Co esponding au ho : Mahmood Danasabe
Copy igh © 2025 Au ho (s) e ain he copy igh o his a icle. This a icle is published unde he e ms o he C ea i e Commons A ibu ion Liscense 4.0.
In luence o music ideo on you h social beha io in ede al uni e si y Gashua, Yobe
s a e, Nige ia.
Mahmood Danasabe 1, *, Yahaya Da ijo Abubaka 2, Abubaka Alhassan 2, Im ana Kabi u 2, Uma Ga ba
Suleiman 3 and Emmanuel Abah 1
1 Depa men o Psychology, Fede al Uni e si y Gashua, Yobe s a e, Nige ia.
2 Depa men o In o ma ion and Heal h In o ma ics, Fede al Uni e si y o Heal h Science Aza e, Bauchi S a e, Nige ia.
3 Psychological se ice uni , men al heal h depa men , FMC Ngu u, Yobe S a e, Nige ia.
Wo ld Jou nal o Ad anced Resea ch and Re iews, 2025, 26(02), 1655-1667
Publica ion his o y: Recei ed on 22 Ma ch 2025; e ised on 09 May 2025; accep ed on 11 May 2025
A icle DOI: h ps://doi.o g/10.30574/wja .2025.26.2.1598
Abs ac
The p esen s udy in es iga ed he impac o music ideo con en on social beha io among unde g adua e s uden s a
Fede al Uni e si y Gashua, Yobe S a e, u ilizing a single ac o expe imen al design. A non-p obabili y sampling
echnique was employed, wi h 390 ques ionnai es adminis e ed, esul ing in 357 alid esponses. Fou s anda dized
ins umen s we e used o da a collec ion: he Con en -based Media Exposu e Scale, Cap a a’s P osocial Scale o Adul s,
and he Media In luence on Beha io Scale, compiled in o a 34-i em ques ionnai e. Desc ip i e s a is ics p o ided a
summa y o he da a, while in e en ial analyses using eg ession echniques assessed he hypo heses. The esul s
indica ed ha music ideo exposu e signi ican ly in luenced social beha io , accoun ing o 44.6% o he a iance ( =
9.350, p < 0.001). Con e sely, gende and age we e ound o ha e negligible e ec s on social beha io , wi h no signi ican
indings (p > 0.05). These indings show he subs an ial ole o music ideo con en in shaping you h social beha io s,
sugges ing ha u he explo a ion o media in luence is essen ial o unde s anding i s b oade implica ions on socie al
no ms. Implica ions o media consump ion and ecommenda ions o u u e esea ch a e discussed.
Keywo ds: Age; Gende ; Music; Music Video; Social Beha iou ; You h
1. In oduc ion
Music is as a powe ul cul u al o ce ha signi ican ly shapes he socializa ion o you hs (16). I pe mea es a ious
aspec s o hei li es, accessible h ough adio, eco dings, he in e ne , and new echnologies. Whe he lis ened o alone
o sha ed wi h iends, popula music plays a c ucial ole in hei emo ional expe iences, mood, and beha io (15).
S uden s use music o a ious ace s o li e ela ed o lea ning and well-being, encompassing physical heal h, social
connec ions, posi i e emo ions, sel -es eem, and exis en ial meaning (39).
You h is a dynamic and ans o ma i e s age o li e cha ac e ized by explo a ion, iden i y o ma ion, and social
engagemen . Typically encompassing ages 15 o 24, his pe iod is c ucial as young indi iduals na iga e hei ansi ion
om adolescence o adul hood. In con empo a y socie y, he in luence o a ious media o ms, pa icula ly music
ideos, has become inc easingly p onounced in shaping he a i udes, beha io s, and alues o you h. The impac o
music ideos on young people's social beha io is mul i ace ed. Music ideos se e no only as en e ainmen bu also
as po en cul u al ex s ha con ey messages abou iden i y, ela ionships, and socie al no ms (21). Fo many you hs,
music ideos se e as sou ces o inspi a ion and aspi a ion, as well as e lec ions o hei li ed expe iences. Videos
in luenced sel -image, pe cep ions and beha io s among you h. (21).
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Pee g oup plays a c i ical ole in how you hs in e p e and engage wi h music ideos. Young people o en discuss and
sha e hei a o i e ideos, c ea ing a sha ed cul u al expe ience ha s eng hens social bonds. This communal
consump ion enhances he ele ance o he music ideo con en and can lead o he adop ion o beha io s depic ed in
he ideos. I a popula ideo glo i ies a pa icula li es yle, such as pa ying, ashion, o a i udes owa ds ela ionships
and you hs may eel compelled o emula e hese beha io s o gain social accep ance o align wi h p e ailing ends
among hei pee s (42, 23). The p essu e o con o m can be pa icula ly acu e in uni e si y se ings, whe e social
iden i y and belonging a e pa amoun .
Howe e , i is essen ial o ecognize ha he impac o music ideos is no uni e sally posi i e. While hey can p omo e
c ea i i y, sel -exp ession, and social awa eness, hey can also pe pe ua e ha m ul s e eo ypes and un ealis ic
s anda ds. Young indi iduals may g apple wi h issues such as body image, subs ance use, and gende oles, hea ily
in luenced by he con en hey consume. Example, exposu e o hype sexualized po ayals in music ideos could lead
o isky sexual beha io s among you hs, as hey may in e nalize hese po ayals as no ma i e (2). In egions like Yobe
S a e, whe e adi ional alues may clash wi h mode n in luences, he ole o music ideos can become e en mo e
complica ed as you hs na iga e hei iden i ies in ela ion o bo h local and global cul u es.
You hs o en u n o music o en e ainmen , dis ac ion, and emo ional elie . I p o ides a sound ack o hei li es,
se ing as a coping mechanism o loneliness and a means o asse con ol o e hei emo ions. Mo eo e , music
acili a es omance and os e s ela ionships, con ibu ing o iden i y o ma ion and g oup in eg a ion wi hin you h
cul u e (5). In examining music ideos on you h social beha io , i is essen ial o conside no only he con en o hese
ideos bu also hei b oade socie al impac . Music ideos se e as powe ul mediums h ough which cul u al
na a i es a e dissemina ed and ein o ced, o en e lec ing p e ailing social a i udes and alues (18). In egions such
as Kano S a e in no he n Nige ia, whe e conse a i e eligious belie s hold sway, music ideos ha de ia e om
adi ional no ms may p o oke con o e sy and esis ance among local communi ies as well as ea u ing o e ly sexual
o p o oca i e image y (3, 1). Con e sely, in cosmopoli an cen e s like Lagos, music ideos may e lec and pe pe ua e
ends in you h cul u e, including ashion, language, shaping he iden i ies and aspi a ions o young people and social
in e ac ions. (26, 27).
Con empo a ily and as s echnology ad ances and access o media becomes mo e widesp ead, he pe asi e in luence
o music ideos on he beha io and a i udes o young people canno be o e looked. Jus as Nige ia has g appled wi h
a ious secu i y challenges o e he yea s, anging om insu gency o o ganized c ime, oday's you h ace a di e en
kind o challenge, one ha s ems om he messages and image y con eyed h ough music ideos (45, 47).
The in eg a ion o music ideos in o digi al pla o ms and social media has acili a ed widesp ead dissemina ion and
engagemen o beha iou s change o s uden s ac oss he globe (29). While some esea ch sugges s ha exposu e o
music ideos can ha e posi i e e ec s, such as os e ing c ea i i y, sel -exp ession, and cul u al awa eness, conce ns
ha e been aised abou po en ial nega i e consequences (25, 4, 17,12), These ideos o en depic idealized li es yles,
oman icized ela ionships, and aspi a ional goals, p esen ing a cu a ed e sion o eali y ha may di e ge om ac ual
li ed expe iences. Consequen ly, you h may in e nalize hese ep esen a ions and s i e o emula e he beha io s and
li es yles po ayed in music ideos, leading o he adop ion o ce ain social beha io s and iden i ies.
The con en o music ideos, which has become inc easingly explici , o en includes hemes o d ugs, sex, and iolence
(43). The image y in hese ideos can glamo ize isky beha io s wi hou adequa ely add essing hei consequences,
po en ially no malizing such beha io s among you h. This no maliza ion can desensi ize young indi iduals o he
implica ions o isky beha io s o e en lead o hei emula ion, hus impac ing hei decision-making p ocesses and sel -
es eem (1). Mo eo e , he po ayal o gende oles, s e eo ypes, and body image ideals in music ideos can pe pe ua e
ha m ul socie al no ms and con ibu e o issues such as body dissa is ac ion and low sel -es eem among ulne able
you h popula ions.
Music ideos, as well as he b oade music cul u e, a e impo an o shaping indi idual iden i y and g oup dynamics in
adolescence. The ansi ion om adolescen age o adul hood is a c ucial phase o any indi idual’s li e. Du ing his phase,
indi iduals encoun e many challenges, and i o en becomes e y di icul o na iga e social in luences while
main aining a heal hy sense o iden i y and sel -es eem (26). In he p esen esea ch, a c i ical ques ion has been aised
abou he ype o media en i onmen ha con ibu es o he o ma ion o a i udes, belie s, and beha io s among
adolescen s.
I has been a gued ha media exposu e, including music ideos, ei he posi i ely o nega i ely in luences he social
beha io and sel -wo h o young indi iduals (7,4). Hence, his is a phenomenon ha equi es empi ical in es iga ion.
The pe asi e na u e o music ideos in oday's digi al age makes i essen ial o unde s and hei ole in shaping you h
Wo ld Jou nal o Ad anced Resea ch and Re iews, 2025, 26(02), 1655-1667
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beha io . The esea che examines how music ideos in luence he social beha io o adolescen s wi hin a ious
Nige ian con ex s, pa icula ly among unde g adua e s uden s o Fede al Uni e si y, Gashua, Yobe s a e.
2. Re iew o li e a u e
2.1. Resea ch unde pinning heo ies
Social lea ning heo y, Cul i a ion heo y and social iden i y heo y guide his s udy. Indi iduals lea n and copy
beha io s h ough obse a ion, imi a ion, and ein o cemen wi hin social se ings as p oposed by social lea ning iew
(9). The same sou ce s essed he ole o cogni i e p ocesses (a en ion, e en ion, ep oduc ion, and mo i a ion) in
shaping beha io . Social lea ning heo y in his s udy p o ides a amewo k o unde s anding how exposu e o music
ideos in luences you h social beha io . Bandu a (9) asse s ha indi iduals lea n by obse ing he beha io s o o he s,
pa icula ly when hose beha io s a e ein o ced o ewa ded. Acco ding o Amoyedo-Pe e , (7), music ideos se e as
powe ul sou ces o social modeling, p esen ing a wide ange o beha io s and social in e ac ions o young iewe s o
obse e and adop .
Exposu e o music ideos can in luence you h social beha io h ough a ious mechanisms ou lined in social Lea ning
heo y. This includes; how you h obse e he beha io s, a i udes, and in e pe sonal in e ac ions depic ed in music
ideos. They pay a en ion o he cha ac e s, se ings, and na a i es p esen ed, which se e as models o beha io .
Adolescence may imi a e o emula e hose beha io s in hei own li es. They may mimic he clo hing s yles,
manne isms, o social in e ac ions po ayed in music ideos as a way o exp essing hemsel es o i ing in wi h pee
g oups (8,13, 10).
Alongside he po en ial bene i s, music ideos also pose isks o you h social beha io . The po ayal o gende oles,
s e eo ypes, and body image ideals in music ideos can pe pe ua e ha m ul socie al no ms and con ibu e o he
in e naliza ion o un ealis ic beau y s anda ds among young indi iduals. These ep esen a ions may exace ba e body
dissa is ac ion, low sel -es eem, and diso de ed ea ing beha io s, pa icula ly among adolescen s who a e ulne able
o socie al p essu es and pee in luences. Music ideos also pose isks o you h social beha io and oman icize isky
beha io s such as subs ance use, iolence, and sexual p omiscui y (24,11).
A quali a i e analysis o popula hip-hop songs was done o assess he ep esen a ion and ein o cemen o Connell’s
heo y o hegemonic masculini y. The indings e ealed a signi ican p opo ion o hese songs con ained hemes o
sexism, ma e ialism, and iolence, which we e associa ed wi h he deg ada ion o women, p omo ion o iolence as
no ma i e beha io o men (40). Su ey and ocus g oup s udy on social media on pe cep ion ound ha exposu e o
idealized images on social media was associa ed wi h inc eased body dissa is ac ion and lowe sel -es eem among
adolescen s (44,48). I is clea ed ha he e ec s o media ha e de imen al e ec s by po ayals o idealized body ypes
on young indi iduals' body image pe cep ions.
In addi ion o social lea ning heo y, Cul i a ion Theo y pos ula ed by Geo ge Ge bne , (1960s) posi s ha epea ed
exposu e o media con en o e ime shapes indi iduals' pe cep ions o social eali y. I sugges s ha media po ayals
in luence iewe s' belie s, a i udes, and beha io s by cul i a ing sha ed unde s andings o he wo ld en i onmen (34).
This model is signi ican ly ele ance and p o ides a amewo k o unde s anding how exposu e o music ideos
in luences you h social beha io by shaping hei pe cep ions o social no ms, alues, and beha io s. The in luence o
music ideos on you h social beha io p esen s a unique se o challenges ha wa an explo a ion and unde s anding
(27). Music ideos, as a o m o mass media, con ibu e o he homogeniza ion o cul u al alues and no ms by
p esen ing consis en messages and ep esen a ions ac oss di e se audiences. You h exposed o music ideos may
in e nalize hese sha ed cul u al unde s andings and pe cei e ce ain beha io s as no ma i e o desi able (44,46,20).
You h who esona e wi h he hemes and na a i es p esen ed in music ideos may be mo e likely o adop simila
a i udes and beha io s in hei own li es (37,38).
Cul i a ion Theo y also sugges s ha exposu e o media con en , including music ideos, can con ibu e o pe cep ions
o a "mean wo ld," cha ac e ized by iolence, c ime, and social ins abili y. You h who consume music ideos ea u ing
hemes o agg ession, subs ance use, o isky beha io may de elop heigh ened pe cep ions o socie al h ea s and
adop de ensi e o mis us ul a i udes owa ds o he s (19). Cul i a ion heo y is connec ed o music ideo on you h
social beha io which sugges s ha exposu e o music ideos in luences you h social beha io by shaping hei
pe cep ions o social eali y and cul u al no ms. Thus, he mo e you h a e exposed o music ideos con aining ce ain
beha io s o social no ms, he mo e likely hey a e o in e nalize and ep oduce hose beha io s in hei own li es (19).
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In ano he di e en opinion, Social Iden i y heo y posi s ha indi iduals o m hei sel -concep s based on hei
iden i ica ion wi h social g oups, and ha hese social g oups con ibu e o he o ma ion o a pe son’s a i udes, belie s,
and beha io s (41,33).). Acco ding o his heo y, an indi idual’s social iden i y is de i ed om hei membe ship in a
pa icula social g oup, and his iden i y becomes an impo an pa o hei sel -concep . This model heo y p oposes
ha g oup membe ship is associa ed wi h ce ain a i udes and beha io s, as well as wi h a sense o belonging and
connec edness o he g oup.
Indi iduals ca ego ize hemsel es and o he s in o social g oups, and hey s i e o main ain a posi i e social iden i y by
emphasizing simila i ies wi h in-g oup membe s and di e en ia ing hemsel es om ou -g oup membe s (21). You h
may iden i y wi h he a is s, cha ac e s, o na a i es po ayed in music ideos, pa icula ly i hey pe cei e
simila i ies be ween hemsel es and he indi iduals depic ed. This iden i ica ion os e s a sense o connec ion and
belongingness o he social g oups ep esen ed in music ideos. I can be deduced in his heo y ha you h engage in
social compa ison p ocesses by compa ing hemsel es o he idealized images and li es yles p esen ed in music ideos.
They may s i e o emula e he beha io s and a ibu es o hei a o i e a is s o celeb i ies as a means o enhancing
hei social iden i y and sel -es eem (10).
2.2. Empi ical s udies
An expe imen al s udy was done o assess he causal ela ionship be ween exposu e o K-Pop music ideos and nega i e
body image among eenage s. Using a sample o 76 eenage s om high schools in he Uni ed S a es and Eu ope,
pa icipan s we e andomly assigned o wa ch ei he a K-Pop o classical music ideo, ollowed by a ing hei body
image pe cep ion. Con a y o hypo heses, he s udy did no ind e idence suppo ing a causal link be ween K-Pop music
ideo exposu e and nega i e body image. Addi ionally, explo a o y analyses e ealed no signi ican di e ences based
on e hnici y, gende , o coun y o esidence. Howe e , Ame ican eenage s exhibi ed mo e nega i e body image
pe cep ions compa ed o Eu opean eenage s (8,6).
Rubin and Windahl, (32} conduc ed a apid e iew o e alua e in e en ions examining he e ec s o music exposu e
on p osocial beha io , aiming o iden i y beha io change echniques (BCTs) and mechanisms o ac ion in ol ed in his
ela ionship. The e iew included 15 esea ch a icles comp ising 19 ele an s udies. Despi e some limi a ions, such
as insu icien in o ma ion in some s udies o adequa e coding, he e iew shed ligh on key BCTs and MOAs.
The s udy highligh ed he impo ance o unde s anding he psychological and beha io al e ec s o music, emphasizing
i s ole in e oking emo ional esponses, in luencing mood s a es, a i udes, decision-making, and judgmen s. While pas
esea ch has explo ed a ious psychological e ec s o music, he e's g owing in e es in i s impac on p osocial
beha io . P osocial beha io , de ined as olun a y ac ions in ended o bene i o he s, encompasses a wide ange o
ac ions om cha i able dona ions o helping beha io s and en i onmen al conse a ion e o s. The e iew iden i ied
se e al BCTs commonly u ilized in music-exposu e in e en ions a ge ing p osocial beha io , including "Ins uc ion
on how o pe o m a beha io ," "Salience o consequences," "Reduce nega i e emo ions," and "Iden i ica ion o sel as
ole model." These echniques aim o add ess emo ional esponses, p o ide guidance on beha io , and emphasize he
consequences o ac ions (36).
Olsen e al., (27) conduc ed esea ch aiming o add ess conce ns ega ding he po en ial isks associa ed wi h p olonged
exposu e o hea y me al music con aining agg essi e hemes. While he e is a common belie ha such music can lead
o agg ession, ange , an isocial beha io , subs ance use, suicidal idea ion, anxie y, and dep ession, he au ho s a gue
ha he ela ionship be ween hea y me al music and psychological ou comes is mo e nuanced. They sugges ha ans
o hea y me al music o en de i e emo ional and social bene i s om lis ening o i , including imp o ed mood, iden i y
o ma ion, and pee a ilia ion. In con as , non- ans, o en used as pa icipan s in expe imen al esea ch, end o epo
nega i e psychological expe iences. The e iew syn hesizes empi ical indings o in o m clinical s a egies o
iden i ying indi iduals o whom hea y me al music may pose isks and hose o whom i may con e psychosocial
bene i s.
Van Ouy sel, Ponne , and Wal a e (46) examine he p e alence and p edic o s o digi al moni o ing beha io s among
adolescen s, aming cybe da ing abuse h ough a social lea ning pe spec i e. Da a om 466 seconda y school s uden s
in Flande s, Belgium, e ealed ha being emale, olde , and in luenced by pee no ms signi ican ly co ela ed wi h
engaging in digi al moni o ing. Addi ionally, exposu e o con olling beha io s om a he s and he endo semen o
gende s e eo ypes we e also posi i ely associa ed wi h such beha io s. The indings sugges ha in e en ion e o s
should ocus on al e ing pe cei ed social no ms su ounding da ing abuse, add essing amily dynamics, and challenging
gende s e eo ypes. By a ge ing hese a eas, p og ams can be e mi iga e he occu ence o cybe da ing abuse and
p omo e heal hie ela ionship beha io s among adolescen s.
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Music ideos, as well as he b oade music cul u e, a e impo an o shaping indi idual iden i y and g oup dynamics in
adolescence. The ansi ion om adolescen age o adul hood is a c ucial phase o any indi idual’s li e. Du ing his phase,
indi iduals encoun e many challenges, and i o en becomes e y di icul o na iga e social in luences while
main aining a heal hy sense o iden i y and sel -es eem (26). In he p esen esea ch, a c i ical ques ion has been aised
abou he ype o media en i onmen ha con ibu es o he o ma ion o a i udes, belie s, and beha io s among
adolescen s. I has been a gued ha media exposu e, including music ideos, ei he posi i ely o nega i ely in luences
he social beha io and sel -wo h o young indi iduals (45). Hence, his is a phenomenon ha equi es empi ical
in es iga ion. The pe asi e na u e o music ideos in oday's digi al age makes i essen ial o unde s and hei ole in
shaping you h beha io . The esea che examines how music ideos in luence he social beha io o adolescen s wi hin
unde g adua e s uden s in Nige ian, pa icula ly in Fede al Uni e si y Gashua, Yobe s a e.
3. Me hodology
3.1. S udy Se ings
This esea ch was ca ied ou among unde g adua e s uden s o Fede al Uni e si y Gashua, Yobe S a in he no he n
eas e n pa o Nige ia. The esea che s used he a ious depa men al lec u e halls ac oss he i e acul ies o he
Uni e si y wi h mo e han wen y- i e depa men s in o de o ha e access o a di e se pa icipan o s uden s. These
se ings we e selec ed o c ea e a amilia and com o able en i onmen , encou aging pa icipan engagemen du ing
he adminis a ion o he ques ionnai es. The lec u e halls p o ided adequa e space o g oup adminis a ion, ensu ing
ha pa icipan s could comple e he su eys wi hou dis ac ions.
3.2. Design o he S udy
The s udy adop s a single ac o expe imen al design (one ac o design) as he e is only one independen a iable;
music ideos which was measu ed ac oss di e en ypes o con en (agg essi e, neu al, and p osocial). The dependen
a iable, social beha io , was examined a wo le els (p osocial and an isocial beha io s). Addi ionally, quasi-
independen a iables such as gende (male and emale) and age (ea ly adolescen s, la e adolescen s, and young adul s)
we e explo ed. This design allowed o a de ailed examina ion o how di e en ypes o music ideo exposu e in luence
you h social beha io .
3.3. Pa icipan s
Based on he non-p obabili y sampling echnique, h ee hund ed and nine y male and emale s uden s wi hin he
esea ch se ing we e sampled. Thei ages anged om 16 o 20 and abo e. O he 390 ques ionnai es adminis e ed o
he esea ch pa icipan s, 357 alid ques ionnai es we e sco ed while he o he 33 we e in alid as hei esponden s
ga e con lic ing esponses. Based on he alid ques ionnai es, a o al numbe o 29 esponden s we e below 20 yea s,
127 we e be ween he ages o 21 - 25, 110 esponden s we e be ween he ages o 26 - 30 yea s, while 108 esponden s
we e abo e 30 yea s. A o al 176 male s uden s and 181 emale s uden s we e in ol ed in he s udy.
3.4. Ins umen s
In his esea ch, a ange o s anda dized ins umen s was employed o ensu e accu a e and eliable da a collec ion
ega ding he in luence o media con en on beha io . Fou ins umen s we e used; he Con en -based Media Exposu e
Scale, de eloped by K ahé and Mölle (2010), which measu es he equency o exposu e o media con en , including
bo h an isocial and p osocial hemes. The Cap a a’s (2005) P osocial Scale o Adul s which measu es pa icipan s'
p osocial beha io and las ly, he Media In luence on Beha io Scale, de eloped by W. James Po e (1993), which
measu es he pe cei ed impac o media con en on indi idual beha io s. These ins umen s we e compiled in o a wo-
page, 34-i em ques ionnai e designed o elici comp ehensi e esponses om pa icipan s. The combina ion o hese
s anda dized scales p o ided a obus amewo k o da a collec ion, acili a ing a ho ough examina ion o he e ec s
o media con en on beha io .
The Con en -based Media Exposu e Scale con ains 12 i ems ha measu ed he equency o exposu e o media con en ,
including an isocial and p osocial hemes. Each i em is a ed on a 7-poin Like scale. This scale is widely used in s udies
conce ning media con en and was adap ed o use in his esea ch o ocus on he con en o music ideos. The o he
ins umen , P osocial Scale o Adul s, consis s o 16 i ems sco ed on a 5-poin Like scale, anging om 1
(Ne e /almos ne e ue) o 5 (Almos always/always ue). The scale is designed o cap u e he ex en o which
indi iduals engage in helping, sha ing, and al uis ic beha io , e lec ing he posi i e social impac s o p osocial media
con en . While, he Media In luence on Beha io Scale, con ains 6-i em scale, measu es he pe cei ed in luence o media
con en , pa icula ly music ideos, on indi idual beha io . I assesses a ious aspec s o social beha io such as
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agg ession, subs ance use, and ela ionship dynamics. To sco e he i ems, a alue is assigned o each o he 6 i ems as
ollows; i ems 1, 2, 3, 5, 6 a e di ec ly sco ed. Gi e “S ongly Disag ee” = 1 poin , “Mode a ely Disag ee” = 2 poin s,
“Disag ee Sligh ly” = 3 poin s, “Neu al” = 4 poin s, “Ag ee Sligh ly” = 5 poin s, “Mode a ely Ag ee” = 6 poin s, “S ongly
Ag ee” = 7 poin s. I ems 4 is e e sed in alence. Gi e; “S ongly Disag ee” = 7 poin s, “Mode a ely Disag ee” = 6 poin s,
“Disag ee Sligh ly” = 5 poin s, “Neu al” = 4 poin s, “Ag ee Sligh ly” = 3 poin s, “Mode a ely Ag ee” = 2 poin s, “S ongly
Ag ee” = 1 poin . The o al sco e anges om 6 o 42, wi h highe sco es indica ing a s onge pe cei ed in luence o
media on beha io . To calcula e he o e all sco e, sum he alues o all 6 i ems. Sco es a e kep on a con inuous scale,
e lec ing he ex en o media in luence on he indi idual. The C onbach Alpha o he Media In luence on Beha io Scale
shows a high in e nal consis ency eliabili y o 0.82 and es - e es eliabili y o 0.80, ensu ing i s eliabili y in
measu ing he cons uc .
3.5. P ocedu e o Da a Collec ion
Adminis a ion o he ques ionnai e was done by he esea che by ge ing in o he a ious depa men al lec u e halls
o adminis e ools o he pa icipan s a e seeking and ob aining hei consen . Ques ions on i ems ha we e iewed
ambiguous by pa icipan s we e en e ained Al hough he e was no ime es ic ion, no pa icipan exceeded 30
minu es.
3.6. Sampling Technique
In choosing sample elemen s, he esea che was guided by wha he conside s ypical cases which a e mos likely o
p o ide him wi h he equisi e da a o in o ma ion. A judgmen al sampling echnique, a ype o non-p obabili y
sampling, was employed o his esea ch. This me hod was chosen based on he esea che 's assessmen o which
pa icipan s would p o ide he mos ele an da a, ocusing on s uden s who egula ly consumed music ideo con en .
The judgmen al sampling echnique ensu ed ha he sample ep esen ed ypical cases in he popula ion being s udied.
3.7. Me hod o da a analysis
Desc ip i e s a is ics, including means and s anda d de ia ions, we e calcula ed o p o ide a summa y o he da a
collec ed om he ques ionnai es. These s a is ics o e ed insigh s in o he a iabili y o pa icipan s’ esponses
ega ding media exposu e, p osocial beha io s, and pe cei ed media in luence. In e en ial s a is ical analyses we e
conduc ed using eg ession echniques. The signi icance le el was se a p < 0.05, and e ec sizes we e calcula ed o
de e mine he p ac ical ele ance o he esul s.
3.8. E hical conside a ions
In o med consen was ob ained om each pa icipan p io o hei in ol emen , ensu ing hey we e ully awa e o he
s udy's pu pose, p ocedu es, and hei igh o wi hd aw a any ime wi hou penal y. Con iden iali y was s ic ly
main ained, wi h pe sonal da a anonymized o p o ec pa icipan s’ iden i ies and ensu e ha esponses emained
p i a e. The esea ch p o ocol ecei ed app o al om he depa men , and all p ocedu es adhe ed o es ablished
e hical guidelines in psychological esea ch.
4. Da a analysis, esul and discussion
4.1. Desc ip i e esul s
The desc ip i e and in e en ial esul s a e p esen ed in his chap e . The desc ip i e esul s show he mean, s anda d
de ia ion o Social Beha iou , Music Video and model summa y o he eg ession analysis p esen ed in ables 1 and 2
below.
Table 1 Mean and S anda d De ia ion o Social Beha iou and Music Video
Mean
S anda d De ia ion
Social Beha iou
60.6
15.5
Music Video
62.5
17.1
Gende
1.50
0.5
Age
27.6
5.9
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Table 1 shows he means and s anda d de ia ion o Social Beha iou , and Media Exposu e. The able e ealed he
ollowing mean sco es o Ages (M = 27.6, SD = 5.9), Gende (M = 1.50, SD = .5), Music Video (M = 62.5, SD = 17.1). The
mean sco e o Social Beha iou was 60.6 (SD = 15.5).
Table 2 Summa y o Coe icien s Reg ession Model Coe icien s
Model
Uns anda dized Coe icien s
S anda dized Coe icien s
Sig.
B
S d. E o
Be a
1
(Cons an )
42.402
4.803
8.829
.000
Age
0-.304
0.123
0-.118
0-2.470
0.014
Gende
0.473
1.467
0.015
0.323
0.747
Music Video
0.413
0.043
0.458
9.615
0.000
Dependen Va iable – Social Beha iou
Hypo hesis 1: The e will be a signi ican in luence o music ideo on social beha iou among unde g adua e o Fede al
Uni e si y Gashua, Yobe s a e.
Table 3 Reg ession: Music Video and Social Beha iou
Model
Uns anda dized Coe icien s
S anda dized Coe icien s
Sig.
B
S d. E o
Be a
Music Video
0.402
0.043
0.446
9.350
0.000
The esul o hypo hesis one showed ha he eg ession coe icien o Music Video in he es ima ed eg ession line is
.446 which indica es ha 44.6% change in social beha iou among unde g adua e s uden s o Fede al Uni e si y
Gashua, Yobe s a e was accoun ed o by music ideo. The alue o he calcula ed s a is ic o music ideo is signi ican ,
= 9.350, p = 0.000 (p<0.05). This means ha , he e is a signi ican in luence o music ideo on social beha iou among
unde g adua e. The hypo hesis is suppo ed.
Hypo hesis 2: The e will be a signi ican in luence o gende on social beha iou among unde g adua e o Fede al
Uni e si y Gashua, Yobe s a e.
Table 4 Reg ession: Gende and Social Beha iou
Model
Uns anda dized Coe icien s
S anda dized Coe icien s
Sig.
B
S d. E o
Be a
Gende
0.763
1.640
0.025
0.465
0.642
The esul o hypo hesis wo showed ha he eg ession coe icien o gende in he es ima ed eg ession line is 0.025
which indica es ha 2.5% change in social beha iou among unde g adua e s uden s o Fede al Uni e si y Gashua, Yobe
s a e was accoun ed o gende . The alue o he calcula ed s a is ic o gende is no signi ican , = 0.465, p = 0.642 (p
>0.05). The hypo hesis is no suppo ed.
Hypo hesis 3: The e will be a signi ican in luence o age on social beha iou among unde g adua e o Fede al
Uni e si y Gashua, Yobe s a e.
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Table 5 Reg ession: Age and Social Beha iou
Model
Uns anda dized Coe icien s
S anda dized Coe icien s
Sig.
B
S d. E o
Be a
Age
0-.187
0.137
0-.073
-1.371
0.171
The esul o hypo hesis h ee showed ha he eg ession coe icien o age in he es ima ed eg ession line is 0.073
which indica es ha 7.3% change in social beha iou among unde g adua e s uden s o Fede al Uni e si y Gashua, Yobe
s a e was accoun ed o age. The alue o he calcula ed s a is ic o age is no signi ican , = -1.37, p = 0.17 (p >0.05).
This means ha , he e is insigni ican in luence o age on social beha iou among unde g adua e. The hypo hesis is no
suppo ed.
5. Discussion
The main goal o he p esen s udy was o analyse he signi ican in luence o music ideo on social beha iou among
unde g adua e o Fede al Uni e si y Gashua, Yobe s a e.
• H1: The e will be a signi ican in luence o music ideo on social beha iou among unde g adua e o Fede al
Uni e si y Gashua, Yobe S a e. The indings o he s udy suppo ed he hypo hesis; he esul s showed he e is
signi ican in luence o music ideo on social beha iou .
Besides, he indings suppo he wo k o Mog o-Wilson and T edinnick, (25) and G imani, A., Moog, A., & Vlae (14),
music plays an impo an ole in he socializa ion o you hs. This is o say ha equen lis ening o music enhances he
social li e o you hs and i also boos s hei le el o in e ac ion. They u he no ed ha lis ening o popula music is
conside ed by socie y o be a pa o g owing up expe iences. Ka say & Ma hes (17) added ha music p o ides
en e ainmen and dis ac ion om p oblems and se es as a way o elie e ension and bo edom. Some s udies ha e
epo ed ha adolescen s use popula music o deal wi h loneliness and o ake con ol o hei emo ional s a us o
mood (28). In o he wo ds, lis ening o music go a long way in elie ing you hs om ension, anxie y, dep ession.
None heless, Ame ican Academy o Paedia ics (6) asse ed ha a hand ul o expe imen al s udies indica e ha music
ideos may ha e a signi ican beha io al impac by desensi izing iewe s o iolence and by making you h mo e likely
o app o e o p ema i al sex. Thus, he e is a g ea nega i e impac o music ideos in Nige ia and hei e ec s a e
pe sonal, d ama ic and somehow immedia e.
Fu he , Rocheleau, Vi o and In a ia (32) and Lense e al., (23) obse ed ha ly ics ha e become mo e explici in you h
e e ences o d ugs, sex, and iolence o e he yea s. They pe o med a con en analysis o he op 10 CDs pe o med
by he Na ional Ins i u e on Media in 2009 and i e ealed ha each o hese CDs included a leas one song wi h sexual
con en . Fo y- wo pe cen o he songs on hese CDs con ained e y explici sexual con en . Ly ics o some music
gen es, such as ock, hea y me al, ap, and new eme ging gen es such as eggae one, ha e been ound o e ol e a ound
opics such as au ology, dea h, homicide, suicide, and subs ance abuse. Musicians in music ideos can become ole
models, in luencing young people’s alues, belie and beha io s, music ideos can also acili a e cul u al exchange,
in oducing young people o di e se pe spec i e, adi ions and li es yles,
• H2: The e will be a signi ican in luence o gende on social beha iou among unde g adua e o Fede al
Uni e si y Gashua, Yobe s a e. The inding o he s udy suppo s he hypo hesis; he esul s showed he e will
be no signi ican in luence o gende on social beha iou .
The esul om his s udy did no suppo he wo k o Powe s and Coch an (31) and G imani, Moog, & Vlae , (14)
Gende di e ences in social beha io can be summa ized as ollows. Ac oss cul u es, gi ls engage mo e equen ly in
coope a i e, nonagg essi e social play, whe eas boys show a highe equency o play igh ing and ‘ ough-and- umble’
play (abou 3–6 imes as much as gi ls; as well as highe le els o be ween-g oup compe i ion. Bo h gende s engage in
socio-d ama ic play, in which social episodes a e enac ed based on e e y day o an as ic hemes. Howe e , boys’
hemes mo e equen ly in ol e powe , dominance, and agg ession, whe eas gi ls’ hemes end o in ol e in e pe sonal
and amily ela ionships (including play pa en ing). Gende di e ences in play beha iou peak in middle childhood,
a ound 8–10 yea s o age (31,42). In his s udy, he e is no signi ican gende di e ences in social beha io among
unde g adua es o ede al uni e si y Gashua, boys do no supe sede gi ls in social beha io no ice e sa among
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unde g adua es o ede al uni e si y Gashua, so he e o e music ideos can pe pe ua e o challenge socie al no ms,
in luencing a i udes owa ds ela ionships, gende oles and social issues.
• H3: The e will be a signi ican in luence o age on social beha iou among unde g adua e o Fede al Uni e si y
Gashua, Yobe s a e. The inding o he s udy suppo s he hypo hesis he esul s showed he e will be no
signi ican in luence o age on social beha iou .
The esul om his s udy did no suppo he wo k o (Schni ke , 2007; Smi h, 2020)) epo ed ha pe cep ions o
social suppo g ow mo e posi i e wi h age; as hey g ow olde , adul s epo ha hey de i e g ea e suppo om
hei close social ies. Olde adul s epo g ea e sa is ac ion and ewe nega i e expe iences in hei social in e ac ions
han do younge adul s (27,36). Fo example, olde adul s ecall expe iencing a g ea e in ensi y o posi i e emo ions
and less in ense nega i e emo ions wi h hei close social pa ne s han do younge adul s (20, 42). Age di e ences in
epo s o happiness and sa is ac ion wi h social ela ionships a e consis en wi h hese longi udinal indings (44). Olde
adul s epo be e -quali y ies wi h hei child en, mo e posi i e ma iages, close iendships, and an o e all g ea e
p opo ion o posi i e e sus p oblem- idden ela ionships han do middle-aged o young adul s (43,44, 35,27).
Simila ly, epo s o in e pe sonal con lic s decline wi h age. Olde adul s epo ewe p oblema ic and ambi alen
ela ionships (i.e., ela ionships comp ised o bo h posi i e and nega i e emo ions and expe iences) han do younge
adul s (34,35,37). In he s a egy daily li e, olde adul s also epo ewe in e pe sonal s esso s, such as a gumen s
and disag eemen s, han do younge adul s (4, 32). Resea che s sugges ha e en when po en ial con lic s a ise, olde
adul s end o iew hei own and hei pa ne ’s emo ions and beha io s a o ably (31,32,33). Fo example, olde
adul s epo less nega i e emo ions, such as ange , associa ed wi h he con lic (19,20). Resea ch sugges s ha olde
adul s end o epo ewe in e pe sonal s esso s han younge adul s and his is known as he age s ess pa adox.
Se e al s udies ha e ound ha olde adul s expe ience ewe con lic con lic s and s ess ul social in e ac ions. They
end o ha e smalle social ne wo ks, bu mo e posi i e and suppo i e ela ionships. They o en p io i ize and ocus
on mo e meaning ul ela ionships. They may ha e de eloped be e coping mechanisms and emo ional egula ion
s a egies. They end o be mo e selec i e abou social in e ac ions and a oid s ess ul si ua ions. This does no mean
olde adul s don’ expe ience s ess o in e pe sonal s esso s a all. Howe e , he na u e and equency o hese
s esso s may di e om hose expe ienced by younge adul s
5.1. Summa y o he s udy indings
The main goal o he p esen s udy was o analyse he signi ican in luence o music ideo on social beha iou among
unde g adua e o Fede al Uni e si y Gashua, Yobe s a e. Resul o he s udy shows; The e is a signi ican in luence o
music ideo on social beha iou among unde g adua e s uden s; The e is no signi ican in luence o gende on social
beha iou among unde g adua e s uden s and inally; The e is insigni ican in luence o age on social beha iou among
unde g adua e.
5.1.1. Limi a ions
Al hough his s udy is he only in es iga ion o ela ionship be ween addic ion, sel -es eem and social anxie y among
unde g adua e o Fede al Uni e si y Gashua, Yobe s a e, i is no wi hou limi a ions. The i s limi a ion o his s udy
was he sampling p ocedu e. The unde g adua e who pa icipa ed in his s udy we e all selec ed om a uni e si y
loca ed in Gashua using a con enience sample. The e o e, unde g adua e who li e in di e en geog aphical egions o
s udy in di e en ins i u ions migh ha e di e en expe iences han he ones who pa icipa ed in his s udy. The second
limi a ion o he s udy is he sel - epo me hod o da a collec ion. All he ins umen s used in his s udy we e sel -
epo . Al hough sel - epo ins umen s a e he easies way o collec ing da a, hey usually come wi h eliabili y and
in e nal alidi y issues. I should be emembe ed ha he i ems on he sel - epo ins umen s migh be unde s ood o
in e p e ed di e en ly by each pa icipan . In sel - epo ins umen s, i is also possible ha he pa icipan s migh
mislead he esea che s by p o iding inco ec answe s in o de o make hem belie e ha hey a e on he side o he
esea che s.
The hi d limi a ion o he s udy migh be he pa icipan s’ English li e acy. Al hough all unde g adua e mus pass
English language p o iciency be o e en e ing a p og am a a uni e si y, i is s ill possible ha some s uden s migh ha e
misunde s ood o misin e p e ed he i ems on he ins umen s due o hei English li e acy. The ou h limi a ion o
he s udy was o ha e unequal numbe o pa icipan s om di e en s a e. A o al o 380 unde g adua e s uden s om
Fede al Uni e si y Gashua, Yobe S a e pa icipa ed in his s udy. Mos o he s uden s who pa icipa ed in his s udy
we e om Yobe S a e. The esul s o his s udy may no be gene alized well o indi iduals om hese s a es. The e o e,
ec ui ing an equal o close numbe o pa icipan s om di e en S a e migh p o ide mo e meaning ul esul s.
