Nigeria's musical tradition encompasses a spectrum of genres ranging from pure traditional / folk music to the fusion of indigenous sounds with global textures. The thrust of this study is an investigation into the innovative and progressive engagement by Umu Obiligbo, in re-positioning traditional music in Nigeria contemporary space. Premised on ethnomusicological ideology which focuses on studying people’s social and cultural traditions, the work anchors on the theory of cultural nationalism that hinges on musicians’ strive to preserve nation’s cultural heritage. Being a qualitative research discourse, it employs both descriptive and content analyses approaches in its data discussion. Primary and secondary sources of information were utilized by way of interviews and literatures. It was discovered that the foundation of Nigeria’s music in contemporary time has continued to change through such factors or forces as, use of song texts, musical instruments, rhythmic configuration and dance styles, thereby acting as a bridge between the past and the present. Also, through exploration of the role of music in traditional society and its sustenance in contemporary time, expositions are made on how it serves as a powerful means of socio-cultural preservation, and identity marker. Most importantly, the impact of technology on music industry, the advent of digital platforms and globalization on Nigeria's music traditions, have facilitated cross-cultural exchanges, influencing the way Nigerian artistes produce, distribute, and consume music. It was therefore recommended that in as much as Nigerian musicians are trying to breast up or yield to the yearnings of contemporary demands, they should not entirely lose focus of the need for cultural revitalization and sustainability.
Eunice U. Ibekwe (Wed,) studied this question.
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