INDIGENOUS MUSIC

FOR SCHOOLS IN NIGERIA

by

IFEOLUWA ADELEKE O. OLORUNSOGO

Federal College of Education, Abeokuta

Ogun State-Nigeria

July, 2021
INTRODUCTION
1.1 Background of the Project
The development of music in Nigeria is considered to have a long history (Euba, 1977: 1;
Omibiyi, 1979:75; Vidal, 1986:276). In the early part of its history, what existed was indigenous
music. It was part of a sociological and psychological aspect of life that fulfils specific functions.
It contains an in-built system of indigenous songs that has direct appeal to the recipients as end-
users. Thus, several functions in the community such as political rallies, age grade events, guild
anniversaries and the like, attract social music. This was manifested in folk, ritual, ceremonial,
social, recreational and entertainment musical activities.
Sociologically, our music satisfied our musical needs without necessarily having to depend on
the music culture of other lands to meet up with either our training or consumption needs-
musically. Culturally, the mark of a truly accomplished musician, in the culture, is the ability to
remember and relate long histories and personal praises suitably embellished with proverbs and
parables. Through the practices inherent in African indigenous knowledge system (AIKS), a
culture of training has been put in place such that every stage of development of the Nigerian;
be it elementary, adolescent or adulthood is characterized by music that falls within the child’s
maturation and cognitive level. That be as it were, the society did not lack such professionals at
any time. In this vein, Dominique-Rene De Lerma (1974) succinctly stated that: “No
manifestation of a culture can be invalid if it satisfies the needs of the people of that culture, and
its artifacts have no obligation to relate to other cultures.” (1974:229).
While Nigerian music exists in the peculiar way described, western culture defined music as:

An art that is concerned with combining sounds- particularly Pitches- to produce an

artifact that has beauty or attractiveness. That expresses something that follows some
kind of internal logic and exhibits intelligible structure, and that requires special skill
on the part of the creator (Funk and Wagnall's, 1996:183).

This intellectualism or abstraction in presenting music by the West had precipitated into a lack of
understanding of Nigerian music in the European's mind. To use their concept of music culture
to design our curriculum or as the only musical resource is not in the best interest of national or
cultural development.
 However, the terrain of musical arts development through AIKS had been greatly altered

by the historic contact with Arab-Islamic and Euro-American Christian cultures and the eventual

onset of colonialism, imperialism and in contemporary times; neo-colonialism in the guise of

computer/information technology and globalisation. Rapid social and economic changes taking

place in Africa and urbanisation eventually dealt a deadly blow on the practice, promotion and

propagation of indigenous music. It was excluded from the school curriculum at all levels. Other

forms became embedded within the mainstream of Nigerian music which Vidal (1993.48) aptly

described as a ‘pastiche’ of styles. Western European music was substituted for indigenous

Nigerian music forms and styles in the school. “Music as a cultural phenomenon which varies

often in principles and always in detail from region to region and locale to locale portends that

every child be inducted into the grammatical and syntactical components of the language of their

musical culture (Seeger, 1941; Hood 1970.219). Over the years, African schools have already

produced too many people who shun their own art and music because they think it is pagan,

fetish and illiterate (Fafunwa 1967.75). Researchers at various periods over time established that

music in the school curricula had remained largely static because the songs were totally foreign

and not geared to the cultural needs of learners (Omibiyi 1973a, 1973b, 1983 & 2005, Ekwueme

Lucy 1991, Falade 1996, Nzewi 2000, Faseun 2001, Vidal 2002, Aninwene 2003, Onyiuke 2005,

Agu 2006). What is being perpetuated engenders the continuing intellectual enslavement of the

African by West via priviledged African puppets (Nzewi, 2001.8; Okafor 2005.318). The music

curriculum had created a gulf between the recipients and the culture, thereby, making the study

of music in schools unattractive such that more musicians of the people are produced by the

culture than through the school. The bottom line in this regard is that the level of our success in

musical arts in adulthood depends largely on the musical nurturing in our experiences from early
childhood (Ekwueme 2002.76). To avoid being the vulnerable species in the global market,

Nigerian music should develop to a standard that will make it an export product. It behoves us to

inject into the music education programme at all levels starting with basic education, socio-

culturally relevant materials which is readily available within Nigerian society.

To achieve the objective of this research, a paradigm shift is necessary. Thus, it is situated
against the conceptual framework that, “it is essential for children to be led into the
understanding of their musical tradition before they reach the age of twelve in order to develop
the right attitude towards it and also provide a basis for the study of other musics of the world”
(Omibiyi 1973). Hence, the research focuses on the Universal Basic Education (UBE)
programme of Nigerian education system. It presents a model curriculum of indigenous songs for
UBE in Nigeria with innovative instructional strategy to achieve the objectives of the
programme.

1.2 Problem Statement

The accidental (CarroI, 1956:45) and deliberate (Tracey 1962:20) damage done to authentic
African music as it applies to Nigerian culture through distortions by imposition of western
European music culture has affected the proper development of Nigerian music and the, youths'
positive' attitude to music education in our institutions of learning (Okafor, 1992:5-12; Faseun,
2001:83) Although, many Nigerian musicians had evolved through Nigerian music education
programme, most of them are not vast in composing or performing music that is a reflection of
the cultural milieu of Nigeria. A great percentage of those who make the waves in the music
industry and present the cultural essence of the country for instance; Lágbájá Beautiful Nubia,
Àyàn-bìrin and Àrà, Wizkid, Dan Maraya Jos are not products of formal music education.
Okafor (2005) observed that:

Those from the institutions have still a very academic and intellectual eye of music. They seem
to think of music in terms of the theories and qualities and properties rather than the
communications it conveys to the masses, the message it conveys to studies for schools. There is
a need to have an intervention that is culturally and socially relevant that will rectify this
anomaly. This is the focus of this research.
1.3 General Objectives of the Research:
This research is aimed at bringing African musical arts materials into the schools through
collection, selection, organization and documentation of Nigeria’s cultural music. The materials
cut across the different age grades in Nigeria and will be categorised to the different educational
levels in the country. This is in tandem with the National goal; “the inculcation of the right type
of values and attitudes for the survival of the individual and the Nigerian society”. This is further
specified, inter alia to offer diversified curriculum to cater for the differences in talents,
opportunities and future roles; to develop and promote Nigerian languages, art and culture in the
context of world’s cultural heritage; as well as foster national unity with an emphasis on the
common ties that unite us together (NPE: 2004:8-16). The Cultural Policy of Nigeria equally
provides general aim and specific objective for this research that:

We are referring to culture as the fountain spring of all policies whether educational,
social, political or economical. The strategies of national development would thus depend
on the understanding of the culture, the adaptation of its elements for political,
educational and economic development, as its strengths for social integration and
development (FGN, 1988:1).

1.3 Specific objectives

 Collection, selection, organization and documentation of indigenous musical arts
materials for instructional purposes.
 Stratifying the music samples according to the various levels of the Universal Basic
Education as a starting point.
 Bring the study of African musical arts to the level of those of other cultures of the world
through notating the music in globally accepted format as a social art within its present
day context, and thus, promote its usefulness for the benefit of appreciation, instruction,
preservation, and broadcasting to the citizenry and the world at large.
 Organize the collected data into subject matter that shall be adaptable to most parts of
Nigeria and will encompass learning experiences that that will be useful to students and
teachers alike.
  Document the notated material in modules such that teachers and learners shall be able to
make effective use of the materials in the formal school system for the different levels of
the basic education programme and societal adaptation.
 Organise workshop to expose stakeholders (teachers, learners, education authorities,
school proprietors and the media)

1.4 Justification for the study:

The music curriculum had been patterned after European music culture without recourse into the
fact of cultural integrity and cultural particularity the human minds and the way the music can be
used to make people better (Okafor, 2005:318).

Although a lot has been done by scholars in identifying various issues and problems in music
education in Nigeria, not much has been done in the area of organization into stratified
programme of studies for schools in Nigeria. This had affected the effective transition from
Classroom to the society in terms of producing musicians of the people. Described as "the poet-
musician,"(Carrol, 1956:47) is the formal music student that would have fully understood the
indigenous poetic as well as musical tradition that would make him develop really African
music. There is a need to have an intervention that is culturally and socially relevant, making use
of available African musical resources (Igoil, 1983: 1) as a springboard for an effective music
education. This will be centred on Nigeria’s Universal Basic Education (UBE) programme for a
start, and then other levels of education can be captured; thus the need for this research.
 RESEARCH METHODOLOGY

2.1 Description of the Study

This study involves the following intervening variables-Collection, Selection and Organization,
operating on a paradigm of African indigenous Knowledge system (AIKS) musical arts resources
for schools. The dependent variable is investigated through field investigation and deskwork. At
the fieldwork stage, research assistants collected primary data of musical arts resources from
respondents from the study population. Deskwork involved two levels: pre-field and post-field.
Field work involved visit to certain towns in some selected states in' the Six geo-political zones
of Nigeria.

Figure 1: The six geopolitical zones in Nigeria. Source: http://www.efarmers.ng

Nigeria consist of thirty six (36) states and a Federal Capital Territory (FCT) where the seat of
the Nigerian government is. It is a country with diverse cultures and languages. However,
English language is used as the official spoken language for politics, education, commerce and
international relations. The diversity of culture equally translates to diverse music homogenously
adapted in every community. In terms of indigenous knowledge system the music is
heterogeneously African that is utilized through story-telling, folklores and other life passage
rites to inculcate education in the citizenry. For political correctness and administration, the
nation is categorized into six geo-political zones.

Nigeria consists of Six Geo-political zones with its diverse culture and music. They are as
follows:

1.1.1.1 North Central consisting of Benue, Federal Capital Territory (FCT), Kogi, Kwara,
Nasarawa, Niger, and Plateau states.
1.1.1.2 North East consisting of Adamawa, Bauchi, Borno, Gombe, Taraba, and Yobe
states.
1.1.1.3 North West made up of Kaduna, Katsina, Kano, Kebbi, Sokoto, Jigawa, and
Zamfara states
1.1.1.4 South East consisting of Abia, Anambra, Ebonyi, Enugu, and Imo states.
1.1.1.5 South South made up of Akwa-Ibom, Bayelsa, Cross-River, Delta, Edo and River
states.
1.1.1.6 South West consisting of Ekiti, Lagos, Osun, Ondo, Ogun and Oyo states

2.2. Study Population

The population of the study included the six geo-political zones of Nigeria where indigenous
speakers of the generally accepted languages were identified as respondents for this research.

2.3 Sampling technique and sample population

The vastness of the country and the limited time frame of the project inform random sampling be
done to delimit the work and cause the selected samples for national adaptation. By random
sampling representative states were visited in the six geo-political zones of Nigeria to collect
data. State capitals represent seat of Government in the zones and often contain personalities
from the other surrounding communities constituting purposive population from which 50 will
be randomly
selected as respondents
for the study.
Plate 1: Co-researcher collecting primary data from a key informant on music from Cross
River State. Nigeria.

Plate 2: Key informant: Mr. Adebayo from Abeokuta, Ogun State who informed about cultural
music
 3.0 DATA COLLECTION
This study utilised primary and secondary data. Techniques of data collection adopted include:
participant – observation (P.O.) and oral interview whereby the researcher observed the
performance of folk songs being collected. Inquiries were made from people (male and female
who make use of the music materials) in the population sample as needed. With the use of Cam
coder, data was video recorded. Mini cassette recorders were also used for audio recording of
music samples. These sources provide the primary data needed for the study. In addition,
identified private and public archives were visited, such as Radio and Television stations and
Institutions of learning within the selected states. Others included State and Federal Ministries
and departments of arts and culture as well as resource centres for African Art and Culture.
Through these latter sources, secondary data for the study were gathered. Participant observation
method adopted is to enable the researcher experience, first hand, product of the cultural area, to
report field investigation both from emic and etic perspective. Sibelius and Finale Computer
software are used to notate the music for documentation.
Plate 3: The Principal researcher with Mallam Ahmed a key informant from North-East
geopolitical zone.

Plate 4: The Principal Researcher with Stella Iwuagwu a key informant from South East
geopolitical zone
3.1 Data Analysis
Collected data was collated, categorised into groups based on their uses. Some of the musical
arts materials were transcribed into written form and was analysed for documentation.
Developmental psychology principles involving cognition and maturation of the children are
used as guide for selecting music materials. The materials are the ones appropriate for their age
groups according to types. These include vocal and instrumental items consisting of African
music for play, games, and religious purposes. Some of them are for ceremony, political rally,
and entertainment. This led to the final stage of organization of selected materials into forms
adaptable for school use.

Content-analysis method that was taken into consideration are:

i. Song texts
ii. Songs content value and
iii. Musical instruments.
 3.2 Validity of technique
This method is germane to objective selection of African music materials. According to
Kerlinger, (1973:20 in Olorunsogo, 2012) content analysis is a method of studying and analysing
communication in a systematic, objective, and qualitative manner for the purpose of measuring
variables. This research method provides the basis for determining the value of the available
resources on African music.
Reliability of technique

In considering (1) the song texts; (2) the song content value, and (3) musical instruments the
researcher is of the opinion, based on educational principles and cultural realities, that much
educational resources is available in African music that content analysis is necessary in respect
of song texts to give room for appropriate selection. Song content also had to be analysed to
identify the appropriate ones for the different strata of the school system such as lower basic
(primary 1-3); middle basic (primary 4-6) and upper basic (JSS 1-3). Within the African culture
musical instruments have discriminative uses (Ames, 1965:62-80; Omibiyi, 1981:41; 2002:8).

The technique of content categorization based on developmental aptitude; is used to organize the
content of selected African music into appropriate strata for systematized learning.

Plate 5: Children under the tutelage of a parent for cultural music

Plate 6: Engaging children in Folk lore, games, rhymes and play songs as indigenous art
 4.0 SUMMARY OF FINDINGS
Evidence from field research shows the wealth of musical arts resources available within
Nigerian society for the various levels of education. The focus of the study is the Universal Basic
Education (UBE) programme. The ages of the children within this level of education range from
five (5) or six (6) to fourteen (14). The developmental psychological theories of Jean Piaget,
Vygotsky and Yule are adapted to the categorization and organization of music instructional
material in terms of vocal and instrumental resources for the different strata of the UBE music
programme.

To achieve the aim of inculcating the objective of this research, a model curriculum is designed
to present indigenous song as instructional material for the elementary school music education in
place of songs of other cultures of the world other than Africa. The Model is designed in such a
way that the two basic education levels (lower and middle Basic) which constitute the
elementary stage of Nigerian children can use indigenous songs as instructional material for
music education. The design of the model had adapted Tyler’s curriculum imperatives.

 Needs assessment and situational analysis carried out had shown that Nigeria societal
needs a Nigerian musical arts curriculum
 Objectives: this ISESCM identified indigenous songs as resources from which a body
of knowledge is extracted and developed for use as instructional materials for
elementary schools in Nigeria.
 Curriculum content (Indigenous songs); stratified in a composite 6-year concept to cover
the lower and middle levels of the UBE programme.
 Implementation: the model is for Primary schools and music teachers.
 Summative Evaluation: the design is amenable to periodic evaluation to ensure that it is
achieving the expected objective of producing Nigerian/African musicians equipped to
meet up with global music education and cultural challenges.

The model is a cyclic design that takes into consideration the possibility of re-evaluation as it
is being implemented.
Figure 2: Breakdown of the Model for Classroom Implementation.
n

4.1 Selection of Content: Lower Basic 1-3 (primary 1-3)

Learners who fall within this stage are those whose ages are between 6and 8which tally with

latter pre-operational stage intuitive thinking propounded by Jean Piaget. Characteristically, the

child can use language and fairly represent objects by images or symbols. They are generally

active. Their thinking are still influenced by fantasy- the way they like things to be, they are still

basically self-centered. They take in information and then change it in the mind to fit their ideas.

Though he becomes quite conscious of individual ability, the child sees his teachers as heroes

and a reserve of infallible knowledge. They are prone to a spirit of competition. Giving of award

is a stimulating motivation for various group activities bearing in mind the highlighted

characteristics, teaching and learning should focus on acquisition of knowledge, developing the

skill of understanding and exposure to performance. Activities to be systematically organized for

this level of learners should be guided by the indigenous knowledge training system of “slow

absorption” and rote learning (Omibiyi, 1972:87). This can be broken down to performance

activities, listening activities and movement. Performance activities should consist of singing,

playing of instruments and giving bodily response to rhythmic patterns (dance). Singing to

stabilize learner’s singing voices. They should be started on learning about correct tone

production, diction, phrasing as well as some basic facts about music theory. The child should be
able to distinguish between a good tone and a bad one from the standpoint of pitch correctness

and quality. They should develop melodic and pitch discrimination. For rhythmic consciousness,

primaries can be expected to achieve more perfection of rhythm through associating physical

responses to music through hand clapping, feet stamping, wood clapping, striking bottles and

metals rhythmically individually and in groups inculcating in them the sense of the first strong

beat of a measure by marching, clapping, bouncing imaginary or real ball or playing rhythm

instruments to the pulse of different time signatures. Listening activities should involve use of

cultural songs of the immediate environment, identifying tones, melodic structures and rhythmic

combination, repetition of melodic and rhythmic patterns, interpreting moods of songs. Creative

activities should include bodily response to rhythmic and melodic structure, various moods of

lullabies, children’s games and folktale songs through dramatization. Other activities should

include construction of local musical instruments such as rattles and shakers made from tins and

seeds. Rhythm instruments from wood blocks and sticks, wind instruments made from gourds,

plant stalks (pawpaw branches), string instruments from reeds and tins stuck with sticks etc.

Song repertoire is selected from collected folksongs of the environment appropriate to their age

group.

4.2 Middle Basic 4-6 (primary 4-6)

These are children whose ages fall within 8-12. They are categorized as belonging to the

concrete operations stage by Jean Piaget. They are characterized by good memory. What is learnt

has the best chance of being retained permanently. This is the right time to expose the child to

learn by heart some things that will be of value to him throughout life. The child has a tendency

to be acquisitive and combative; so his better nature should be cultivated at this period also,

freedom is more conducive to the child’s moral progress than authoritarian control (Banjo,

1980:24).
 The child should continue to be exposed to the teaching and learning of rhythm by

associating the activity of “walking” with the crotchet, “strolling” with minim notes. They can be

shown what these notes look like when written. Musical notes can be placed above song text on

the board. Eighth notes can be taught by first associating them with the physical activity of

running. There should be further development of the ability to keep tone21. They should identify

distinguishing features in he songs and their socio-culural values such as praise, and group

solidarity. Skill of identifying musical attributes in terms of instrumentation, melodic

characteristics and rhythmic structure. Improvising melodies, create dance steps and movements.

Further work at making simple musical instruments should be attempted. They should be

exposed to listening and participating in the performance of cultural music through attendance.

They should be opportune to listen to recordings of various musical types of the environment and

the neighbouring community. They should watch dances from different groups on video. Create

rhythmic activities to selected music. Identify melodic structure, rhythmic structure and musical

instruments. Identify solo singing, drum ensemble, and create dance steps to game songs and

other recreational music. Attempt should be made to identify musical instruments of the

environment and some from the neighbouring communities.

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