CHAPTER ONE
1.1. INTRODUCTION
Music
is a general phenomenon that cuts across racial, cultural, social, educational,
and economic barriers, which enhances cultural appreciation and awareness. Its
symbol systems are important as letters and numbers. Music integrates mind,
body, and spirit as well as provides opportunities for self-expression,
bringing the inner world into the outer world of concrete reality, which in
turn offers the avenue to "flow states" and peak experiences. It also
creates a seamless connection between motivation, instruction, assessment, and
practical application leading to "deep understanding." .Also Music makes it possible to experience processes from
beginning to end, develop both independence, collaboration and thereby provide
immediate feedback and opportunities for reflection. It makes it possible to
use personal strengths in meaningful ways and to bring into understanding
sometimes difficult abstractions through these strengths. It merges the
learning of process and content thus improving academic achievement which
results in enhancing test scores, attitudes, social skills, critical and
creative thinking. Music exercises and develops higher order thinking skills
including analysis, synthesis, evaluation, and "problem-finding." It
is essential component of any alternative assessment program which provides the
means for every worker to learn. This chapter focuses on the background of the
study, Aims and objectives, Statement of the problems, Significance of the
study, Research questions, Research hypothesis, Limitation, Scope of the study,
Purpose of the study, Significant of the study and Definition of terms.
1.2. BACKGROUND
OF THE STUDY
The Music industry (also informally known
as Music business management) consists of a large number of sub-Industries devoted
to Music production and its eventual
management. However, the term is often
used in the mass media to describe companies that control the manufacture and
distribution of Music as a form of entertainment. In the popular parlance, the term show biz
in particular connotes the commercially popular performing arts, especially Music
al, theatre, vaudeville, comedy, film and music. It applies to every aspect of entertainment
including cinema, television, radio, theatre and music. (Ekwuazi, 1987)
The music industry in Nigeria today
is a versatile one. It is a big industry
that transcends Music , with the involvement of trained lawyers, businessmen,
financial analysts, actors and actresses, Music ians, songwriters, bankers,
etc. The question is: what really makes a
music industry? It is very difficult to
really define or describe; but, the general definition will include music
production, music advertising and Music publishing. It also involves talent deals,
production deals, writing deals, gross and net participation of proceeds (not
profits) multisystem operators (MSOs), e.g. DSTV, HITV, GOTV, STARTIMES and
other cable network Television stations.
All these are what make it an industry, because everything about
entertainment is like the ‘real estate’, with full proprietary rights. Entertainment industry in Nigeria is a fast
growing one, with many opportunities springing up for budding entrepreneurs,
artists and their managers as well as other stakeholders; it is estimated to
generate revenues of over #2 billion annually.
It spans movie, film and music production, comedy and events management,
modeling and beauty pageantry, among others. Prior to 1998, the entertainment
industry in Nigeria was very modest; with musician s, actors and models being
satisfied with just fame, and with very little interests from investors.
In many
parts of the world, the development of entertainment coincided with the
creation of a ruling class. In the early
advanced cultures with clearly differentiated working roles, leisure activities
were associated with those in the elite class or of high political standing. In
Nigeria, generally, all sectors within the entertainment industry exhibits
similar historical characteristics including high capitalization, advanced
intellectual property protection requirements, globalization and oligopolistic
tendencies.
The
emergence of the recording industry in Nigeria has helped the musical situation
in Nigeria. The Nigerian music recording
industry was dated back to the early 1930s, but then there were outfits from
South Africa, Johannesburg to be precise, which used to come to Nigeria to
record artists on Opika records of the early 1950s (Adekogbe, 2010). Initially,
the recording industry in Nigeria was dominated by Western oriented record
companies. then, all the record companies were in actual fact, puppet studios
of big mother companies somewhere in Europe or America. The first record to be
waxed in Nigeria was Juju Music around
1933, though the artist was not known but history revealed that was the first
record to be waxed in the Nigeria Music recording industry. According to King Sunny
Ade, a renowned Juju artist who visited Obafemi Awolowo University, Ife
recently has this to say.
“It was unclear and very uncertain whether the
recording of the said
Music was done in Nigeria or not”
.
Mike
Adesina, the director of A.M. Digital recording studio, Ibadan said
authoritatively that:
“The first Music was recorded at Philip West Africa limited
titled ‘catch your Rhythm’ by Bobby Benson, Hanny J.A. Oyesiku, T.O. Araba and
Chris Ajilo, which was first released as singles before being compiled to Long
Playing (L.P)”.
Then,
most recording companies acted as umpires for Africa, especially Nigerian Music
al bid to global penetration. The Western partners who controlled these
companies became lords deciding when and how Nigerian Music could be exported, even Philips, Decca EMI,
PolyGram etc. who were in business could not confront the Western exploits but
to assist them to supervise and evolve the best ways of exploiting the art in
Nigeria (Adesiya
2001). There were other groups like
Shanuolu Record Company and Take you choice (TYC), these two particularly,
Chief Abioro Bolarinwa’s TYC realize early enough the potentials of the
Nigerian rhythm in the international market. Saw the possibilities of Nigerian
rhythm controlling and dominating the world entertainment market. This reaction
could have been possible but what he lacked was the technical knowhow on the means
to achieve the goals. They were also little informed about the politics of the
type of fight needed to turn the tables.
This era also witnessed an amazing
increase in the number of record companies. Tabansi came, Mut-Mukson, Alhaji
Kassim’s brain child also came, not with big ideas, to change the scene. It was
also an era when the first genuine efforts were made at indigenizing the
recording industry in Nigeria. Interestingly to record companies and business
particularly in Nigeria moved into the interior and gave rise to names like
Haruna Ishola of Phonodisk, Rogers international and a dozen of others
(Adekogbe, 2010). The irony of this era was that it brought in a chain of
private recording companies which thwarted all efforts made by both genuine record
companies and artists (Adesina 2000). In the present millennium, a new based of
Music recording studios especially,
digitally oriented studios which are well and quite informed about the game in
the international Music market. This new
generation have fought and still fighting on to transform the Music al concept
in Nigerian to the level of the modern age especially in the area of Music technology as obtained in other advanced
nations in the world.
The
development of computer and the subsequent application to Music synthesis, sampling recording, sequencing,
storage, playback and performance are important and influential development in
the activities of the Nigerian Music Industry technology in the twentieth century.
1.3. AIMS
AND OBJECTIVES
The following are
objectives of the research project:
a. To describe the characteristics of Musical
sounds.
b. To practice and evaluate performance
skills alone and in groups.
c. To analyze and response to complex Music
al sound through movement.
d. To perform Music al reading from both
traditional and nontraditional notation.
The aim
of the research is to assemble, operate and maintain technical equipment used
to record, amplify, enhance, mix or reproduce sound in Music industry.
1.4. STATEMENT
OF THE PROBLEMS
The
use of technology in the Music curriculum poses a problem for the educator: how
can workers gain access to support when using complex tools in creative work,
and what is the nature of the problems they are encountering? Software packages
such as Cubase and Pro Tools offer support in the form of online help and
minimal manuals embedded within the software; however, little help is provided
beyond the procedural knowledge (Anderson 1996) concerned with these tools. In
addition, support for the use of hardware recording devices such as mixing
desks, signal processors (noise gates, compressors) and signal generators
(reverb, delay, chorus etc) usually relies upon either the worker’s ability to
take effective notes in a workshop, or the use of manuals. These hardware recording devices are often used by audio
professionals and the manuals are written for this particular audience, and
this can present a problem for the worker of Music and technology.
1.5. SIGNIFICANCE
OF THE STUDY
The significant of the study is to bring a proper coordination among various factors of
production and leads to their optimum utilization. It avoids confusion,
duplication and delays in work. It motivates the workers of Music industry by proper division of work and labor.
It reduces the workload of executives by delegation of authority.
1.6. RESEARCH
QUESTIONS
a. What
is the level of Music contribution towards worker’s performance in Music and
management?
b. What are the qualities that
make up a good Music?
c. Is there any significant relationship of
analyzing and responding to complex Music al sound through movement?
d. Is there any difference of performing Music
al reading from both traditional and nontraditional notation?
1.7. RESEARCH
HYPOTHESIS
e. There is no significant difference between
the music and reproduction management in Nigeria Music industry?
f. There is no significant relationship
that evaluates performance skills alone and in groups?
g. There is no significant relationship of analyzing
and responding to complex Music al sound through movement?
h. There is no difference of performing Music
al reading from both traditional and nontraditional notation?
1.8. LIMITATION
This research work is
limited only to the project topic titled “Music and reproduction management in
Nigeria Music industry”. All academic work are carried out within the research.
1.9. SCOPE
OF THE STUDY
The scope of the
research work will cover all the areas of music, sound reproduction, sound
management, the restrictions in Music and copyright laws, the problems of sound
management and production.
1.10. PURPOSE
OF THE STUDY
The main purpose of
this research work is to investigate how sounds are produced, reproduce and
managed in Music industry.
1.12. DEFINITION
OF TERMS
1.
Sound Production: Conversion of energy from mechanical or
electrical into acoustical form, as in a siren or loudspeaker. The music
industry is blessed with talented music producers who have taken the industry
to new heights with their sound production.
2. Sound
Reproduction: Sound recording and reproduction is an electrical,
mechanical, electronic, or digital inscription and re-creation of sound waves,
such as spoken voice, singing, instrumental music, or sound effects. The two
main classes of sound recording technology are analog recording and digital
recording.
3. Sound
Management: In the context of environmental law, sound management means to
take all practicable steps to ensure that the overall management takes place in
such a manner that protects human health and the environment against the
adverse effects of activities, processes, products or substances.
4. Music
Industry: The music industry consists of the companies and individuals that
earn money by creating new songs and pieces and selling live concerts and
shows, audio and video recordings, compositions and sheet music, and the
organizations and associations that aid and represent music creators.