HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA

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Background to problem

Music education is a concern that all societies share since music is central to the cultural life, and monitors the mental advancement of a society from generation to generation. For instance, in the traditional Nigerian societies, music is not considered simply as a distillation of experience. It is as well strongly a proactive as well as organizational force integrated into social, political, religious and economic transactions of humanistic existence. Transmission of musical knowledge is an oral process.
Thus music exists in performance as sound phenomenon as well as in its multiple societal references. For these reasons, traditional Nigeria, before the invasion of foreign cultures had a well-rationalized system of music education that effectively sustained the transmission of age-old indigenous music knowledge, the systematized practices and creative advancement. Mass musical cognition was coerced through active participation in communal musical events and spontaneous criticism of live performances. There was also the indigenous apprenticeship in specialized music types that enabled the apprentice to acquire exceptional expertise, contextual application and performance dynamics from a master and the critical society (Nzewi, 1998:456-458). Such a learner attained community music leadership, and practiced music, as part of a multi-media experience that operated on the principle of music is life.

Need for the study

The traditional Nigerian recognizes music as well as the associated educational practices as valued human activity that mediates relationships and transacts issues of human existence. However, for reasons of colonial/religious history and modern communication pervasiveness, many modern Nigerians misunderstand the need for, and the purpose of music education, while on the other hand demonstrating great love for music. These contradictions impact on modern music education. If music must at all be studied as a subject, what music should be prioritized in modern, nationally as well as culturally relevant education. Music education in national systems has three sub-systems: policy formulation, development and implementation. The progression from the policy formulation to implementation has remained highly problematic. Policy formulation prescribes standards and criteria for evaluating accomplishment of the enterprise. It is at the implementation subsystem that the adequacy and viability of the policy guidelines are tested and monitored.

he concept of education

Defining the term, ‘education’, is not a simple matter. This is because education is never a stable category. What it means, how it is used, by whom, how it is drawn on as a social discourse, its role in society and life has changed tempospatially. Education as such is socially and historically constructed, and subjects to socio-political tensions and contradictions. Yet, there is need to define and clarify the concept, to make clear which meaning out of the myriads of definitions of education is used in the context of this thesis. Education is a means by which human beings ‘acquire the civilization of the past, are enabled both to take part in the civilization of the present, and make the civilization of the future’ (Ukeje, 1971:372). C. S. Brembeck defines education as ‘a device by which men (and women) take what others before them have learned, add to it their own contribution, and then, in turn, pass it along to the next generation’ (Brembeck, 1971:287). In other words, education at the macro level is a process that goes on from generation to generation.

Traditional education in Africa

Traditional, as used in the context of this thesis, distances itself from the received wisdom that portrays traditional African as being isolated from the outside world, static, with emphasis on an unchanging life style and value system. Instead, ‘tradition’ here means established structures of cultural transmission and acquisition. It implies ‘time-depth, the continuity of ideals, values and institutions transmitted over generations which involves continuous borrowing, invention, rejection and adaptation on all levels, individual, local and regional’ (Martin and O’Meara, 1977:7). For in the traditional African human system, the emphasis has always been on continuity and change.
The new is interpreted in terms of the old and the old is viewed in terms of new insights. Fafunwa speaks of the traditional system of education in Africa as being ‘as old as man himself’ (Fafunwa, 1974:1). The system has aided Africans in inheriting their tradition. But it has not been given due recognition by writers until recently. The earliest writers such as E.B. Ellis, Richard Burton and Winword Read, unable to identify its characteristics erroneously declared it non-existent. Nevertheless, the indigenous education system continues to co-exist with the imported systems especially in the rural and some semi-urban African settings today.

TABLE OF CONTENTS :

ABSTRACT
ACKNOWLEDGEMENTS
LIST OF TABLES
LIST OF MAPS
LIST OF APPENDICES
CHAPTER ONE: INTRODUCTION
- 1.1 Background to the problem
- 1.2 Statement of problem
- 1.3 Need for the study
- 1.4 Purpose of study
- 1.5 Research questions
- 1.6 Methodology
- 1.7 Focus of study
- 1.8 Value of study
CHAPTER TWO: LITERATURE REVIEW
- 2.1 The concept of education
- 2.2 Traditional education in Africa
  - 2.2.1 Traditional cultural arts education in Africa
- 2.3. Educational policy
- 2.4. Music education
- 2.4.1 Music content
- 2.4.2. Programs of music education, content and evaluation
- 2.5 Types of evaluation
  - 2.5.1 Evaluation approaches
  - 2.5.2 Quantitative approaches
  - 2.5.3 Qualitative approaches
- 2.6. Elements of evaluation
  - 2.6.1. Objectives
  - 2.6.2. Criteria
  - 2.6.3 Evidence
  - 2.6.4 Judgment
- 2.7 Importance of programme evaluation in music education
  - 2.7.1 General principle of evaluation
    - 2.7.1.1 What to evaluate?
    - 2.7.1.2. When to evaluate
    - 2.7.1.3. Who to evaluate
- 2.8 Steps in evaluation
- 2.9 Theoretical base
  - 2.9.1 Description of the model
- 2.10 Analytical framework
  - 2.10.1 Aims
  - 2.10.2 Administration
  - 2.10.3 Finance
  - 2.10.4 Structure and organization
  - 2.10.5 Curricula
  - 2.10.6 Teacher education
CHAPTER THREE: HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA
- 3.0 Background – Nigeria
- 3.1 The pre-colonial systems of music education in Nigeria
- 3.2 Music education in the pre-colonial Nigeria
- 3.3 Indigenous music education in Nigeria
  - 3.3.1 Indigenous African education in Nigeria
  - 3.3.2 Indigenous music education in Nigeria
  - 3.3.3 Philosophical foundations of indigenous music
  - education in Nigeria
    - 3.3.3.1 Meaningful existence
    - 3.3.3.2 Consciousness of the spiritual factor
    - 3.3.3.3 The cyclic concept of time
    - 3.3.3.4 Cosmological orientation
    - 3.3.3.5 Humanism
    - 3.3.3.6 Communalism
    - 3.3.3.7 Creativity
    - 3.3.3.8 The use and discard syndrome
    - 3.3.3.9 Holism
    - 3.3.3.10 Functionalism
    - 3.3.3.11 Perennialism
    - 3.3.3.12 Preparationism
    - 3.3.3.14 African musical practice
  - 3.3.4 Music educational policy in Nigerian traditional society
    - 3.3.4.1 Child rearing practices
    - 3.3.4.2 Age-grades
    - 3.3.4.3 Life-rites
    - 3.3.4.4 The community
    - 3.3.4.5 Festivals and ceremonies
    - 3.3.3.6 The apprenticeship systems
    - 3.3.3.7 Royal courts
- 3.3.5 Essentials of indigenous African music education in Nigeria
  - 3.3.5.1 The world of things
  - 3.3.5.2 The world of people and music
  - 3.3.5.3 The creation and appreciation of music
  - 3.3.5.4 The world of musical ideals
  - 3.3.5.5 The use of music instruments
- 3.3.6 The status of traditional African music education
CHAPTER FOUR: AFRO-ISLAMIC MUSIC EDUCATION IN NIGERIA
- 4.1 Islamic music education in Nigeria
- 4.1.1 Islam and Islamic music education
- 4.1.2 The evolution of Afro-Islamic music/music education in Nigeria
- 4.1.2.1 Islam in Nupe and Yorubaland
- 4.2 The Afro-Islamic music education in Nigeria
- 4.2.1. The Koranic school and music education
- 4.2.2. Islamic preaching and music education
- 4.2.3. Life rites and music making in Islamized Nigerian societies
  - 4.2.3.1 Wolimat ceremony
  - 4.2.3.2 Islamic festivals
    - 4.2.3.2.1 Id al-fitr (itunu aawe)
    - 4.2.3.2.2 Id al-kabir (odun ileya)
  - 4.2.3.3. Ramadan and ajisaari music
  - 4.2.3.4 The waka (song)
  - 4.2.2.5 Muslim age-grade groups
  - 4.2.2.6 Marriage ceremony
  - 4.2.2.7 Burial ceremony
- 4.3. Islamic policy on music education
- 4.3.1 Islamic music education policy in Nigeria
- 4.3.2 Islamic religious and political leadership and music education
- 4.3.2.1 The ulama: sufi scholars
- 4.3.2.2 The fundamentalist ulama
- 4.3.2.3 Court praise singing
- 4.3.3 Islamic policy of submission to the will of Allah and the Hausa musicians
- 4.3.4. Islamic policy of doctrinal generosity and the Hausa musicians
- 4.4 Islamic music education and indigenous music education systems
CHAPTER FIVE: DEVELOPMENT OF MUSIC EDUCATION IN NIGERIA
- 5.01 Theories about evolution and race
- 5.02 Explorers
- 5.03 Traders
- 5.1 Development of Western (colonial) music education in Nigeria
- 5.1.1 Missionaries activities and the origins of music education in southern Nigeria
- 5.1.2 Precursor: missionary activities and Nigerians’ study of western music in Sierra Leone,
- 5.1.3 The early activities of Christian mission and music education in southern Nigeria, 1842 –
- 5.1.4 Missionaries, Christianity and music education in northern Nigeria
- 5.2 Colonial music education in Nigeria,
- 5.2.1 The implantation of military band music education in Nigeria
- 5.2.2 The 1882 education ordinance: The beginning of government’s participation and continued missionary efforts in music education
- 5.2.3 The 1887 education ordinance
- 5.2.4 Music in the early secondary grammar schools
- 5.2.5 Music in the early teacher training colleges
- 5.3 British colonial educational policies in Nigeria
- 5.3.1. Phase I (1842-1882)
- 5.3.1.1 Missionary activities, Christianity and music education
- 5.3.1.2 The church’s policy of denationalization
- 5.3.1.3The church’s naturalization/Euro-Christianization and ‘anti-African music’ policies
- 5.3.2 Phase II: (1882-1925)
- 5.3.2.1 Lagos elite’s policy of using music as symbols of status and culture
- 5.3.2.2 The emergence of the African church and the policy of cultural nationalism
- 5.3.2.3 The Aladura movement’s policy of Africanizing the church music
- 5.3.2.4 Colonialists’ policies of westernization, industrialization and urbanization and music education
- 5.3.2.5 Nigerian popular music and musicians’ Africanization of Western music and westernization of African music
- 5.3.2.6 The commercialization of African music
- 5.3.3 Phase III: 1925 –
- 5.3.3.1 The emergence of second cultural nationalism in Nigeria
- 5.3.3.2 Festivals of the arts and the policy of musical exhibitionism
- 5.3.3.3 The beginning of higher education in Nigeria (1930 – 1959)
- 5.3.3.4 The clamor for liberalization higher music education in Nigeria
- 5.3.3.5 Racialization of modern music education n Nigeria
- 5.3.3.6 The scholarly study of African music in Nigeria during the colonial era
CHAPTER SIX: POSTCOLONIAL MUSIC EDUCATION IN NIGERIA
- 6.0.1 Music education on post-independent era
- 6.0.2 Education and social change in Nigeria
- 6.0.3 The Ashby Commission of
- 6.1 Phase I: 1960 –
- 6.1.1 The University of Nigeria, Nsukka (UNN)
- 6.1.2 The Department of Music, University of Nigeria, Nsukka
- 6.1.3 The creation of more universities in the 1960s
- 6.1.4 The institutionalization of African Studies and the search African musical values
- 6.1.5 The National Curriculum Conference of
- 6.2 Phase II: 1969 –
- 6.2.1 The States’ take-over of schools and federation of educational provisions
- 6.2.2 Music teacher education in Nigeria
- 6.2.3 The National Policy on Education
- 6.2.4 Modern festivals in Nigeria
- 6.2.5 The 1980s
- 6.2.6 The Cultural Policy for Nigeria
- 6.2.7 The 1990s
- 6.2.8 Tertiary music education in Nigeria
- 6.2.8.1Access to tertiary music education
- 6.2.8.2 Music teaching
- 6.2.8.3 Music research
- 6.2.8.4 Community service
- 6.2.8.5 The pursuit of quality in Nigerian tertiary music education
  - 6.2.9 Curriculum development
    - 6.2.9.1 The era of autonomy
    - 6.2.9.1.1 Nsukka
    - 6.2.9.1.2 Ibadan
    - 6.2.9.1.3 Ife
    - 6.2.9.1.4 Lagos
    - 6.2.9.1.5 Ilorin
    - 6.2.9.1.6 LASU
    - 6.2.9.1.7 Owerri and other colleges of education curricula
      - 6.2.9.2 Nigeria’s current music curricula
        
        6.2.9.2.1 National Teachers’ Institute
        
        6.2.9.2.2 National Commission for Colleges of Education
- 6.2.9.2.3 National Board for Technical Education
- 6.2.9.2.4 Joint Admissions and Matriculation Board
- 6.2.10 Nigeria’s current music curriculum as a political text
- 6.2.11 Factors retarding the development of music curricula in Nigeria
CHAPTER SEVEN: THE WAY FORWARD
- 7.0 Music policy and content – an analysis and evaluation
- 7.0.1 The problem of music policy implementation
- 7.0.2 Effects of music as an elective subject
- 7.0.3 The importance of including music in the schools’ core subjects
- 7.1 Data presentation and analysis
  - 7.1.1 Background of music students
  - 7.1.2 Tertiary music curriculum evaluation with Holmes (1981) analytical framework
    - 7.1.2.1 Aims
    - 7.1.2.2 Administration
    - 7.1.2.3 Tertiary music curriculum development
    - 7.1.2.4 NUC music curriculum – an analysis
    - 7.1.2.5 The NUC music curriculum – an evaluation
    - 7.1.2.6 Curriculum content in the context of music teaching and learning
      - 7.1.2.7 Student perceptions of institutional resources
      - 7.1.2.8 Finance
      - 7.1.2.9 Teacher education
7.2 Tracer study of music graduates
7.2.1 Methodological approach
7.2.2 Demographics of the sample
7.3 Stakeholders’ interactive evaluation of music graduates they observed in practice
6.3.1 Strengths and weaknesses of recent music graduates
7.4 Findings and discussions
7.5 Towards a definition of national music policy in Nigeria
7.7 Future projections
7.7 Conclusion