OS E-Magazines

OS World1 E-Magazine (3rd Edition) 2023 – ft – TegaSax

Column 1

Tegax (The  11-Years Old Multi-instrumentalist)

Oghenetega shedrack Ighogboja popular known as (tegasax). Is the first child of Mr. and Mrs. Ighogboja from Warri delta state, His family resides in Lagos.

TegaSax was born in Born in  Onike yaba mainland local government on 15th December 2011.
He started his primary his education in Bikurrim crèche school unilag road lagos, then moved to God blessing kiddies college ibadan and presently a student of Landmark college ikorodu Lagos state. As an Ambitious young boy, TegaSax hopes to become a Naval officer someday.

As a little kid growing up in a family that loves music and As a celestial Family, his love for music grew from his tender age even though his dad is a drummer in the celestial church choir Tega found his interest embedded in saxophone and in a little span of time he had advanced to playing different orchestral and percussion instruments. His saxophone playing skills was fine tuned by ace saxophonist @balosax,and Tope Philip.

TegaSax has been Opportuned to share the stage with aces Artistes such as Dr Yinka Ayefele MON,  Remilekun Amos,  Bisi Alawiye-Aluko, Esther Igbekele,  Abel Dosunmu mega99, Ajidara, Big bolaji, Beejaysax,  Segun uniq ,Dotvocalz, Yinka Alaseyori,  Feranmi Golden Angel, Taye currency, Dr prince Busayo Odutayo, Alayosinger, Harmony Melody, Oreofesax, Lizzy , Lady Evang Seto Akinsete, Lady Evang Bukola Akinade Senwele jesu,  and many others.

And he’s been a regular guest at different television and Radio stations interview with the recent once at Kaftan TV, Ijiroro Owuro Startime, Amuludun FM and Space 90.1 ibadan among others.

He as received different award of recognition from different parts of Nigeria ranging from
Youngest saxophonist in celestial church of christ world wide in 2021 from Ajigah entertainment, Element media concept Certificate of recognition 2022..
Celestial vibes 2022 SAXKID AWARD, Ogo cele ministry global Award of appreciation 2022 and many others

TegaSax in interview with Team OS World1

Question:: As a young boy how do you balance Education and Music?
I have schedules for my academic and music, I create time to rehearse and there’s time also for studying, I never miss assignments and I also pay attention to my music

Question:: Who are your music mentors?
Answer:: I pay attention to everyone that has been in the line before me and my peer mates musically but those I can call my keen mentor that I stay up to date with and lucky to have met some are Harjovy Michael, balosax, beejaysax, testimony jaga, Tope Philip, don moen, Evang Dr bussy Odutayo, Evang Tope Olajengbesi, Charles parker,Ray Abrams, Richard shaw Jr

Question:: Do you have like a slogan or a stage attraction slag that is unique to your brand?

Answer:: oh yes It’s – Tegasax is here Jehovah is here. I love God, my family is a Godly family and my training are in line with Gods instructions.

Questions::So what project do you have on grounds right now or cooking up to project to the world soon?

Answer:: I started my online program Tagged (MY GIFT AND I) to showcase upcoming talents and encourage my fellow friends and also planing to unveil my 1st concert soon (OGHENETEGA 1.0)

Question:: What’s does OGHENETEGA means?

Answer:: (Smile) oghenetega is an urhobo language OGHENE IS GOD, TEGA IS WORTHY TO BE PRAISE. OLORUNTOSIN and by the grace of God the concept will be graced with the presence of my daddy’s and mummy’s in the Lord.

Question:: Mentions Some of the Favorite places you have been to and performed in Nigera ?

Answer:: Hmm I have performed in a lot of places,  ONDO CITY, AKURE, OSHOGBO,  IBADAN, WARRI, ILESHA, BADAGRY, IJEBU ODE, ABEOKUTA, BENIN, ILESHA, EDE, OWO, LAGOS and others places like that …..

Question:: To round it up what’s your favorite quote that feels like communicate your mission to the people

Answer:: Being good to people is a wonderful legacy to leave behind.

You can Reach out to TegaSax on social media


Column 2

Intellectual Property and Copyright protection in the Music Industry

A presentation
At the Music Promotion Hub
Intellectual Property and Musicians Copyright
In house talk time


Intellectual property are the tangible possessions that are the result of the exercise of a persons intellect
They are intangible that is they cannot be physically felt but can be physically perceive

It’s separate the tangible from the intangible and allows the creative of people to enjoy special privileges and entitlement for thr works while others enjoy the physical possession of those works …. Examples include patent, copyright, physical indications, trademark, industrial indications, geographical indication etc

Our focus is on copyright which deals with our line of works

Copyright is a legal term used to describe the rights that creatives have over their literary, musical or artistic works. It is a type of intellectual property that confers exclusive right on the copyright owner and excludes any other person from reproducing or exploiting the work without the authorization of the copyright owner.


We have two rights protected
1- economical right
2- moral rights

The economical rights are the rights to make income, generate revenue and profit from your intellectual knowledge and creations
While Moral rights are the credit given to the owners of works and the recognition received for the creator of such intellectual work

👉Scope of copyright
According to the Nigerian Copyright Act (the “NCA”), works eligible for copyright are:
(a) literary works,
(b) musical works,
(c) artistic works,
(d) cinematograph works,
(e) sound recording,
and (f) broadcasts.

For copyright to be conferred on any of these works, the author must be a qualified person,
i.e., an individual who is a citizen of, or is domiciled in Nigeria;
or a body corporate incorporated by or under the laws of Nigeria.

Viewed from this perspective, it becomes immediately obvious that not all expressions can be protected by copyright.
Although not expressly stated in the Act, the following works are generally also not eligible for protection:
official government works (legislations and official documents),
or short phrases,
and facts.

Our focus being on the music works and sound recording


A copyright owner in a musical work has an exclusive right over acts stated in Section 6 (1) (a) of the NCA subject to the exceptions specified in the Second Schedule to the NCA.

These acts include the
👉🏾reproduction of the work,
👉🏾publication of the work,
👉🏾performance of the work in public,
👉🏾public display of the work,
👉🏾preparation of derivative works,
👉🏾commercial distribution of the work by way of rental, lease, hire, loan or similar arrangement, communication of the work to the public by a loudspeaker or any other similar device, translation/adaptation of the work,
👉🏾 making a cinematograph film or a record in respect of the work.

Thus, a composer of a music is given a right to record the music, sell or distribute copies of the music in different formats, stream the music, perform the music in public, make new work from the original work such as sampling one’s music in order to create a new song, amongst others. Copyright in musical work also extends to preventing others from doing any of these acts without one’s authorization.

A copyright owner in a sound recording has an exclusive right over acts stated in Section 7 (1) of the NCA.

👉🏾These include direct or indirect reproduction of the work,
👉🏾control of broadcasting or communication, recording of the whole or substantial part of the recording either in its original form or in any other form recognizably derived from the original, commercial distribution to the public for commercial purposes copies of the work by way of rental, lease, hire, loan or similar arrangement.

It is pertinent to state that copyright owners of sound recordings do not enjoy as much control as copyright owners of musical works do. This is because originality is not a requirement for the protection of sound recordings as is required for musical works.

It is apt to mention that copyright need not be registered in order to be protected in Nigeria as such is protected automatically from the moment the work is fixed.

Some others means of protection your works is through
1 – through digital music stores
2 – when under a label
3- Registering with the NCC branch of VOLUNTARY COPYRIGHT SCHEME (search google to read more about them )

By: Olajengbesi OS

A Law Student (Entertainment and Corporate law)

Media consultant and blogger

Column 3

Branding, Marketing, Publicity, Promotion & Advertising: Explained

Branding, marketing, publicity, promotion, advertising: each has a distinct role, but their interactions often muddle their definitions. Learning those definitions is a simple way to improve your marketing. To clearly define each is to understand what they do and how they work together, leading to more effective campaigns.

Marketing: The Message

While branding usually comes before marketing, it’s easier to talk about marketing first. Simply put, marketing involves crafting a message designed to create a specific outcome in a target audience. Marketing is communication. Marketing is asking an audience to do what you want.

Marketing in the music business can be difficult because of two factors: the audience and the outcomes.

With so many listeners, who should you try to reach?

And once you know who they are, what do you want them to do?

With marketing now clearly defined, asking these questions is the way to get your marketing started.

Ask yourself: “Who is my target audience?”

If the answer is “everyone,” prepare for disappointment. Why? Marketing has a cost, whether you spend money as part of a campaign, exert energy to run it, or even take the time to do so. “Everyone” is a considerable number. Even if you had enough money to reach “everyone,” do you think they’d all respond as you intended? Assuming you can (or must) reach everyone can be a costly and time-consuming mistake.

Audience targeting is crucial. Narrowing the size of your audience (through targeting by demographic information, including age, location, listening habits, etc.) will reduce your overall spending (whether that means money, time, or effort). Doing so will increase your marketing efficiency: you’ll only spend money on the audience you’ve targeted, only take time to talk to those who care, and only reach out to those who are interested.

Once you’ve found the audience most likely to listen, ask yourself a second question: “What do you want them to do?”

Should they follow you on social media? Stream your record? Sign up for your mailing list? Purchase your merch? All of the above? The potential outcomes can seem overwhelming but think about the exercise in targeting from above and repeat it here.

My (short) list of potential outcomes is ordered. Each question represents a stage in a journey from discovery to fandom, and just as you can target by demographics, you can segment by stage. Consider which outcome makes sense based on who you are planning to message. When you do, the choice becomes easier to make, and your message becomes more apparent.

That message—known to marketers as a “call to action”—is the question you pose to the audience. The more specific it is, the better. Clear calls to action are easier to follow, and if you’ve targeted your audience well, those hearing your message will take action based on it.

Branding: The Promise

But how do you ensure your target audience will listen? That’s where branding comes in. While marketing is the message you send, branding is the promise you make. Branding informs your audience; it tells them who you are and what to expect. Proper branding—done in advance of marketing—can set up your audience so that they hear your marketing messages.

The process of creating a brand involves careful consideration of who you are and how you present yourself in public. Doing so means presenting yourself in as clear, believable, and consistent a way as possible. You are trying to create an identity that fans will readily recognize, one they will intrinsically understand. By portraying yourself through a particular lens, you differentiate yourself from others, giving fans the ability to latch on to the qualities that make you unique.

An important consideration about branding is understanding the dynamic between brand identity and brand image.

Your brand identity is what you work to create; it’s what you control and project.

What the public sees is the brand image, a reflection of your identity.

Successful branding efforts result in brand alignment, a state in which the public’s image accurately reflects your identity. This means that people perceive your brand exactly as you intended. Achieving brand alignment means your audience gets you, creating favorable conditions in which they can easily understand your messages and are highly likely to act upon them.

Branding and marketing work hand in hand, but I like to distinguish between them by considering the words who and how.

Branding is the who—the opportunity to define yourself in the marketplace, attract fans to you, and tell them about yourself.

Marketing is the how—the opportunity to get those fans to do what you want by sending messages they can act upon.

Having defined branding and marketing, let’s turn to some tactics. Branding and marketing efforts are typically organized into campaigns. We can view campaigns as strategies, top-level plans designed to accomplish some stated goal. The outcomes I listed previously are all potential goals, and the campaign’s size is proportional to the desired outcome.

If you were looking for another reason why the music business marketing can be confusing, this is it. Outcomes are often intertwined and interdependent.

You want to get fans to purchase your products? You need to capture fans first.

How do you get those fans? You need to increase followers.

As a result, campaigns may have multiple goals and require different tactics to work.

Three common tactics include publicity, promotion, and advertising. Each is distinct, requires different tools and assets to function, and provides a different result. Learning to use them together is a key to creating and running an integrated marketing campaign, one where each element supports the others and the ultimate goal.

Promotion: Making Things Happen

The word promotion carries two meanings, one specific to the music industry. In general, promotions are tactics designed to raise awareness or engagement. It’s a very broad term and can involve various methods, including publicity, advertising, direct marketing, and sales. These are all large-scale efforts; smaller promotional tactics can include running contests, distributing flyers, running email campaigns, and offering discounts. Every marketing plan will involve multiple promotions such as these.

In the music business, the word promotion takes on a second meaning involving radio, and more recently, playlisting. Unlike the more general definition above, these efforts are specifically designed to achieve airplay or an editorial playlist placement.

It is a fact that getting followers to become fans involves getting them to listen to the music. Your music is vital to your brand identity, but convincing potential fans to listen can be extremely hard. Radio and playlist promotion are designed to make that happen.

Publicity: Getting the Word Out

Publicity is the act of getting attention in the media, whether through newspapers, magazines, radio, TV, blogs, or social. This tactic may involve hiring a publicist, a representative who has connections and will pitch outlets for placement.

The goal with publicity is to get third parties to pick up your story and present it to their consumers. Presumably, such outlets are viewed favorably, and running a story about you and your music provides both legitimacy and reach.

Publicity can provide support for both your branding and marketing efforts. Your association with a particular outlet can be seen as a cosign, helping to establish your brand identity. Appearing in the media can also spread your marketing message, helping to activate your target audience.

It’s important to note that media consolidation has severely limited the outlets available and has increased the competition for placements, especially because publicity is unpaid. Despite this, disreputable outlets abound, so be careful: never exchange money for placement (and if an outlet demands pay-for-play, it’s likely a scam).

Advertising: Serving Up Your Message

General promotions and publicity are harder to control than advertising. Advertising is a specific promotional effort that involves paying to get your message out.

A benefit of advertising is that you have control over the content and message, as opposed to publicity, where a campaign might be at the whim of a writer or editor.

Advertising can take many forms, from purchasing billboards or other outdoor display methods to paying for space in a traditional media outlet to digital means, including banner or text ads. Given that so much listening now happens online, digital means are highly effective, as they can be very narrowly targeted and tracked.

An Informed and Integrated Approach

Once you’ve made the music and are planning your outreach, consider these definitions.

Learning the differences between branding, marketing, publicity, promotion, and advertising means clarifying your approach, considering your goals, and putting a plan together.

Understanding each will make a difference in your overall marketing. Knowing what they can accomplish will help create an integrated plan that puts them all to work to get you heard

Click here to Open