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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.

The people of the North are known for complex percussion instrument music, the one-stringed goje, and a strong praise song vocal tradition. Under Muslim influence since the 14th century, Hausa music uses free-rhythmic improvisation and the Pentatonic scale, similar to other Muslim Sahelian tribes throughout West Africa, such as the Bambara, Kanuri, Fulani and Songhai. Traditional Hausa music is used to celebrate births, marriages, circumcisions, and other important life events. Hausa ceremonial music is well known in the area and is dominated by families of praise singers. The Hausa play percussion instruments such as the tambora drum and the talking drum. The most impressive of the Hausa state instruments, however, is the elongated state trumpet called Kakaki, which was originally used by the Songhai cavalry and was taken by the rising Hausa states as a symbol of military power. Kakaki trumpets can be more than two metres long, and can be easily broken down into three portable parts for easy transportation.

Nigerian theatre makes extensive use of music. Often, this is simply traditional music used in a theatrical production without adaptation. However, there are also distinct styles of music used in Nigerian opera. Here, music is used to convey an impression of the dramatic action to the audience. Music is also used in literary drama, although its musical accompaniment is more sparingly used than in opera; again, music communicates the mood or tone of events to the audience. An example is John Pepper Clark's The Ozidi Saga, a play about murder and revenge, featuring both human and non-human actors. Each character in the play is associated with a personal theme song, which accompanies battles in which the character is involved.

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]

Among the Igbo people, Ghanaian highlife became popular in the early 1950s, and other guitar-band styles from Cameroon and Zaire soon followed. The Ghanaian E. T. Mensah, easily the most popular highlife performer of the 1950s, toured Igbo-land frequently, drawing huge crowds of devoted fans. Bobby Benson & His Combo was the first Nigerian highlife band to find audiences across the country. Benson was followed by Jim Lawson & the Mayor's Dance Band, who achieved national fame in the mid-'70s, ending with Lawson's death in 1971. During the same period, other highlife performers were reaching their peak. These included Prince Nico Mbarga and his band Rocafil Jazz, whose "Sweet Mother" was a pan-African hit that sold more than 13 million copies, more than any other African single of any kind. Mbarga used English lyrics in a style that he dubbed panko, which incorporated "sophisticated rumba guitar-phrasing into the highlife idiom".[20]

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] e24fc04721