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The music of Nigeria includes many kinds of folk and popular music. Little of the country's music history prior to European contact has been preserved, although bronze carvings dating back to the 16th and 17th centuries have been found depicting musicians and their instruments.[1] The country's most internationally renowned genres are Indigenous, Apala, Aurrebbe music, Rara music, Were music, Ogene, Fuji, Jj, Afrobeat, Afrobeats, Igbo highlife, Afro-juju, Waka, Igbo rap, Gospel,[2] and Yo-pop. Styles of folk music are related to the over 250 ethnic groups in the country, each with their own techniques, instruments, and songs. The largest ethnic groups are the Igbo, Hausa and Yoruba.[3] Traditional music from Nigeria and throughout Africa is often functional; in other words, it is performed to mark a ritual such as the wedding or funeral and not to achieve artistic goals.[4] Although some Nigerians, especially children and the elderly, play instruments for their own amusement, solo performance is otherwise rare. Music is closely linked to agriculture, and there are restrictions on, for example, which instruments can be played during different parts of the planting season.

Work songs are a common type of traditional Nigerian music.[5] They help to keep the rhythm of workers in fields, river canoes and other fields. Women use complex rhythms in housekeeping tasks, such as pounding yams to highly ornamented music. In the northern regions, farmers work together on each other's farms and the host is expected to supply musicians for his neighbours.

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The issue of musical composition is also highly variable. The Hwana, for example, believe that all songs are taught by the peoples' ancestors, while the Tiv give credit to named composers for almost all songs, and the Efik name individual composers only for secular songs. In many parts of Nigeria, musicians are allowed to say things in their lyrics that would otherwise be perceived as offensive.

Since the introduction of television in 1959, the growing television and film industries have sourced a large amount of their artists and musical structure from Nigeria's extensive indigenous theater, which, in turn, evolved from festivals and religious ceremonies.[10] Early television dramas in this era utilized folklore and songs from popular indigenous genres such as Nigerian highlife, as well as indigenous languages including Igbo, Yoruba, and so on.[11] With the advent of Nigeria's film industry, controversially referred to as Nollywood, in the early 1990s, many of these TV producers simultaneously worked in film production, spreading this technique of indigenous sourcing to film scoring.[11] Following an era defined by influences from European and North American art, the Nigerian film industry evolved a unique method of film scoring called prefiguring.

Children in Nigeria have many of their own traditions, usually singing games. These are most often call-and-response type songs, using archaic language. There are other songs, such as among the Tarok people that are sexually explicit and obscene, and are only performed far away from the home. Children also use instruments such as un-pitched raft zithers (made from cornstalks) and drums made from tin cans, a pipe made from a pawpaw stem and a jaw harp made from a sorghum stalk. Among the Hausa, children play a unique instrument in which they beat rhythms on the inflated stomach of a live, irritated pufferfish.[citation needed]

The musical bow is found in Nigeria as a mouth-resonated cord, either plucked or struck. It is most common in the central part of the country, and is associated with agricultural songs and those expressing social concerns. Cereal stalks bound together and strings supported by two bridges are used to make a kind of raft zither, played with the thumbs, typically for solo entertainment. The arched harp is found in the eastern part of the country, especially among the Tarok. It usually has five or six strings and pentatonic tuning. A bowl-resonated spike-fiddle with a lizard skin table is used in the northern region, and is similar to central Asian and Ethiopian forms. The Hausa and Kanuri peoples play a variety of spike-lutes.

Following World War II, Tunde Nightingale's s'o wa mbe style made him one of the first jj stars, and he introduced more Westernised pop influences to the genre. During the 1950s, recording technology grew more advanced, and the gangan talking drum, electric guitar and accordion were incorporated into jj. Much of this innovation was the work of IK Dairo & the Morning Star Orchestra (later IK Dairo & the Blue Spots), which formed in 1957.[16] These performers brought jj from the rural poor to the urban cities of Nigeria and beyond. Dairo became perhaps the biggest star of African music by the '60s, recording numerous hit songs that spread his fame to as far away as Japan. In 1963, he became the only African musician ever honoured by receiving membership in the Order of the British Empire, an order of chivalry in the United Kingdom.[7]

Apala, a traditional style from Ogun state, one of the Yoruba states in Nigeria, became very popular in the 1960s, led by performers including Haruna Ishola, Sefiu Ayan, Kasumu Adio, and Ayinla Omowura. Ishola, who was one of Nigeria's most consistent hit makers between 1955 and his death in 1983, recorded apala songs, which alternated between slow and emotional, and swift and energetic. His lyrics were a mixture of improvised praise and passages from the Quran, as well as traditional proverbs. His work became a formative influence on the developing fuji style.

Ebenezer Obey formed the International Brothers in 1964, and his band soon rivalled that of IK Dairo as the biggest Nigerian group. They played a form of bluesy, guitar-based and highlife-influenced jj that included complex talking drum-dominated percussion elements. Obey's lyrics addressed issues that appealed to urban listeners, and incorporated Yoruba traditions and his conservative Christian faith. His rival was King Sunny Ad, who emerged in the same period, forming the Green Spots in 1966 and then achieving some major hits with the African Beats after 1974's Esu Biri Ebo Mi. Ade and Obey raced to incorporate new influences into jj music and to gather new fans; Hawaiian slack-key, keyboards and background vocals were among the innovations added during this rapidly changing period.[27] Ade added strong elements of Jamaican dub music, and introduced the practice of having the guitar play the rhythm and the drums play the melody. During this period, jj songs changed from short pop songs to long tracks, often over 20 minutes in length. Bands increased from four performers in the original ensembles, to 10 with IK Dairo and more than 30 with Obey and Ade.

Fela Kuti began performing in 1961, but did not start playing in his distinctive Afrobeat style until his exposure to Sierra Leonean Afro-soul singer Geraldo Pino in 1963.[7] Although Kuti is often credited as the only pioneer of Afrobeat, other musicians such as Orlando Julius Ekemode were also prominent in the early Afrobeat scene, where they combined highlife, jazz and funk. A brief period in the United States saw him exposed to the Black Power movement and the Black Panthers, an influence that he would come to express in his lyrics. After living in London briefly, he moved back to Lagos and opened a club, The Shrine, which was one of the most popular music spots in the city. He started recording with Africa '70, a huge band featuring drummer Tony Allen, who has since gone on to become a well-known musician in his own right.[30] With Africa 70, Kuti recorded a series of hits, earning the ire of the government as he tackled such diverse issues as poverty, traffic and skin-bleaching. In 1985, Kuti was jailed for five years, but was released after only two years after international outcry and massive domestic protests. Upon release, Kuti continued to criticise the government in his songs, and became known for eccentric behaviour, such as suddenly divorcing all twenty-eight wives because "no man has the right to own a woman's vagina". His death from AIDS in 1997 sparked a period of national mourning that was unprecedented in documented Nigerian history.[31]

Nigerian singer-songwriter Burna Boyhas done it again with the release of his new album, Love, Damini. While there are many songs we could've picked from the stellar 19-song album, our choice is "Last Last." The African Giant made his directorial debut this week with this single which dropped a month before his highly anticipated sixth studio albumThe song sample's American R&B singer Toni Braxton's hit single "He Wasn't Man Enough For Me." It's but a taste of what the afro-fusion heavyweight has in store for fans this summer.

Nigerian musician Victony plays on unique sonic turf. His songs are lined with influences which stretch beyond Afropop and, on his latest release Outlaw, those qualities merge into fully realized bops. "Kolomental," off that tape, establishes his grasp of masterful lyrical arrangement and an astute ear for great beats.

Song repertoires are built for every part of the school day, using music to address all learning styles. We play and make simple instruments and the children learn and listen to songs. Music in this setting is used to reinforce teaching, enhance language and communication skills, improve social skills, enhance fine and motor skills, and also stimulate play activities.

Aluede, C.O. & Eregare E.A. (2008). Music therapy and language: An examination of the therapeutic potency of selected Iyayi songs of the Esan, Edo state, Nigeria. A paper presented at the 8th National Conference of the Association of Nigerian Musicologists (ANM), department of Music Adeniran Ogusanyan College of Education Otto/Ijanikin on 2nd 6th June 2008.

Gbadegesin, E.O. (2003). Textual interpretation of therapeutic songs used in Nigerian hospitals: a case study of Obafemi Awolowo University Teaching Hospital Complex, Ile-Ife. Nigerian Music Review, 4, 125-138.

Idamoyibo, A.O. (2007). Therapeutic songs used in Yoruba Christian healing homes: The Cherubim and Seraphim Church of Oshogbo as a case study. Nigerian Music Review, (7&8), 13-25.

Iyeh, M.A. & Aluede, C.O. (2006). An exploration of the therapeutic potency of music in Ichu-Ulor festival of Asaba people. Nigerian Journal of Musicology, 1(1), 124-142.

Mereni, A. E (1991). Musicoterapia per il recupero degli amalati psicofisici. Florence (Italy) Centro Toscano Per la Musicoterapia. 2351a5e196