students’ perception of tertiary music studies… · 1 students’ perception of tertiary music...
TRANSCRIPT
1
STUDENTS’ PERCEPTION OF TERTIARY MUSIC STUDIES: A
CASE STUDY OF FEDERAL COLLEGE OF EDUCATION,
EHA-AMUFU IN ENUGU STATE.
BY
EZE, CALISTA OGECHI
PG/M.A/10/52468
DEPARTMENT OF MUSIC
FACULTY OF ARTS
UNIVERSITY OF NIGERIA, NSUKKA.
AUGUST, 2011
i
TITLE PAGE
UNIVERSITY OF NIGERIA, NSUKKA
FACULTY OF ARTS
DEPARTMENT OF MUSIC
STUDENTS’ PERCEPTION OF TERTIARY MUSIC STUDIES: A CASE
STUDY OF FEDERAL COLLEGE OF EDUCATION, EHA-AMUFU IN
ENUGU STATE.
A THESIS SUBMITTED TO THE DEPARTMENT OF MUSIC
UNIVERSITY OF NIGERIA,
NSUKKA.
IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE
MASTER’S DEGREE IN MUSIC EDUCATION
BY
EZE, CALISTA OGECHI.
PG/M.A/10/52468.
ii
APPROVAL PAGE
THIS THESIS HAS BEEN APPROVED FOR THE AWARD OF
MASTERS DEGREE IN MUSIC EDUCATION OF THE DEPARTMENT
OF MUSIC, UNIVERSITY OF NIGERIA, NSUKKA.
__________________________ __________________________
Dr. Adeogun A.O
SUPERVISOR DATE
_________________________ _________________________
Dr. Sam K. I. Chukwu
HEAD OF DEPARTMENT DATE
_________________________ __________________________
Prof. E. E. OKAFOR
DEAN OF FACULTY DATE
__________________________ __________________________
Prof. E. G. Idolor
EXTERNAL EXAMINER DATE
iii
CERTIFICATION
EZE, CALISTA O (MRS), a postgraduate student in the
Department of Music with Reg. NO PG/M.A/10/52468, has
satisfactorily completed the requirements for the course and research
work for the award of the degree of M.A. Music Education.
The work embodied in this project is original and has not been
submitted in part or in full for any other Diploma or Degree of this or
any other University.
---------------- ----------------------
Student Project Supervisor
iv
DEDICATION
To God Almighty.
v
ACKNOWLEDGEMENTS
First of all, the researcher wishes to acknowledge God Almighty
for His love and infinite mercy for making it possible for her to come
across the path of the following people whose efforts assisted her in
the successful completion of this study. In this regard much thanks
and sincere gratitude can be extended to the following.
My supervisor Dr A.O. Adeogun for his brilliant and inspiring
corrections and suggestions and for his high sense of understanding
throughout all the stages of this work. Besides, his useful suggestions
encouraged the researcher in a manner that could not be quantified.
She thanks Mrs. Adeogun for her hospitality and understanding. The
researcher deep gratitude goes to Prof. C. Onyeji, Mrs M.C.
Anyanjoku, Dr. Sam Chukwu, Dr. E. I. Onwuegbuna, Mr K.N Ozani
and all academic and non academic staff in the department.
The researcher thanks in a special way, Mrs. M.N. Okeke
(HOD), Dr. E.O. Aninwene, Dr. S.N Nnamani, Mr. G. Nwonye, Mr. K.N.
Anoke and Mr. J.O. Falusi, all in the Department of Music, Federal
College of Education, Eha-Amufu for their useful assistance during
the period of this programme.
My deep appreciation goes to my late husband Chief Wilfred O.
Eze, children, and grand Children, brothers and sisters who patiently
accommodated the inconvenience and discomforts forced on them by
my frequent absence from the home in the course of this study.
vi
Finally, I thank the 2009/2010 first year students of the Federal
College of Education, Eha-Amufu for serving as strong sources of
inspiration and for freely volunteering to give response to the
questionnaire items. My appreciation also go to Eze Ebere and Ugwu
Sylvia for their encouragement in the final production of this work.
vii
TABLE OF CONTENT
Title Page - - - - - - - - - - i
Approval Page - - - - - - - - - ii
Certification - -- - - - - - - - iii
Dedication - - -- - - - - - - - iv
Acknowledgments- - - - - - - - v
Table of content- - - - - - - - - vii
Abstract - -- - - - - - - - - xi
Chapter 1: INTRODUCTION
Background of the study - - - - - - - -1
Statement of problems - - - - - - - - -6
Purpose of the study - -- - - - - - - -9
Significance of the study - -- - - - - - -9
Research questions - - - - - - - - 10
Hypothesis - - - - - - - - - 10
Chapter 2: LITERATURE REVIEW
Theoretical Frame Work - - - - - - - 12
Concept of Perception - - - - -- - - - 12
Concept of Music - - - - - - - - 17
Concept of Music Education - - - - - - - 19
Concept of Music Teacher Education - -- - - - 23
History of Music Education in Nigeria - - -- - - 27
Empirical Review - - - - - - - - 39
Summary of Literature Review - - - - - 44
viii
Chapter 3: METHODOLOGY
Design- - - - - - - - - 47
Area of the Study- - - - - - - - 47
Population of the Study- - - - - - - 47
Sample and Sampling Technique - - - - - 48
Instrument for data collection - - - - - 50
Validation of the Instrument - - - - - - 51
Methods of Data Collection - - - - - - 51
Methods of Data Analysis - - - - - - 52
Chapter 4: PRESENTATION OF RESULTS
Research Question 1 - - - - - - 53
Research Question 2 - - - - - - 55
Research Question 3 - - - -- - - 59
Hypothesis 1 - - - - - - 63
Hypothesis 2 - - - - - - 64
Hypothesis 3 - - - - - -- 65
Summary of Major Findings - -- - - - - 66
Chapter 5: DISCUSSION, IMPLICATIONS, CONCLUSION,
RECOMMENDATIONS, LIMITATIONS OF THE STUDY AND
SUGGESTIONS FOR FUTHER RESERCH
Discussion of the Results - - - - - 69
Conclusions - - - - - - - 80
Implication of Research Findings - - - - 82
Recommendations - - - - - - 85
Limitation of Research findings - - - - 90
ix
Suggestions for further Research - - - - 91
References - - - - - - - 92
Appendices - - - - - - - - 100
List of Tables.
3.1 Population of 1st year Students in the Five Schools/Faculties in
the Collage - - - - - - - - - 48
3.2 Sample population of 1st year students in the five
schools/faculties in the collage - - - - - 49
3.3 Table of rating scale used for the study - - - - 51
4.1 Mean ratings of the first year students’ on students’
perception of music studies - - - - - - 53
4.2 Mean ratings of first year students’ on the reasons
why students’ don’t offer music studies at college level - 56
4.3 Mean ratings of the first year students’ on the strategies
for improving students’ perception of music studies at
college level. - - - - - - - - 59
4.4 Summary of ANOVA test for Hypothesis one - - - 63
4.5 Summary of ANOVA test for Hypothesis two- - - - 64
4.6 Summary of ANOVA test for Hypothesis three - - - 65
LIST OF APPENDICES
1. A list of validated instruments used for the study--------------100
2. Computation of ANOVA statistics used for the study----------105
x
Abstract:
The study was designed to examine the students’ perception of music
studies at tertiary level (Federal college of Education, Eha-Amufu in
particular). The first year students in the five schools were used for
the study. The study answered three research questions and tested
three null hypotheses at 0.05 levels of significance. The descriptive
survey research design was employed. The sample comprised 261
students. Questionnaires were the instruments used for data
collection. Data collected were analyzed using ANOVA and standard
deviation. The purpose of the study was to examine the students’
perception of music studies; the reasons why students’ don’t offer
music as a course of study; and the strategies for improving the
students’ perception of music studies. The major findings of the study
include: music is not recognized in the time table during their
primary and secondary school days; the attitude of their parents,
relations and peer groups made them not have interest in studying
music; lack of music teachers; lack of musical facilities and
equipment which resulted to few schools that offer not to have
confidence in handling musical instrument and equipment is also
major finding which made the students not to have interest in music
studies; more so the schools that offer music lay much emphasis to
theory than practical performance. The ANOVA and standard
deviation indicate no significant difference on the mean ratings of the
first year students’ in the five schools. Even though, there were a few
differences that were not statistically significant.
xi
1
CHAPTER ONE
Introduction
Background of the Study
Education has been accepted as the key to success and an
index for national development. Alfred North White Head in Azikiwe
(1993) defined education as the acquisition of the art of utilization of
knowledge. According to him education is not just the acquisition of
knowledge but the acquisition of the art of utilization of knowledge.
This is a very pertinent view point for us in the country where
education is often viewed merely in terms of paper qualification. In
summary, his view is that for knowledge to be meaningful it must be
for use rather than as ornament.
The role education plays in a country is unquantifiable. Etim
(2005) said that education helps in improving the productivity of the
people in meeting their demands for food, clothing, shelter, material
resources, wealth creation and other necessities. Education organizes
the mind for human relationship. An educated mind always
encourages recognition and preservation of differences as necessary
component of understanding.
Nigeria government in emphasizing the important of education
initiated education for all for the betterment of this country. The
overall philosophy of Nigerian education is to:
2
(a) Lay in unity and harmony as one indivisible democratic and severe
in nation founded on the principle of freedom, equity and justice.
(b) Promote inter- Africa severity and world peace through
understanding. If one actual belief and accept the above view of
what education is and what education can do for us as a nation it
is pertinent for us to realize that for us to achieve the above aims,
we need someone whose job it is to impart the knowledge to its
citizens.
In fact good and purposeful teaching and instructional
programme can no longer be left to chances; hence there is need for
teacher education. As the teacher education is the soul of every
modern educational system, and a nation without good teacher
education is in a moribud state. The growth of such a nation will be
stunted, if not distorted. Man is the centre of development and the
teacher is the key. (Adenipekun, 2005, p. 31). Teacher education is an
instrument through which contemporary society imparts knowledge to
its citizens. According to Okafor (1998:30) teacher education is: “that
system or form of education which is properly planned and
systematically tailored and applied for the cultivation of those who
teach particularly but not exclusively in primary and post primary
levels of schooling”(p:30)
Since education is an indispensable factor in the solution of
modern equations, and since in the new world order, there can be no
effective educational system without adequate teacher education. No
3
education system can rise above the quality of its teachers (NPE
1981). Okafor (1998) summarized the importance of teachers’
education by saying that:
A good teacher education had a total education that is properly
structured, judiciously oriented and adequately open to all, this
nation will be placed on an over-increasing escalator towards
qualitative greatness. He further pointed out that through
effective teacher education that Nigeria education aims and
objectives can be best achieved (p.84)
It is widely accepted that within the teaching circle that the task
of teachers are central to education. This is because they must
transmit to the new generation the cultural heritage of a society, the
known skills, customs and attitudes acquired over the years. Music,
like other disciplines, needs its teachers to be well trained. Music
teacher education is that which trains the learner on the process of
acquiring musical knowledge and skill with the ultimate aim of
producing music educators. It further teaches them how to use music
to improve the quality of their lives, stimulate creative thought,
inspire them, and give them a sense of belonging, beauty, energy,
strength and courage to enhance other aspects of life. Music teacher
education can also be referred to as school programmes designed to
teach student to make music and to listen to music. Music is one of
the oldest valuable artistic forms in the tradition of Africa society. In
4
Nigeria, it constitutes a rich, varied and vital functioning part of the
traditional culture. The prominent position it occupies in social live of
Nigerians lays credence to the fact that it could be useful in
generating development in the society (Agu, 2009).
Music education is as old as man himself. Music education can
be formal or informal. Formal music education can be obtained in the
school from the formal music lessons. It can also be obtained in the
churches through the formal choir practices. And it can be obtained
in the traditional societies through organized teaching and learning.
The informal music education is obtained from the home, the peer
group and the society through observation, imitation and
participation. Whether music education is acquired through formal or
informal way, it’s important to the individual cannot be
underestimated According to Uzoma (2001).
Music education has, as one of its cardinal objectives, the
provision of experiences and training of learners. Such
experiences, when acquired could help learners to like
and contribute positively towards the progress and
development of their society (p.1).
5
In support of the above view, Okwesa (1983) pointed out that:
Our traditional/cultural music right now is in the custody
of rural brethren. If we are contended to let it so; if we are
contended to let it be learnt through appropriate means
(school). We must be remembered that urbanization and
modern technology has begun to take its toil. Our rural
brethren are moving from the village to the towns and
cities in search of jobs and alternative mode of living and
the old ones are dying. The rural culture (festivals and
ceremonies) which has hitherto supported our traditional
music is in danger of extinction. We stand the danger of
losing our traditional music in favour of European
substitutes which are invading our country at an
alarming rate. We should bear in mind that nature does
not permit a vacuum, if there is any need to make music
and indeed there is and we fail to let them know it – do
blame them if they gradually begin to adapt a disco
culture and to think and behave like American and
Europe.
In recognition of the benefit of music education, the Federal
Republic of Nigeria in her National Policy on Education (NPE 1998)
included music as one of the core subjects to be taught in schools to
help inculcate aesthetic values in our student. The National Policy on
Education in her words, in order to encourage aesthetic, creative and
6
musical activities, government make staff and facilities available for
the teaching of creative arts, crafts and music in schools. That
notwithstanding the National Curriculum on Cultural and Creative
Arts for Primary Schools (1998), in recognition of the value of the arts
has incorporated music, drama (including dance) and art as a single
subject aimed at helping children to discover their creative ability.
The Federal Government did not stop at that he instituted various
teachers training institutions such as Teacher Training Colleges,
Colleges of education and universities where it is mandatory that
teaching and learning of music should take place in other to produce
trained music teachers who will conduct the teaching and learning of
music in schools.
In spite of these efforts by the federal government in order to
have enough music teachers in all levels of education system in
Nigeria, there is still scarcity of music teachers. It seems there is a
problem in the way students’ perceive college music studies. It is
against this background that the need to examine the factors that
affect the students’ perception of college music studies becomes
imperative.
Statement of Problems
There is no human race without one form of music or another.
Music is as old as man himself and can be learnt formally or
informally. Whether music is acquired through formal or informal
means, its importance to the individual and society is inestimable.
7
Some ancient Philosophers such as Plato, Aristotle, Pythagoras and
Confucius saw music as “a department of ethics with potential power
to mould human character through six emotions; anger, sorrow, joy,
satisfaction, pity and love” (Blacking cited in Eze 2010). The role of
music has been identified right from ancient time. The Bible had it
that when the evil spirit was tormenting Saul the first king of Israel, it
was David a good musician that was sent to him. As David played his
harp, the evil spirit left Saul and he felt better (1siah 19:9). Paul and
Silas were librated from prison by singing praises unto God (Act 16:
25-26). The wall of Jerico fell down as powerful musical instruments
were blown.
In recognition of the benefits of music education in Nigeria, the
Federal Republic of Nigeria as earlier stated in her National Policy on
Education (1981) included music as one of the core subjects to be
taught in schools to help inculcate aesthetic values in her students.
Similarly, the National Curriculum on Cultural and Creative Arts has
incorporated music, (including dance) drama and art as a single
subject aimed at helping children to discover their creative ability.
Despite all the benefits of music to man the world over, man’s
perception of music studies is still very low. For instance in the
Western World, Europe (Germany) , during the days of G. F. Handel
and J .S. Bach their parents objected to their being musicians (Joseph
1955 p 608). Similarly in Nigeria, the parents of Fela Anikulokpo Kuti
8
in Nigeria, wanted him to study medicine in London instead of music
(Quarterly Magazine Oct., 13th 1988).
At the primary schools the problem of teaching music has been
most unsatisfactory because primary school teachers are generalist
and teaching of music is still centered on singing, recitation of rhymes
According to Patterson 1992; Gilford 1993; and Mills 1989, at the
secondary school levels, an appraisal of the curriculum reveals that
the content of instruction generally available to music students and
teachers is too foreign to the Nigeria culture. On the other hand the
government did not pay due much attention about music teaching in
schools because most of the teachers posted to the primary schools
are challenged with the obligation of teaching all the entire subjects in
the primary school curriculum. More so in some secondary schools,
there are no trained music teachers to handle the subject. Miller
(1970) also observed that:
It is difficult to get a pupils, teachers or parents to accept
music at all necessary in the curriculum. In rural areas,
where the parents have had little or no schooling, there is
still a thriving practice of folk music which owes nothing
to organized schools. The adult African considers that
since he himself was able to acquire knowledge and skills
in music without going to school, it is unnecessary to
waste the precious time available by given schools
instruction on it (p.127-128).
9
The above views suggest that the students’ perceptions of music
studies generally at the colleges of education in particular is not
favorable, despite the fact that colleges of education are training
ground for the production of music teachers. Based on the foregoing,
this study is designed to find out the strategies that should be
adopted to improve the students’ perception of college music studies.
Purpose of the study
The main purpose of this study was to examine the students’
perception to music studies in Federal College of Education, Eha-
Amufu in Enugu State of Nigeria. The purpose of this study is to find
out:
1. the students’ perception of music studies at college level.
2. the reason why students’ do not offer music studies at the
college levels.
3. the strategies of improving the students’ perception of music
studies at the college level.
Significance of the study
The findings of this study will reveal to the government and the
education planners on the need to re-visit the music curriculum of
both primary and secondary school levels to suit Nigeria environment;
make music compulsory at primary and lower levels of the secondary
schools so that the nation should imbibe its musical culture to its
citizens; as well the need for effective implementation of music studies
10
in these schools. The findings of this study will reveal to the parents
and the society on the need to encourage their children to study music
at schools. The findings of this study will reveal to the students the
importance of music studies as an avenue for self employment.
Research questions
1. What are the students’ perceptions of music studies at college
level?
2. What are the reasons why students’ do not offer music as a
course of study at the college level?
3. What are the strategies for improving the students’ perception of
music studies at the college level?
Hypotheses
The following null hypothesis was tested at P> 0.05 level of
significance
HO1: There is no significant difference in the mean ratings of the first
year students in the five schools in the college with regard to students’
perception of music studies at the college level.
HO2 : There is no significant difference in the mean ratings of the first
year students in the five schools in the college with regard to
reasons why students do not offer music as a course at college level.
HO3: There is no significant difference in the mean rating of the first
year students in the five schools in the college with regard to the
11
strategies for improving the students’ perception of music studies at
the college of education.
12
CHAPTER TWO
REVIEW OF RELATED LITERATURE
The review of literature related to this study has been organized
under two broad areas: Theoretical frame work and empirical studies.
The chapter ended with a summary of literature review.
Theoretical Framework.
Under theoretical framework, the presentation will be organized
under the following sub-headings:
1 Concept of perception
2 Concept of music
3 Concept of music education
4 Concept of music teacher education
5 Music education in Nigeria
6 Review of Empirical Studies
7 Summary of Literature Review.
Concept of Perception
Perception can be seen as tentative answers to questions about
which there are not enough factual information to reach a completely
logical conclusion. It is an interpretative interaction with a stimulus
function. Stimulus, functions are not however necessary and
characteristics attributes of object rather their correction with object
is as a result of training and experience.
13
Perception is an active process which embodies motion
moments (rhythm) emotional experience, the work of imagination and
thinking operations. What is important in ordinary, everyday
perception is not so much the “sight, and sound” of thing as their
meaning. Perception can be either thinking perception or aesthetic
perception. This aesthetic perception may be called feeling perception
or emotional perception.
According to valentine in Eze (2004) “the immediate assignment
of a name to object by the observer determined what was perceived;
that temperament and intent of perceiving and the great amount of
what is said to be perceived is in fact inferred”. Perception can be
influenced by motivational base, background of experience, attitudes,
value system, our needs, physiological state, opportunity as well as
beliefs about self and other people. This is why Ferymier (cited in Eze
2004) stated that such factors as threat, aspiration and value held, an
individual image of himself and his personal needs all affect
perception in a much more extensive way. Threat limits perceptions,
for instance when and individual is confronted with a threaten
stimulus (situation) the organism responds in two (2) ways. Firstly,
the threatening object is seized upon (e.g. inclusion of family life
education) perceptually, and held a sharp focus. Secondly, other
stimuli which are simultaneously impinging upon the organism are
denied (e.g. the benefits of family life education.) perception. This
increased awareness of others factors results in tunnel vision- a
14
psychological phenomena in which the senses seem to narrow their
energies and aim them at threatening stimulus.
More so, the way an individual sees himself/herself affect
perception and his learning; for instance those whose experiences
have enabled them to see themselves in essentially positive terms are
less defensive and more open to experience than those whose concept
of them is negative. Those who hold less positive self concept; who are
insecure, afraid, feel incompetent or inadequate are threatened and
their perceptions are therefore limited. Another factor which affects
the perceptual process according to Frymeir in Eze (2004) is the
individuals/community’s value structure (e.g. religion education or
culture) and inspiration. He maintained that products of one’s early
years, essentially goal and values give direction and sensitivity to the
perceptual process. Such factors operate to increase the individual’s
awareness of certain stimuli and lessen that of others. This is why he
pointed out that perceptions are a union of past and present and
attributing meaning to stimulus involves drawing upon reservoirs of
previous experience when new experiences present themselves.
Frymier concluded by sayings that need structure also affects
perception. This is because man’s needs are many and varied but they
all influence the interpretations he gives to stimuli. Because of this, he
maintained that perceptions are notoriously variable from person to
person and from moment to moment.
15
Music perception is the perception of music which is true
enough. But the problem with defining music perception as being the
perception of music is that we don’t know what music is. Secondly,
music does not appear to have a number of objectively identifiable
features such as: melody, rhythm, harmony and repetition. We could
only say that music perception is the perception of these features.
In the context of this research study, music perception is
reviewed in the context of the way people see music studies at the
tertiary institution. Right from history of man, music has played a
tremendous role. One has to recall that any talk on music, the simple
mention of it can-and-must-help one to understand the surrounding
world, shape their view on life and foster their moral ideas. Music
from on set has the power to inculcate the norms and values of the
society into its young ones. Right from the ancient time people’s
orientation to music studies has been in two opposite sides (i.e.
positive and negative). The Bible had it that when the evil spirit was
tormenting Saul the first king of Israel, it was David a good musician
that was sent to him. As David played his harp, the evil spirit left Saul
and he felt better. (Isiah 19:9). Paul and Silas were librated from
prison by singing praises unto God (act 16:25-26). The Wall of Jerico
fell down as powerful musical instruments were blown.
In the developed countries like Britain, America, China, Japan
music studies in schools- pre-primary, primary, secondary, up to
tertiary levels is an act of parliament. According to Ekwueme (2002)
when Vedil died, his funeral involved the municipality of Milan.
16
Schools closed down until the funeral was over. The Italian senate
gave up one sitting entirely to speeches in his honor and memory.
Proud was Italy of its great composers. Some renowned Western
composers began the study of music in primary school age when they
were equally exposed to musical instruments. Mozart started music
education before the age of three. By the age of six, he had started
performing music publicly. G.F. Handel (1685-1759), J. S. Bach
(1655-1750), Joseph Haydn (1732-1803) etc, all began their music
study at primary school ages. Indeed most of them are first introduced
to music study by their parents.
Despite all the benefits of music and the respects accord to
musicians in the society there is still negative perception to music
studies at the college level. The societal perception of music studies
generally is not favorable. Musicians are regarded as a lazy, guileful,
dishonest, adulterous, obsequious, loose living, ‘rowdy’, radical,
untrustworthy person who spend extravagantly, drinks heavily, greedy
people. In line with this Ames in Eze 2004 observed that:
17
No matter how wealthy and famous a musician is, a musician is
always viewed as a “beggar”. He continued they believe that
music is not an occupation class or profession… Music will not
give us food… the musicians don’t have wealth they only
receives a few gifts; or more succinctly. “No one gets rich from
music. Even those who are good dancers and singers don’t
dream of turning professional for that would as soon ridicule
him/her to an object of ridicule.
In fact people’s perception to music studies is determined by the
cultural background and environmental factors. Some people see
music studies as a course that does need ‘formal’ since the culture see
it as something that one can learn without going to school. While
others sees it in that the environment determines such as some
failures observed from some members of the society that are
musicians in the past.
Concept of Music.
Some early philosophers such as Plato, Aristotle, Pythagoras
and Confucius saw music as “a department of ethics with potential
power to mould human character through six emotions- sorrow, joy,
anger, satisfaction, pity and love”. In line with the above statement,
Blacking (1973) maintained that music is more than just the art of
combining or organizing sound for pleasurable purpose. He explained
further that:
18
Music is a synthesis of cognitive process which is present
in culture and in human body. The form it take and the
effects it has on human are generated by the social
experiences of human bodies and different cultural
environment. Because music is humanly organized it
expresses aspect of the existence of the individual in the
society. (p. 173)
According to Merriam (1964 p.225) “music is in a sense a
summative activity for the expression of values, a means whereby the
heart of the psychology of a culture is exposed”. The marathon
definitions given above suggests that music is not only an organized
sound but a language of emotions which aims at communicating
meaning as well as allowing individuals or group to have spirit of
oneness, and cooperation in order to work together as a group and
perform in unity.
When people respond to music, they are responding with
feelings and emotions manipulative skills through intellectual means
and a combination of all these. Merriam (1964) enumerated the
functions of music as: an emotional expression; aesthetic enjoyment;
as an entertainment; as a communication; as a symbolic
representation; as a physical response; as an enforcing conformity to
social norms; as a validation of social institution and religious rituals;
as a contributor to the contribution and stability of culture; and as a
19
contribution to the integration of society. In fact, music is a vital force
in any culture. We are born to music; we live with music; and are
married by music; and music helps usher us into eternity.
In view of the above, Martin Luther in Keil (1970) noted that:
I wish to see all arts, principally musicians a fair and glorious
gift of God. I would not for the word forget my humble share of
music. Singers are never sorrowful but are merry, and smiles
through their troubles in songs. Music makes people kind,
gentle and reasonable. I am strongly persuaded that after
theology, there is no art that can be placed on a level capable of
affording peace and joy of the heart, the devils flees before
sound of music almost as much as before the word of God.
Concepts of Music Education
The emphasis on education in Nigeria have always been in
formation of the individual(s), the improvement and transmission of
cultural heritage and equipping individuals with required knowledge,
skills, values and attitudes that will enable them to earn a living in
our fast changing society and in turn contribute to the improvement
and welfare of the society. Ogun, Nwuzo, and Muogilim (cited in Eze
2010) pointed out that “education must be purposeful and relevant”
once learning has taken place and learners can use his or her learning
experiences to conquer an impediment on his/her way and that of the
society, it then means that quality education has taken place. The
learner is expected that after her education, he/she should be more
20
useful and move the nation forward for economic, political, social and
moral development.
Music is the type of education which trains the learner on the
process of acquiring music knowledge and skills with the ultimate aim
of producing music directors. It teaches the learners on how to use
music to improve the quality of their lives, stimulate creative thought,
inspire them and give them a sense of belonging, beauty, energy,
strength and courage to enhance other aspects of everyday life. Uzoma
in Eze (2003) pointed out that:
Music education has as one of its cardinal objective, the
provision of experiences and training of learner, such experiences,
when acquired would help learners to live and contribute positively
towards the progress and development of their society.
Hoffer in Eze (2010) defined music education as that part of
education that has the power to awaken in us sensation and emotions
of spiritual kind. He further considered music education not only as
an abstract art, but as force which affects the lives of the people who
acquire it. Music education has the objective of stimulating the
learners’ creativity and skill acquisition. Belson in Eze (2010) equally
adds that:
Music education must adhere to the philosophy that our
foremost purpose is to foster an understanding of music
that leads to lasting appreciation of and participation in
21
music creativities that through aesthetic experiences life
is enriched and its beauty is intensified.
The primary purposes of music education are of course musical.
Music is acknowledged to be of valued assistant in the realization of
non-musical objectives. Music fulfils a basic human desire in that it
satisfies the needs to comprehend total beauty that man hears. Only
music does this; therefore music education has a unique function in
serving this need. According to Schwardon cited in Nwoyeh (2010) he
said that man’s relation to music becomes educational when
succeeding generation are assisted in becoming critically intelligent
about musical styles and forms, about the organization and design of
sound, and about the social, emotional and physical phenomena
which characterize music as an art form. Leonhard and House in Eze
(2003) pointed out that “Music is not specifically reserved for the
talented; it is universally important to every human being and his
culture. It can be taught frankly on that basis”. Foster Mcmurray in
Eze 2003 view of the aim of music education and the justification for
music in the curriculum is as follows:
22
The aim of music education is to help everyone to further
awareness of patterns of sound as an aesthetic component in
the world of experience; to increase each person capacity to
control the availability of aesthetics richness through music;
and to transform the public musical culture into a recognized
part of each person’s environment. Music education is justified
because, when the more refined portion of our musical culture
are communicated, the person to whom they are communicated
will find in music what he would not have been able to find
otherwise thereby expanding his environment and increasing
his power to finding a good life through deliberate guidance of
his behavior and his outcomes.
More importantly, music education as a course has a potential
in building of a self-reliant individual. To build a self-reliant person
means making one to become independent in the context of self-
reliance through self employment. One of the objectives of music
education as is contained in the National Policy on Education (1981)
is “the acquisition of appropriate skills, abilities and competence both
mental and physical, as equipment for the individual to develop and
contribute to the development of his society” (P.54). Omibiyi-
Obidike(1984:4) described music education as a comprehensive
education system geared towards a functional and artistic career in
the society. As a functional career therefore, music education has the
potentials and ability of training to be self-reliant after school.
23
Ademetun (2001:1) confirmed the above statement when he
observed that:
Music education is highly useful because its occupational
content offer the students the opportunity to acquire
skills, attitudes, interests and knowledge to perform
educationally, socio-political and economic activities that
are beneficial not only to themselves but to the society at
large.
Concepts of Music Teacher education
Pragmatists see teachers as agents who impart to the young the
techniques for living and acquiring knowledge. Teachers also instruct
students how to meet the new situations that will inevitably arise; in a
sense, the students are exposed to pursue information and to be
occupied in constructive activity (Hoffer et al1984 p.48). They equally
see teachers as central in the educational process, and as someone
who largely decide what will be taught and how it will be taught. If the
students’ can not source the information, teachers tell the students’
where to locate it.
The historical development of teacher’s education dates back to
the missionary period; and appeared to have grown side by side with
the development of secondary education. At the early stages of Nigeria
educational history, there were no specific instructions for the training
of teachers. All categories of qualification were accepted to teach
ranging from those who had as few subjects or advanced level
24
certificate holders. As time went on more serious efforts were made to
educate teachers following the increase in school enrollment brought
about by the introduction of the universal Primary Education (UPE) in
1976. The need to train sufficient teachers at least in quantity to cater
for the large enrollment at the primary and secondary level gave rise to
the training programme of teachers referred to as ‘crash programme’.
Majority of the intake were WASC and GCE holders, who on
completion, were designated as “pivotal teachers”.
The situation has continued unaided until the mid-eighties
when successive military administration established various teacher
training colleges and colleges of education for the training of middle-
level manpower teachers. With the return of democratic rule in Nigeria
in May 1999 the present government had launched in September
1999 the universal Basic Education (UBE) programme with its
attending problems.
Primarily, the objectives of teachers’ education as stated in the
National Policy on Education of 1981 are:
(i) To produce highly motivated, conscientious and efficient
teachers for all levels of educational system.
(ii) To encourage further the spirit of enquiry and creativity in
teachers
(iii)To help teachers to fit into the social life of the community and
the society at large and to enhance their commitment to
national objectives.
25
(iv) To provide teachers with the intellectual and professional
background adequate for their assignment and to make them
adequate to any changing situation not only in the life of
their country but in the wider world.
(v) To enhance teachers’ commitment to the teaching profession (p.
38).
Teacher education is an aspect of education which affects the
whole nation and the pivot around which the country’s educational
mechanism revolves. According to Okafor (1988), teacher education
can be defined as:
That form of education which is properly planned and
systematically tailored and applied for the cultivation of those who
teach or will teach particularly but not exclusively in primary and post
primary levels of schooling. In its extended dimension, it encompasses
also the preparation of administrators, supervisors and guidance
counselors within the same frame of reference. The purpose of teacher
education is to transmit to a new generation the cultural heritage of a
society- the knowledge, skills, customs and attitudes acquired over
the years. It also has paramount in its scale of preference, the
development in its student the ability to adjust to a rapidly changing
world (p.40)
In support of the above, Oriaifo (1982:27) said that: the amount
and quality of learning that takes place in the school depends on the
competence of teachers in the school; efforts aimed at the
26
improvement of education should be focused on the preparation of
teachers. In the Same vein is the axiom which said that “No education
can rise above the quality of its teachers”. According to Musella (1970)
“the purpose of teacher education is ultimately and objectively the
improvement of education in its totality”.
A survey of fifty nation conducted by UNESCO revealed that
normal schools designed especially to prepare teachers for elementary
education are still the typical pattern in most countries. However
teacher colleges or education department of universities are playing
increasing roles in Europe and the developing countries of the world.
Professional training offered include courses in method of teaching,
general and special, psychology of children, adolescents, the principles
and techniques of teaching and the historical foundations of
education.
Since teacher education reflects national attitudes and varies
from country to country, it is difficult to generalize.
On the status of teachers, UNESCO (1966) unequivocally prescribed
that:
27
Functionally, a teacher preparation programme Should include
general studies, study of the main element of philosophy,
psychology, sociology as applied to education, the theory and
history of education and comparative education, experimental
pedagogy, school administration and methods of various
subjects, studies related to the students’ intended field of
teaching, practice in teaching and in conducting extra-
curricular activities under the guidance of fully qualified
teachers.
Music teacher education on the other hand it that type of
education which trains the learner on the process of acquiring
musical knowledge and skills with the ultimate aim of
producing music educators. It further teaches them how to use
music to improve the quality of their lives, stimulate creative
thought, inspire them, give them a sense of belonging, beauty,
energy, strength and courage to enhance other aspects of
everyday life.
History of music education in Nigeria
The history of music education in Nigeria is in three stages. The
first stage is the pre-colonial period, colonial, and post –colonial
period.
28
Music Education in Pre-colonial Nigeria
Before Western Education came into Nigeria in 1842, music
education was and is still a comprehensive educational system in
traditional Nigerian society geared towards a functional and artistic
career. It involves an informal exposure to musical situation from
birth through the mother to adulthood through age-groups and
various associations.
During the early stage of a child, the initial lessons in music are
given by the mother who unconsciously drills the child on the music
rhythms and sounds of their indigenous lullabies or their cradle
songs. This is continuous until the child is able to sing, hence the
child’s rule changes from that of a listener to that of a participant. At
the adolescence, formal traditional music education takes place at the
age when the individual listeners are able to observe other musicians
and participate in music making. The symbolic content of music
education at this level by Omibiyi Obidike (1979) is generally centered
on the traditional folklore which crystallized the history, philosophy,
art and literature of the people.
Music instruction before the advent of western formal education
was based on the principal of slow absorption and active participation
in the acquisition of musical experience. The arrival of the Portuguese
merchants therefore brought in a new system of education in the pre-
independent Nigeria.
29
Nigeria was a British colony, and the system of western
education adopted by the country right from the onset was
unquestionable British. Pioneers in any special branch of education
naturally followed British patterns and when the special course of
studies undertaken was not available in Nigeria, students in that
course naturally had to be trained in Britain. So it was with music.
During the introduction of western education in Nigeria by the
missionaries, music formed an important part of the curricular of the
schools which were established. The aim was to develop a repertoire of
songs for church worship as well as to correct the African pattern of
singing. Omibiyi-Obidike (1979:13) pointed out that missionaries and
the immigrant Africans taught music at the primary, secondary and
teacher training schools. As a result of this, there was a strong
preference for western classical music between 1844 and 1890. She
further stated that:
The main aim there was to proselytize the Muslim and
Pagan communities through education hence the
missionaries and early concerts/converts were concerned
with the problems of comprehension of their musical
programme by their audience.
The aim was approached through creative use of native music
on the one hand and the translation of English songs into traditional
folk language on the other. The result was the nurturing and training
of Nigerian musicians, performers and composers who have
30
contributed immensely to the evolution of Nigeria’s creative musical
forms.
The period from 1916 saw a revision of expansion of music
curricular through education edicts. It included rudiments of music,
more serious vocal exercises and repertory in the scheme of work for
primary, secondary and teacher training colleges. At this point in
time, western music education was accorded pre-eminence as it was
emphasized in schools. Through the content and form of
entertainment programmes followed the British model; it equally gave
room for creativity. This period is labeled as the peak of music
educational development in Nigeria because in subsequent years,
music began to suffer unprecedented reversals which the present
Nigeria educational system is seriously grappling with.
In the education of ordinance of 1926, music was excluded from
the syllabus of secondary and teacher training colleges. There was yet
another setback to music education in 1948. According to Omibiyi-
Obidike(1987:14), the content of music instruction was circumscribed
to singing in the elementary schools and music became an
extracurricular activity. Voluntary teacher training colleges not only
maintained the existing curricular but go ahead to include in its
content, the playing of harmonium and rudiments of music. Between
1920 and 1960, the year of independence there had emerged three
different categories of musicians as they exist in the contemporary
times. These include church, academic and popular musicians. It is
31
very difficult to put a dividing line between the first two types because
they have their background from the church. However, some of these
successful musicians who wished to further their studies in music at
the tertiary level traveled abroad to either Britain or Germany and
later to the United States, since there was no Tertiary institution in
Nigeria that offered music as a course of study.
Music and Education in Colonial Nigeria
The historic contact with Europe and the eventual onset of
colonialism contributed to the sharp decline of the traditional system.
Traditional music was at that time, regarded as paganistic and
undeveloped. Consequently, it was eluded from the curriculum of
schools at all levels and different forms of Western European music
were substituted. There developed a strong music educational
programme which was Western in orientation. Between 1844 and
1890, there was a proliferation of musical activities in churches,
schools, and court halls, the form and content of which followed the
European model. These activities produced on the one hand a cream
of Nigerian musicians – performing and composers in the Western
system and on the other hand developed a musically literate public
with an equal strong preference for Western, classical music.
Music experienced another great reversal between 1890 and
1920. The racial crisis of the late nineteenth century leads to a revolt
against European culture. Nigerian musicians began various
experiments with traditional rhythms and melodies as well as musical
32
instruments in their developed composition for use in churches. These
developed a repertory of hymns and canticles whose melodies were
those originally considered profane and pianistic by the missionaries.
Cantatas were composed and performed in indigenous languages and
traditional instruments were freely used in churches. The reaction of
the European who was custodians of educational activities was to de-
emphasize music in the school curriculum, and this led to the gradual
decadence of music in Nigerian schools which became our heritage in
contemporary times.
Music and Education in Post- colonial Nigeria
Although music continues to be part of the curriculum at all
levels, the content as outlined in the syllabus is foreign and not geared
to the cultural needs of Nigerian listeners. A study conducted in 1972
on Music Education in Nigeria schools revealed that there were no
clear cut and uniform objectives of music education at the primary
level. Those stipulated varied from one State to the other. The
contents prescribed were foreign and too difficult for the various levels
specified. Hence, music periods were, often times utilized to make up
for deficiencies in other subject areas. When the period was spent on
music, the content of instruction was mere singing of hymns and folk
songs from different parts of the world and these were taught by non-
specialist teachers. Most importantly, there were no materials for
teaching and, hence, the teachers were forced to draw from their
usually limited personal repertory of songs.
33
In most secondary schools and teacher training colleges, Music
was regarded as an “extra-curricular” activity. Consequently, it was
not a recognized part of the examinable curriculum. In a few
government – owned secondary schools, where music was taught, the
curriculum was the one prescribed by the Associated Board of Royal
Schools of Music in London and the content naturally emphasized
Western, Classical Music. In such schools, students were exposed to
rudiments of music, theory of music and piano or harmonium playing
in the lower classes up to fifth form, after which music was
discontinued for “more important” subjects. In the Voluntary Agency
schools and teacher training collages, where music was taught, the
curriculum was circumscribed to rudiments of music and harmonium
playing. At the university level, out of the four universities in the
country at that time, only (the University of Nigeria Nsukka) offered a
B.A degree programme in music.
Thus, from the report, our educational system had hitherto not
made provisions for creating a musically enlightened public. Neither
had it catered for musically talented. It is generally accepted that good
Education is two dimensional involving the acquisition of knowledge
on the one hand and the development of aesthetic self on the other.
Any well-rounded educational programme therefore must necessarily
make provisions for effective music teaching and learning, for,
according to Reimer (1970, 112), “music education has a dual
obligation to society. The first is to develop the talents of those who
are gifted musically for their own personal benefit, for the benefit of
34
the society which will be served by them. For the benefit of the art of
music which depends on a continuing supply of composers,
performers, conductors, scholars, teachers. The second obligation is to
develop the aesthetic sensitivity to music of all people regardless of
their individual levels of musical talent, for their own personal benefit,
for the benefit of the society which needs an active cultural life, for the
benefit of the art of music which depends on a continuing supply of
sympathetic sensitive consumers”. There is a need therefore for the
development of strong music education programme at all levels.
Happily, since the last survey (even though the position of music is
still the same in primary and most secondary schools), it has
improved in teachers training colleges, in Colleges of Education and in
Universities. An increasing number of teacher training collage and
Collages of Education now allow students to combine music with one
other subject. The Polytechnic in Ibadan has a five-year programme in
music. More universities have established departments of music (e.g.
Ife, Lagos, Ilorin and Maiduguri).
The Current Position of Music Education in Nigeria
This period between 1960 and 2003 which is about four
decades of development in music education. This period is noticed to
be that of advancement of music education in tertiary institution and
the public in general with the University of Nigeria, Nsukka taking the
lead. Others include; Obafemi Awolowo University, Ife, University of
Uyo, Uyo, Delta State University, Abraka, Nnamdi Azikiwe University,
Awka. Colleges of Education that offers music are; Alvan Ikoku College
35
of Education, Owerri and Federal College of Education, Eha-Amufu,
Nwaforizu College of Eduction, Nsugbe, the polytechnic in Ibadan has
a five-year programme in music etc. Music during this period had
continued to be part of the curriculum in the scheme of work drawn
from pre-primary, primary, secondary and teacher training colleges.
Omibiyi-Obidike (1987:15) pointed out that music syllabus used
in the early sixties in our secondary schools was drawn by an overseas
syndicate of the course based on the western classical music used in
the sixties and the seventies. The same syllabuses are still used in
secondary, tertiary and other institutions in this decade. Sincerely
speaking, many scholars are of the opinion that there had not been an
organized and effective system of music education in Nigeria. In 1968,
the Nigerian Educational Research Council organized a national
curriculum conference which involved a wide spectrum of the Nigerian
people to review the existing curriculum in our schools. This was with
a view to making it more meaningful and relevant to Nigerian
condition and environment. The result of this conference was “a
Philosophy for Nigerian Education” of 1972 and music was
incorporated in our school’s programmes up to the Nigeria Certificate
in Education (NCE) levels.
Sequel to this, more Colleges of Education (federal and state)
especially in the Eastern and Western States of Nigeria began to offer
courses in music education both as double or single majors. An
analysis and amplification of the 1968 curriculum culminated in the
36
formulation of new National Policy on Education (NPE 1981) later
revised in 2004.
Also a National Curriculum Conference for Minimum Standard
in all colleges of education was held in April, 1991 in Zaria, under the
auspices of the National Commission for Colleges of Education
(N.C.C.E) The resulting blue print has been circulated and put in use
since September, 1991. Recent developments had been in the area of
church and popular music only.
It is imperative that all children should have minimum
competence in music so that in future, some will be good music
makers, producers as well as good music performers. The success or
failure of their music experience largely depends on the musical
nurturing they received right from their early childhood. If they do not
receive the right musical education, they become deficient in that
aspect and this would equally and automatically affect their
adulthood. In Nigeria we do not have music culture. In sequel to this,
our children in the primary schools do not receive proper early music
education and that has reflected in the society. Ekwueme (2002) in
emphasizing the natural talent one has pointed out that we all
have/posses seven intelligence- the linguistic, logical- mathematical,
musical, spatial, bodily-kinesthetic, interpersonal and intra-personal
intelligence. These intelligence of which should be developed on
music. He equally stated that “if we deny a child say the musical
aspect, we have denied him a balanced education.” In fact we have
denied the child the opportunity of developing his musical talents,
37
capabilities and musical intelligence, thus causing that part of his
brain to remain dormant and undeveloped throughout his lifetime.
Presently the picture and position of music education in our
primary schools is gloomy, despite the injunctions in the National
Policy on Education. This National Policy which gave birth to the
current 6-3-3-4 system, placed music in a prime position as core
subject in the junior secondary schools). At the primary school levels,
music is still merged with Art and drama to form creative Art syllabus
thereby making music education to remain a mere window dressing.
The school systems deride and degenerate music – singing, is used
towards the close of school to wait for closing time. Music is not
evaluated at the end of the school terms like other subjects such as
Mathematics, English, and Social Studies etc. Music is regarded as a
pastime. Worst still hardly can one find a teacher who read music in
our primary schools, rather only those who show interest in music are
assigned to organize musical groups to dance, sing and perform at
school ceremonies.
Moreover children are no longer taught utility songs, folktale
songs which reflect our myth and mythologies, songs reflecting
nature, morals and mores of our tradition. Primary school children are
neither taught songs for acting/dramatization nor songs with
rhythmic body movements. Children are not normally introduced to
local and western instrumentation and accompaniment of choral art
songs to develop musical aesthetics in them. Our rich traditional
music culture is fast decaying. Christian Pentecostals songs are
38
currently projected in all schools and various homes. Vidal (2004)
chronicled that effort of the nationalists (from the post independence
era) to localize the art forms produced in Nigeria did not affect
changes in the content of music on our schools. He further said that:
The Cambridge School Certificate and the London General
Certificate Examination which the Nigerian high school
candidate for such examination took where 100 percent
based on western classical music education with papers
on harmony, counterpoint, forms and analysis, set-works
on European music composers and history/literature of
western music up till the independence period and
beyond. The absence of instructional materials and
trained teachers in the western classical music tradition
coupled with cultures and traditions made it difficult if
not totally impossible for many candidates interest in
music as a subject at the school certificate level (p.7)
Vidal’s account portrayed/buttress the state of music education
at secondary school level. The trend is a cycle and has affected the
primary schools. The curriculum for music is fashioned from the
western cultures hence children were taught Irish, English, and
German songs. Thus music continued to be lag behind other school
subjects of academic study in our schools.
In the developed/developing countries like Britain, America,
Germany, China, Japan, as earlier said music practice in schools –
pre-primary, primary, secondary, up to the tertiary levels is an act of
39
parliament. According to Ekwueme (2002) when Verdi died, his
funeral involved the municipality of Milan. Schools closed down until
the funeral was over. The Italian senate gave up one sitting entirely to
speeches in his honor and memory. So proud was Italy of its great
composer. Some renowned western composers began the study of
music in primary school age when they were equally exposed to
musical instruments. Mozart started music education before the age
of three. By the age of six, he had started performing music publicly.
Fritz Krreicter, and Austrian violinist was a child prodigy. G.F Handel
(1685-1759), J.S. Bach 1655-1750, Joseph Haydn 1732-1803 etc; all
began their music study at primary school ages. Indeed most of them
are first introduced to music study by their parents.
According to American Music Educators National Conference
(1972) “today’s curriculum must be for tomorrow’s world”. Therefore,
the function of our music education for the future should be
fundamental rather than incidental. It should be relevant, and
involving to the primary school pupils. It should advocate the growth
of music literacy and responsiveness to music for an increasing
realization of our children’s human potentials.
Empirical Review
Ugwu et al (1998 and 2006), Habu (2003), Ozoemena (2000)
and Eke (2000), Conducted a research study on the factors
responsible for poor enrolment in music study in Senior Secondary
Schools in Nsukka Education Zone of Enugu State. The instrument
40
for data collection was a two-set questionnaire for teachers, and
students and oral interview. The data collected were analyzed using
frequencies, percentages. The factors responsible for poor enrolment
in music for senior secondary school certificate include: lack of
appropriate teaching aids; lack of qualified and experienced music
teachers; parents’ attitude towards music studies; societal attitudes
towards music studies; curriculum content is outside Nigeria
environment.
Although their study employed all relevant instrument and
methods to obtain the relevant information which were appropriately
analyzed, there was no indication on the solution to the problems.
This is one of the areas which the present study wants to address.
The findings of the study shows that: the game-songs teaches
the pupils morals, dos and don’ts in the society, dancing skills,
singing skills, tolerance, friendship, non-verbal skills, fine motor skills
etc. The major problems that militate against the participation in
these game-songs are; no teacher of game-songs, no permanent venue
for teaching and learning of these games, no specific instruments for
accompanying these games, urbanization, and modern technology.
Although the study employed relevant instruments and methods to
obtain relevant data which were analyzed, it was based on weakness
on part of the teachers and parents on nonchalant attitudes toward
the teaching and learning of game-songs, and parents zeal for their
child not to do music at all, they prefer their child to be lawyers,
engineers, medical doctors rather than being a father or mother of a
41
musician. Another finding was weakness/defect on part of the pupil
as participating in the games unconsciously not attaching values and
interest to what they are doing. These are one of the areas, which the
present study is investigated on.
Ebere (1994) carried out a study on the problems of teaching
music in Junior Secondary Schools in Ezinihite Local Government of
Mbaise, Imo State. The instruments for data collection was a two set
of questionnaire – one for principal and teachers while the other are
for the students. Data collected were analyzed using frequency
distribution tables and percentage. The problem of teaching music in
secondary schools was identified as follows: inadequate facilities and
equipment; inadequate teachers; and poor incentives to both the
teacher and the students.
Although Ebere’s study employed all relevant instrument and
methods to obtain the relevant data which were appropriately
analyzed, it did not go far enough to indicate how the identified
problems should be solved. There was no indication as to how the
teachers and students should be encouraged to develop interest in
music and as well as the need to have more trained personnel in the
field and also to make provisions for infrastructural facilities and
equipment. The present study focuses on finding out solutions to
improve on the above lapses.
Obochi (1995) conducted a study on the problems of teaching
applied music in primary schoolS in Nsukka Local Government of
42
Enugu State. The instrument for data collection was a two set of
questionnaire – one for primary school teachers while the other was
for supervisor of primary schools at local government. The data
collected were analyzed using frequencies and percentages. The
problems of teaching applied music were identified as follows: few
teachers offered music at the teachers’ training collages for one or two
years. They said they are not even serious in the class as at that time,
the period of music in the time table was overlooked, and all most all
the schools in the study area don’t organize any musical activity at all.
There were no facilities and equipment as far as music lesson is
concerned. Teachers, governments as well pupil attitudes towards
music were very poor.
Although Obochi’s study employed all relevant instruments and
methods to obtain the relevant information on the problems of
teaching music in primary schools in Nsukka Local Government of
Enugu State, were appropriately analyzed, it was based on the
weakness on part of the government by not enforcing the
implementation of teaching of music like other subjects at the primary
schools, government lay much emphasis on science and technology.
Secondly, government neglects in providing enough funds to procure
musical instruments and facilities as it did to science subjects. Even
the few teachers who had little knowledge of music are been
demoralized. Music is neglected totally in the time table and even as a
43
competitive event as have sports activities in the primary schools.
These are one of the areas which the present study wants to address.
Different scholars conducted a research on the perception of
music and musicians in the society. It was discoursed from the
literature review that the societies have two different views about
music and musicians. These includes: negative and positive
perception. According to Onyeji (2002) pop musician’s image is to
blighted by such aspersions as elicit sex, unwanted pregnancies,
unhappiness desires. Ames (1965) as earlier mentioned contended
that:
No matter how wealthy and famous a musician is, a musician is
always viewed as a “beggar”. He continued they believe that
music is not an occupation class or profession… Music will not
give us food… The musicians don’t have wealth they only
receives a few gift; or more succinctly. “No one gets rich from
music. Even those who are good dancers and singers don’t
dream of turning to profession for that would as soon ridicule
him/her to an object of ridicule.
To the contrary according Onwuegbena (2011), he observed
from his finding that many Nigeria popular musicians have at one
time or the other, invested with prestigious international and national
hours in recognition of their contributions to the society as cultural
ambassador of the nation. Extant records (Waterman, 2010) show that
the Nigeria Juju Pop music exponent, I.K Dairo was invested with the
44
prestigious MBC (Member of the British Empire) in 1963 by the Queen
of England, in recognition of his musical ingenuity and cultural
relevance. Other Nigeria pop musicians who have been similarly
honored include Dr. Oliver De Coque (Horioris Causa Michegan State
University, USA) Chief Osita Osadebe (MON), Nelly Uchendu (MOM)
Commander Ebenezer Obey (MON) and Sir Victor Uwaifor Ph.D (MON)
Summary of Literature Review
In the literature the concept of perception was reviewed.
Perception can be seen as denature answer to questions about which
there are not enough facture information to reach a completely logical
conclusion. It is an active (rhythm) emotional expense, the work of
imagination and thinking operations what is important in ordinary
Hulking perception or aesthetic perception. This aesthetic perception
may be called feeling perception or emotional perception. From the
literature as is reviewed in this work, music perception is about the
way people see music as a course of study at school level. The society
has two different perceptions about music studies (positive and
negative perception).
In reviewing the related literature, the concept of music was
reviewed. Music is not only an organized sound but an inspired
sound. When people respond to music, they are responding with
feedings and emotions emancipative skills through intellectual means
and a combination of all these. In fact music is a vital force in any
45
culture. We are born to music; we live with music, and are married by
music, and music helps usher us into eternity.
It was established from the literature that music education
system in Nigeria started in a traditional way and it involves an
informal exposure to musical situation from birth through the mother
to adulthood through the age-groups and various associations. When
the missionaries came to Africa they came along with the western
system of education. They established schools and music formed an
important part of the curriculum and that was how formal music
education came to be in the schools system and instituted in the
curriculum. As the music curricular expands it include rudiments of
music. Hence the need to establish teacher training colleges where
music teachers and other school subjects were trained
Teacher education is that form of education that is properly
planned and systematically tailored to teach those who teach or will
teach particularly but not exclusively, in primary and post-primary
levels of schooling. Music teacher education was also highlighted in
the literature. Music teacher education is that education which trains
the learner on the process of acquiring musical knowledge and skill
with the ultimate aim of producing music educators.
Reviews of literature conducted by other scholars were made,
even though their findings focused much on the problems of teaching
music in schools. It appears that no study has focused on students’
perception of music studies at tertiary institution level. In view of this
apparent gap in the available body of research information, this study
46
was carried out as is hoped that the finding will make significant
contribution to colleges of education especially in the areas of
students’ perception to music studies.
47
CHAPTER THREE
METHODOLOGY
This chapter describes the procedure that was adopted for the
study. The procedure include; the research design; the area of study;
the population of the study; sample and sampling techniques;
instrument for data collection; validation of the instruments; reliability
of the instruments; methods of data collection; and methods of data
analysis.
Design
The study adopted a descriptive survey. Survey research
according to Nwanna (1982 p.1) is a collection of information/data on
subjects in their natural states without any form of treatment being
administered. This study described in a systematic manner the
students’ perception of music studies at Federal College of Education,
Eha-Amufu.
Area of Study
The study was carried out at Federal College of Education, Eha-
Amufu. The five schools was involved namely; School of Arts and
Social Sciences; School of Sciences; School of Education; School of
Languages; and School of Vocational Education.
Population of the Study
The population of this study was 437 (four hundred and thirty-
seven) first year students of Federal College of Education, Eha-Amufu
48
from the five schools/faculties in the entire college namely: School of
Arts and Social Science; School of Science; School of Languages;
School of Vocational Education Studies; and School of Education were
used. Table 3.1 below represents the population of the first year
students’ school by school
Table 3.1: Population of the 1st Year Students’ in the five
Schools/Faculties in the College.
S/N Name of Schools No of Student Total
1 School of Arts and Social
Sciences
43 43
2 School of Science 103 103
3 School Languages 205 205
4 School of Vocational
Education
68 68
5 School of Education 18 18
Total 437 437
Source: Data Generated from the Admission Office of the Registrar
Department Federal College of Education, Eha-Amufu.
Sample and Sampling Techniques
Sample and sampling techniques was employed to generate 60%
of each of the schools in the college. To compose the sample,
49
proportionate stratified random sampling techniques was used.
According to Nwana (1981 p.1], If the population of a study is a few
thousands, a 10% sample or more will do. If a few hundreds a 40% or
60% sample will do. Therefore, 60% of the first year students’ of the
five school/faculties were randomly selected. Table 3.2 below shows
the sample distribution of the study.
Table 3.2: Sample Population of Students’ in the Five
Schools/Faculties in the Collage.
S/N Name of Schools /Faculties No of Students No of sample students
1 School of Arts and Social
Sciences
43 25.8
2 School of Science 103 61.8
3 School Languages 205 123.0
4 School of Vocational
Education
68 40.8
5 School of Education 18 10.8
Total 437 261.5
The above table represents the sampled students’ school by school
that formed the population of the study. 25 students is from the
School Arts and Social Sciences; 61 students’ from School of science;
50
123 students’ from School of Languages; 40 students from School of
Vocational Education, 10 students from School of Education.
Instruments for Data Collection
The instruments that were used for this study include a
researcher developed structured questionnaire and a structured
interview question designed to elicit information required to examine
the students’ perception of music studies at Federal College of
Education, Eha-Amufu. The instrument was developed through
extensive review of literature and consultations with the experts in the
field. The questionnaire has two parts.
Part ‘A’: This section sought information on the personal data of the
respondents while part ‘B’: has three sections which sought
information on the students’ perception to music studies at the
college.
Section A of the instrument consists of fourteen items relating to
students’ perception of music studies at the college level; section B of
the instrument consist of ten items relating to the reason why
students’ don’t offer music studies at the college level; and Section C
of the instrument consists of ten items relating to the strategies for
improving students’ perception of music studies at the college level.
The items in these sections are set on a four-point extent of agreement
of the subjects on students’ perception of music studies at the Federal
51
college of Education, Eha-Amufu. The accepted mean of 2.50 and
above is accepted while mean less than 2.50 and below is rejected.
Table 3.3
Validation of the Instruments
The questionnaire developed for this study was subjected to face
to face validation. Initially it was given to the project supervisor for his
comment and input. After that a copy of the questionnaire were given
to three lecturers in the music department.
Methods of Data Collection
The researcher and five research assistants (i.e one from each
school) was involved in administration of the instrument. The
questionnaire was administered by the researcher and research
assistants to the respondents through direct delivery techniques. The
researcher and research assistant’s waited and collected back the
questionnaire after they had completed filling in the questionnaire.
For Positive Items For Negative Items
Strongly Agree 4 points Strongly Agree 1
Agree 3 points Agree 2
Strongly Disagree 2 points Strongly Disagree 3
Disagree 1 point Disagree 4
52
Those who could not complete theirs immediately were told to give it
to the research assistants after they might have completed filling it. A
total number of 250 questionnaires were distributed and 200 were
retrieved. Fifty students were interviewed (10 from each school).
Methods of Data Analysis
The three research questions were analyzed using mean and
standard deviation and the three null hypotheses were tested using
analysis of variance (ANOVA).
53
CHAPTER FOUR
In this chapter, the data obtained were summarized and
represented. The data were analyzed on the basis of three research
questions and three hypotheses that guided the study.
Research Question One
What are the students’ perceptions of music studies at college
level?
The data for answering the above research question one are presented
on table 4.1
Table 4.1
Mean ratings among the first year students’ of School of
Sciences; School of Arts and social Sciences; School of
Languages; School of Vocational Education; and School of
Education studies on Students’ perception of college music
studies.
54
S/N QUESTIONNAIRE ITEMS N X SD DECISION
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
I hate to study music
I will feel ashamed to tell my friends l
am studying music
I love musicians
I like to marry a musicians
Music study should be for the gifted
In my village nobody is a musician
Studying music exposes one to
prostitution
Music is a course meant for lazy
people
Musicians do not have high regard in
the society
It is the wish of my parents to study
music in higher institution
Studying music will make me popular
Music is a difficult course/subject
Studying music makes one poor
Music is not recognized on the time
table
200 2.0 0.94 Rejected
200 2.10 0.94 Rejected
200 3.22 0.91 Accepted
200 2.71 1.14 Accepted
200 2.54 1.22 Accepted
200 2.13 1.04 Rejected
200 1.82 0.87 Rejected
200 1.99 0.97 Rejected
200 1.96 0.90 Rejected
200 2.00 1.11 Rejected
200 2.90 1.08 Accepted
200 2.70 0.08 Accepted
200 1.80 0.93 Rejected
200 2.90 1.11 Accepted
55
Results
With regard to the items that constitute research question one from
table 4.1 above, of the 14 items, seven of them met the acceptance
criterion mean of 2.50 and above. The items 3, 4, 5, 11, 12, and 14
with mean scores of 3.22, 2.71, 2.54, 2.90, 2.70, and 2.90. This
interpretation means that the first year students’ in five the schools
accepted the fact that: they love musicians; they like to marry a
musician; studying music is meant for the gifted; music will make one
to be popular; music is a difficult subject; and music is not recognized
on the time table.
The rest of the items 1, 2, 6, 7, 8, 9, 10, and 13 with mean
scores of 2.00, 2.10, 2.13, 1.82,1.99, 1.96, 2.00, and 1.80 do not meet
the accepted mean of 2.50 and above on the four point rating scale.
This mean that the first students’ of the above schools had rejected
the view that: they hate to study music; they feel ashamed to tell their
friends that they are studying music; they don’t have musician in
their village; studying music expose one to prostitution; music is a
course meant for the lazy people; musicians have high regards in the
society; and studying music do not make one to be poor.
Research question two
What are the reasons why students do not offer music as a
course at college level? Data for answering research questions two are
presented on table 4.2 below
56
Table 4.2
Mean ratings of first year students’ of School of Sciences; School
of Arts and Social Sciences; School of Languages; School of
Vocational Education and School of Education on the reasons
why students don’t offer music as a course of studies at the
college level.
57
S/N QUESTIONNAIRE ITEM M X SD DECISION
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
Some student do not offer music
not because they are not interested
but simply because their parents or
relations instructed them not to do
so
Peer group influence
Student lack of confidence in
handling musical instruments/
equipment
Lack of music teachers
Students are asked to learn music
content that does not particularly
interest them
We do not have music teachers
when l was in the primary school
Mastering of music theory is
emphasized by teachers rather than
practical performance
Inadequate instructional material
or music lessons
Music teachers make student feel
guilty about their errors
We do not have music teacher
when l was in the secondary school
200 2.84 1.14 Accepted
200 2.93 0.86 Accepted
200 2.61 1.10 Accepted
200 3.09 0.99 Accepted
200 2.36 0.95 Rejected
200 3.13 1.01 Accepted
200 2.86 1.08 Accepted
200 2.81 1.13 Accepted
200 2.20 0.93 Rejected
200 2.91 1.09 Accepted
58
Results
With regard to the items that constitute research question two
as evidence from table 4.2 above, of the 10 items, eight items met the
accepted mean of 2.50 and above. The items in questions are; 15,16,
17, 18, 19, 20, 21, 22, and 23, with mean of 2.84, 2.93, 2.61,3.09,,,,
3.31, 2.86,2.81.and 2.91 accepted the mean scores of 2.50 and above.
This interpretation means that the first year students in the schools
accepted that some students do not offer music studies not because
they are not interested but simply because their parents or relations
instructed them not to do music; because of peer group influences
(their friends will laugh at them); they lack confidence in handling
music instruments/equipment; they lack music teachers and as well
they do not have trained music teachers when they were in the
primary and secondary schools; emphasis is laid on music theory
rather than practical performance; and lack of instructional materials
for music lessons.
The rest of items 19 and 23 with scores of 2.36 and 2.20 do not
meet the acceptance criterion mean of 2.50 and above on the four-
point rating scale. This means that the first year students in the five
School had rejected the view thats students are not asked to learn
music content that does not particularly interest them; and music
teachers do not make students to feel guilty about their errors.
59
Research Question Three
What are the strategies for improving the students’ perception of
music studies at the college level? The data for answering research
question three are presented in table 4.3
Table 4.3
Mean ratings among the first year students’ of School of
Sciences; School of Arts and Social Sciences; School of
Languages; School of Vocational Education and School of
Education on the strategies for improving the students’
perception of music studies at the college level.
60
S/N QUESTIONNAIRE M X SD DECISION
25.
26.
27.
28.
29.
Government should accord
teaching/learning of music a
priority as in other discipline
Talented/gifted students of music
should be recommended for
scholarship
Government and cooperative
bodies should provide/make
musical instruments available to
schools to enable student to know
how to handle the instrument
Government should build music
classrooms and laboratories and
equip them
Teachers and parents being a
good model to encourage students
to choose music as a course of
study
200 3.17 0.89 Accepted
200 3.29 0.88 Accepted
200 3.38 0.82 Accepted
200 3.29 0.94 Accepted
200 2.95 1.07 Accepted
61
30.
31.
32.
33.
34.
Recruitment of music teachers
should be based on competence
not on paper qualification
The school management should
supervise the teaching of music
more closely at various levels
In-service training of music
teachers should be encouraged
Methods of teaching music should
be improved from theoretical to
practically oriented
Recruitment of qualified music
teachers are not necessary
200 3.09 1.02 Accepted
200 3.16 0.91 Accepted
200 3.35 0.75 Accepted
200 2.98 1.08 Accepted
200 1.10 0.87 Rejected
62
Result
With regard to the items that constitute research question three from
table 4.3 above, of the ten items, nine of them met the accepted
mean of 2.50 and above. The items 24, 25, 26, 27, 28, 29, 30, 31, 32
and 33 with mean scores of 3.17, 3.29, 3.38, 3.28, 2.95, 3.09, 3.16,
3.35 and 2.98 among the first year students in the college. This
interpretation mean that the first year students of the school accepted
the fact that: government should accord teaching and learning of
music a priority as in other discipline; talented/gifted students of
music should be recommended for scholarship; government and
cooperative bodies should provide/make musical instruments
available to schools to enable student to know how to handle the
instruments; government should build music classrooms and
laboratories and equip them with musical tools; teachers and parents
being a good model to encourage students to choose music as a
course of study; the school management should supervise the
teaching of music more closely at various levels; in-service training of
music teachers should be encouraged; and method of teaching music
should be improved from theoretical to practically oriented.
The rest of the item 34, with mean of 1.10 do not meet the
accepted mean of 2.50 and above on the four-point rating scale. This
interpretation mean that the first year students of the five schools in
the college rejected that recruitment of qualified music teachers is not
necessary.
63
HYPOTHESIS ONE
There is no statistically significant difference (p< 0.05) among
the mean rating of the first year students’ in the five schools with
regard to students’ perception of music studies at college level.
Table 4.4
ANOVA
Mean A
Sum of
square
Df Mean
square
F Sig
Between Groups
Within Groups
Total
1.848
169.350
171.198
4
195
199
.462
.868
.532 .712
Table 4.4 represents the ANOVA analysis of the difference
among the mean ratings of the first year students’ in the five schools
with regard to the students’ perception of music studies at college
level. Looking at the table, the mean scores under the school A
(M=2.32, SD=0.9500), School B (M=2.43, SD=0.97), School C (M=2.20,
SD=0.85), School D (M=2.40, SD=0.90) and school E (M=2.47,
SD=0.95). The one way ANOVA F- ratio (5,169.35) = 0.532; p<0.05.
64
There is therefore no statistically significant difference (p<0.05)
among the first year students’ in the five schools with regard to the
students’ perception of music studies at college level.
HYPOTHESIS TWO
There is no statistically significant difference (p< 0.05) among
the mean rating of the first year students’ in the five schools with
regard to the reason why students’ do not offer music at the college
level.
Table 4.5
ANOVA
Mean B
Sum of
square
Df Mean
square
F Sig
Between Groups
Within Groups
Total
4.330
157.025
161.355
4
195
199
1.082
.805
1.344 .255
Table 4.5 presents the ANOVA analysis of the difference among
the mean ratings of the first year students’ in the five schools in with
regard to the reason why students’ don’t offer music studies at the
college level. Looking at the table, the mean under the school A (M=
65
3.27, SD=1.00); school B (M=3.30, SD=0.69); school C (M=2.97, SD=
0.6); school D (M= 2.95, SD=0.99); School E (M= 3.18, SD=0.55).The
one way ANOVA F/ratio (5, 157.025) =1.344; p< 0.05.
There is therefore no statistically significant difference (p<0.05)
among the first year students’ in the five schools with regard to the
reason why students’ don’t offer music studies at the college level.
HYPOTHESIS THREE
There is no statistically significant difference (p< 0.05) among
the mean rating of the first year students’ of the five schools with
regard to the strategies of improvement of students’ perception to
music studies.
Table 4.6
ANOVA Mean C
Sum of
square
Df Mean
square
F Sig
Between
Group
Within
Groups
Total
2.359
129.840
132.198
4
195
199
.590
.666
.866 .474
66
Table 4.6 presents the ANOVA analysis of the difference among
the mean ratings of the first year students’ in the five schools with
regard to the solutions of improving students’ of perception of music
studies. Looking at the table, the mean score under School A (M=3.06,
SD=0.51 ), School B (M=3.19, SD= 0.95), School C (M=2.86.SD=0.86 ),
School D (M=3.08, SD=0.98) and school E (M=3.09, SD= 0.98).the one
way ANOVA F- ratio ( 5,12.840) = 0.886; p < 0.05
There is therefore no statistical significant difference (p< 0.05)
among the first year students’ in the five schools with regard to the
strategies for improving students’ perception of music studies at the
college level.
Summary of the Major Findings
The following are the summary of the results of this study.
The students’ among the five schools in the college accepted
that: the students’ perception of music studies include that; they love
musicians; they like to marry musicians; studying music is meant for
the gifted; music makes one to be popular; music is difficult to study;
and music is not recognize on the time table. They equally rejected
that they hate to study music; they feel ashamed to tell their friends
that they are studying music; that in their villages nobody is a
musicians; studying music expose one to prostitution; music is a
course meant for the lazy people; musicians don’t high regard in the
67
society; studying music exposes one to prostitution; and that studying
music make one to be poor.
The respondent accepted the view that the reasons why students’ do
not offer music studies at the college level include the following: their
parents/relation instruct them not to do so; peer group influence;
they lack confidence in handling musical instruments/equipment;
they lack music teachers when they were in the primary and
secondary schools; mastering of music theory is emphasized by
teachers rather than practical performance; they lack adequate
instructional materials for music lessons. They also rejected the view
that students are asked to learn music content that does not
particularly interest them and music teachers make them feel guilt
about their errors in music studies.
Both respondents accepted that the strategies for improving
students’ perception of music studies include: government should
accord teaching/learning of music a priority as in order discipline;
talented/gifted music students’ should be recommended for
scholarship; government should build music classrooms and
laboratories and equip them; teachers and parents being a good model
to encourage students’ to choose music as a course of study; the
school management should supervise the teaching of music closely at
various levels; in-service training of music teachers should be
encouraged; and method of teaching music should be improved from
68
theoretical to practical performance. They overwhelmingly rejected
that recruitment of qualified teachers are not necessary.
There is no significant difference among the opinions of the first
year students’ in the five Schools with regard to the students’
perception of music studies at the college level.
There is no significant difference among the opinions of the first
year students’ in the School with regard to the reasons why students’
do not offer music studies at the college level.
There is no significant difference among the opinions of the
students’ first year students’ in the five schools with regard to the
solutions of improving students’ perception of music studies at the
college level.
69
CHAPTER FIVE
Discussion, Implications, Conclusion, Recommendations,
Limitations of the study, Suggestions for further Research
This chapter presents the discussion of the results of the study
and findings of data analysis presented in chapter four. It also
highlights the discussion of the findings, implications conclusions and
recommendations. The chapter also discusses: the limitations of the
study, suggestions for further research, and summary of the findings
were presented. The procedure adopted is that the three research
questions were discussed with the tests of statistical significance on
the three null hypotheses. The implications of the research finding
were presented separately. The limitations, suggestions for further
research, summary as well as recommendations and conclusion were
presented.
Discussion of the Results
The findings that music teachers are inadequate in all levels of
educational system are not farfetched. It is important to note that
school is a microcosm of human society. It is one of those social
institutions established by the society in order to render special
services to the members. It has been in history that the person whose
duty is to actualize these dream are the teacher (i.e teaching and non-
teaching staff) who make the learner to learn what he is intended to
learn as a student in his area. It is wise to realize that adequate and
70
quality teaching staff determines to a great extent the effectiveness of
any teaching programme.
The finding is in line with the observation of Morphet in Eze
(1999) who said that the achievement of the school purpose is
dependent upon the extent to which right caliber of personnel is being
recruited. According to him, it is important to recruit and select
teachers sufficiently and once they are recruited they should be
maintained. In line with the above view, Ezeocha (1985) pointed out
that staff effectiveness depends to a great extent on how well they
understand the role they are expected to play, and on the extent they
feel they belong to the institution.
From the findings it was the opinion of the first year students’
among the five schools on the reasons students’ don’t offer music at
tertiary institution level (college of education in particular) is that they
do not have music teachers when they in primary and secondary
schools, music is not recognized on the time table. The fact these
students have zero background in music studies at the primary and
secondary schools is enough evidence for them to have hatred in the
course. Okafor (1978) in line with the above equally admitted that
frankly when we compare the musical background of Nigeria students
with their counterparts in Europe/America that most of the pioneer
music students of the university of Nigeria had poor or zero
background in the western music which was to be the foundation of
their organized musical studies. Their total practical music experience
71
was restricted to singing in choirs, playing in school band or knows
how to improvise poorly on the harmonium. He went further to state
that hardly any of them had seen these instruments of western
orchestra to which reference would be made in their study (p.199).
The findings that there is lack of music teachers and music is
neglected in the time table is in line with the view of Okafor (1978 p
202) who observed that; the staffing of music department in our
primary education is poor. A musician is thus jack-of-many trade.
Music has many facts and he need not, cannot master them all. He
practices what he knows and thinks with the rest. At best he teaches
the theory out only of the rest. He went further to state that all these
deficiencies contribute to the assessment report on the quality of our
graduates. They are not getting the best.
The study revealed that there is lack of facilities and equipment
such as music laboratories has demoralized the teachers and that the
teachers and students are handicapped. They see music as a subject
that both the government and the society are not interested in since
facilities and equipments given to other subjects like science, that
music is not recognized. In emphasizing the importance of facilities
and equipment in education system, Bradly, (1968), Abdullahi,(1979),
Oore, (1992),Charam, (1996), and Olisma, (2000), observed that
facilities and equipment make music studies more practical which will
invariably produces students who will have the knowledge of music for
use. Knowledge of music for use extends from simple to advanced
72
skills through practical illustrations. They summarized by saying that
laboratory activities in any educational discipline is no longer in
dispute. In support Gatherge (2000), said that teaching in any
discipline with laboratory equipment offers the students the key to
retaining, and having available for use the knowledge that has been
observed. This will make them more survival music/musicians since
the developed skills are permanent. Therefore, for music for use after
school can only be achieved in laboratory and it will help to instill
confidence in the student on the use of these equipments after school.
The teachers teach without instructional materials; and they
develop cold feet in music studies because most of the laboratories
and equipment /apparatus for music studies are not available in the
school for practice and as a result, they do not have confidence in
themselves. Those who combine music with other subjects after
graduation quit music teaching to another subject. These findings are
not surprising since the music curriculum of primary and secondary
schools is foreign to Nigerians. Children (pupils) and students learnt
and sang more English, Irish, Scottish and German folk songs even
more than the Irish, Scottish, and English and German, they do. For
the fact that school children sang about the queen of England without
knowing the location of England on the map. In line with the above
Omibiy-Obidike(1980:15) observed that music syllabus in the early
sixties in our secondary schools are drawn by an over sea syndicate of
the course based on the Western Classical music used in the sixties
73
and seventies. The same syllabus is still used in secondary, tertiary
and other institutions in this decade. Sincerely speaking many scholar
are of the opinion that there had not been an organized and effective
system of music education in Nigeria.
Nduka in Eze (2000) equally observed that without equipment
teaching becomes unrealistic and that if a considerable part of what is
learnt in music lesson is to be put into effect/practice that teaching
and learning materials satisfy individuals need as some learn better
by touching, observing participating and by seeing. They make lesson
more meaningful and understandable. Sometimes lesson become
boring to the students’ because most of the time it is only that teacher
that talks, thereby using words that create languages difficulty.
MaConnel in Eze (2000) Summarized the advantages of using teaching
aids in the teaching learning process by saying that it is natural and
preferred way of learning for man, it builds motivation, it promotes
better learning and retention, and it leads the learner to be
constructionist.
The findings that peer group influence, parents, relation,
societies and teacher perception of music students and music
teaching affects the reason why students’ don’t offer music as a
course of study as mentioned is line with the report of Miller (1970)
who observed that;
It is difficult to get pupils, students, teachers, or parents to
accept music at all necessary in the curriculum. In rural areas,
74
where parents have had little or no schooling there is still a
thriving practice of folk music which owes nothing to organized
schools. The adult African considers that since he himself was
able to acquire knowledge and skills in music without going to
school, it is unnecessary to waste the precious time available by
given school instruction on it
This is really disadvantageous to music education, the fact
remains that some Nigerian and public in general do not know why
music should be introduced as a subject in schools. Despite the fact
that according to great philosophers music remains the bed rock on
which a reliable society or government should be based to achieve and
attain desirable objectives.
The finding that in-services training of music teachers should be
encouraged and recruitment of music teachers should be based on
competences not on paper qualification agree with the view of
(Adeogun, 2010) who observed that for one to be trained in a
particular skill, such person must first of all be recruited into the
group. For instance teachers in music should first of all be recruited
into the system before one thinks of in-service training. Recruitment
and in-service training go hand in hand.
In support also Ani (2005) said that competence refers to the
abilities of the teacher, to teach and inspire him/her using the needed
and appropriate materials and effective evaluation. The music teacher
has to arouse and hold the interest of the learner else his traditional
role as a conveyor of knowledge will fail. Holding his pupils interest is
75
a basic issue in the teaching and learning process of music. The
American music Educator’s conference (1932) equally noted that
music educators need to demonstrate at least a minimum knowledge
of and competence to teach “all music” and cannot be restricted. The
enormity of the task of becoming competent to junction within the
whole spectrum of music education especially in primary schools,
dictates the need for new tools in the teacher. Hence the findings that
in-service training of music teacher should be encouraged at all levels
this means that music teachers need something much more than
performance skills. According to MENC, they must develop a
comprehensive musicianship which coupled with open-mindedness
toward the use of sounds combined in a musical context. This will
enable them to address themselves appropriately to any musical
encounter. They must never lose sight of the fact that their major goal
is to bring the joy of music that their pupils and others and to lead
world of musical art.
The findings that music teachers should be motivated for
effective teaching and learning is in line with Ozigi (1980) who
emphasized the need to keep teachers in their job in their job opined
that promotion is a positive way of bastion people’s moral so that they
can put in their best in their work place, thereby increasing
productivity and efficiency. He went further to state that whereby
workers lack incentives, it will result to frustration resignation and
premature retirement and it will lead to poor productivity and
inefficiency. Ngimah in Eze (2003) added that although there are only
76
but few qualified music teachers in the field, they should be cared for.
He further said that before we expect efficiency and effectiveness from
teacher, their legitimate entitlements should be made available to
their.
Analysis of hypothesis one table 4.4 indicted that there was no
significant difference among the mean scores of the first year
students’ in the five schools in the college; with regards to student’s
perception of music studies at the college level. This is to say that
even though the magnitude of the mean scores among the students’ in
the five schools (2.32, 2.43, 2.20, 2.40 and 2.7) respectively, the
difference is not statistically significant. In other words, both schools
indicated no significant difference.
Analysis of hypothesis two on table 4.5 indicated that there was
no significant difference among the mean scores of the first year
students’ in the five schools in the college under study with regard to
the reasons why students do not offer music at the college level. This
is to say that even though the magnitude of the mean scores among
the students in the five schools ranges from 3.21, 3.30, 2.97, 2.95 and
3.18 respectively, the difference is not statistically significant. In other
words, both schools indicated no significant difference in opinions.
Analysis of hypothesis 4.6 indicated that there is no significant
difference among the mean scores of the of the first year students in
the five schools at the college with regard to the strategies for
improving the students’ perception of music studies at the collage
level. This is to say that even though the magnitude of the mean
77
scores among the students in the five schools ranges from 3.06, 3.19,
2.86, 3.08 and 3.09 respectively, the difference is not statically
significant. In other words, there is no significant difference in the
opinions.
The result of the interview conducted among the first year
students’ of the five schools on the important of music classroom and
music laboratories and equipment shows that in their report they
acknowledge that music laboratory, listening room, audio visual
gadgets, film etc are essential in improving students’ perception of
music studies. Their response were that: with music laboratory, the
student musical learning activities will be practicalized and that will
make learning easy for them thereby gaining entrepreneurship
orientation on the skills in music.
The interview conducted with the student at the college.
Majority of them reveals that it is not only the parental perception of
music studies is what are scaring them away from music as course
but the society as a whole, for instance the society attitude to
education is more or less on consumers. One study or take to a
profession because the subject or profession “sells”. According to
Omibiyi-Obidike (1985) the society sees school subjects at their
immediate utility value. He also said that there is no way an educated
child without the culture of his environment at the back of his mind
will be an effective leader. One has to be groomed into leader/citizen
to forge the nation ahead.
78
The interview conducted with the students’ with regard to the
reason why students don’t offer music studies reveals that there was
no music teacher when they were in the primary and secondary
schools and for that no music study was done. Few of them accepted
that at the junior secondary school they study music only in year two.
The reason being that at the primary and secondary level, music is
still merged with art and drama to form creative art syllabus. Thereby
music studies remain a mere window dressing. Ekwueme (2002)
observed that children are denied the opportunity… and the privilege
of developing (their) musical talents and intelligence. Secondly, they
don’t have a trained music teacher. They only sing during the time of
assembly and dismissal. In view of this, it can be discovered that the
students’ distaste for music studies can be constituted to what we call
general practitioner system of teaching whereby each class teacher is
responsible for all the subjects taught in his/her class at the primary
levels. Equally majority of our secondary schools don’t have trained
music teachers. The time allotted to music in the time table is being
used for other subjects, irrespective of the facts that music was
embedded in the school curriculum.
If one examines this critically, we should realize that it is an
insult to the nation as we cannot comply with education policy set for
us to the extent that almost all the cultural subjects (music) we have
in education policy is in moribund. Even the provision of the National
Policy on Education has not made meaningful impact on the objective
of good and quality education for the Nigerian child. At the primary
79
school level everything is still centered on singing, recitation of
rhymes. Agu (2009) observed that at the secondary school level most
of the learning programme in music emphasized aural training,
keyboard playing, rudiments and theory, history of western music etc.
He went further to state that these are foreign music perception and
sensibility.
It was the opinion of the respondents that supervision is a vital
force/element for the success of any organization. School
management should take the supervision of teaching music at various
levels serious. Ojelabu (1981) maintained that one of the purposes of
supervision is to stimulate and provide guidance in the display of
desirable educational practices. Onyishi (1994) equally said that
supervision helps organization to know or ascertain the performance
level of their workers, discover certain lapses of those being
supervised, adopt measures to overcome such lapses, find out when
or if it is desirable to transfer, promote or dismiss workers, take
disciplinary action against defaulting workers, direct activities towards
desire objectives, maintain and upgrade standard for school
achievement.
The finding that recruitment of qualified music teachers are
necessary as well as in right proportion is in line with the views of
Ekwueme cited in Eze 2000 and Ukeje (1992) who stated that quality
and quantity of staff enhances stability in educational programme. In
support of this, the National Policy on Education (2004 revised) said
80
“No education system can rise above the quality of its teachers. This,
it means that in order to maintain quality and quantity of teachers in
the primary and lower level of secondary schools system, the policy
recognized Grade 11 teachers as basic to teach in our primary schools
but emphasized that NCE will automatically become the minimum for
entry in to teaching profession. The need for adequate qualified
teachers in our primary schools was also recognized by the third
National Development Plan (1975-80) where it stated that the quality
of the teaching staff is probably the most important of educational
standard at all levels. In as much as the recruitment of right caliber of
personnel is important, it is good as to motivate them and keep them
in their job.
Conclusion
Finally on discussion in chapter five, it was discovered that
many students’ don’t have interest in music because they are not
privileged to study music formally during their primary and secondary
school days. Though, the societal perception of music studies are not
favourable, one can develop interest if he/she is properly guided,
encouraged, and motivated. There is an adage which says that
“practice makes perfect”. Therefore, for one to develop interest in
something that person might have been in constant practice. Interest
does not develop from a vacuum. It has to emanate from somewhere.
A “Rome” is not built in a day. It has to be through a gradual process.
One of the definitions of education is that education is a gradual
81
process used to make a child to become a useful member of the
society.
The researcher from observations during the conduct of this
research discovered that the students’ lack of interest in music
studies is as a result of not having formal music education right from
their early part of life. They are left with the only folk songs they are
able to grab in their various environments. It is true that it has in
history that an “African learn the music of his ancestors right from the
age of one or two where the mother will carry him/her at the back and
dance during ceremonies. But that alone can not make a child to
know everything about music. The child still needs formal music
training to be able to apply it in his daily activities for the betterment
of himself and the nation.
From the findings of this study as seen in the data collected, the
following conclusions were drawn. The respondents rejected that their
perception to music studies at college level include: that; they hate to
study music; they feel shy to tell their friends that they are studying
music. They accepted that: in my village no body is a musician;
studying music exposes one to prostitution; music is a course meant
for lazy people; it is the wish of their parents for them to study music;
studying music make one to be poor; they love music; they like to
marry a musician; music is a difficult subject/course; studying music
make one popular; and music is not recognized on the time table.
Parents/relations; pear group influence; lack of confidence in
handling musical instruments/equipments; lack of music teachers,
82
teaching theoretical aspect of music rather than practical
performance; as well as lack of music teachers were spotted out as the
reason why students’ don’t offer music studies at the college level.
Music teachers bulling students during music lesson, and teaching
students the music that the content does not interest them were seen
as not the reasons why they don’t offer music This is because majority
of them do not offer music at all during their primary and secondary
school days, how do one expect them to know which music content
interests them or not. Like wise, for the fact that they don’t have
music teachers where will the bulling come from.
It was the opinion of the respondents that the strategies for the
improvement of perception of music studies at the college levels
include: governments involvement in according teaching and learning
of music a priority as in ether discipline; talented music students
should be given award and scholarship; providing teaching materials
and building music laboratories for effective teaching and learning of
music; recruitment of qualified teachers based on competency;
creating the avenue of in-service training for music teachers as well as
close supervision of instruction. Teachers and parents being a good
model to encourage students to develop interest in music studies were
also spotted out as strategies for improving perception.
Implications of Research Findings.
The findings of study have some educational implications. The
implication of the findings as it relates to students’ perception of
83
music studies at Federal College of Education, Eha-Amufu is hereby
high lighted.
From the findings of the study, it is planned that the
perceptions of the students’ pivot on the issue that teachers are not
enough to handle the teaching of music studies. This means that the
music teachers should be subjected to continuing music education
programmes especially on practical music courses, to keep them
abreast of the latest information on music education matters. This will
definitely makes them teach with confidence and speak authoritatively
on the issue. Because parents, communities and the societies are not
involved in curriculum development there is also a misconception that
this causes a low acceptance of music as a course of study in schools.
This implies that the parents, communities and societies should not
be left out in the planning of the course in music curriculum and
development.
Furthermore; because the curriculum content of music studies
is more or les European than tradition has made the teaching and
learning of music not to be catchy by the students and the teachers.
This implies that the curriculum content of music studies should
embrace the traditional culture of the people who set; it should as well
incorporate/involve non-literate musicians who are experts in the
various skills to aid the trained music teachers in the course of
instruction.
From the findings also it was discovered that lack of incentives,
support and encouragement by the parents, the communities, the
84
societies as well as the government is a serious issue that causes low
perception of music studies. This means that parents and the society
at large should know that music is an aspect of culture which is used
to communicate the cultural norms and values of the society into the
young ones. This issue is vital because a cultureless society is a propel
one. They should encourage their children to participate in music
right from home to schools. On the part of the government, the
government should give equal priority to music studies as it does in
other school subjects in form of providing infrastructural facilities and
equipment for music studies, awarding scholarship to talented music
students to enable them accomplish their task in music studies. As
well as giving music teachers its due remuneration in the service of
their job. In-service training of music teachers is also a motivating
factor.
From the study it was revealed that what goes on in schools is
dependent on the quality of teachers. In our primary schools those
whose responsibility it is to teach music are generalist classroom
teachers who, when asked to comment on why music studies at the
primary school level is such an unsatisfactory state or is not all, claim
their own lack of confidence and competence to teach music as the
major determinant. Even those who teach music at the secondary
schools claim that they are trained music teachers but their poor
teaching methods they attributes it to the type and amount of music
studies received at colleges of education and university levels during
their school days. Another issue is that music educators/teachers
85
lack confidence, knowledge, understanding and skills. This implies
that training of music teachers should be encouraged, and music
Departments should be equipped with necessary facilities and
equipments as well as recruiting non-trained musicians who are
experts in different skills.
There are therefore the implications that music curriculum
content of music at teacher education level had a problem and lack
proper coordination of what is supposed to achieve at the end of the
training programme. This implies that music as a complex art requires
a variety of skills and in-dept knowledge of subject matter and
Pedagogy. This after music education should equip the teachers not
only how to play the guitar or recorder or read music notation, theory
and history but should be able to connect art forms and how to link
the arts with other subjects across the curriculum. So also the
content of music teacher education needs to be linked to and
compatible with the needs of future schools and the development of
life long learners for creative economy, roles on encouraging and
developing creativity, skill in young people.
Recommendations
The Inspectorate Division of music should be created in the
Ministry of Education and Inspectors of music appointed in every
Local Government. It should be their responsibility to see to the
effective implementation of Government Policies on music education
and also to foster the growth of music education in schools from
primary, secondary and tertiary institutions.
86
Group of traditional musicians and specialists in various areas
should be organized in the six geo-political zones by the Federal
Government for such dances- Jarawa dance Plateau State; kalanga
Dance-kano; Ikpokiti Dance- Anambra State; Nkwa Umu Agbogo
Dance-Imo State, Bantu-Yoruba, Oyo State etc. Specialist in making
musical instruments should be employed in secondary schools around
the country. State should equally encourage such projects. When this
is done it will sensitizes the youths on the importance of music for a
nation and government involvement in encouraging the youths to
study music as there is hope for them.
Qualified trained music teachers should be trained in
improvisation, construction of simple musical instruments, computer
literacy through in –service training to enhance the teaching of music
using music laboratory devices/equipment/facilities. The Federal and
State Ministry of Education should direct theirs NCCE to ensure that
trained and qualified music teachers are posted to primary, secondary
and tertiary institution level so that effective teaching and learning of
music will take place which will invariably enhance/generate interest
in music studies right from the lower level of our educational system.
So that at the tertiary level, there will be improved students’
perception of music studies. Updating of knowledge and skills of
music teachers is also necessary.
Government must formulate and enact relevant polices backed
up with appropriate legislation to enhance the teaching of music. By
87
this, agencies institutions and stakeholders will be compelled to
play/fulfill their obligations.
The mass media, particularly the electronic media, have a
strong role to play to sensitize the youths on the importance of music
education in our society, the media should encourage performance of
artists by lazing with the Ministry of Education and Inspector of Music
at various levels inform of competition and prizes will be given, this
will go a long way to encourage our youths to have interest in music
studies.
In other to improve perception of music studies, the National
Cultural Policy should revive the Festival of Arts and Culture. The
schools will then programme on a yearly basis for these festivals and
have all the rehearsals and all the lessons necessary to ensure
success in them. Standard should therefore be raised. Children
should then in the course of the teaching of music (songs) in schools
learn simple technology about music. In those days children learnt for
example, how to make ‘une’ (musical bow), slit bambow drum, reed
flutes from bambow pipes when were in primary schools. All these
could come back into the school system and introduced as school
handiwork.
Music as a discipline is one of the strongest tools for cultural
uniqueness and self identity in the life of any society. Therefore
schools in Nigeria should deemphasized too much teaching of western
music and history and emphasize the teaching and learning of the
theory and practical aspects of African and Nigerian music. This will
88
help in uniting over 254 ethnic groups each of which forms a cultural
group. The school music curriculum should as well embrace the study
of all existing music types in Nigeria.
The curriculum of music education in the primary and lower
secondary school should call for serious review to make it utilitarian.
Music should be separated with Arts and Drama. The curriculum of
primary and secondary schools should incorporate rudiments and
theory of music practice. Emphasizes should be laid on practical
musicianship, music creativity and execution. Nigeria and African
music should be given the pride of place.
The Ministry of Education should collaborate with the
Government to see that all the school subjects at teacher training
colleges have equal distribution of funds to enable it meet up in the
demand for what is being set for according to National Policy on
Education. To avoid the continued neglect of some subject cultural
subject music in particular. Their facilities and equipment budget
should be submitted through the NCCE and approved estimates
deducted at source from the Federal allocation of owner states and
pass on to the NCCE for disbursement. This will go a long way to cub
the hypocrisy witnessed over the years in providing facilities and
equipments to education at all level. This will result into a nation’s
effort geared towards qualitative teacher education which will meet the
demands of the National Policy on Education (2004:39)
Adequate music laboratory Should be made available in all
music training institutions. This should enable the music teachers to
89
practically demonstrate their lessons with the most efficient know
how. They should be able to display with their wealth of knowledge by
practically taking their students through the whole lessons
demonstrating and illustrating how to play different types of
instruments, to compose music; conduct dancing, carrying out
experiment on their own in musical analyses, involving students in
group activities/works, taking students out on execution and TV
programmes, teaching with most appropriate instructional materials
and using all other means by which students can practically learn.
Equally through the use of music laboratory students should be able
to develop their knowledge to establish themselves in investment
activate, latent entrepreneurship ability and income generating
opportunity as this well help in achieving the goals of music education
which is supposed to produce a musician/music teacher who will be
productive after school music programme.
Articulation and implementation of sound and broad based
music education programme. A sound music laboratory programme
enclosed on broad based curriculum activities should be implemented
and adopted in the primary and senior secondary schools. These
include; exhibitions and adopted programmes to cater for individual
interests and capabilities of the students. Emphasis should be laid on
mass participation, inculcation of positive social values and
discouragement of win –a – all cost syndrome and other forms of
cheating.
90
Government should formulate and enact relevant legislation to
enhance the funding of music education programmes as they did to
science subjects. In other words, our educational policy makers
should de-emphasis the dichotomy which exists today between the
sciences and arts in all our educational institutions. This is because
science and arts as well as technology come under the umbrella of
“culture.”
Practicing music teachers should be regularly exposed to
retraining in areas relevant to Nigeria’s cultural heritage. Appropriate
ways and means should be devised for re-educating the Nigerian elite
to accept and develop indigenous cultures and value systems. For
instance like in existing infrastructures (the mass –media, schools,
and appropriate literature) etc should be used as a way of evaluating
the culture of the people to the elite class
Limitation of the Study
The descriptive survey research design was used to find out the
students’ perception of music studies at the Federal College of
Education Eha-Amufu. This design has a major problem of instability
of data arising from relevance in questionnaire information. Such
reliance may lead to faking of responses. To this study is a limitation.
The out come of this the research is partly based on the opinion
of the students among the five schools at Federal College of Education
Eha-Amufu in Enugu State of Nigeria. Some of the students were
91
reluctant to respond to information which they considers incapable /
not confident with.
Suggestions for Further Research
1. It is the honest wish of the researcher that this work should not
be considered as ‘final’ there are other aspects of students’
perception of music studies that can be explored by future
Researcher
2. Since the present study did not cover all the colleges of
education in the South Eastern Zone of Nigeria, it is being
suggested that future researchers could replicate the study to
include the entire South Eastern Zone.
3. Further research could be conducted to quantify other possible
solutions or means of improving students’ perception of music
studies.
92
References
Abdullahi, A. (1979). Laboratory instruction and safety in science
teaching, Journal of STAN 17 (3) p.80.
Act of Appostle 16: 25-26. (P148-149).
Adenipekun, O. (2005). Fafunwa seeks reward for teachers. Vanguard
Education Weekly. Thursday Vanguard Novermber, 10.
Adeogun, A. O. (2006), Towards a philosophy of music education in
Nigeria: Interlinck, A Journal of Research in Music, 3(P.105).
Adeogun, A.O. (2009). Music, education and national development: A
case for indigenous African music. Lead Paper presented at
the 1st National Conference on Music, Education and National
Development at Alvan Ikoku Federal College of Education,
Owerri.
Adesina, S. (1977). Planning and educational development. Lagos:
Educational Industries Nigeria LTD.
Agu, D.C. (2009). Music education in Nigerian Schools: Implication for
national development. A key Note Address, First National
93
Conference on Music Education and National Development:
Alvan Ikoku Federal College of Education Owerri.
Ames, S.D. (1973). “ A Socio – Cultural view of Hausa musical
activities” In Warren L.U’ Azevedo (ed.) The traditional artist in
Africa Societies. Becoming Tin.
Ani, H.U. (2005). Teacher competence and students’ interest in
science in schools. Annual Conference of the School of Science
Federal College of Education Enugu 2nd – 7th May.
Azikiwe, U.C. (1993). Economic empowerment of women through the
better life programme. International Women’s Day Symposium
Organization by Enugu State Chapter of B.P.Held at Micheal
Okpara Square Enugu 8th March.
Black, J. (1973). How musical is man? Seattle: University of
Washington Press (2nd ed.) London. Faber and Faber, 1976.
Bradley, R.S. (1969). Is Science laboratory necessary for general
education science course? Science Education, 59 (2) p.5 8 – 65.
Charen, G. (1996). Laboratory methods build attributes: Science
Education, 52 p.54-57.
94
Dmitrisk, K. (1976). Challenges in music education. International
Society for Music Education p.123.
Ebere, E.N. (1994). The problem of teaching music in junior secondary
schools in Ezinihite Local Government of Mbaise, Imo State.
Unpublished NCE Project Federal College of Education, Eha-
Amufu.
Ekwueme, L.U. (2002). Guideline in music education. Socio political
issues in Nigeria. Key Note Address: At the Conference of
Music Educators in Nigeria (COMEN). Federal College of
Education of Okene 7-10th August.
Eze, C.O. (1999) Management of primary schools. The state the arts in
Nsukka Education Zone of Enugu State. Unpublished M.ED
Thesis Department of Education, U.N.N.
Eze, C.O. (2003), The role of music in teaching science subjects in
schools. 3rd National Conference of School of Science Federal
College of Education, Eha-Amufu.
Eze, C.O. (2004), Igbo cultural music. A veritable instrument for
national reconstruction. Nigeria Journal of research and
production ESUT.
95
Eze, C.O. (2010), Projecting culture through the language of music.
Journal of Languages and literature, Federal College of
Education Eha-Amufu 2, (3).
Ezeocha, P. A. (1995). School management and supervision. Owerri:
New African Publishing Co.
Fafunwa, A.B. (1974). History of education in Nigeria. London: George
Allen Unwin LTD.
Fafunwa, A.B. (1998), A History of Nigerian higher education. Lagos:
Macmillian Nigerian Publishers LTD.
Federal Ministry of Education (1998). National curriculum on cultural
and creative arts for primary schools. Lagos: Oyeleke Set-Age
Printers.
Federal Republic of Nigeria (1981). National policy on education. Lagos:
Federal Government Press.
Federal Republic of Nigeria (1988). National policy on education. Lagos:
Federal Government Press.
Griffiths, T.D. (1999). Human complex sound analysis Clin Sci (96)
231-234.
Isiah 19:9 KJV Holy Bible.
Jesen, K.L. (2001). The effects of selected classical music on self.
disclosure, music there, 38:2-27.
Joseph, J.L. (1967). The physics of musical sound. Princeton Toronto,
London.
Jowitt, H. (1959). Principles of education for African teachers. Long
Man and Green.
96
Kiel, C. (1979). Tiv song: The sociology of arts in classless society,
Chicago and London: The University of Chicago Press.
Krumhans, C.C. (200). Rhythm and pitch in music cognition. Psycho
Bull 126,159-179.
Mills, T. (1989). The generalist primary teachers of music: Problem of
confidence. British Journal of Music Education, 6, (2) 125-138.
Miller, H. L. (1970). Social foundation of education. Hunter College,
City University Press.
Nwanna, O. C. (1981). Introduction to educational research. Ibadan
Heinemann Educational Books Nigeria ltd.
Nwoyeh, G. R. I. (2010). The role of music in achieving millennium
development goals: Instrument for enlightenment and
awareness creation. Journal of School Arts and Social Science,
Federal College of Education, Eha-Amufu.
Obochi, C.O (1995). The problems of teaching applied music in
primary schools in Nsukka local government of Enugu State.
Unpublished NCE project Federal College of Education, Eha-
Amufu.
Ojelabu, A. (1981). A guide to school management, Ibadan: Valuta
Educational Publisher.
Okafor, R. C. (1988). “Focus on music education in Nigeria”,
International Journal of Music Education, (IJME). 12:9-17.
Okafor, R. C. (1998). Popular music in Nigeria: Patronizing attitude of
benign complacency?. British Journal of music education. 15,
(2), p.149-154.
97
Okon, S. (2011). A Grand unified theory of music princeton. Alumini
Weekly.
Olisama, O.U. (2003). A study on the effect of models in teaching
geometry in secondary schools, Lagos. Journal of Science
Education (AOCOED, 6 (1); P. 86.
Olowe, A.O. (1992). Understanding the subject matter, Sunday daily
times, June 26th P.15.
Omibiyi-Obidike, M. A. (1974). Problems of music education in Nigeria.
Universities (1) 67-80.
Omibiyi-Obidike, M. A. (1979). Nigeria musicians and composers.
Nigeria Magazine 5, 126-133.
Omibiye-Obidike, M. A. (1983). Traditional music in the curriculum of
Nigeria schools, use of cultural heritage in Nigeria education.
Omibiyi-obidike, M. A. (1987). Whither music education in Nigeria. A
Paper presented at the First National Conference of Nigeria
Association of Music Educators, Anambra State College of
Education, Akwa Nigeria.
Onyishi, A. (1994) Advanced principle of management. Unpublished
Manuscript PAIG U.N.N.
Onyeji, C. (2002). Popular music, Facts about music and musicians. In
E Idolor (Ed) Music in Africa. Ibadan: Stiring- P. 24-26.
Onwuegbenna I. E. (2011). Popular music and social-cultural
integrity: The contiibution of E. C. Arinze. National conference
98
of Music and Performing Arts (NACOMPA). University of
Nigeria, Nsukka.
Oriaifo, (1982). “The purpose and philosophy of teacher education in
contemporary Nigeria society: A relative overview” In Benin
Journal of education.
Ozigi, A. O. (1980). A handbook on school management and
administration. Lagos: MacM illan Publishers LTD.
Patterson, D. (1997). Implementing the k-6 music curriculum: Primary
teacher attitudes towards the curriculum teaching.
Unpublished M.ED thesis, University of New Castle, Australia.
Platel, H. (2002). Neuropsychological of music perception. New
perceptive.
Puwins and Hardoon, (2009). “The trends and perspectives in music
cognition research and technology”. Connection science. 21, 2-
3, 85 – 88.
Quaterly magazines (1988). October, 13.
Shatin, L. (1957). The influence of rhythmic drumbeat stimuli upon the
pulse rate and general activity of long term. Schizophrenic – J
ment Sci. 103,172-188.
Stevens, S.S.J., Volkmann, and E.B. Newman (1937). A scale for the
measurement of the psychological magnitude pitch. Journal of
the Acoustical Society of Americas 8, 3:185 – 190.
Taiwo, S.O. 91980). The Nigeria education system, past, present and
future, Lagos: Thomas Nelson.
99
Ugwu, B. C. (2006). Factors responsible for low enrolment in music for
senior secondary school certificate examination. Unpublished
N.C.E. project. Federal College of Education Eha-Amufu.
Ukeje, B.O. (1992). Educational administration. Fourth dimension
publishing co ltd.
UNESCO (1966). “Recommendations concerning the status of teacher”
Paris Webster Encyclopedia Dictionary (1994), Gramercy Books
p.943.
Vidal, T. (2004). Music education in Nigeria entering the 21st century
with a dramatic philosophy keynote Address, Conference of
the Musicology Society of Nigeria (MSN), Institute of African
Studies University of Ibadan 1-5th June.
100
101
102
103
104
105
106
107
108
109
110
111