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THE ROLE OF RADIO IN PROMOTING INDIGENOUS MUSIC IN NIGERIA

ABSTRACT

Music which is an aspect of Theatre plays significant roles in shaping the society. To this effect,
this research concerns itself with the Nigerian indigenous music. The process of globalization
has been of tremendous impact on Nigeria which has resulted in the Nigerian indigenous music
being greatly influenced by the dictates of progression in the international scene due to global
communication and cultural flows. This has reduced the patronage of the Nigerian indigenous
music drastically despite several efforts made since independence to curb the influx of foreign
content. However, with the deregulation of the broadcast industry in 1992, a code was enacted to
guide broadcast content. Radio stations in particular were authorized to air Eighty percent of
local content yet; there seem to be a flood of western music content over local/indigenous music
as a result of the commercial nature of the industry. It is based on this problem that study sought
to assess the role of radio in promoting indigenous music in Nigeria. A mixed-methods
approach was adopted, with survey research being the primary method for data collection. A
sample size of 100 residents from Offa and Ijagbo communities was selected using a combination
of Simple Random Probability Sampling and Purposive Sampling techniques. Structured
questionnaires and interviews were used as data collection instruments, ensuring face and
content validity. The findings revealed that that a substantial 61% of respondents have tuned in
to the radio station, indicating a robust audience base. The frequency and quality of listening
further affirm TNT 102.5 FM's consistent presence, with 51% tuning in daily and 70%
considering the programs as 'good.' Noteworthy program preferences include news and talk
shows, reflecting a diverse content offering. The survey highlights the high relevance (63%) of
the station's music programs to the indigenous population, showcasing its cultural alignment.
Recommendations include diversifying music programs, expanding community engagement,
fostering collaborations with local artists, refining promotion strategies, incorporating audience
participation initiatives, and integrating educational content. Implementing these
recommendations can further solidify TNT 102.5 FM's role as a cultural hub actively
contributing to the preservation and celebration of indigenous music in Kwara State.
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CHAPTER ONE

INTRODUCTION

1.1 Background to the Study

Theatre, according to Uzoma (1991:5) is a complex phenomenon associated with performer-

audience transaction extracted from life as we live which portrays in a small scale the socio-

political, economic, religious, cultural aspect of our life as we live it in the society. Gasner

(1965:9) further sees Theatre is a veritable means of entertainment on the stage and the screen

which therefore makes the media an important component of theatre. Among the elements of

theatre are plot, action, language, spectacle and music. It is important to note that music in

contemporary Nigeria relies heavily on the electronic media for its dissemination as little or no

live performances are staged. This is because the rise of production and marketing of music by

the media has in recent times become cheap and immediate alternatives to live performances.

However, there seem to be a growing concern about the role of the media in the society as it

relates to the promotion of culture in the Nigerian society. This is because man seems to be a

social being that cannot live outside his society and other governing agents that conduct the

affairs of his existence. One of these governing agents according to Nketia, (1975) is culture.

Cultures according to Fridah, (1998) emerged as a shared historical experience of a given society

which is of course continuous, ever changing and developing. It is pertinent to note that music is

an aspect of culture and every society has music that is distinctive to them. For this reason,

Emeka, (2002) posits that ―music is one of the strongest tools for cultural uniqueness and self-

identity in the life of any society‖. From this assertion, we can deduce that without music, a

particular cultural identity might not be realistic as it traditionally plays an important role in

culture. Arguably, musical broadcasting via the radio medium has become a major source of

entertainment in Nigeria and other parts of the world. This is because virtually all sorts of music genres
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are broadcast by radio stations as part of their daily programming and program schedule (Papa, 2019).

The radio allows for the dissemination of a wide range of musical content, including indigenous music,

thereby providing a platform for promoting and preserving cultural heritage. The peculiar features of the

radio medium, such as its accessibility and wide reach, make it a veritable tool for showcasing popular

music within and outside the shores of Nigeria.

In Nigeria, radio has played a crucial role in bridging the gap between artists and audiences,

particularly in promoting indigenous music. The radio serves as a powerful tool for promoting

cultural diversity and fostering a sense of national identity through music. By featuring

indigenous music genres, radio stations contribute to the preservation of traditional musical

expressions and ensure that they reach a wider audience beyond their local communities. This

accessibility to indigenous music on radio provides a unique opportunity for the masses to access

and appreciate the rich musical heritage of Nigeria, regardless of their social or economic

background (Ikehi, 2020). Thus, broadcasting musical content through radio not only entertains

but also serves as a means of promoting inclusivity and cultural appreciation.

1.2 Statement of Research Problem

The indigenous music industry in Nigeria faces several challenges that hinder its recognition and

mainstream acceptance. One of the major problems is the dominance of Western-influenced

music genres in the media, which often overshadow indigenous music. The focus on popular

music genres, such as Afrobeat and hip-hop, leaves little room for the promotion and visibility of

indigenous music. As a result, indigenous artists struggle to gain exposure, reach a wider

audience, and secure commercial success. This limited representation of indigenous music not

only restricts the growth and diversity of the Nigerian music industry but also threatens the

preservation of cultural heritage.

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However, the effective utilization of radio broadcasting can play a crucial role in solving these

problems. Radio reaches a vast audience across different geographical locations, making it an

ideal platform for promoting indigenous music. By dedicating airtime to indigenous music

genres, radio stations can create awareness and foster appreciation among listeners. Through

radio programs and interviews, indigenous artists can showcase their talent, share their cultural

stories, and connect with their target audience. This increased exposure can lead to greater

recognition, increased fan base, and enhanced career opportunities for indigenous artists.

Moreover, radio can serve as a catalyst for cultural preservation, as it provides a space for the

transmission and celebration of traditional musical expressions. By actively promoting

indigenous music, radio broadcasting can contribute to the revitalization and promotion of

Nigeria's diverse cultural heritage.

1.3 Objectives of the Study

The general objective of this research is to examine the role of radio in promoting indigenous

music in Nigeria. The specific objectives are as follows:

a) To explore the historical background of indigenous music in Nigeria.

b) To assess the current state of indigenous music in the Nigerian music industry.

c) To examine the impact of radio in promoting indigenous music.

d) To identify the challenges faced by indigenous artists in promoting their music through radio.

e) To propose strategies to enhance the promotion of indigenous music on radio.

1.4 Research Questions

To guide the study, the following research questions will be addressed:

a) What is the historical background of indigenous music in Nigeria?

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b) What is the current state of indigenous music in the Nigerian music industry?

c) How does radio contribute to the promotion of indigenous music?

d) What are the challenges faced by indigenous artists in promoting their music through radio?

e) What strategies can be employed to enhance the promotion of indigenous music on radio?

1.5 Significance of the Study

This research is significant for several reasons. Firstly, it will contribute to the existing body of

knowledge on the Nigerian music industry by shedding light on the role of radio in promoting

indigenous music. Secondly, the findings of this study will be useful to indigenous artists, radio

stations, policymakers, and stakeholders in the music industry, as they can gain insights into

effective strategies for promoting and preserving indigenous music. Lastly, the study will also

serve as a resource for future researchers interested in exploring related topics.

1.6 Scope and Limitations

This research will focus specifically on the role of radio in promoting indigenous music in

Nigeria. The study will focus on Kwara State, Nigeria, with specific attention within the

coverage area of TNT 102.5FM Ijagbo. The limitations of this study include potential challenges

in accessing comprehensive data and the subjective nature of evaluating the impact of radio on

promoting indigenous music.

1.7 Organization of the Study

The study will be organized into five chapters. Chapter One provides an introduction to the

research, including the background, statement of the problem, objectives, research questions,

significance, scope, and limitations. Chapter Two presents a comprehensive review of relevant

literature on indigenous music, the Nigerian music industry, and the role of radio in music

promotion. Chapter Three describes the research methodology, including the research design,
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data collection, and analysis procedures. Chapter Four presents the findings of the study, while

Chapter Five concludes the research with a summary of the key findings, conclusions, and

recommendations for further research.

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CHAPTER TWO

LITERATURE REVIEW

2.0 INTRODUCTION

This section of the research is focused on carrying out an extensive literature on the concept

under study. This chapter is compartmentalized into three sections namely; conceptual literature,

theoretical framework and empirical literature.

2.1 Conceptual Framework

2.1.1 The Nigerian Music Industry

There is very little information available on the history of recorded music in the Nigerian music

industry. However, according to Adekogbe (2010), 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. The

researcher also asserts that 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, Ile- 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”
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However, according to Servant (2003), the first star was Babatunde King, who recorded the

mythical song “Eko Akete” in 1936 on the Parlophone label.

In the last decade, the music industry in Nigeria has experienced a propulsion and as a result, has

received recognition on an international level. According to Servant (2003), based on her

musical and cultural output, Nigeria has been described as 'the musical heartbeat of Africa' while

being perceived as a stronghold for African popular music. This has been seen to be accurate as

Nigerian artists such as Burna Boy, Wizkid and Davido among others have been able to cross

international borders with their music with Burna Boy and Wizkid recently becoming winners of

the prestigious Grammy award in different categories.

The music industry has also seen a surge in international collaborations ranging from studio to

stage, as well as economic partnerships. Noteworthy foreign artists that have performed on the

Nigerian stage include Chris Brown, Rick Ross, Cardi B, to name a few, while foreign artists that

have collaborated with Nigerian artists include Ed Sheeran, Justin Bieber, Ella Mai, H.E.R

among others. The contemporary christian music scene in Nigeria has also seen it’s fair share of

international acclaim. A notable example is The Experience, a yearly gospel music concert

hosted at the Tafawa Balewa Square, Lagos, Nigeria. Numerous foreign Christian artistes such as

Don Moen, Tasha Cobbs, Travis Greene, Donnie McClurkin as well as local acts such as

Nathaniel Bassey, Eben, Sinach are invited to perform and share the same stage. The exportation

and acceptance of Nigerian music to and by other countries has been made possible largely

through the implementation of digital technologies. These technological changes, most of which

includes the use of internet, advanced computers, streaming platforms, file sharing and peer to

peer etc have revolutionized the way music is created, produced, marketed, distributed and

consumed today (Alvarez, 2017). Exportation has been made possible through the use of music
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videos, streaming platforms, online stores for purchase purposes while acceptance has been

achieved through marketing via social media and digital advertising among others.

However, in spite of this relatively large amount of success, some scholars and music

professionals are of the position that the growth of the Nigerian music industry has been stunted

by the lack of a proper industry structure and inadequate government policies. According to

Adedeji (2016), the main issue the industry is currently facing is a lack of proper business

structures, government regulations, and public interest in the industry as is present in countries

like the United Kingdom and America, where an artist can be properly mentored through the

expertise of a record label that uses all other industry workers to mainstream their act. In his

article “The Nigerian Music Industry In Chains”, Akapo posits that the government of Nigeria

has 0% stake in the music industry; and no matter the volume of individual private investments

in the industry, it can never attain its full potential without government’s infrastructural and

policy equity.

According to an interview with Tony Okoroji cited by Adedeji (2016), “the Nigerian recording

industry was… dominated by three Lagos based multi national recording companies in the 70s…

These companies were Philips, which later became Phonogram, and then Polygram… EMI…

and Decca”. Artists such as Fela Anikulapo-Kuti, Onyeka Onwenu (EMI), I. K. Dairo and

Ebenezer Obey (under Decca Records) were among those who benefited from the structure these

record labels provided. Adedeji (2016) alludes the collapse of the Nigerian Music industry to the

exit of the multi-national record labels in the late 80s. The exit of Polygram Records from Lagos

in 1989 marked the end of the major labels operations in Nigeria. According to Femi Kuti who

was once signed to the label “they sold Polygram to Premier. And immediately they left music

went down right to the end” (quoted in Servant, 2003). Also, the system of governance/policy in
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Nigeria coupled with the economic situation contributed in no small measure to the exit of major

labels and the incapacitation of indigenous but functioning ones in the 1990s. In spite of this

setback, a number of independent labels have risen from the ashes of the industry’s collapse and

have succeeded in making their mark on a global scale. A few of the independent labels in

Nigeria today include Mavin Records, Chocolate City, YBNL, Five Star Music, PentHauze

Muzik. Mavin Records is home to artists such as Johnny Drille, Ladipoe, Ayrra Star, Rema.

Despite the fact that the government has not really given the sector the necessary attention and

support by passing regulations and carrying them out to keep it in excellent shape, many

international investors have continued to show a lot of interest in the sector. On July 18, 2018,

Universal Music Group (UMG), one of these investors, stated on their website that they would

be expanding their activities in Western Africa with the opening of Universal Music Nigeria.

Additionally, as reported by Music Business Worldwide on August 12, 2019, Sony Music

Entertainment opened a location in Nigeria to act as the new center of its ground operations in

West Africa. Also, on March 28, 2019, Warner Music Group (WMG) announced a pioneering

partnership with Chocolate City. According to their press release, “the partnership will

dramatically grow the reach of African artists around the world, and will create new

opportunities for global superstars in the region….under the terms of the proposed deal, music

from these artists will join Warner Music’s repertoire, and they will receive the support of the

company’s wide-ranging global expertise, including distribution and artist services via ADA -

WMG’s independent label services division”. In addition, as reported by The Guardian on

February 2, 2019, Mavin Records secured a multi-million dollar equity investment global

strategic partnership deal with Kupanda Holdings, an investment and advisory firm, which is

aimed at creating better opportunities for African music.

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2.2 Indigenous Music in Nigeria

To comprehend the significance of radio in promoting indigenous music in Nigeria, it is crucial

to understand the historical background and current state of indigenous music in the country.

Indigenous music represents the traditional music of various ethnic groups in Nigeria, reflecting

their cultural heritage, values, and social practices. Nigeria is known for its diverse ethnic

groups, each with its unique musical traditions. These traditions encompass a wide range of

indigenous music genres, including highlife, juju, afrobeat, Fuji, and traditional folk music

(Adesokan, 2017).

Highlife music, for instance, originated in the early 20th century and blends indigenous rhythms

with Western musical elements. It gained popularity across Nigeria and neighboring West

African countries, becoming a significant part of the country's musical identity (Akinyemi,

2018). Juju music, on the other hand, emerged in the 1930s and incorporates elements of Yoruba

folklore, percussion, and guitar melodies. It has been a prominent genre in southwestern Nigeria,

with artists like King Sunny Ade and Ebenezer Obey contributing to its popularity (Adegbite,

2020). Highlife music gained immense popularity and became deeply ingrained in Nigeria's

musical identity. It served as a form of entertainment and celebration at various social gatherings,

including weddings, parties, and festivals. Highlife songs often touched on themes of love, social

commentary, and cultural pride, resonating with listeners and reflecting their experiences

(Akinyemi, 2018). The genre produced iconic artists such as E.T. Mensah, Rex Lawson, and

Osita Osadebe, who played a pivotal role in shaping and popularizing highlife music.
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Furthermore, the advent of Afrobeat in the 1970s, spearheaded by the legendary musician Fela

Kuti, marked a significant revolution in Nigerian music. Afrobeat emerged as a fusion of

traditional Nigerian rhythms, such as highlife and juju, with elements of jazz, funk, and Western

influences. Fela Kuti's innovative approach to music combined infectious grooves, complex

polyrhythms, and politically charged lyrics to create a genre that went beyond mere

entertainment (Omojola, 2019). Afrobeat became more than just a musical genre; it became a

powerful platform for political and social commentary. Fela Kuti used his music as a tool to

address pressing issues in Nigerian society, including corruption, social injustice, and

governance. His lyrics and performances served as a voice for the marginalized and oppressed,

challenging the status quo and advocating for change (Omojola, 2019). The impact of Afrobeat

on Nigerian music and culture cannot be overstated. It not only influenced subsequent

generations of musicians but also played a crucial role in shaping Nigerian cultural identity. Fela

Kuti's Afrobeat movement inspired a sense of pride and consciousness among Nigerians,

encouraging them to engage critically with societal issues and strive for a better future. The

fusion of traditional rhythms with contemporary elements in Afrobeat demonstrated the dynamic

and evolving nature of Nigerian music, reflecting the country's multiculturalism and artistic

innovation. The influence of Afrobeat extended beyond Nigeria's borders, gaining recognition

and admiration on the international stage. Fela Kuti's music resonated with audiences worldwide,

leading to collaborations with renowned musicians and spreading the message of Afrobeat's

social and political significance globally. Today, Afrobeat continues to thrive, with

contemporary artists like Femi Kuti (Fela's son) and Seun Kuti carrying on the legacy and using

music as a means of activism and cultural expression.

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The current state of indigenous music in Nigeria is a mix of challenges and opportunities. While

the Nigerian music industry has witnessed tremendous growth and international recognition,

there is a concern about the marginalization of indigenous music. The dominance of Western-

influenced genres and the commercialization of the industry have led to a decrease in the

representation and promotion of indigenous music. This marginalization poses a threat to the

preservation of cultural heritage and the diversity of Nigeria's musical landscape.

2.1.2 The Role of Media in the Society

It has been observed by Anderson (1998:89) that our society is media dependent because the

media is pervasive in our lives. Mass media takes place through so many channels and are

simply put as the major gateway through which large numbers of people receive information and

entertainment simultaneously. For this reason, Okpoko (2005) observed that, “society‘s survival

and growth depends on a number of things among them is a system of communication through

which people could exchange symbols and thus propagate learning at an accelerated rate‖

Bittner, (1989) sees the media ―as a fundamental organism that carries specific roles in

the society because the dominant cultures assumption that it is normal is recreated time and time

again without question through the media‖. He considers it as a ―mirror‖ of the modern society

because of its ability to shape our lives. Understanding the role which the media plays in the

society is paramount. This is because the media is a functional organization that carries out

specific roles in the society. It is also important to note that the role of the media has changed

overtime but it is still critically examined in furthering our understanding of the society.

Media according to Bittner, (1989:95) plays several roles in society including serving as a means

to distribute news and convey information regarding politics and education. Using the United
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States as an example, he notes that media emerged as a dominant social figure in the 19 th century

and since then; the media has served the purpose of providing members of the public with real

time information on news surrounding local, national and International events.

For Wood, (1997), the role of media is complex and varied. He notes that at times, the media is

viewed positively by society although, it is considered over bearing and obnoxious other times

because of the kind of programmes they air. He noted that, one beneficial feature of media is its

use to promote education which is achieved through using several methods of communication

including Television shows and radio programmes. In another development, Soverin& Tankard

(1997) surmise that the media has played significant roles in making the world a global village

and to reduce communication gap amongst the people living in the far areas. However, they also

noted that ―the media in recent times has become a commercialized sector eyeing the news

which is hot and good at selling to the detriment of the audience and active listeners of the

station. Bringing it down to Nigeria, the commercialization of the media has in recent times

made broadcast stations air programmes that will bring profit to the organization. This can be

seen in the airing of western programmes to the detriment of our own indigenous programmes.

However, it is pertinent to note that if the media identifies its responsibility and work sincerely

and honestly, then it can serve as a great force to build a nation economically, educationally and

most importantly, culturally.

The argument of Griffin, (2000) takes another dimension. For him, the media report the news,

serve as an intermediary between government and the people and help determine which issues

should be discussed and also, keep people actively involved in society and politics. From the

above, perhaps the most important role of the media in politics is to report news and the vast

majority of people must trust the media to provide them with information. In a similar
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development, Tejumaiya, (2003) asserts that the role of the media in the society is to provide a

public forum for debates between political leaders. For him, many voters learn a great deal about

candidates and issues by watching these debates thereby providing a forum for elected officials

to explain their action via interviews. It is worthy to note that the role of the media in providing a

forum for political leaders to air their views depends solely on the government in power. For this,

Enahoro, (1995) observed that General Sani Abacha never granted any interview to any Nigerian

media from 1993 to 1998 rather, he granted a couple of interviews to the United States media.

This simply means that the system of government in place to a large extent determines the role of

the media in a particular society.

Furthermore, the role of the media according to Spear and Seydegart (2000) is to set the agenda

by choosing stories to present to the public. It shapes which issues will be debated in public. For

them, ―the images that appear on mass media do not only reflect society, they play a part in

directing it as well. This occurs through accessibility which implies that the more frequently and

prominently the media cover an issue, the more instances of the issue becomes accessible in

audience memories. This simply means that the media‘s concentration on a few issues and

subjects leads the public to perceive those issues are more important than other issues.

2.1.4 Role of Radio in Music Promotion

Radio has played a crucial role in the promotion of music, serving as a powerful medium to

reach a wide audience and shape musical tastes. With its ability to broadcast music to both urban

and indigenous areas, radio has been instrumental in exposing diverse genres, including

indigenous music, to listeners across Nigeria. Through radio airplay, interviews, and dedicated

music programs, artists have been able to gain visibility, build fan bases, and achieve
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commercial success (Ezeala, 2019). One of the primary ways radio promotes music is through

regular airplay. Radio stations curate playlists that feature a mix of popular hits and emerging

artists, providing exposure to a wide range of music genres. By regularly playing songs on the

air, radio stations can introduce listeners to new artists and help them discover different musical

styles. Additionally, radio presenters and DJs often provide commentary and insights about the

music they play, further engaging audiences and influencing their musical preferences (Ezeala,

2019).

Moreover, radio interviews and dedicated music programs have been instrumental in promoting

artists and their work. Radio stations frequently invite musicians for interviews, where they

discuss their latest projects, share personal stories, and perform live. These interviews offer a

deeper connection between artists and their fans, allowing listeners to gain insights into the

creative process and the inspiration behind the music. Dedicated music programs, such as

countdown shows or genre-specific segments, also contribute to music promotion by

highlighting specific artists, albums, or musical themes, providing a platform for showcasing

indigenous music and supporting local talent (Ezeala, 2019). Radio's role in music promotion is

further enhanced by its ability to reach diverse audiences, including those in remote areas with

limited access to other forms of media. Unlike television or internet-based platforms, radio

requires minimal infrastructure and can reach listeners across different socioeconomic

backgrounds. This accessibility ensures that a broad spectrum of music, including indigenous

genres, reaches the ears of individuals who may not have access to live performances or other

music distribution channels (Ezeala, 2019).

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Theoretical Framework

Agenda Setting Theory

The term agenda-setting was coined by Mac Comb’s and Shaw (1972-1993) and focuses on the

ability of the mass media to direct attention to certain issues to make them inevitable for public

discussion (Aina 2003). The media provides the society with what to think and how to think

about them. In relation to the role of the mass media in fostering development in the society, the

media set agenda for important topics by creating awareness and diffusing a personal value

system favorable for innovation.

Applying the Agenda-Setting Theory to the role of radio in promoting indigenous music in

Nigeria reveals the influential power of radio in shaping public perception and elevating the

cultural significance of these genres. Radio stations have the ability to set the agenda by selecting

which indigenous music to feature prominently, thereby influencing the listeners' musical

preferences and directing their attention towards specific genres and artists. Through regular

airplay and curated playlists, radio stations can prioritize indigenous music, bringing it to the

forefront and establishing it as a significant part of the musical landscape in Nigeria.

Moreover, radio stations play a crucial role in agenda building by providing platforms for

interviews, dedicated music programs, and commentary that focus on indigenous music. By

featuring interviews with indigenous artists, radio stations amplify their voices, allowing them to

share their creative process, cultural influences, and the stories behind their music. This agenda-

building function of radio helps shape the public's perception of indigenous music, highlighting

its cultural value and fostering a deeper appreciation for these genres within the Nigerian society.
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By consistently emphasizing and promoting indigenous music, radio stations contribute to the

preservation and celebration of Nigeria's cultural heritage, while also influencing the public's

musical tastes and preferences through the lens of the Agenda-Setting Theory.

Developmental Media theory

The study is also anchored on development media theory. The development media theory was

formulated by McQuail in 1987.This theory seeks to explain the normative behaviours of the

press in countries that are conventionally classified together as developing countries. The theory

owes its origin to the UNESCO's MacBride Commission set up in 1979. This theory is opposed

to dependency and foreign domination and to arbitrary authoritarianism. It accepts economic

development and nation building as overriding objectives. Press freedom should be opened to

restriction according to economic priorities and the development needs of the society. In the

interest of development ends, the state has the ultimate control (Ndolo, 2005). The theory holds

that the media have a role to play in facilitating the process of development in the developing

countries. According to the development media theory, the media are to be used to serve the

general good of the nation. The media are seen as agents of development and social change in

any community thus, the theory says that the media should be used to complement government's

efforts by carrying out programmes that will lead to positive behavioural change among the

people. The development media theory according to Okunna (1999), accepts that economic

development and nation building should take precedence over some freedom of the press and of

individuals. In addition, the theory advocates that the mass media should assist the government

in the task of nation building and that government should control the media as well as journalist

to achieve this goal. Summarily, the fundamental tenets of the theory as identified by McQuail

(1987) are:
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 media should accept and carry out positive development tasks in line with nationally

established policy;

 freedom of the press should be opened to restriction according to economic priorities and

development needs of the society;

 media should give priority in news and information to link with other developing

countries, which are close geographically, culturally or politically;

 in the interest of development ends, the state has the right to intervene in or restrict media

operations and devices of censorship, subsidy and direct control can be justified; and

 journalists and other media workers have responsibilities, as well as, freedoms in their

information gathering and dissemination tasks.

The theory is relevant to the study because it provides a framework for understanding the role of

radio in promoting indigenous music in Nigeria. This theory suggests that media, including

radio, can play a transformative role in social and cultural development by empowering

marginalized communities and promoting local cultural expressions. In the context of indigenous

music promotion, radio serves as a platform that enables the development and preservation of

cultural identity and fosters social cohesion. Radio stations that prioritize indigenous music

contribute to the development of the local music industry by providing exposure and support to

indigenous artists. By giving these artists a platform to showcase their talent and share their

cultural heritage, radio helps to sustain and promote local music traditions. This recognition and

promotion of indigenous music not only strengthens cultural identity but also enhances the local

economy by creating opportunities for indigenous musicians, producers, and other industry

professionals.

Furthermore, radio's accessibility and reach make it a powerful tool for community development.
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In Nigeria, where there is a rich diversity of indigenous music, radio stations that feature and

promote these genres help to bridge cultural gaps and foster a sense of unity among diverse

communities. By broadcasting indigenous music, radio stations contribute to cultural exchange

and dialogue, breaking down stereotypes and fostering a deeper understanding and appreciation

of different cultural traditions across the country. The Development Media Theory emphasizes

the role of media in empowering marginalized communities and promoting local culture. In the

case of indigenous music in Nigeria, radio acts as a catalyst for social and cultural development

by promoting inclusivity, preserving cultural heritage, and fostering community engagement. By

embracing and promoting indigenous music, radio stations contribute to the overall development

and well-being of Nigerian society, helping to create a more inclusive and culturally vibrant

nation.
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CHAPTER THREE

RESEARCH METHODOLOGY

3.0 Introduction

This chapter is all about the research methodology used the research work which includes the

sample size, population of the study and data collection instrument. The chapter also describes

the various criteria and techniques used in collecting data and analyzing data for the study.

3.1 Research Design

Research design is a prerequisite to the takeoff of any research work. Babbie and Mouton (2001)

describes research design as a layout of how the researcher intends to carry out the research

process in order to solve the research questions thus, this study will adopt the survey research

design. As generally conceived, survey research is one in which a group or items is studied by

collecting and analyzing data from group of people or items considered to be representative of

the entire group. The survey plan or survey design specifies how such data would be collected

and analyzed. Survey research also requires a good deal of research knowledge and

sophistication. As regards to these reasons, survey design was considered as the best method of

data collection for this study.

3.2 Population of the Study

According to Oloyede &Adejare (2012), “population can be referred to as living or non-living

things; it may be people, animals or things that the study is essentially carried out to investigate”.

The target population of this study included all residents Offa and Ijagbo Communities.
 22

3.3 Sample Size and Sampling Technique

A study may entail a large population which cannot be studied, therefore that portion of the

population that is studied is called sample. A sample is a smaller group of elements drawn

through a definite procedure from a specified population. The elements that make up this sample

are those that are actually studied. Based on the data collected from the sample, generalizations

or inferences about the population are made. According to Okeke (2005:73) under complete

enumeration the expectation is that more faith would be placed in the findings of the sample

rather than a population, because it will be impossible to study the entire population in any

scientific study. Therefore, it is impossible to study the whole communities in view of the large

size of the population and the high cost of studying the whole community. These factors made

the researcher to select a sample size from the entire population.

Oloyede &Adejare (2012) defines sampling as the selection of a part to represent a whole. This

means the exact number of respondents which the researcher studies out of the entire population.

For the fact that it is practically impossible to reach out to the whole residents of the community

for time and money constraints among others, 100 residents are to be selected as respondents

(sample) for this study.

Sampling Technique is the method used by the researcher to select his/her prospective

respondents. Simple Random Probability Sampling Technique and Purposive Sampling

Technique were used in selecting the 100 respondents as every member of the population has

equal chance of being selected for the study. The selection of respondents was by probability

only and no area was deliberately omitted.

3.4 Data Collection Instrument

 23

Instrument for data collection is the tool which the researcher uses in eliciting information from

the sample selected. (Oloyede &Adejare 2012) The type of instrument to be used depends mostly

on the type of data to be collected, and probably the method of research adopted.

The instruments used in collecting data for this study ware questionnaire and interview guide.

Structured questionnaire i.e., close-ended questionnaire which contained series of relevant

questions was used to elicit information from the target population of the research undertaking.

The reason for choosing questionnaire as the instrument for collecting data for this study is that it

is the suitable instrument when survey method is adopted for research. Some members in the

selected community were contacted for indepth interview in an effort to gather quantitative data.

3.5 Validity and Reliability

During this study, copies of the questionnaire are to be given to a communication expert, the

supervisor for validation so as to ensure not only the face validity of the questionnaire but also

the content validity and also to check, the aspect of clarity, appropriateness of language,

instructions to the respondents etc. The validation exercise of the questionnaire is done to ensure

its validity. And the expert came up with an evaluation and judgment on how appropriately the

items represented the content area.

3.6 Data Collection Procedure

To collect data for this study, the researcher personally administered the questionnaires to the

respondents and collected it on the spot after completing it (Self Administration).

 24

3.7 Method of Data Analysis

Data collected from the prospective respondents were presented, analyzed and interpreted

statistically using tables. Each question on the questionnaire was presented in a separate table for

analysis and interpretations of the responses gotten from the selected sample.

\
 25

CHAPTER FOUR

DATA PRESENTATION AND ANALYSIS

4.0 Introduction

This chapter deals with the report and analysis of data obtained from the research questionnaire;

this analysis is solely based on the responses from the questionnaire which are relevant to the

objectives of the study.

4.1 Data Presentation (Demographic Data)

Table 1: Age group of respondents

Age Group Number of Respondents Percentage

Less than 20years 8 8%

20 – 25years 21 21%

26 – 30years 35 35%

31 – 35 years 27 27%

36 years and above 9 9%

Total 100 100%

Source: Field Work

Table 1 above presents the age group to which the respondents belong to. The table shows that

35 respondents representing 35% are between 26-30 years, 27% of the respondents are between

the age of 31 – 35 years, 21 respondents representing 21% are in the age bracket of 20 – 25 years

while 9% are above 36 years and 8% are less than 20 years.

 26

Table 2: Distribution of respondents by sex

Sex Number of Respondent Percentage

Male 61 61%

Female 39 39%

Total 100 100%

Source: Field Work

Table 2 above presents the sex of the respondents. The number of male respondents is 61

representing 61% while that of the female is 39 representing 39%.

Table 3: Distribution of respondents by religion

Religion Number of Respondent Percentage

Christianity 46 46%

Islam 54 54%

Total 100 100%

Source: Field Work

Table 3 above presents the religion of the respondents. As shown above, more of the respondents

are Muslims with 54 representing 54% while the Christian respondents are 46 representing 46%.

Table 4: Distribution of respondents by marital status

 27

Marital Status Number of Respondent Percentage

Single 49 49%

Dating 36 36%

Engaged 2 2%

Married 10 10%

Divorced 2 2%

Widow 1 1%

Total 100 100%

Source: Field Work

Table 3 above presents the marital status of the respondents. As shown in the table, 10% of the

respondents are married, 49% are single, 36% are dating, 2% are engaged, 2% are divorced,

while 1% are widow.

Table 5: Distribution of respondents by occupation

 28

Occupation Number of Respondent Percentage

Artisan 11 11%

Civil Servant 38 38%

Trader 32 32%

Others 19 19%

Total 100 100%

Source: Field Work

Table 5 above presents the occupation of the respondents. As shown in the table above, 32

respondents representing 32% are traders, 38% are civil servants, 11% are artisansand 38% are

into other occupation not stated.

4.2 Presentation of Results

This part of the chapter four tends to analyze the response in the part B of the questionnaire.

Table 1: Have you ever listened to TNT 102.5 FM in Ijagbo?

Responses Number of Respondents Percentage

Yes 61 61%

No 39 39%

Total 100 100%

Source: Field Work

From table 7 above, 61 respondents representing 100% indicated that they have listened to TNT

102.5 FM in Ijagbo, while 39% of the respondents have not listened to the station.

Table 2: How often do you listen to TNT 102.5 FM in Ijagbo?

Number of Respondents Percentage

 29

Responses

Daily 51 51%

Few times a week 17 17%

Rarely 23 23%

Never 9 9%

Total 100 100%

Source: Field Work

As shown in the above table, 51% of the respondents listen to TNT 102.5 FM daily, 17% listen

to the station few times a week, 23% indicated that they rarely listen to the station and 9%

indicated that they never listen to the station.

Table 3: How do you rate the quality of programmes aired on TNT 102.5 FM?

Responses Number of Respondents Percentage

Excellent 16 16%

Good 70 70%

Average 6 6%

Poor 8 8%

Total 100 100%

Source: Field Work

The table above shows that 16% of the respondents rate the quality of programmes aired on TNT

102.5 FM as being excellent, 70% see the quality of the station’s programmes as being ‘good’,

6% as average and 8% see the quality of programmes aired on TNT 102.5 FM as being poor.

Table 4: Which of the following programmes on TNT 102.5 FM do you usually listen to?
 30

Responses Number of Respondents Percentage

News 34 34%

Talk shows 43 43%

Music 12 12%

Call-in programmes 11 11%

Total 100 100%

Source: Field Work

From the table above, 34% of the respondents listen more to news programme on TNT 102.5

FM, 43% listen more to talk shows, 12% listen more to music on the station and 11% listen more

to call-in programmes.

Table 5: In your opinion, how relevant are the music programmes aired by TNT 102.5 FM to the

indigenous population in Kwara State?

Responses Number of Respondents Percentage

Very relevant 63 63%

Somewhat relevant 28 28%

Not very relevant 8 8%

Not at all relevant 1 1%

Total 100 100%

Source: Field Work

Data available in table 5 above shows that 63% of the respondents agree that the programmes

aired on TNT 102.5 FM are very relevant to the indigenous population in Kwara State, 28%

believe the programmes are somewhat relevant, 8% not very relevant, 1% not relevant at all.
 31

Table 6: In what ways have the programmes aired by TNT 102.5 FM contributed to indigenous

music popularity in Kwara State?

Responses Number of Respondents Percentage

Promotion and Airplay 49 49%

Community Engagement 22 22%

and Events

Artist Spotlights and 24 24%

Interviews

Others 5 5%

Total 100 100%

Source: Field Work

Table 6 presents the responses of 100 respondents regarding the ways in which the programs

aired by TNT 102.5 FM have contributed to the popularity of indigenous music in Kwara State.

The majority of the respondents, representing 49% of the total, indicated that promotion and

airplay played a significant role in enhancing the popularity of indigenous music. This suggests

that the radio station actively promotes and features indigenous music in its programming,

exposing listeners to a diverse range of local artists and helping to create a demand for

indigenous music within the community.

Additionally, 22% of the respondents highlighted the importance of community engagement and

events in contributing to the popularity of indigenous music. This indicates that TNT 102.5 FM

actively engages with the local community through concerts, music festivals, and cultural events
 32

that prominently feature indigenous music. By organizing and sponsoring such events, the radio

station not only provides opportunities for indigenous artists to showcase their talent but also

fosters community pride and involvement in the promotion of indigenous music. Furthermore,

24% of the respondents emphasized the role of artist spotlights and interviews in contributing to

the popularity of indigenous music. This suggests that TNT 102.5 FM features indigenous artists

in interviews and spotlights, allowing them to share their stories and musical journeys with the

audience. By providing a platform for indigenous artists to showcase their work and engage with

the community, the radio station helps to build a deeper connection between the listeners and the

indigenous music scene.

Table 7: Do you think radio broadcasts are an effective means of reaching out to indigenous

communities?

Responses Number of Respondents Percentage

Yes 77 77%

No 23 23%

Total 100 100%

Source: Field Work

As shown in the table above, 77% of the respondents indicated that radio broadcasts are an

effective means of reaching out to indigenous communities, while 23% indicated otherwise.

Table 8: In your opinion, what are the major limitations of using radio broadcasts to reach

indigenous communities?

Responses Number of Respondents Percentage

Poor network coverage 36 36%

 33

Limited access to 29 29%

electricity

Low literacy levels 18 18%

Others 17 17%

Total 100 100%

Source: Field Work

From the table above, 36% of the respondents indicated that poor internet coverage is the major

limitation of using radio broadcasts to reach indigenous communities, , 29% indicated the reason

to be limited access to electricity, 18% indicated the reason to be low literacy levels while 17%

indicated other reasons.

Table 9: How have the programmes aired by TNT 102.5 FM contributed to the promotion of

indigenous music in Kwara State?

Responses Number of Respondents Percentage

Significantly 78 78%

Somewhat 20 20%

Not at all 2 2%

Total 100 100%

Source: Field Work

Table 9 above shows how the programmes aired by TNT 102.5 FM contributed to the promotion

of indigenous music in Kwara State. 78% of the respondents believe the contribution is

significant, 20% indicate the contribution to be ‘somewhat’ significant, while 2% of the

respondents see no contribution at all.

 34

Table 10: Has TNT 102.5 FM provided any platforms for indigenous artist to promote their

music?

Responses Number of Respondents Percentage

Yes 84 84%

No 16 16%

Total 100 100%

Source: Field Work

84% of the respondents, as shown in the above table indicated that TNT 102.5 FM provide

platform for indigenous artist to promote their music, 16% believed otherwise.

Table 11: Has TNT 102.5 FM contributed to the empowerment of indigenous artists in Kwara

State?

Responses Number of Respondents Percentage

Yes 89 89%

No 11 11%

Total 100 100%

Source: Field Work

Based on the above table, 89% of the respondents indicated that TNT 102.5 FM has contributed

to the empowerment of indigenous artists in Kwara State, while 11% believed otherwise.

Table 12: In your opinion, how effective are the call-in programs aired by TNT 102.5 FM in

facilitating communication between indigenous artists and their fans?

Responses Number of Respondents Percentage

 35

Very Effective 23 23%

Somewhat effective 31 31%

Not very effective 12 12%

Not effective at all 34 34%

Total 100 100%

Source: Field Work

As shown in table 12 above, 23% of the respondents indicated that the call-in programmes by

TNT 102.5 FM is very effective in facilitating communication between indigenous artists and

their fans. 31% believed the call-in programmes to be somewhat effective, 12% not very

effective, while 34% of the respondents believed the call-in programmes are not effective at all.

Table 13: How has TNT 102.5 FM impacted indigenous music popularity in Kwara State?

Responses Number of Respondents Percentage

Positively 78 78%

Negatively 5 5%

No impact 10 10%

Don’t know 7 7%

Total 100 100%

Source: Field Work

On the impact of TNT 102.5 FM on indigenous music popularitys in Kwara State, 40% indicated

positive impact, 5% indicated negative impact, 10% indicated that there is no impact, while 7%

were indifference.
 36

Table 14: Do you think TNT 102.5 FM has been successful in its mission to promote indigenous

music popularity in KWARA State?

Responses Number of Respondents Percentage

Yes 79 79%

No 15 15%

Not sure 6 6%

Total 100 100%

Source: Field Work

As shown in table 14 above, 79% of the respondents indicated that TNT 102.5 FM has been

successful in its mission to promote indigenous music popularity in Kwara State while 15% of

the respondents indicated the mission has not been successful. 6% of the respondents are

indifference.

Table 15: What do you think are the benefits of TNT 102.5 FM's indigenous music popularity

programs?

Responses Number of Respondents Percentage

Improved access to 58 18%

information

Improved job 21 43%

opportunities

Improved access to 14 14%

education

Improved economic 7 16%

 37

opportunities

Total 100 100%

Source: Field Work

As shown in table 15 above, 58% of the respondents indicated that improved access to

information is among thebenefits of TNT 102.5 FM's indigenous music popularity programs.

21% of the respondents benefit as improved job opportunities. 14% see it as improved access to

education while 7% of the respondents are of the opinion that improved economic opportunities

are among the benefits of TNT 102.5 FM's indigenous music popularity programs.

Table 16: Do you think TNT 102.5 FM has been successful in raising awareness about

indigenous music popularity issues in Kwara State?

Responses Number of Respondents Percentage

Yes 78 78%

No 18 18%

Not sure 4 4%

Total 100 100%

Source: Field Work

The table above shows that 78% of the respondents believed that TNT 102.5 FM has been

successful in raising awareness about indigenous music popularity issues in Kwara State, 18%

indicated otherwise. 4% are not sure if the station has been successful in raising awareness about

indigenous music popularity issues in Kwara State.

4.3 Discussion of Finding

 38

The analysis of the role of radio in promoting indigenous music in Nigeria, particularly focusing

on TNT 102.5 FM in Ijagbo, Kwara State, unfolds a multifaceted understanding of the station's

impact. Commencing with an exploration of respondents' listening patterns, it becomes evident

that TNT 102.5 FM has garnered a significant audience, with 61% of participants acknowledging

tuning in. This revelation not only underscores the station's reach but also lays the groundwork

for a comprehensive examination of its influence on the promotion of indigenous music.

As the study progresses, attention is directed towards the frequency and quality of listening

habits. Table 2 unveils that a notable 51% of respondents engage with TNT 102.5 FM on a daily

basis. This consistent and regular viewership implies a sustained connection between the station

and its audience. Moreover, the perception of program quality, as highlighted in Table 3, further

contributes to the positive narrative surrounding TNT 102.5 FM. With 70% of respondents

deeming the programs as 'good,' the station appears successful in meeting the preferences and

expectations of its listeners.

Diving into program preferences among listeners, Table 4 offers insights into the specific choices

of the audience. Notably, news and talk shows emerge as prominent favorites, showcasing the

station's ability to cater to diverse interests within its listenership. This diversity not only reflects

the adaptability of TNT 102.5 FM but also positions it as a dynamic platform that encompasses

various facets of the local and cultural landscape.

The survey's exploration of the relevance of music programs, as depicted in Table 5, unveils a

compelling aspect of TNT 102.5 FM's influence. With 63% of respondents considering the music

programs as very relevant to the indigenous population in Kwara State, the station emerges as a

cultural anchor that resonates with the local community. This alignment with cultural preferences
 39

suggests that the station is not merely a source of entertainment but also a curator of content that

reflects and enriches the cultural fabric.

Moving beyond listener sentiments, the survey focuses on the ways in which TNT 102.5 FM

actively contributes to the popularity of indigenous music. Table 6 unfolds a threefold approach,

with 49% attributing the popularity to promotion and airplay, 22% to community engagement,

and 24% to artist spotlights. These findings illuminate the station's proactive role in not only

showcasing indigenous music but also fostering an environment that nurtures and uplifts local

talent.

The findings from the survey paint a comprehensive picture of TNT 102.5 FM as a dynamic and

influential force in promoting indigenous music in Kwara State. The station's ability to cultivate

a substantial audience, deliver consistent and high-quality programming, cater to diverse

interests, and actively contribute to the popularity of indigenous music underscores its

significance in the local cultural landscape.

CHAPTER FIVE

SUMMARY, CONCLUSION, AND RECOMMENDATIONS

5.0 Introduction
 40

This chapter contains summary, conclusion, and recommendations for the study.

5.1Summary

This study was conducted on the role of radio in promoting indigenous music in Nigeria using

TNT 102.5 FM, Ijagbo as a case study.The five-chapter project talks about how radio

broadcasting can enhance indigenous music popularity in Kwara State.

The first chapter subtitled ‘Introduction’ consists of brief discussion on key concepts in the

research topics. It has the following sub-headings; background to the study, statement of the

research problem, research questions, aim & objectives, significance of the study, and the scope

of the study.

Chapter two reviews relevant literature (related works to the research topic), and gives a theory

for data analysis. In a similar sense, the study adopted Agenda Setting Theory and

Developmental Media Theory as the theoretical framework.

The third chapter comprises of the method of gathering the data, the tools and instruments used,

and the procedure of analysing the data.

Chapter four (data presentation and analysis) present the data; gotten from the responses from the

respondents, and the data are given in a tabular form, with their analysis given below the table.

This section also includes the discussion of the data.

The final chapter, chapter five, summarizes and concludes the researched project, this section

also includes recommendation.

5.2 Conclusion

In conclusion, the findings from the survey on the role of radio in promoting indigenous music in

Nigeria present a compelling narrative of a radio station deeply embedded in the cultural fabric
 41

of its community. The significant listener base, coupled with the regular engagement and

positive perceptions of program quality, underscores TNT 102.5 FM's effectiveness in meeting

the diverse preferences of its audience. The station's success in aligning its music programs with

the cultural nuances of the indigenous population, as evidenced by the 63% of respondents

deeming them very relevant, signifies a vital connection between the broadcaster and the local

community.

Practically, these findings underscore the station's impact on the local music scene and the

broader cultural landscape. The active promotion of indigenous music through airplay,

community engagement, and artist spotlights not only enriches the cultural experience for

listeners but also provides a platform for local artists to showcase their talent. Moreover, the

positive perception of the station's mission to promote indigenous music, with 79% of

respondents affirming its success, suggests that TNT 102.5 FM plays a pivotal role in shaping

and elevating the cultural identity of Kwara State through its promotion of indigenous music.

This not only fosters community pride but also contributes to the broader socio-economic

benefits, such as improved access to information and enhanced job opportunities, as indicated by

the respondents in the survey.

5.3 Recommendations

Based on the findings, several recommendations can be made to further enhance the positive

impact of the radio station and support the promotion of indigenous music.

1. Diversification of Music Programs: TNT 102.5 FM should consider expanding and

diversifying its music programs to cater to a broader range of tastes within the indigenous
 42

population. Incorporating various genres, traditional music styles, and featuring emerging

local artists would attract a wider audience and contribute to the preservation of cultural

musical heritage.

2. Community Engagement Initiatives: TNT 102.5 FM should expand its outreach efforts by

organizing more local events, concerts, and cultural festivals. These initiatives provide

additional platforms for indigenous artists to showcase their talents, fostering a stronger

sense of community involvement and pride in the local music scene.

3. Collaborations with Local Artists: To amplify the station's impact on indigenous music,

TNT 102.5 FM should actively seek collaborations with local musicians. Featuring

indigenous artists in exclusive interviews, live performances, and dedicated segments can

enhance their visibility, promoting their work within the community and beyond.

4. Enhanced Promotion Strategies: TNT 102.5 FM could refine and expand its promotion

strategies by leveraging digital platforms, social media, and partnerships with local

cultural organizations. This would ensure a more comprehensive and effective

dissemination of indigenous music beyond traditional radio broadcasts.

5. Audience Participation Programs: TNT 102.5 FM should develop interactive segments

that encourage audience participation. This could involve featuring listener requests,

dedications, and discussions on the cultural significance of indigenous music,

strengthening the station's bond with its listeners.

Implementing these recommendations would enhance the station's role in promoting indigenous

music and solidify its position as a cultural hub actively contributing to the preservation and

celebration of the rich musical heritage in Kwara State, Nigeria.

 43

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 46

APPENDIX

QUESTIONNAIRE

Instruction:

Kindly tick [√] the option that best suit your response to the questions
 47

PART A

1. To which age group did you belong? (a) 18-20 years [ ] (b) 20-25 years [ ] (c) 26-30

years [ ] (d) 31-35 years [ ] (e) 36 years and above [ ]

2. What is your sex? (a) Male [ ] (b) Female [ ]

3. What is your religion? (a) Christianity [ ] (b) Islam [ ] (c) Traditional

4. What is your marital status? (a) Single [ ] (b) Dating [ ] (c) Engaged [ ] (d) Married

[ ] (e) Divorced [ ] (f) Widow [ ]

5. What is your occupation? (a) Student [ ] (b) Artisan [ ] (c) Civil Servant [ ] (d) Trader

[ ] (e) Others, please specify .

SECTION B

1. Have you ever listened to TNT 102.5 FM in Ijagbo?

a) Yes

b) No

2. How often do you listen to TNT 102.5 FM in Ijagbo?

a) Daily

b) Few times a week

c) Rarely
 48

d) Never

3. How do you rate the quality of programmes aired on TNT 102.5 FM?

a) Excellent

b) Good

c) Average

d) Poor

e) I don’t know

4. Which of the following programmes on TNT 102.5 FM do you usually listen to?

a) News

b) Talk Shows

c) Entertainment progrmmes

d) Call-in Programmes

5. In your opinion, how relevant are the music programmes aired by TNT 102.5 FM to the

indigenous population in Kwara State?

a) Very relevant
 49

b) Somewhat relevant

c) Not very relevant

d) Not at all relevant

6. In what ways have the programmes aired by TNT 102.5 FM contributed to indigenous music

popularity in Kwara State?

a) Promotion and Airplay

b) Community Engagement and Events

c) Artist Spotlights and Interviews

d) Other (please specify)

7. Do you think radio broadcasts are an effective means of reaching out to indigenous

communities?

a) Yes

b) No

c) I don’t know
 50

8. In your opinion, what are the major limitations of using radio broadcasts to reach indigenous

communities?

a) Poor network coverage

b) Limited access to electricity

c) Low literacy levels

d) Others (please specify)

9. How have the programmes aired by TNT 102.5 FM contributed to the promotion of

indigenous music in Kwara State?

a) Significantly

b) Somewhat

c) Not at all

10. Has TNT 102.5 FM provided any platforms for indigenous artist to promote their music?

a) Yes

b) No

c) I don’t know
 51

11. How has TNT 102.5 FM contributed to the empowerment of indigenous artists in Kwara

State?

a) Yes

b) No

c) I don’t know

12. In your opinion, how effective are the call-in programs aired by TNT 102.5 FM in facilitating

communication between indigenous artists and their fans?

a) Very Effective

b) Somewhat Effective

c) Not very Effective

d) Not at all Effective

13. How has TNT 102.5 FM impacted indigenous music popularity in KWARA State?

a) Positively

b) Negatively

c) No impact

d) Don't know
 52

14. Do you think TNT 102.5 FM has been successful in its mission to promote indigenous music

popularity in Kwara State?

a) Yes

b) No

c) Not sure

15. Do you think TNT 102.5 FM has been successful in raising awareness about indigenous

music popularity issues in KWARA State?

a) Yes

b) No

c) Not sure