the variety of pedagogical approaches used in Every Student a Musician (ESM) enables and equips the students to be more functional in their contemporary society. The paper concludes that the variety of pedagogical approaches used to impact knowledge in Every Student a Musician (ESM) simplifies the learning process for students in their various instrumental classes and also equips the students to be more functional in their contemporary society. The study recommends that music teachers and music educators in MTU should continue to research more pedagogical approaches that will help students to cope with the contemporary standards of teaching and learning music in Nigerian Universities. Keywords: Pedagogical, Approaches, Contemporary Standards, Agatha and Music.
CHAPTER 6: AGATHA ONWUEKWE'S CONCEPT OF THE ART OF CONDUCTING IN MUSIC AND PERFORMANCE
Music is considered the most important of the arts which deal majorly with human factors as the executant agents of its pedagogical contents and precepts. Thus, from Prof. Onwuekwe's view and concept of music and its relationship with performance, it is recognized as the performing aspect of art in schools, colleges, tertiary institutions and other organizations. This article discusses Prof. Agatha I. Onwuekwe's view on the art of conducting music and performance. The highlights of this article include performance concept, the art of conducting in music and performance, levels in conducting preparation, conducting techniques, stages and methods of conducting, conductor's attributes and duties, performance problems and conclusion. These musical concepts align with Prof. Agatha's legacy of serious and conscientious pedagogical training which culminates in effective musical performance. Keywords: Musical art, Performance, Conducting techniques, Pedagogical training and Prof. Agatha Onwuekwe.
CHAPTER 7 : STRUCTURAL ANALYSIS OF GOZUK'S YA DAN TUNKIYA NA ALLAH USING AGATHA ONWUEKWE'S ADAPTATION OF EZEGBES'S PHILOSOPHY TOWARDS UNDERSTANDING AND APPRECIATION OF HAUSA LITURGICAL MUSIC
The analysis is an essential component of music perception and comprehension. Over the years, a lot of effort has gone into establishing improved methods of assessing instrumental, vocal, and dance music. Analysis of Hausa songs is scarce in academia due to a dearth of music researchers who comprehend the language and culture. This article provides general rules and techniques for analyzing music using Professor Agatha Onwuekwe's adaptation of Ezegbe's analytical philosophy, which the researcher considers simpler and more usable. To evaluate music, one needs to first become acquainted with the form, timbre, texture, and other aspects employed in the composition of the music in issue, as Onwuekwe strongly urges. Ya dan tunkiya na Allah, a song which was composed by one of the researchers was subjected to a thorough disintegration to discover the bits and pieces that made the whole. These musical aspects indicate essential features in every particular music style and its substance. To get reliable conclusions, the quantitative research method was employed, as well as exchanges between the researcher and Professor Onwuekwe, and it is hoped that as a result of this work, many more researchers will find it easier and more engaging to examine Hausa songs to create more interesting music in the language in focus. Keywords: Structural analyses, Musical forms,Text, Music Philosophy
CHAPTER 8: A COMPARATIVE ANALYSIS OF PROFESSOR AGATHA ONWUEKWE'S NWANNEM AND PROFESSOR VICTOR UWAIFO'S JOROMI.
This paper presents documentation and a comparative analysis of Agatha Onwuekwe's Nwannem and Victor Uwaifo's Joromi. Folksongs have been indispensable tools for the upbringing of African children and for character formation hence the need to document them for posterity. These two folksongs in Igbo and Bini languages respectively were notated and comparatively analysed in this study using Dan Agu and Joshua Uzoigwe's compositional considerations in the analysis of African songs while Weld's theory of comparative analysis was used as the theoretical framework for the study. This study will be of great benefit to students of African music and Music Composition. The library research method was used to obtain information for the study. From the findings made, conclusions were arrived at and suggestions were made for the way forward. Keywords: Composition, Arrangement, African music, Folktales, Folksongs, and Analysis
CHAPTER 9: WOMEN IN ART MUSIC COMPOSITION IN NIGERIA: PERSPECTIVE ON ONWUEKWE'S COMPOSITIONS AND ARRANGED WORKS
Every culture in Nigeria is endowed with rich musical heritage which when harnessed, results in production of various genres of music. Nigerian contact with the outside world resulted to interborrowing and influence on Nigerian musical culture which resulted to numerous genres of music in Nigeria such as Highlife music, Juju music; Afrobeat pop music and art music. Common thing with these musical genres is the blend of Nigerian and western musical elements. Art music composition which is music composed by schooled musicians or musicians who received formal Western music training is a good description of fusion of Nigerian folk music idioms and Western musical structure. Art music in Nigeria has continued to evolve since after the establishment of mission schools in Nigeria where art music composers received the initial formal training on the art and techniques of music composition. Hence, the objective of this study is to bring to fore, the giant strides in the development of art music in Nigeria, with emphasis on the contribution of women music scholar and art music composer. Onwuekwe's compositions and arranged works demonstrate the contributions of devoted and hardworking women scholars and composers in the development of art music in Nigeria. This study therefore, concentrates on Agatha Onwuekwe's works as sample materials in the discourse of women's contributions in the development of art music in Nigeria. Her contributions to music education and the development of art music in Nigeria were considered. To achieve these set objectives relevant archival materials were reviewed, Onwuekwe's works were collected, interviews and observational method were also employed for data collection. Following critical evaluation of Onwuekwe's output in terms of compositions and arranged music works for different purpose, findings suggest that she made immense contribution as woman in the development of art music composition and music education in Nigeria. It is therefore recommended that her composed and arranged works be used in tertiary institution as instructional material for ensemble studies and for reference purposes. Keywords: Music, Art music, Composition, Composer, Music education.
CHAPTER 10 : ONWUEKWE LOGICAL ANALYTICAL MUSICAL APPROACH TO AFRO-MUSICAL STUDIES
The study's intended outcome is to expose the musical analytical approach as provided by the musical principality herself, the mother superior, African music educationists, and the music empress in the person of Professor Agatha Onwuekwe, who developed an easy way of analysing music without shedding tears in her own wisdom. Analyzing music, particularly that of African origin, has always been a nightmare for most African and non-African musical educators because of its complexity and lack of a standard format for analysis. This has discouraged many people with an interest in the study of music who are involved in the analysis of musical pieces from continuing their studies. The approach to musical analysis has put an end to the long night of solution searching, as the adoption of Onwuekwe's analytical approach is a stop sign to that horror. The researcher is a privileged student of the musical master, and a survey of his published and unpublished works provides a solid foundation for her research. The works on musical analysis have revealed some philosophical models, which will be revealed at a later stage as the research progresses, but in summary, things to keep in mind while analysing any musical piece are the scale mode, tonal range, melody, rhythm, texture, frequency of tone occurrence, melodic contour typology, and percentage density. These all sum up to a textual and structural approach to musical analysis, among others, which will be revealed at the end of the research as an expected result of the studies. Shifu's Shifu's Keywords: Musical Analysis, Structural, Textual, Contour typology, Scale mode
CHAPTER 11 : PROFESSOR AGATHA ONWUEKWE'S ENDEAVOURS IN MUSIC COMPOSITION, EDUCATION, AND HUMAN CAPITAL DEVELOPMENT IN NIGERIA
This paper discusses Professor Onwuekwe as a composer and an icon to humanity whose impact on many lives have left indelible memories through her efforts in music creativity, education, and human capital development in Nigeria. Findings reveal that her compositions, accumulated experiences, and documented works serve as rich resource materials for music performers, analysts, teachers/ pedagogues, researchers, and scholars. Keywords: Music composition, Education, Human capital development and Professor Agatha Onwuekwe
CHAPTER 12 : ROLES OF MOTHER IN THE FAMILY: PROF. AGATHA IJEOMA ONWUEKWE AS A MOTHER AND A ROLE MODEL
The aim of this paper is to x-ray the role of mothers in the family: Prof. Agatha Ijeoma Onwuekwe, a mother and a role model. Prof. Agatha Onwuekwe fondly called 'mama' has impacted a lot on her children, students, staff, husband, church, neighbours and relations. Her relationship with them through her dress code, and character, has made her a role model to her mentees and this has also brought her to the limelight among her colleagues. Primary and secondary methods were employed, an oral interview was conducted among her students, children and colleagues, and books, journals, and conference papers were consulted to get firsthand information. In the findings, mama is a role model to her students both at the undergraduate and postgraduate levels, as a music teacher she has supervised undergraduates and postgraduate students in compositions, both vocal and instrumental compositions, which has given her an edge as a mother. As a music educator, she has served as an external examiner to various universities outside Nnamdi Azikiwe University, Awka. Keywords: Mothers as role models, Mother in the family and Prof. Agatha Onwuekwe.
CHAPTER 13 :THE EFFECT OF BACKGROUND MUSIC DURING STUDY TIME: A CASE STUDY OF MOUNT OLIVE COLLEGE UMUNYA
Most times students seem to be lazy with their reading habits. This could be a result of not being motivated to study. Many students of Mount Olive College are showcasing some negative attitude towards their studies. To change this attitude, survey method was employed in this study to implement background music during their study time. Twenty-three students participated in this exercise. The research was conducted for a week. The research focused on the effect of background music on students' study habits. The result suggested that many students' reading habits changed with the use of background music. Therefore, it is recommended that schools should include background music during the students reading time as this will motivate the students to concentrate and complete their tasks. Keywords: Classroom learning, Background music, Students' study time, and Mount Olive College, Umunya
CHAPTER 14 : NEUROLOGICAL BASIS FOR MUSIC IN EARLY CHILDHOOD EDUCATION IN NIGERIA
t The question of if music education has any effect on the cognitive development of children has been very contextual from the research point of view. Some researchers claim to have found effects on cognitive growth, such as the increase in the ability to concentrate and academic achievement. Also, effects in the social and emotional domains have been reported. Understandably, musicians and music educators point to studies like these to underpin the importance of music education in childhood development, hence, this study aims to review the importance of music education in the cognitive development of children between the ages of 1-5 years. To achieve the set objective, a systematic literature review was carried out which aims to extensively research the literature and critically evaluate the quality of the research findings. The study was anchored on the neurological basis of active music involvement. Evaluation of the study cases showed that musical activities and early music education have positive effects on children's social, affective and psychomotor development. Based on the literature reviews and two metaanalyses discussed above we may conclude that music education, music therapy and exposure to music can have a positive effect on child functioning. Keywords: Neurology, Cognitive Development, Music Education, Early Childhood
CHAPTER 15 : THE PRESERVATION OF FOLK TRADITION FOR EDUCATION IN NIGERIA
In the pursuit of education in contemporary Nigeria, the drive of stakeholders is moving drastically towards the development of science and technology with very little for arts education. Government policies as well as societal beliefs continue to encourage technological and scientific promotion more than artistic empowerment. This development to a very large extent is belittling this area of endeavour in several ways despite different opportunities locked within it and feasible feats it has achieved for the nation. One of the fast-fading cultures of the people within the nation is the folk tradition, this is due to the growing and intimidating modernity. Folklore, folk tale, folk music, folk dance and different folk traditions establish a people in distinct and dynamic ways from other people on earth. Unfortunately, many of these folk traditions, to a large extent are fast fading away and becoming non-existent as the tradition of science and technology is taking over. This paper, through a general survey, found out that Nigeria has huge resources of folk traditions in her multi-ethnicity and the folk traditions are useful for education and many other benefits, so, it should be geared towards the preservation of the folk traditions for the benefit of education and development of the Nigerian people in the modern world. The study, therefore, recommends that steps should be taken to actively preserve the folk traditions through our education to promote artistic empowerment in Nigeria. Keywords: Nigerian education, Contemporary Nigeria, Folk tradition and its preservation and artistic empowerment.
CHAPTER 16 : ALBERT BANDURA'S SOCIAL LEARNING THEORY: THE SIGNIFICANCE
t Teaching and learning have become a never-ending process that has always been and always will be. Learning theory has also in so many ways contributed and still contributes positively to the effectiveness of teaching and learning. Bandura's social learning theory which was x-rayed in this study affirms that the important source for learning new behaviour and for achieving behavioural change in an institutionalized setting is the process of observational learning. This paper is therefore aimed at discovering how Bandura's social learning theory uses an observational method in teaching and learning music education and also the educational implication of Bandura's social learning theory. This paper also showcased some other learning theories and the importance of learning theories in teaching. It concludes by recommending that music educators should adopt modelling in their teaching to model the desired behaviour to learners since it has been established as a tool for effective learning and the Government on its part should provide some visual and audio gadgets that can be used during the teaching-learning process. Keywords: Albert Bandura, Social learning theory, Modelling, Teaching effectiveness and Observational learning.
CHAPTER 17 : CREATING A SAFE ENVIRONMENT FOR MUSIC TEACHING AND LEARNING IN SECONDARY SCHOOLS IN THE IDEMILI LOCAL GOVERNMENT AREA OF ANAMBRA STATE
Many music education environments evoke fear, causing students to loathe performing or withdraw from expressive music-making. Fear-based performance anxiety is not an admirable outcome of music education, but it is the far-too-common experience of the students. This qualitative study which is anchored on invitational theory and practice offers a practical model for fostering emotionally safe learning environments that instil in music students a positive sense of self-belief, freedom, and purposeful learning. The authors through survey and library methods examined the implications for music educators towards creating effective learning environments, creating a safe space for learning, including specific teacher attitudes, and behaviours that nurture a sense of trust and respect, thereby encouraging experimentation, risk-taking, and selfexpression. The paper recommended music teaching strategies that foster purpose-driven student commitment and musical mastery geared towards a sense of self-actualization. Keywords: Music teaching, Psychology of learning, Safe learning environment, Creativity and performance.
CHAPTER 18 : PROBLEMS MILITATING AGAINST THE IMPLEMENTATION OF MUSIC TECHNOLOGY COURSES IN NIGERIAN UNIVERSITIES: A STUDY OF UNIVERSITY OF PORT HARCOURT, RIVERS STATE.
Some universities have technology-based music courses as shown in their departmental handbooks however, the use of technology in education is not without its unique sets of challenges. In this paper, the author attempts to uncover some of the difficulties/challenges in implementing music technology courses in selected Nigerian universities with particular reference to the University of Port Harcourt. Qualitative survey research was adopted for this study. A sample size of ten (10) was selected from the population for the study, where music technology instructors and students specializing in music technology taught courses were used. An oral interview was used as the main instrument for data collection. Data analysis was determined by the interpretation of raw data from the data-collecting procedures applied to come up with themes and patterns pertinent to the study. Findings showed that the major problem militating against the implementation of technology-based music courses is inadequate music technology materials to teach. The author concluded that educational institutions should make conscious efforts to address the problems by providing computer laboratories with original software installed in them as well as establishing fully functional recording studios to ensure effective knowledge transfer to the students. Keywords: Nigerian Universities, Technology based music courses, University of Port Harcourt and Functional Laboratories and Equipment.
CHAPTER 19 : EFFECT OF VOCAL MUSIC ON LEARNING AMONG PUPILS IN SELECTED PRIMARY SCHOOLS IN IKOT EKPENE LOCAL GOVERNMENT AREA, AKWA IBOM STATE
This study aimed to explore the effects of vocal music on learning among pupils in selected primary schools in the Ikot Ekpene Local Government Area. Also, to discover how vocal music influences the emotional, social, physiological and cognitive development of children. The methodology used for the study includes the questionnaire developed to elicit information on the performance of the pupils from the teachers. Participants consisted of One hundred and Fifty (150) pupils from the five primary schools with pupils from primary three, (age bracket Six to Seven years old). Two groups were involved – the experimental and the control groups. Each class in each school was divided into two groups (Group A: Experimental) and (Group B: Control). Achievement tests were also conducted on the pupils to determine the rate of assimilations and retention of learned materials with vocal music as a teaching aid and learned materials without vocal music as a teaching aid. It was discovered that the children's performances and the rate of assimilation and retention ability on learned materials with vocal music as a teaching aid in the Experimental groups were higher than the performances and the assimilation and retention ability on learned materials without vocal music as a teaching aid in the Control groups. In conclusion, the study recommends that the use of vocal music as instructional material in learning in childhood is important. Therefore, teaching music as well as other subjects with vocal music should be incorporated into educating children. Keywords: Effect, Vocal music, Learning and Pupils.
CHAPTER 20 : AFRICAN TRADITIONAL MUSICAL ARTS EDUCATION: ONWUEKWE'S APPROACH TO TRADITIONAL MUSIC AND DANCE PEDAGOGY
African traditional music and dance are widely practised in all communities and each community has music and dance that reflects the cultural practices and lifestyle of its people. The music and dance are usually communally owned and this is the reason why people from a particular community perform their music and dance with ease. African traditional music and dance cuts across all communities in Africa but for this article, we shall concern ourselves with Nigerian traditional music and dance. The method/s used in teaching Nigerian music and dance in the classroom usually speaks volumes of its success or failure. The subjects of the study are some students of the Music Department, University of Port Harcourt. Over time, students have been taught some rudiments of dance which is the foundation to dance practicals. Despite the effort of the instructor, some students still find it difficult to understand what was being taught let alone blend with other students during a dance performance. Data gathered from students through the observational method and interactive section revealed that there was a little gap between the instructor and the student's communication more so, the method applied by the instructor was also instrumental to some of the students' performances. Prof. Onwuekwe's approach was deployed and a whole lot of positive differences were recorded. The paper concludes by applying the right method to every teaching situation and having a rapport with the students to achieve the objective of the lesson within the shortest possible time. Keywords: African tradition, Musical arts education, Onwuekwe's approach and Dance pedagogy.
CHAPTER 21:THE IMPORTANCE OF MUSIC EDUCATION IN CHILD DEVELOPMENT IN CONTEMPORARY NIGERIA: A SURVEY OF EARLY YEAR CLASSES
Music has passed through many stages of development and has become an important tool in the development of a child through music education. It is a gift from God, hence every personality in this world especially children love music, its influence is powerful and appeals to the emotions and interest of children. Over the years, children's music has been centred on traditional songs, storytelling and culture, children learn different norms and values through the use of music to build and develop them in diverse ways, but its effects in the 70s '80s and 90s have changed from the ways it is now. The developmental age of children using music to learn in this contemporary Nigerian has gone technologically to enable them to learn on their own without being taught through the use of youtube, educational music Apps, social media, visual and audio with the aim of easy learning and quick understanding. It is in this context that the paper seeks to investigate the importance of music in teaching and learning in a child's development in contemporary Nigeria in some selected Nursery schools in Abuja. The research adopted participant observer as its methodology and the use of questionnaires and interviews in gathering data. Findings from the research revealed that children have developmental learning needs while rapid expansion of activity filled music is increasingly being investigated in its broader context as an influence on the cognitive, emotional, behavioural and social aspects of children's lives as a support or entry point into other topics of learning and as an aid to personal development. It is therefore recommended that more emphasis should be made on the use of music during teaching and learning to enhance their growth in the contemporary world. Keywords: Music education, Early childhood, Child development, Contemporary Nigeria
CHAPTER 22 : EDUCATIONAL VALUES OF INDIGENOUS FOLK SONGS TO CHILDREN: A STUDY OF SELECTED FOLK SONGS OF AWKA TOWN, ANAMBRA STATE
Traditional African society is characterized by music-making. Music is expressed in so many ways within a traditional African society. Due to its functional nature, there is music for virtually every happening in the surroundings. The folk music of a people represents the cultural idioms of a people, and also carries with it the values of the people. Lack of folk music practice, therefore, means a lack of a good measure of the cultural values of a community which helps to shape the behavioural pattern of its children as they grow. This work is an attempt to bring to the knowledge of the public, the educational values of selected folk songs of Awka people, as a measure to persuade them to return to folk music practice, which in turn will help to curb the menace of moral st decadence which is common among the 21 -century children. Using the interview method, the researcher was able to collect the folk songs of the Awka people. From the findings of the research, Awka people are blessed with a rich heritage in their folk songs, which if practised, will help to build a better future for their children. Keywords: Indigenous folk songs, Educational values, Traditional African society and Awka town.
CHAPTER 23 : APPLYING A LEARNING THEORY ON THE EFFECT OF ANXIETY ON THE ACADEMIC PERFORMANCE OF MUSIC STUDENTS IN TARI-PET SECONDARY SCHOOL.
This paper investigates the effects of anxiety on the academic performance of music students in Tari-pet Secondary School and recommends strategies for combating the problems by applying a suitable learning theory. The data collected through questionnaires were analyzed. Findings indicate that a considerable number of pupils were affected by anxiety leading to poor academic performance. The problem of anxiety differed across ages and sex among music students in TariPet. In addition to that, the study revealed that school rules, teachers' practices, behaviours, corporal punishment, as well as pupils' irresponsibility were the causes of anxiety disorders experienced by the pupils. The majority of the pupils in schools have frequently experienced anxiety disorders and psychologists feel that these are psychological problems which could be cured through the provision of proper learning theory, guidance, and counselling, creating friendly environments and provision of materials for a study like musical instruments to pupils. To carry out the investigation, the researcher formulated some questionnaire items which were administered to the students and also suggested that a learning theory by Dr B.F Skinner which is "Operant Conditioning" which has to do with reinforcement, should be applied in teaching music to help curb the effect of anxiety in Tari-Pet secondary school. Keywords: Music students, Anxiety, Academic performance, learning theory and Tari-Pet secondary school
CHAPTER 24 : THE PLACE OF MUSIC IN THE LINGUISTIC DEVELOPMENT OF PRESCHOOLERS: IMPLICATION FOR LANGUAGE DEVELOPMENT IN EARLY CHILDHOOD EDUCATION
Children are naturally acquainted with music as music is part and parcel of their lives. The early years of a child's life present a unique opportunity that fosters healthy development. Research has underscored the importance of the first five years of life in shaping children's linguistic development, both positive and negative experiences. Thus, through exposure to music and musical instruments, preschool children acquire language command, and develop eloquence in speech, while playing musical instruments fosters their cognitive and psychomotor developments speedily. This paper, therefore, through theoretical construct and literature reviews the importance of music in enhancing literacy skills development of the pre-schoolers and the need to apply music skills in the education of children at this level. The paper concludes by recommending among others that parents, caregivers and preschool operators should ensure that these children have access to good music and musical instruments to enable them to reap the full benefits abound in them their training and linguistic development. Keywords: Pre-schoolers, linguistic development, music, early childhood education
CHAPTER 25: COMPETENCE-BASED CHALLENGES OF CCA INTRODUCTION IN UBE AS IT AFFECTS MUSIC AND REMEDIAL MEASURES
The introduced Cultural and Creative Arts (CCA) in the Basic Education system in Nigeria has presented some problems which seriously affect the teaching and learning of music in schools. Competency issues bedevil the introduction, implementation and evaluation of the amalgamated subjects in parts and whole. Areview of the document study as the methodology of this write-up reveals the following as the lack and gaps created by the programme as it pertains to the study of music: lack of teaching competence, overburdening of music teachers with additional subjects, insufficient practical, poor teaching methodology, irrelevant contents in achieving objectives, scarcity of indigenous contents, insufficient musical content in syllabus among others. It was found that the amalgamation of Visual arts, Music, and Drama as one subject lacks some background considerations that call for re-visitation to arrest the competence issues discovered. Keywords: Competence, Cultural and Creative Arts (CCA), Teaching methodology and Music teachers.
CHAPTER 26: EXPLORING THE HARMONICA FOR RUDIMENTARY MUSIC
This paper explored the capability of the harmonica- a small mouth-blown wood-wind musical instrument- in handling rudimentary music. The potentiality of this musical instrument has been ignored for decades because of the predominance of some other musical instruments like the Piano-keyboard, viloin, guitar, saxophone, autoharp, etc.The nature of the diatonic harmonica was studied in this paper and it was discovered that the instrument is capable of conveying virtually all aspects of rudimentary music such as, scale, pitch, melody, rhythm, harmony, texture, note discrimination, phrasing, accompanying, sightreading, and music appreciation. Several years of experimentation and experience with the harmonica in teaching children music has also shown that the instrument is handy, simple, affordable, available, durable, and adaptable for the fundmentals of musicology. keywords: Harmonica, Wood-wind musical instrument and Rudimentary music
CHAPTER 27 :A PRACTICAL APPLICATION OF MUSIC TO THE PEDAGOGY OF FRENCH AS A SECOND LANGUAGE
French language as a foreign language is plagued with a lot of problems that affect both the educator and the learner, especially as foreign languages are always learnt in a milieu that is not natural. Consequently, the functionality of the foreign language is not usually appreciated thus dimming the motivation needed for effective and rapid learning to take place. Are there ways to motivate second-language learners of the French language? How can French as a second language be acquired without applying traditional learning methods? What role does music play in language acquisition? These are questions to which this paper seeks to find answers. Through the use of a French song, this paper sought to prove that music could be a wonderful pedagogical tool. It was discovered that music aids language pedagogy by sharpening the brain, making learning a stress-free and enjoyable experience, and removing some obstacles that make foreign language acquisition a herculean task. Keywords: French language, music, pedagogy
CHAPTER 28 : THE EMERGENCE OF PRESSURE GROUPS IN NIGERIA: A SECTARIANS UPHEAVAL OF ODUA PEOPLES' CONGRESS (OPC) AND MOVEMENT FOR THE SURVIVAL OF OGONI PEOPLE (MOSOP)
The entity called Nigeria has constantly fallen into the quagmire of existence since its amalgamation in 1914. Against this backdrop, it has consequently basked in the euphoria of ethnic isolation, religious bigotry and sectarian interest to the detriment of its success as an entity and one indivisible nation. The bane of this backdrop calls for the nexus of this research paper which sets out to investigate the backdrops and origin of pressure groups in Nigeria, their adverse effects and possible solution employing the ethnographic and analytical methods with Movement for the Survival of Ogoni People (MOSOP) and Odua People Congress (OPC) as a case study. The pressure groups' ideologies are interest groups or associations whose interest informs the basis of the group. Within its pure and undiluted forms, it stands to define the common goals of its general members. But this noble goal has over time been hijacked and bastardized by regional interest and separatist ideology which has today hydra-headed into banditry and terrorism. It is within this understanding that this research intends to look at the origin, history and attendant problems of two major pressure groups and how they affect the economical, political and social structure of Nigeria. \ Keywords: Pressure groups, OPC, MOSOP, Economic, Political and Social Structure of Nigeria
CHAPTER 29 POPULAR MUSIC, ATOOLFOR POLITICALINCLUSION IN NIGERIA
Popular music has strongly gained acceptance across the varied ethnicity of Nigeria as more people clamour for it irrespective of their cultural background. Music and politics are one of the most common activities generally shared among the population in Nigeria. Popular music in Nigeria is intricately interwoven with development issues and if properly channelled can be a dynamic and highly charged force that influences the politics in Nigeria. Popular music can easily be used to create political inclusion as the fan base of popular music artists cuts across various ethnic and political divides. As can be seen with a 25-year-old popular music artiste, Naira Marley who started the "Marlian” brand in 2019 which has now grown beyond just a brand but now a lifestyle among the Nigerian youth populace. The followers of this popular music artiste now identify themselves as “Marlians” and distinguish themselves from other Nigerians therefore, creating a unique identity for themselves across Nigeria. This could be the beginning of a political movement if the artiste gives his support to any political party, as his followers are bound to do the same. It also provides the basis that popular music can be used for political inclusion in Nigeria. Thus, the author seeks to determine how popular music can help create an avenue for political inclusion in Nigeria. Keywords: Popular Music, Political Inclusion, Development, Music Artiste.
CHAPTER 30 : MUSIC, A POTENTIAL TOOL IN HOMELAND SECURITY AND COUNTER TERRORISM: NIGERIA IN PERSPECTIVE
In Nigeria, it is apparent that different security personnel are saddled with the responsibilities of fighting terrorism using a face-to-face approach with different ammunitions and war gadgets for so many years now. Regrettably, it appears that nothing is being done to curb the resultant effects of terrorism in Nigeria, as terrorist activities are still in the progressive dimension. Terrorism, as a complex global phenomenon requires multiple techniques and approaches. If there is any other measure, technique or approach to be employed in the fight against insecurity and terrorism in Nigeria, music is a potential tool in this regard. The mission of music against terrorism is to underscore the futility of violence. This paper was designed to explore different ways music could be used in homeland security and counter-terrorism in Nigeria. To achieve this, the concept of terrorism, brief historical trends of terrorism in Nigeria, objectives, targets of attack, and modus operandi have been meticulously articulated. In conclusion, the author recommends that Government should establish a Federal Ministry of Entertainment charged with the responsibility of ensuring that songs released by these contemporary musicians are screened and certified for National integration that will foster peace within the country. Keywords: Music, A Potential tool, Homeland security, Counter-Terrorism
CHAPTER 31 : THE MUSICIAN AS A MESSENGER OF HOPE IN DIFFICULT TIMES: A REVIEW OF E. C. ARINZE'S ADIAKALU UBOSI
Over the years, Nigeria has been experiencing difficult times like economic recession, inflation, unemployment, hike in food prices, kidnapping, religious crisis, terrorism, injustice, the COVID19 pandemic, and so on. As a result, depression, terror and many other psychologically related challenges arise leading to hopelessness among Nigerian citizens. Music has been one of the effective channels of communicating optimism and hopes to society despite the prevalent circumstances. This paper appraises E. C. Arinze as one of such musical messengers of hope whose evergreen works still encourage those who are discouraged due to life's challenges. This study analyzed one of his compositions - Adiakalu Ubosi musically and textually Data collection was drawn from the library, internet resources, audio files, documentaries and relevant literature. This paper sets out to encourage contemporary musicians and composers (in Nigeria) to imbibe this mindset like E. C. Arinze in becoming a musical herald of hope and encouragement to Nigerians to look forward to a bright future. Keywords: Musicians, Music as a channel of communication, E. C. Arinze and Messenger of hope.
CHAPTER 32: ASSESSMENT OF THE APPROPRIATENESS OF THE PHILOSOPHICAL CONTENT OF THE MUSIC CURRICULUM IN FEDERAL COLLEGES OF EDUCATION IN NORTH CENTRAL STATES OF NIGERIA
The Federal government in its national policy introduced music to be taught at all levels of education with the aim of encouraging aesthetic, and creativity and promoting Nigerian musical activities. Despite the age-old musical traditions and Nigeria's rich cultural heritage, the study of Nigerian music is not fully studied rather western music is fully embraced and enshrined into the music curriculum due to the influence of the colonial masters. Colleges of Education (COEs) in Nigeria are established to produce teachers who will work in schools, especially at the foundational level. Regrettably, these students graduate having a shallow knowledge of Nigerian music, they are compounded with lots of western music theories. It is therefore imperative to reassess the appropriateness of the philosophical contents of the music curriculum and learning of music in Federal Colleges of Education in the North Central States of Nigeria. Data for the paper was obtained through a descriptive survey. Findings showed that the present music curriculum impacts little or no learning of Nigerian music. The study recommends the possibility of replacing some of the repertoires of imposed western musical tradition with Nigerian musical heritage, to make it more relevant to the student's social environment. The study would be beneficial to students, teachers, music education instructors, lecturers, curriculum planners, educational administrators, the Ministry of Education, and other stakeholders as it will lead to an increased awareness of the status of music education at all levels of education. Keywords: Music curriculum, Colleges of Education, Assessment, Learning of music.
CHAPTER 33 : MUSIC AND PHILOSOPHY: DIFFERENTIAL LIMITS AND COEFFICIENT
Music is a human enterprise that is as old as humanity and its chequered history. The master playwright and poet William Shakespeare mentioned music many times in his works. Bob Marley and many inspired musicians have shown a great connection between Music and Philosophy in their work of arts and humanities. Coming from the world of arts, Music and Philosophy share differential limits as well as a differential coefficient. Great musicians have been known to be very philosophical in their content which is always enduring and prophetic. Using the method of critical analysis, the researcher discovers a healthy connection and a therapeutic relation between music and philosophy in line with Plato's enduring maxim that ph Keywords: Music, Philosophy, Arts, Differential limits and Differential coefficient
CHAPTER 34 : SACRED MUSIC AND ITS DEVELOPMENT IN THE (CATHOLIC) CHURCH
Sacred music for liturgical worship, at the earliest stage of Christianity, did not all originate from Christianity itself, rather there were many influences from the preceding Judaism which provided the historical, natural background from which Christianity emanates. From the Old Testament, or under the old law, the joyous music of the temple fulfilled and played a very elaborate role in compliance with the commands of God. In Exodus 15:1, “Moses and the Israelites praised and worshipped God in songs” In the new law, and by implication, Christianity, the Apostles and the disciples maintained the traditions of gathering on the first day of the week Sunday, as against the last day of Sabbath which they followed Jesus, the master to attend before he was crucified. In these gatherings, one thing common to both is that they would always sing psalms, and praises to God, in worship. However, apart from mere singing of psalms and songs of thanksgiving and praises to God always, there was no known record of any other development in sacred song, until th the 4 century, when the monks and some fathers of the church started composing individuals' plainchants for different rites of the liturgy. How these compositions were saved and improved on nature and the background to the harvest of those solemn compositions, would form the purview, and aim of this historical survey, and exposition. Keywords: Sacred music, Church, Development
CHAPTER 35:THE FUNDAMENTAL PRINCIPLES OF CATHOLIC LITURGICAL MUSIC COMPOSITION: THE SECOND VATICAN COUNCIL PERSPECTIVES
The nature of Catholic liturgical music is such that one cannot just compose or sing what one likes because it belongs to a class of its own. Critical analysis of liturgical songs used in some Catholic churches particularly as observed in some of our local Churches lack qualities which belong to liturgical rites. The study seeks to discover the cause of the lack. It based its theory on the fundamental principles of liturgical music composition as spelt out in the Second Vatican documents, Sacrosanctum Concilium and Musicam Sacram. The research employed a qualitative action research design using a secondary method for data collection and review of related literature. It discovered that there is a need to emphasize deeper knowledge and understanding of the fundamental principles laid down by the Church if our Catholic liturgical music composition must retain its qualities. In conclusion, the research suggests among other things, that modern liturgical music composers imitate the examples left by great composers of old who modelled their works to good compositions of their contemporary musicians. Hence, three original compositions by the researcher will be presented as an appendix in this work. Keywords: Music composition, Fundamental principles, Catholic liturgical music and Second Vatican Council.
CHAPTER 36 : ANALYTICAL DISCOURSE ON THE SECURITY POTENCY STRUCTURE OF ABIDE WITH ME
The artistic blending of sound in relation to the integration of the music components embedded in it has become a central issue in analytical musicology. Possibly, the most stimulating area of musical analysis is the boundary between music and its intent as perceived by the composer and analyst. Musical analysis provides a structure for an inventive erudition relevant to the construction procedure of a piece. The limitation of the piece permits a range of comprehension, put the designs needs not be similar in all respects in order to be shared duplication of structural ideas. “Abide with me” the case study of this research is an Art piece and reveals the status of the consciousness of the poet and the composer along with the peculiarity that music achieves in the security of the mind. Interview and bibliographic methods were used in the study. The findings reveal that the dimensions of replication of innovative artistic creation in the hymn to provide succor in times of grief.is ultimately affirmed in the study. The paper also reveals the psychological disposition of the hymn and how it addresses the problems related to psychological well-being. Finally the efficacy of the hymn based on the communicative, and aesthetic relevance is asserted Keywords: Analytical, discourse, security, structure, Abide with-Me.
CHAPTER 37 : FROM HYMNS TO GOSPEL MUSIC: THE AFRICANIZATION OF WESTERN STRUCTURES
“From Hymns to Gospel Music” connotes an evolutionary trend in the development of hymnody and faith-based Christian music. Hymns evolved somewhat differently in many parts of the world. In the Eastern Churches, for instance, Saint Ephraim of Syria was considered to be the father of Christian Hymnody—championing the composition and use of hymns. There are obvious indications of cultural peculiarities in the origin and development of hymns especially in the Eastern traditions, English traditions, and American traditions. The focus of this paper is to dissect the utility and functionality of hymns and the progress made towards the emergence of gospel music in Nigeria as well as their suitability to glorify God. Keywords: Hymn, Gospel music, Western structures, Africanization and Nigerian gospel music.
CHAPTER 38: SOCIAL RELEVANCE OF SALOKO MUSIC IN PUBERTY RITES CUSTOM OF THE ÓKPÈ PEOPLE
Saloko music is a component of puberty rite practice (Osamo) among the Ókpe people in Delta State, Nigeria. Puberty rite portrays maturity when Ókpe girls are most times matrimonially engaged and circumcised for marriage. This tradition has not sufficiently benefited from the intensive study of its music component. It has become imperative to examine the performance practice of Saloko music and its social relevance; collect, transcribe, notate and analyse existing songs for the records and knowledge of children within and outside Ókpeland. The Ethnomusicological Field Research Method by Bruno Nettl was adopted and the result showed that Saloko songs function as a social paradigm as they are instructive to mature girls, their mothers and the entire society. The musical practice is currently dwindling going to the influence of the 2008 World Health Organisation declaration on the practice of circumcision. It is, however, recommended that Sal?k? music should be adapted to proximate social activities in society and also benefit from scholarship and art music creativity. Keywords: Saloko, Osamo (puberty rite), folk music, Ókpe culture, Social relevance
CHAPTER 39 : THE POSITION OF MEMBRANE DRUM (IBID) IN IBIBIO TRADITIONAL SOCIETY VIS-À-VIS AFRICAN CULTURE
This research work on African membrane drum explores in details membrane drum as an indigenous instrument in African societies with a particular reference to Ibibio culture of Akwa Ibom State. In this regard, facts are gathered on its nature – through first-hand information by the instrument maker on its construction, its musical and extra - musical roles in the society. Membrane drums have both musical and non-musical functions in the traditional societies. Hence, methods used in collecting data was historical and descriptive approaches through primary and secondary sources. This work considers the study of membrane drum as the indigenous instrument in terms of its nature, classification, application and values. This involves the study of the material object, its context, mode of construction, tuning, care, playing techniques and its role in musical ensemble and in the society at large. Whereas as a part of study in ethnomusicology, the basic knowledge on the constructions and performances of indigenous musical instruments become indispensable. Thus, this work serves as a study in organology to provide detail guidelines and information on understanding this indigenous musical instrument of Africa. In addition, the procedures outlined in this work is to guide the users to develop their technological skills on the construction of the instrument, and to help individual attain the height of musical scholarship on skills and performance practice of membrane drum. While the study exposes certain performance techniques to drum players, it can help one to go beyond drumming within one's conventional cultural contexts and bound. Another historical significance is the retention of cultural values through its socio-cultural functions, its musical and extra-musical values in African environment. It recommends special training on construction and various playing techniques of membrane drums to music students. Keywords: Membrane Drum, Construction, Playing Techniques, Musical Effect, Extra-Musical Effect.
CHAPTER 40 : MUSIC AND TOURISM AS AGENTS OF HUMAN RESOURCE DEVELOPMENT IN NIGERIA
Music in its setting (traditional, western, popular) when assessed from every angle has a serious attachment to tourism, especially in these contemporary times. Since music and tourism enhance the human resource development of society, it has not been however, given serious attention as regards the issue of exposing music and tourism to widen its knowledge and draw attraction to it since travel, music performance and entertainment are all wielded together as system industry for human resource development of the Nigerian society. The study, therefore, sets out to do investigative research on how music and tourism serve as agents of human resource development in Nigeria with special reference to Prof. (Mrs.) Agatha Ijeoma Onwuekwe (Ugonabo). The study applies library and literature as its methods of data collection. The study hinges on socialization and tourism theories. The findings state that music and tourism prove to be prominent aspects of human resource development both in self-reliability and national attainment. Therefore, if properly recognized and given place audience, it will enhance better life in our society. The study, therefore, recommends that the government, individuals and curriculum planners as well as sponsors should come together to encourage the work of music and tourism to ensure human resource management and development to its best standard in our society. Keywords: Music, Tourism, Agents, Human Resources, Development.
CHAPTER 41 : CHORAL ART MUSIC COMPOSITION ACCOMPANIMENT: SELECTED IBIBIO TRADITIONAL INSTRUMENTS
Music is a very significant aspect of life of any group of people. It is embedded in the cultural life of the people as expressed in their norms and values in terms of their culture, social, and moral values. Ibibio music is socially controlled and normally associated with important social, religious or political events. The research method used for this study was survey research design. The paper focused on the use of Ibibio indigenous instruments as accompaniment to Ibibio traditional choral art music compositions. It emphasizes the role of traditional instrument as accompaniment to music in promoting social and cultural values of the Ibibio. It was observed that Ibibio vocal and instrumental music are difficult to separate, the dialect is inflectional thus producing speech rhythm that has influenced drumming and dancing style. The study is a bold and courageous attempt at creating and documenting new genres in the contemporary Ibibio church musical works repertoire, and in addition it will serve as research materials for further musicological and compositional research in the near future. Ibibio traditional orchestra accompaniment promotes customs and traditions and also values of the people. Recommendations were made at the end of the research. Keywords: Culture, Tradition, Orchestra, Accompaniment, Choral, Composition, Ibibio.
CHAPTER 42 : ETHNOMUSICOLOGY SPONTANEITY AND FORMALIZATION IN EXPRESSIVE MUSICAL CULTURE TO PROMOTE PUBLIC HEALTH
Ibibio ethnomusicological performances operates in different unique dimension, one of such is in the spontaneous and formalized expressive culture. The paper is a discussion aimed at promoting the Niger Delta indigenous cultural performances. An example of such selected cultural performance is the Uko Akpan music.In Uko Akpan's music, the research is narrowed down to the selected song Environmental Sanitation. It is important to note that traditional music is composed to arouse feelings, communication and satisfy needs. The approach for data collection and discussion are based on participatory observation method through theatre for development. The conceptual framework is on enlighten self – interest. The study concludes that traditional music can be a veritable tool to promote and sustain good public environmental health education. The study recommend the need for frequent promotion of expressive culture for cultural and creative arts awareness. The government should provide necessary support, facilities and personnel for music to thrive as a vocational and innovative course. The larger society must become educated on the evolutionary significance of music. Keywords: Ethnomusicology; Public Health; Spontaneity; Uko Akpan; Theatre for Development
CHAPTER 43 : THE EARLY PERIOD OF CHORAL ART MUSIC COMPOSITION IN THE ANGLICAN COMMUNION PROVINCE OF THE NIGER, NIGERIA: 1930-1960
Many scholars have written on the general development of art music in Nigeria, as well as on the Igbo land but have not narrowed the study to the Anglican Communion, Province of the Niger, Nigeria. This paper, however, limits its study to the Anglican Communion, Province of the Niger, Nigeria and focuses on the early period of the development of choral Art music composition from 1930 to 1960. It also documents some of the compositions of the composers that existed during the period, as well as the backgrounds of the early composers. The researcher employed a bibliographical method and analytical study of the compositions of the early composers for data collection. The study hinges on the theory of development as freedom as propounded by Amartya Sen in 1999 and concludes that choral Art music composition in the Anglican Communion, Province of the Niger, Nigeria, has developed to a high level of sophistication and has gained wide acceptance among the worshippers. Keywords: Development of choral art music, Composition, Anglican Communion and Province of the Niger.
Rev. Fr. Prof. Emmanuel Chukwuemenam Umezinwa
CHAPTER 44:THE COMPOSITIONAL DETERMINANTS OF AFRO-AMERICAN MUSIC
This paper discusses the compositional determinant of Afro-American music. The Historical method was used in gathering facts for this paper. It was discovered that various developmental factors cause the musical innovations in the American State. Moreover, the American communal structures made the diversified musical life producing the proliferation of unified musicality in the American Status possible. It was recommended that composers and performers should consider communal setting of any place in the search for musical fabrics for new musical compositions. Keywords: Afro American Music, Compositional determinant, Diversified musical genres and Proliferation of unified musicality
CHAPTER 45 : A MUSICAL AND DIDACTIC APPRAISAL OF FIVE FOLK SONGS IN AMUNDI VILLAGE OF EHA-ALUMO , NSUKKA L.G.A, ENUGU STATE NIGERIA
This research studied and appraised five folk songs in Amundi Village of Eha-alumona from the points of view of their musical features (music genre) and their moral values. Amundi is a village in Eha-Alumona town in Nsukka in the North East part of Igboland. This study was necessitated following the need to document some folk songs that reveal a lot about the cosmology, mentality and philosophy of Amundi people which are now under the danger of extinction due to dearth of documented information. Through field work involving, observation, interviews, actuality recording, and analysis of the five samples using musical and hermeneutical tools, the researchers were able to portray these folk songs in their respective lights. The outcome of the study has provided awareness and documentation on Amundi folk songs which will continue to serve a didactic cum moral need that can inform a contemporary society and furnish more knowledge on the repertoire of African folk songs in general. It is hoped that further studies from lyrical, anthropological and linguistic points of view can still be done to extract more values of the Amundi songs and the Igboland at large and that more of these songs should also come under musical and scholarly review. The research strongly recommends that our traditional folk songs be widely appraised and documented to make the future generation be abreast with the necessities that will enable them be more rooted in their cultural identity through music practicum cum musicology. Keywords: Music genre. Didactic appraisal, folk songs, Moral values and Amundi village.
CHAPTER 46 : THE TRADITIONAL DANCE IN NIGERIA: A STUDY OF SELECTED INDIGENOUS DANCE
Nigeria is a country with a lot of tribes-each of them varying in culture and tradition. Traditional or cultural dance had been a mainstay in the history of Nigeria. There are several aspects of cultural differences, most of them symbolically representing the same things but done in a completely different context and one of the major aspects of culture in Nigeria is dance. Nigerian traditional dances have a way of unifying the people in one way or the other and sometimes telling stories via accompanying music. These stories may differ from tribe to tribe and most often reflect on victory, beauty, honesty, love, wars and the like. Dance is a language which expresses the geographical locations, biological temperament, religious beliefs, political and historical experience, social practice and economic peculiarities of the people that own it. Dance in every community is appreciated for its aesthetic appeal as well as religious and communication significance. The beauty of the Nigerian dance lies in its combination of purpose and high aesthetic concern, its celebration and reflection of communal life and virtue, and its embodiment of the collective beliefs and symbols, which constitute both the structure and content of the art and its ideal frankness and intensity of expression. Based on this, this paper selected a few popular traditional or cultural dances in Nigeria, studying their origin, their techniques and styles, the costume, the instruments used (instrumentation), and the performance context. Keywords: Nigerian Indigenous dances, Performance contexts, Cultural differences and Dance as a unifying factor
CHAPTER 47 : TRADITIONAL MUSIC IN AFRICA: THE NKEREFI EXPERIENCE IN NKANU LOCAL GOVERNMENT AREA OF ENUGU STATE
This work focused on traditional music in Africa as it relates to Nkerefi in Nkanu East Local Government Area of Enugu State, Nigeria. Music is a universal language of mankind. It is also a product of the creative genius in man. Good music makes this world a desirable place for all. It plays a significant role in shaping society, takes away sadness and gives us happiness. To this effect, this paper concerns itself with traditional music in Africa with a particular focus on the Nkerefi clan. This paper traces the origin of music in Nkerefi. Relying on both primary and secondary sources, this study further examines the significant role of traditional music as an agent of change in society. It also emphasized that music and musicians are not mere entertainers, but also instruments of social change. This paper is historical; hence, it adopts a qualitative method of analysis. A useful piece of information was obtained from important relevant documents, reports and an array of both primary and secondary sources. Keywords: Traditional, Music, Africa, Nkerefi, Experience.
CHAPTER 48 : THE SEMANTICS OF HIGHLIFE MUSIC IN NIGERIA: A STUDY OF “FUNNY FUNNY IDENTITY” BY OLIVER DE COQUE
Numerous works have been done by academics on the study of acculturation and its effect on cultures. The study of indigenous musicians who have helped at different times in sustaining Nigerian music of different types has received numerous scholarly attention. There however remains a great deal of work still to be done, especially on the works of great renowned Nigerian highlife musicians. This work is geared towards analyzing Nigerian highlife songs. Although there are many components of Nigerian highlife songs like the lyrics, instruments and instrumentation, the harmony employed, costumes, etc, this study is focused on bringing to the knowledge of the general public, the meanings of the lyrics of Nigerian highlife music “funny funny identity”, as performed by the Artiste Oliver De Coque, one of the famous Nigerian highlife musicians. It was observed that “funny funny identity” as used by Oliver de Coque depicts the dayto-day experiences, events and occurrences a common man could possibly face. To him, those experiences could be funny in retrospect. Keywords: Highlife, Semantics, Music, Funny Funny Identity, Oliver De Coque.
CHAPTER 49 : THE SPHERES OF POST-STRUCTURALISM IN NIGERIAN MUSICAL ARTS
The etymology of structuralism and later post-structuralism was dug into in this work. The relationship of post-structuralism to the expectations of the Nigerian traditional society was established. The analogy was drawn from various fields like linguistics and psychology. Levi Strauss's theory was x-rayed, the bloom taxonomy was brought to the fore, and the theory of Gregor Mendel was also analysed and later narrowed down to show the essence of poststructuralism as a synthesis of thoughts. The concept was later narrowed down to music and suggestions proffered for what the author views as standards of post-structuralism in Nigerian musical arts. Keywords: Musical arts, Poststructuralism, Nigerian traditional society, Linguistics and Psychology
CHAPTER 50 : COLLABORATION AMONG NIGERIA POP-MUSICIANS IN THE MUSIC INDUSTRY AND CONTRIBUTIONS TO NATIONAL DEVELOPMENT: AN EXPOSITORY STUDY
This paper which is an investigation attempts to highlight some of the inherent benefits of collaboration among pop musical artists, the resultant contribution to national development and an illustration of some collaborating artists in the Nigerian music industry. Literature review, oral interview and media sources were used to source information on this study. The findings show that where there is a collaboration among pop music artists, new frontiers are not only discovered and explored each artist is opportune to make greater exploits in their musical career and also gain better exposure than when working alone. It also shows that there are some gains for national development. Extensive research on collaboration, teamwork among musical artists, and favourable government policies are some of the recommendations in this study. Keywords. Collaboration, Pop-musician, Industry, Contribution and Development.
CHAPTER 51 : A CHRONOLOGY OF FRAUD-GLORIFYING POP SONGS IN NIGERIA: A SURVEY OF SONGS FROM 2007-2020
From the early 2000s till now, songs glorifying internet fraud have enjoyed a significant amount of airplay and wide reception amongst Nigerians. Internet fraud involves using computers and the Internet by individuals to commit financial crimes. Though the crime is not perpetuated by males alone these individuals are popularly known as "Yahoo boys". This glorification of the social vice (internet fraud) in a society that is known to have strong moral values raises the question of what pop musicians stand to gain by glorifying internet fraud (through songs) and identifying with internet fraudsters. This paper also examined factors that have been used as justification for the perpetuation of internet fraud (also known as Yahoo-yahoo). This paper seeks to make a chronological order of songs that glorify internet fraud. This is important because the order in which these songs are released will help to understand the reason for such songs and thereby allow us to step back and view the "big picture" of history and find a lasting solution to the menace. Keywords: Internet fraud, Yahoo boys, contemporary pop music.
CHAPTER 52 : THE EFFICACY OF MUSICAL ACCOMPANIMENT IN THEATRICAL PRODUCTION: AN EXAMPLE OF SELECTED MUSIC DYNAMICS
The impact of music in theatrical production cannot be undermined as it constitutes an integral part. The intrinsic value of its mystic capacity to complement other areas of production such as media, props and costume, technical and so on cannot be overemphasized. The impact of music in total theatre becomes more realistic as musical concepts are well presented with the application of musical dynamics in gushing out the desired idea or concept of the writer. The relationship between music dynamics and drama has called for a need for this study. This paper focuses on the application of musical dynamics in a theatrical production. It elucidates aptly on the meaning of dynamics in music and discusses selected dynamics such as forte, fortissimo, mezzo forte, piano, pianissimo, mezzo piano, crescendo and diminuendo relating to intensity. Some selected indigenous music was analyzed. This paper concludes that the intrinsic value of dynamics in music is a viable tool for the efficient expression of feelings in drama. It recommends that the responsibility of directing the music of a total theatre should be saddled with a music specialist who understands the application of dynamics and the storyline. More time should be devoted to effectively mastering the application of musical dynamics for each scene. Keywords: Musical Dynamics, Accompaniment, Total Theatre
CHAPTER 53 : ORIN IBEJI AS YORUBÌ A ìFOLKLORE
In YorubÌ a ìland twins' births are usually regarded as special and, orin ìbeji is the generic name given to the corpus of personality-themed songs that are variously composed and rendered for twins (Ìbejì). This paper seeks to do an appraisal of orin ibeji of the YoruÌba,ì probing and proving its status as an indigenous folkloric tradition. African folklore consists of artistic expressions that are essentially repositories of cultural history, philosophy and episteme. Using the Theory of Referentialism as its pivot, the paper argues that orin iÌbejiÌ, as a musical tradition, typically references cultural semiotic elements outside the perimeters of the songs themselves. This, inadvertently, establishes the folkloric profile of orin iÌbejiÌ. Oral interview, archival and observational methods are employed as the methodological approach in assembling the primary data for this paper. Using five key characteristics, including identity formation and communal performance, with corresponding examples of different orin iÌbejiÌ songs, this paper explains how orin iÌbejiÌ are indeed classical examples of YoruÌbaì folklore. Finally, it recommends purposedriven attempts at escalating the status of this tradition to an iconic status of a globally visible and attractive cultural heritage. Keywords: Folklore, Orin Ibeji,Western Nigeria