AN ANALYSIS OF MUSIC VIDEOS AND BEHAVIOURAL CHANGE TOWARDS GENDER INEQUALITY

CHAPTER ONE

INTRODUCTION

1.1  BACKGROUND OF THE STUDY

The significance of contact cannot be overstated. Communication has always been a central and essential aspect of human life. Humans cannot live without contact and it is the only way for thoughts and information to be transmitted on from one generation to the next. According to Baran (2014), contact is the transfer of knowledge from a transmitter to a recipient. “Communication has been variously described as the exchanging of thoughts, the passing of knowledge, or the method of creating a commonness or oneness of thought between a sender and a receiver.” Belch and Belch (2003, p. 139)

Communication has many purposes, including knowledge dissemination, schooling, and entertainment. These main roles are unavoidably present in our everyday lives. Individuals want further knowledge and education regarding the society in which we live, and a need to disconnect from the necessities of existence leads to the usage of content such as films, novels, comics, computer games, and so on.

Defining music is a difficult challenge since there are several meanings and none are identical. Many people have taken deliberate attempts to add sense to music in the manner that best fits them. As a result, scholars have provided their own description of music in attempts to establish a common definition. Music, as described by Levinson (1990), as cited in Davies (2015), is an art that involves a person creating sounds for the soul with the goal of strengthening experience through active interaction such as dancing, listening, and performing.

Music videos are an important part of the most important developing cultural framework of western rituals. Pop videos have had a profound influence on fashion, youth culture, and music, as well as the processes and frameworks that exist through film, advertisement, and television, but critics have previously dismissed the structure's unique existence and cultural heritage. Music videos are an important form of communicating, either to raise knowledge of a certain issue or to inspire viewers to respond in a certain manner. They provide audiences with entertainment by involving them in audio and visual material that draws and maintains their focus on what is being watched. While they might not seem to be so, music videos are an extremely powerful tool for disseminating knowledge and reminding viewers about different important events or happenings.

According to Hogan, Bar-on, and Strasburger (2009), music videos are appealing to people, especially young audiences. Given that music videos combine two types of media that appeal to youth people, television and mainstream music, it is critical to research their impact on young audiences to be concerned with the ideas these music videos promote. Music videos have received a lot of attention. They are divided into many groups, the most common of which are idea or performance images. In the case of a music recording, a specific artist or a group of musicians is filmed during a performance, typically a concert. If design videos show a plot to the listener, the album has the potential to create a story. This tale may often add content to the lyrics and have a clear meaning that is repeated every time a person hears the music.

According to Frith, Goodwin, and Grossberg (2005), while seeing a music film, the visual section normally automatically occupies our focus, simply by arresting and individuals' eyes by being on screen. Television seems to absorb the musical matrix irreversibly and without effort through its visual field. Simply by putting itself in the location of what it depicts, a music video draws our focus both to and away from the album. According to Vernallis (2004), the music arrives first, the album is made before the recording, and the producer creates photos using the song as a reference. However, the song's video would promote the song; therefore, it is accountable to the song from the standpoint of the artiste and record label. Following an album in a music video may be done in a variety of forms. They sometimes mirror a song's structure and pick up on specific musical features such as harmony, timbre, and rhythm. The picture can also mimic the fade and flow of a tone, as well as its unknown limits. Videographers have developed a series of techniques for setting picture to music in which the image relinquishes its autonomy and abandons some of its modes.

1.2  STATEMENT OF RESEARCH PROBLEM

Gender inequality has for a long time been a major challenge in today’s society. The rate at which women are considered to be less than men is causing a huge mayhem in our society today. Different ideologies and values affect gender Inequality in Nigeria. Women are considered subordinate to their male counterparts in most parts of Nigeria, especially in Northern Nigeria and other sectors such as the Nigeria music industry. Women are usually thought to be well fit as housekeepers. SDG 5 (Gender equality) seeks to bring an end to gender inequality in all sectors of the society.

 This study therefore looks at the use of music videos in creating awareness and influencing behavioural change in the masses in order to create a different perception towards gender inequality.

1.3  OBJECTIVES OF THE STUDY

1.      To investigate if music videos can be a tool of awareness creation on gender inequality.

2.      To determine whether music videos can influence people in any way.

3.      To investigate whether music videos can create behavioural change in people towards gender inequality.

1.4  RESEARCH QUESTIONS

1.      Can music videos be a tool of awareness creation on gender inequality?

2.      Can music videos influence people in any way?

3.      Can music videos inculcate behavioural change in individuals towards gender inequality?

1.5  SIGNIFICANCE OF THE STUDY

This study will be significant as it will create awareness on the issue of gender inequality and the use of music videos to inculcate behavioural change in individuals towards gender inequality.

1.6 SCOPE OF THE STUDY

This study will be limited to the imbued prowess music videos have in creating awareness and inculcating behavioural change towards gender inequality.

1.6  LIMITATIONS OF THE STUDY

The only limitation faced by the researcher was insufficient time.

1.7  OPERATIONAL DEFINITION OF TERMS

1.      BEHAVIOURAL CHANGE: In this study, behavioral adjustment applies to a shift in people's attitudes about waste management.

2.      MUSIC:Vocal and instrumental sounds are combined in such a way that they establish rhythm, harmony, and emotional speech.

3.      MUSIC VIDEO: A short film that puts together a song with images and is fashioned for promotional or creative purposes.

4.      GENDER INEQUALITY: The rate at which women are considered to be less than men

REFERENCES

Baran, S. (2014). Introduction to Mass Communication: Media Literacy and Culture (8th ed.). New York: McGraw Hill.

Belch, E. G., & Belch, A. (2004). Advertising and Promotion: An Integrated Marketing Communications Perspective. NY, USA: Routledge Publishing.

Davies, S. (2015). On defining music. The Monist, 95, 535-555.

Frith, S., Goodwin, A., & Grossberg, L. (2005). Sound and vision the music video reader. London: Routledge publishers.

Hogan, M., Bar-on, M., & Strasburger, V. C. (2009). Impact of music lyrics and music videos on children and youth. American Academy of pediatrics, 124, 1488–1494

Vernallis, C. (2004). Experiencing music video aesthetics and cultural context. New York: Columbia University Press.

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