Value of music and the role of music educators

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C H A P T E R 5 :RESEARCH PROJECTIONS

This chapter deals with the researcher’s original contribution adaptable for Nigerian primary school music education. The contributions will be presented under the following sub-headings:

•  Introduction.
•  Music curriculum modules in Nigerian primary schools.
• Developing music curriculum for primary schools in Nigeria.
• Guidelines for developing culturally sensitive and environmentally adequate learning materials.
•  Equal opportunities in music education.
• Assessment.

INTRODUCTION

As  mentioned  in  chapter  one,  the  main  purpose  of  primary  music  education programme  in  Nigeria  is  to  develop  cultural  arts  embedded  in  performance experiences such as music,drama and dance of a child to its highest possible level. The reality of life in most countries, especially Nigeria, is that this must be seen in the context of the development of the society. The development and changes required in human habits through music education can be harnessed with a realistic musical instruction. This realistic musical instruction should give children opportunities to listen, know, and learn how to attain a value-enriched life through musical practices. Ben-Tovim (1979:4) holds that “there is only one way to come to understand  music  –  by  learning  to  play  a  musical  instrument…  It  is  through learning  to  play  a  musical  instrument  that  the  child  can  truly  understanding music…” In the Nigerian context however, it goes beyond instrument playing, as dancing, singing, miming, music drama and even the visual arts are all essentials of music performance, understanding and development.
Further discussion will be the issue of the current music curriculum modules in Nigerian  primary  schools  followed  by  developing  music  curriculum  for  primary schools in Nigeria.

MUSIC CURRICULUM MODULES IN NIGERIAN PRIMARY SCHOOLS

The new primary school music curriculum modules in Nigeria are divided into four areas of instruction (see Appendix I). These areas are:

• Singing and dancing.
• Playing traditional musical instruments.
• Theory of music
•  Listening and history.

An analysis of the curriculum reveals that of the four segments or areas listed above, first and second segments are running through from first year to sixth year of study while the third and fourth segments are prescribed from the second term of fourth to sixth year. They are seen as entities with their various objectives, contents, pupils’ activities, teaching aids and assessment techniques.
It is noteworthy, that much of what the planners of the curriculum have done is appreciable  in  terms  of  emphasizing  the  music  programme  with  singing  and dancing of folk songs in various languages; and playing Nigerian traditional musical instruments. The segmentation could however be queried in a number of places: one would have expected that they can be introduced to the what, why and how of music making and music using; and the fourth segment, listening and history, cannot be effectively implemented without specific instructions. It is also prescribed that the dominant teaching facilities is the tape recorder and that pupils should listen to recorded songs. But these facilities are unavailable in most of the primary schools in Nigeria. Moreover, the theory of music, which is segment three, is not included  from  the  first  year  to  the  first  term  of  fourth  year.  It  is  important  to introduce pupils to some theoretical background such as concept of rhythm, pitch and melody to guide children through self-cognitive activities to experience the nature of rhythm, and to recognize the quality and range of interval of songs, which the children normally participate or observe in their homes or school environment.
An effective music programme centers on the three primary musical behaviours; performing, composing and appraising. While the programme being analyzed tries to incorporate the three primary musical behaviours, it fails to base on the right materials, prescribe the right instruments and encourage creativity in the context of the desired need of the community in which the children live.
The programme in most cases is designed to cater for the needs of the learners in ideal learning situation. This ideal learning situation does not exist in most Nigerian primary schools. For the programme to succeed there is need for adequate time for the  prescribed  practical  and theoretical  lessons.  There  is  need  for  relevant instructional materials to be provided and adequately trained qualified personnel to operate the programme. For example response to the question 2 in chapter 4(page 4), item 28, the Laissez-faire method is frequently identified especially among the music  teachers  than  educators  because  there  are  no  instructional  materials available in their schools.
It is a common and generally accepted fact that the aims of education vary with place and time. Tanner and Tanner (1980:89) opine that: The curriculum is the planned and guided learning experiences and intended  learning  out  comes  formulated  through  the  systematic reconstruction of  knowledge  and  experience  under the   auspices of  the  school,  for  the  learners’  continuous  and  willful  growth  in personal social competence.
If the statement above is anything to go by, one would very correctly say that the content of instruction generally available to music learners and teachers is too foreign to the Nigerian culture and is not practicable in nearly eighty percent  of the schools  in  the  country.  Most  of  the  learning  programmes  contained  in  the curriculum of instruction for the Nigerian primary schools do not reflect the reality of the Nigerian situation in terms of culturally sensitive and environmentally adequate teaching and learning instructions

DEVELOPING MUSIC CURRICULUM FOR PRIMARY SCHOOLS IN NIGERIA

It is expected with respect to music, that with the introduction of the 6-3-3-4 system of education in Nigeria, the music curriculum should aim, among other things at:

•  self reliant education;
•  production of intermediate musicians;
• emphasizing Nigerian traditional music and musical instruments; and
•  developing Nigerian music technology by improving the local indigenous musical instruments.

Music is one of the strongest tools for cultural images and self-identity in any society, and as such, I envisage a situation where all music departments and institutions in Nigeria begin to de-emphasize attention given to western theoretical music and history, and emphasize the teaching and learning of the theory and practical aspect of African and Nigerian music. In other words, Nigerians should have unlimited access to the study of all existing music types in Nigeria. Such music types include:

•  Nigerian traditional music (in all the Nigerian cultural groups);
• Nigerian and African popular music;
•  Music of other world cultures; and
•  Western music.

A music curriculum should be configured in such a way that children are exposed to numerous opportunities to explore sound through singing, moving and playing musical instruments. Music literature in a well-structured curriculum is expected to be of high value and quality, capable of having a mix of indigenous music and music from various cultures and backgrounds.
McCullough in McDonald and Simons (1989:192) rightly notes that one of the important tasks of a music educator is to seek out and include music of many cultures, through which a child gains various benefits:
(1) develops awareness and appreciation for cultural diversity;(2) values the contributions of all ethnic groups;(3) respects his/her own and other’s cultural background; (4) affirms the uniqueness of each individual;(5) learn how  to  live  successfully  in  a  multicultural  society;  and(6)  values  and celebrates cultural diversity.
It is then, that culture plays a vital role in a child’s perception and appreciation of music. Curriculum planners should bear these tasks of music in mind when they are reviewing the curriculum for primary schools. Nevertheless, the planning and production of the curriculum is one thing, while its correct use is another. The correct  use  requires  the  efforts  of  dedicated  and  hardworking  trained  music teachers who have the interest of their pupils at heart.

GUIDELINES FOR DEVELOPING CULTURALLY SENSITIVE AND ENVIRONMENTALLY ADEQUATE LEARNING MATERIALS

This   section   explores   guidelines   for   developing   culturally   sensitive   and environmentally   adequate   learning   materials   for   music   instructions,   which comprises: sample learning content and methodology, active participation guided by performing, composing and appraising; equal opportunities in music education’ and assessment.
The  ideal  content  of  instructional  materials  for  the  culturally  sensitive  and environmentally   adequate   music   education   in   primary   schools   should   be programmed from the music practiced in the immediate environment of the school as well as home and the child. The several objectives of such programme are discussed briefly below.

 Objectives

•  to provide children opportunities and freedom to move around, interact as participants in the school as well as community, work together and assist each other;
•  to develop and expand children’s creativity through the variety of activities of the school programme;
• to give individualization, especially with regards to the cognitive, affective, physical, social and spiritual needs of the children; and
• to give children experience in  decision making, problem-solving through discovery learning as well as the development of concept formation through the use of perceptual-motor skills and language (De Kock 1989:21).

These objectives would broaden the musical knowledge of the child as well as other culturally pervasive musical experience in the society where children live.

Sample Learning Content and Methodology

The following guidelines of the content and methodology of the culturally sensitive and environmentally adequate modules will be limited to the plan of the primary level of music education. Nzewi (1998:471) defines: A module is a self-contained and self-generating as well as open-ended learning framework, which encapsulates a factor of music intellect or a feature of music practice. The framework compels situational elaboration, illustrations and interpretations, in which the learners contribute ideas and  materials  available  in  their  music  backgrounds,  experiences  and environments.
To achieve this learning design, the primary texts have been developed by Nzewi (1998:472):   concept   of   rhythm;   concept   of   melody;   concept   of   ensemble experience; investigating sources of music sound; and need, organization and participation of music in society.

ABSTRACT 
ACKNOWLEDGEMENTS 
LIST OF TABLES 
LIST OF MAPS 
CHAPTER  INTRODUCTION
1.1 Preamble
1.2 Background of the study
1.3 Statement of the problem
1.4 Purpose of the study
1.5 Rationale of the study
1.6 Research questions
1.7 Scope of the study
1.8 Organizing the study
1.8.1 Survey research design
1.8.2 Target population
1.9 Hypotheses
1.9.1 Research hypothesis
1.9.2 Statistical hypothesis
· Null hypothesis
1.10 Hypotheses of the study
1.11 Summary
1.12 Definitions of terms
CHAPTER 2 REVIEW OF LITERATURE
2.1 Value of music and the role of music educators
2.2 Concept of music education
2.2.1 Classroom music education
2.2.2 Indigenous formal music education
2.3 Need and objectives of music curriculum for primary education in Nigeria
2.3.1 Educational aspect
2.3.2 Psychological aspect
2.3.3 Social aspect
2.3.4 Cultural aspect
2.3.5 Economical aspect
2.4 Early childhood music education
2.4.1 Importance of early childhood music education
2.4.2 The African perspective
2.5 Developing a music curriculum for primary education in Nigeria
2.6 The problems of developing a music curriculum for primary education in Nigeria
2.7 Methodology and materials for music education in primary schools in Nigeria
2.7.1 Gestalt or wholes method
2.7.2 The Carabo-Cone method
2.7.3 Kodály method
2.7.4 Garretson’s method
2.7.4.1 Lecture method
2.7.4.2 Socratic or inductive method
2.7.4.3 Discovery method
2.7.5 Demonstration method
2.8 Perceived problems of music teaching and learning in primary schools in Nigeria
2.8.1 Dearth of instruments and other facilities
2.8.2 Absence of music in the primary school curriculum
2.8.3 Teacher’s competence
2.8.4 Government’s neglect
2.8.5 General negative attitude
2.9 Possible strategies to be adopted for improved music teaching and learning in primary schools in Nigeria
2.10 summary of review
CHAPTER 3 RESEARCH METHODOLOGY
3.1 Research design
3.2 Delimitation of the study
3.3 Population of the study
3.4 Sample of the population
3.5 Sampling techniques
3.6 Instrument for data collection
3.7 Validation of the questionnaire
3.8 Method of data collection
3.9 Method of data analysis
3.10 Summary
CHAPTER 4 PRESENTATION OF FINDINGS
4.1 Research question  To what extent are the teaching facilities, materials and learning environment for early child education in music currently available in schools in Nigeria?
4.2 Research question  What teaching methods are employed (for music lesson) by
the music teachers?
4.3 Research question  What learning strategies can best be utilized to ensure fruitful and effective acquisition of musical knowledge?
4.4 Research question  How adequate is the delivery of staff for music education in
primary schools in Nigeria?
4.5 Research question  What are the perceived problems militating against effective
teaching and learning of music in Nigerian primary schools?
4.6 Testing the null hypotheses
4.6.1 Null hypothesis
4.6.2 Null hypothesis
4.6.3 Null hypothesis
4.6.4 Null hypothesis
4.6.5 Null hypothesis
4.7 Summary of the findings
CHAPTER 5 RESEARCH PROJECTIONS
5.1 Introduction
5.2 Music curriculum modules in Nigerian primary schools
5.3 Developing music curriculum for primary school in Nigeria
5.4 Guideline for developing culturally sensitive and environmentally adequate learning materials
5.5 Equal opportunities in music education
5.6 Assessment
5.7 Conclusion
CHAPTER 6 ORIGINAL CONTRIBUTION FROM RESEARCH SAMPLE TEACHING/ LEARNING CONTENT AND METHODOLOGY
6.1 Rationale
6.2 Organizing sample teaching/learning programme
6.3 Sample teaching and learning instructional materials
6.4 Conclusion
CHAPTER 7 DISCUSSION, RECOMMENDATIONS AND CONCLUSION
7.1 Discussion of the results
7.2 Recommendations for improvement of music education in Nigerian primary schools
7.3 Suggestions for further studies
7.5 Summary and conclusion
APPENDICES
BIBLIOGRAPHY 
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