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Music is closely linked to agriculture, and there are restrictions on, for example, which instruments can be played during different parts of the growing season.

Work songs are a common type of traditional Nigerian music.

The most common format for music in Nigeria is the call-and-response choir, in which a lead singer and a chorus interchange verses, sometimes accompanied by instruments that either shadow the lead text or repeat and ostinato vocal phrase.

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Kakaki trumpets can be more than two metres long, and can be easily broken down into three portable parts for easy transportation.

The Igbo people live in the south-east of Nigeria, and play a wide variety of folk instruments.

Nigeria has some of the most advanced recording studio technology in Africa, and provides robust commercial opportunities for music performers.

Ronnie Graham, an historian who specialises in West Africa, has attributed the success of the Nigerian music industry to the country’s culture—its “thirst for aesthetic and material success and a voracious appetite for life, love and music, [and] a huge domestic market, big enough to sustain artists who sing in regional languages and experiment with indigenous styles”.

However, political corruption and rampant music piracy in Nigeria has hampered the industry’s growth.

More than 250 ethnic groups are native to Nigeria, and many more have immigrated there in recent years; the largest ethnic groups are the Igbo, Hausa and Yoruba.

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.

Nigeria’s musical output has achieved international acclaim not only in the fields of folk and popular music, but also Western art music written by composers such as Fela Sowande.

Polyrhythms, in which two or more separate beats are played simultaneously, are a part of much of traditional African music; Nigeria is no exception.

Little is known about the country’s music history prior to European contact, although bronze carvings dating back to the 16th and 17th centuries have been found depicting musicians and their instruments Nigeria has been called “the heart of African music” because of its role in the development of West African highlife and palm-wine music, which fuses native rhythms with techniques imported from the Congo for the development of several popular styles that were unique to Nigeria, like apala, fuji, jùjú, highlife, and Yo-pop.

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