Music
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Item The clamour for an end to police brutality: satire songs of the endsars protests in Nigeria(East African Journal of Arts and Social Sciences, 2021-02-11) Owoaje, TThe EndSars protests, which occurred in Nigeria in October 2020 employed a great deal of music, which include solidarity songs, popular music, and satirical songs. This article investigates the use of satirical songs in the EndSars protests. The protest, which recorded a massive turnout of protesters in October 2020 across major cities in Nigeria started several months on the social media, most especially Twitter, a microblogging website before it was finally taken to the streets. Anchored on the concept of social movement, it employs the use of participant observation and the social media platforms to gather data which were analysed using content analysis. Apart from being used to ridicule the Nigerian Police which has not engaged Boko-Haram terrorists but instead unleashes terror on harmless youths, satirical songs were used by protesters to express their long piled up anger at the Federal Government of Nigeria. This is due to several unfulfilled campaign promises, as well as the bad state of the nation’s economy which has contributed to the hike in price of food items and other essential commodities, coupled with the growing rate of unemployment. The Nigerian government should use the opportunity created by the massive protests to execute a thorough reform of the Nigerian security establishments and also engage youths more productively in order to enable them to contribute their quota to nation-building.Item The indefatigable, itinerant school music teacher: Godwin Adedayo Dedeke (1921-1994)(Ibadan journal of theatre arts [ijota], (13 & 14), pp. 108 -120, 2020-12-17) Owoaje, T; sofola, KThe rise and development of Yoruba art music was influenced by the activities of European missionaries in Lagos and its environs, which began in the mid-nineteenth century. It manifested in the form of sacred music in the church, and secular music in the schools and society. This gave rise to composers and practitioners of art music, whose objective was to create a modern tradition of Nigerian art music. They were trained in local and overseas institutions and composed music patterned, not only along European music, but also in combination with African musical elements. Amongst these composers were T.K.E Phillips, Fela Sowande and Dayo Dedeke. Using the theory of cultural nationalism, this article studies the life and musical contributions of Godwin Adedayo Dedeke (1921-1994), a Yoruba art musician and frontline school music teacher, whose works and activities spanned various schools across South Western Nigeria. His work culminated in the publication of his popular song book Ma gbagbe ile in 1963. Oral interviews and focus group discussions were used to gather data, which was presented utilising content analysis. Ma gbagbe ile contains 36 sacred songs, as well as 14 secular songs. As a school music teacher, Dayo Dedeke taught the songs to various secondary schools across South-Western Nigeria. He also popularised Yorùbá choral music through radio and television choral music programmes for schools and colleges, titled ‘The Young Voices’.Item Assessing the relevance of the entrepreneurship module in general studies courses to music students in Obafemi Awolowo University, Osun state, Nigeria(Association of Nigerian Musicologists, 2021) Ajose, T. S.The increasing rate of unemployment is a major concern in many growing economies in Africa, including Nigeria. As a pragmatic response to the unpleasant Situation, the Nigerian government introduced entrepreneurial education in institutions of higher learning, designed to equip students with essential skills needed to be job creators-entrepreneurs, rather than job seekers after graduation. These entrepreneurship courses are generally taught to students across disciplines under the General Studies (GST) Programme of different institutions. The question, then, is: can these entrepreneurial courses adequately prepare music students for entrepreneurship in the music industry? The article, therefore, assesses the relevance of entrepreneurial course(s) taught by the GST Programme to music students. It discusses the students' understanding of entrepreneurship within the context of musical arts. The study employed a survey research design with the use of structured questionnaires. Sixty undergraduate students (male, N=32, female, N= 28) of the Department of Music, Obafemi Awolowo University (OAU), who offered GST entrepreneurship courses in the university, were randomly selected from 100 to 400 levels. Results showed a mixed Position; one on hand, the larger percentage of the students agreed that the concept of entrepreneurship taught in GST curriculum is very relevant to music. On the other hand, most students agreed that GST entrepreneurship courses are not sufficient in preparing them for music entrepreneurship. This article argues that entrepreneurship taught out of the context of music to music students may be counterproductive. Therefore, the study öfters some recommendations and further challenges music educators and scholars alike in rethinking music entrepreneurship education as essential 'add-ons' to the scholarship and practice of music for human capacity development in Nigeria