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ISSN: 1597-0590

JANIM - Journal of the Association of Nigerian Musicologists

JANIM – the Journal of the Association of Nigerian Musicologists is dedicated to advancing musicology through high-quality research, promoting Nigerian music globally. Our double-blind review process ensures scholarly excellence. With immediate open access, we invite you to explore our annual publications on Nigerian music.. Click here to learn more

Current Issue: Volume 17 (2023)

Editorial Preface

In the past one-year, university education in Nigeria experienced some hiccups. This was occasioned the protracted strike action embarked upon by the Academic Staff Union of Universities (ASUU). This obviously had a negative effect on academic activities in most Nigerian universities and affiliated associations. Consequently, the yearly National Conference of the Association of Nigerian Musicologists (ANIM) could not hold. To ensure that no lacuna existed in our yearly activities, the association issued out a call for papers for the 17th volume of its journal and no specific theme was emphasized. As usual, JANIM has a standard practice of making all submitted manuscripts go through a rigorous peer-review process. Of the many manuscripts we received, sixty-six percent (66%) were accepted. In our effort to be in sync with global best practices, we have steadily and conscientiously built capacities in a strong web presence and to facilitate wide readership. We have achieved all that through partnership with African Journals Online (AJOL), International Repertory of Music Literature (RILM), and acquisition of Digital Object Identifiers (DOIs). Apart from publishing articles of seasoned music academics and administrators, the Editorial Board also published those of up -and- coming academics and budding researchers. While this is done as a way of encouraging up and coming colleagues, no manuscript is published without going through a double- blind review process.

In this volume, we have ten articles. Ukeme examined the interpretation of Yemi Olaniyan’s Rere Lo Pe. Chiori looked at the functions of music in prayer at The Spring House Community Church in Calabar’. The contribution of Akande in the article, ‘Legal Compliance and Musical Documentation on Social Media in Nigeria, Using Facebook, YouTube and Twitter’, is quite insightful. John’s musical analysis of Mase-Vetho, a song by Hunyeme Afinfin Zojigbo Maseensemble of Ajara-Vetho in Badagry, Lagos State- Nigeria, is revealing and informative. In her article, Onyeji discusses ‘Western formal structure, music education as a performance process in Nigeria with a great depth. There are also articles which centred on ecological, transformative and sacred musicology. These works include Olaleye’s ‘Musical Narratives of Yoruba Indigenous Food, Transformations, and Human Health Sustainability’; Edah and Idolor’s ‘Social Relevance of Salẹkẹ Music in Puberty Rites Custom of the Okpẹ People’; Owoaje’s ‘Christian themes in Ebenezer Obey’s Juju music’. There is Akperi’s and Ologundudu’s article, ‘Music as Journalism’, which is obviously intended to initiate a debate in the area of music journalism. We earnestly await relevant sequels as the paper promises to stimulate. The last paper was authored by the trio of Odogbor, Ogisi and Popoola where they examined the challenges in popular music video production in Nigeria. These are all thought-provoking and inspiring contributions to music scholarship. I am quite optimistic that this volume will whet the academic appetite of anyone who is keenly interested in music scholarship.

On behalf of the Association of Nigerian Musicologists, the members of the Editorial Team wish to appreciate our reviewers for their invaluable and relentless contributions to promote and sustain our journal and music scholarship. We thank all of our reviewers and authors for ensuring good quality control, and for latching into our set standards in providing well-researched articles for the

Prof. Charles O. Aluede
(for the Editorial Board)

Articles