CHAPTER ONE

1.1 BACKGROUND TO THE STUDY

Music is a very essential aspect of any unique culture which identifies each set of

people. The learning of music is better put as music education, is a curricular based

identifying quality for what is known today as the formal study of music in a

classroom. The behavior of Africans in general is constantly seen to improve over

time and to this effect the researcher intends to by this paper identify the state of

teaching and learning music in the Post-Primary Institutions in Rivers State.

Music is a great part of ancient tradition that has metamorphosed from phase to

phase over the years as man began to look for different and better ways to making

music. In the African society, music has flourished through direct and indirect

teaching and learning situation which include avenues like observation, oral

transmission and practice. Music has been known to make the teaching and

learning idea even more interesting which ensures quicker assimilation of any

branch of learning. Learning in children begins in the home then the society which

involves both age group and the elders. The teacher only assumes the role of a

guide when the child leaves home and is admitted into a formal school system

which should have a well structured music program.

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Over the ages music has never failed to be the reflection of humanity and creativity

and any program of general education that omits music from its curriculum will

without failure be unable to meet acceptable standards for imbibing and learning

the codes in traditional societies. These codes are transferred through song texts

while the process of learning both the practical and theoretical aspects of music

tend to refine the child. Okafor (2005) stated that through song texts, a person

learns the moral codes of his land; its chronology, history, guiding principles,

ethics and how the society is worked. All these are learned through music which

ranged from simple folk songs to highly specialized sacred incantations, popular

music etc.

Music education in Africa has come a long way from the pre-colonial era till

present day. Music before colonialism was tradition based which was orally passed

down from generation to generation until the colonial masters brought what was

considered a step up to the overall concept of music, proposing to Africans to

adopt their method of music learning and performance through Christianity. The

Western missionaries through Christianity drew up an educational system that was

made to enhance the Africans ability to read and write and through this; their

music was introduced in the form of hymn-singing. According to Omibiyi (1983)

Music was taught to correct what has been described as the “African’s faulty way

of singing”.

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This curriculum structured by the colonial masters was designed to produce

organists, choristers and choirmasters who would handle western music and

instruments in churches. These brands of musicians were made to study solfa

notation, staff notation, western music history and western literature. Their intent

was to phase out African indigenous music as there was no trace of African music

concepts in what these musicians studied.

The curriculum for the study of music in schools in Rivers state today is more

cognitive based and as result teachers and students still are ill prepared for music

practice in the traditional Nigerian society. With the problem of curriculum is the

issue of instructional materials. The pre-independence music program was ill-

balanced with so much emphasis on rote learning, recitation and drills and the

concept of continuity from one level to another was absent. In one of his papers on

music teacher training, Okafor (1988) opined:

The teacher could be the product of teacher training colleges that train

the music teacher mainly in the art of singing and playing an

instrument or the teacher might be an untrained person with exquisite

talent who trains a musician for a popular band, a guitar band or even

for the practice of traditional music or dance. (p. 16).

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Following the establishment of the Advanced Teachers’ training college in the 60s

which later metamorphosed into Colleges of Education and Universities many

teachers gained access to the study of music although till date the number of

graduate teachers of music churned out by these institutions are still very minute in

comparison to the growing number of secondary schools being established by

individuals and the government in Nigeria. Teachers in schools funded by the

Rivers state government lack the necessary facilities and instruments of instruction

for the study of music and then of course, it is always seen to be at the discretion of

the school administration on whether to include music in the time table or not.

The State is in dire need of quality control in the study of music in post-primary

institutions especially those owned by the government. it is rather disheartening

that the place given to music as a subject is underutilized. With culture being

dynamic, Nigeria as a nation in recent times is making giant strides in moving

forward by introducing changes in her educational system. These changes affect

every sphere of Nigerian education which of course includes music but some

cankerworms are hampering this development.

Youngert (1963) in his view highlighted the following problem facing

contemporary music education;

(a) Pressures of academics especially in a six period day.

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 (b) Lack of sympathetic understanding on the part of pressured

counselors

(c) Timidity of music teachers who failed to realize the “front

office” is yielding to those who are not timid.

(d) Thinness of some music programmes that do not deserve

support.

(e) Principal’s ignorance of what a music programme is. (p. 17)

The aim and objectives of the revised National Policy on Education (2004) are

stated thus;

The inculcation of the right kind of values and attitude for the survival

of the individual and the Nigerian society and the acquisition of

appropriate skills, abilities and competences both mental and physical

as equipment for the individual to live in and contribute to the

development of his society.

The policy as given above cannot be achieved when music is not taught with the

proper strategies that will improve learning in secondary schools. The primary

objective for the inclusion of music in the curriculum is to help the child develop

inherent aesthetic potentials to the best of his musical and artistic ability. This can

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only take place in an atmosphere where the study and strategy is planned and

programmed to achieve maximum result. With good teaching methodology in

schools within Russia, Kabalensky (1988) noted that “the aims of music in schools

were not often formulated in terms of high requirements of general education in

our society and the actual of the syllabus which were not conducive to the

conversion of those aims and purposes into real teaching”. The above citation

seems the case of music education in Rivers State. The content of what is being

studied is often strange when compared to what learners are familiar with and so

teachers can barely relate personal experiences to what is being learnt in the

classroom.

The way forward is to suggest fundamental approaches that will ensure that the

concept of music education will rise from and be based on what will easily and

naturally relate music as an art with real African life experiences.

1.2 STATEMENT OF THE PROBLEM

As a result of the importance of music to the people of Nigeria, the Federal

Government included it as one of the major subjects to be studied in Junior

Secondary School but the ways and manner of handling this subject area has made

music rather unpopular. In some schools especially the government schools in

Rivers State the study of music has been reduced to class singing and

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experimentation with songs especially if an occasion to be hosted by the school is

drawing near and this does not bode well for the students as it does not allow the

students ample opportunity to be exposed to basic music skills that will make them

self reliant which is in accordance with one of the main reasons for education.

The schools that study the art of music are more concerned with western forms.

Teaching is largely centered on the cognitive domain thereby allowing both the

affective and psychomotor domains to suffer neglect.

Lack of teaching staff to handle music is of a major concern to a lot of the

government secondary schools in Rivers State attributing this to negligence by all

concerned in fostering a complete and standard education for Post-Primary

Institutions. A large number of government schools within the state do not offer

music which is a dilemma in itself. Mrs Chuku Ina, The principal of Community

Secondary School in Okoloma, Oyigbo commented that the school had no music

teacher and that she would be ready to begin music lessons if they could find a

graduate music teacher who of course would have to be employed by the

government and also possess the requisite knowledge to impart the students.

When there are no teachers in a field of study and no instructional materials for

study to take place there is of course a lacuna and this is the case of academic

music education in some schools in Rivers State.

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1.3 Purpose of the Study

The researcher hopes to by this study;

a. Identify the state of music education in the Post-Primary institutions in the

area.

b. Find out if the number of music teachers available in each school is adequate

and how effective they are.

c. Find out relevance of the instructional materials being used.

d. Find out if the instructional materials for music study are adequate.

e. See to what extent government presence is felt in the school pertaining to

music studies.

f. Identify the problems militating against effective use of instructional

materials in the teaching and learning of music in post primary schools in

Rivers State

f. What are the possible solutions to the problems?

1.4 Significance of the Study

The federal Government of Nigeria saw it fit after various deliberations to include

music as one of the subjects in the secondary school curriculum showing that it is

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very important for schools to be a part of the revolution in the education sector

which will lead to positive development in students’ aesthetics, physical ability,

emotional balance, spiritual awareness and social stability. The relevance of this

research is to create awareness of the government’s original stance concerning

music as a subject and also to recommend solutions to problems encountered in

music education which will lead to the usage of certain clear cut strategies for

teachers to improve on how music should be taught in secondary school in order to

make it both interesting and informative.

1.5 Scope of the Study

The research was carried out in Rivers state. A sample of post primary schools in

four education zones were looked at to ascertain the overall state of teaching and

learning formal music in the area. The population of the study was the 25 schools

in four zones within the state namely; Port Harcourt, Obio-Akpor, Ikwerre and

Oyigbo educational zones. Some of the schools belong to the government while the

others are private owned. Seven research questions were posed and they served as

a guide to data collection for analysis.

1.6 Research Questions

The research questions guided the researcher through the study.

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a. What is the state of music education in post primary institutions within the

Rivers State?

b. Is the number of teachers available in each school adequate?

c. What instructional materials are used by the teachers?

d. Are the instructional materials for music study adequate?

e. To what extent is government presence felt in the school pertaining to music

studies?

f. What problems militate against effective use of instructional materials in the

teaching and learning of music in post primary schools in Rivers State?

g. What are the possible solutions to the problems?

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 CHAPTER TWO

REVIEW OF RELATED LITERATURE

2.1 Conceptual Framework

The Concept of Education

Education is described in the Merriam Webster's dictionary as "the action or

process of educating or of being educated or the knowledge and development

resulting from an educational process.

Why is education important? Why should we need to educate human beings who

are stated as ‘being alive’? Would it be possible to apply it on the animals? These

questions seem to be so general but interesting and philosophical to explore.

Education is simply to civilize the human being. This is a simple definition

because people see education for merely just a formal activity. They tend to ignore

the basic concept of the education itself.

Education is not merely teaching or increasing cognition. It is more about

preparing a media for the learners. Having good attitude will provide a good

medium for the cognition, learning behavior, and critical thinking.

Education will facilitate simple knowledge for anyone who needs it. Let’s say

when a child asking his parents “Mom, could you tell me why water comes down
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from the sky?” The mother should explain it simply and scientifically. That is why

education is important even though this is a non-formal education.

Human beings deserve to be educated although they are being alive and have

thought emotion, and willingness. They need education to support their existence

to live. Their various soul conditions make them more optional in life in making

any decision. Therefore, human beings still need to be educated in order to place

them in the appropriate concept of thinking. This is not about the cognition but

attitude.

Education plays a role as it immerses people into appropriate thinking process.

Humans have preference in judging based on what they know. They will defend a

statement when another criticizes the statement and gives judgment.

Animals need no education. They are just trained to understand human willingness.

They just need human’s control to behave. They just need human’s expression of

emotion to obey him. This makes difference with human who needs education to

behave. Therefore, people who lean on willingness and emotion without a process

of thinking can be associated with animals. Human beings should not behave

merely based on emotion, and willingness because they are more than animals.

An educated person is not continuously under control, he knows what to do and

how to do what needs to be done. Education ensures that the person is able to

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control his willingness and emotion. Let’s say simple case: An educated person

really does not want to come into dispute because he knows that doing dispute

indicates an animal behavior. Thus, education is really important as it aims to

humanize people in order to be civilized.

The concept of music

Music, as described in the Oxford Dictionary, is considered to be sounds combined

to achieve “beauty of form, harmony and expression of emotion.”

Although this might be true, the theory within music is more complex, consisting

of a number of different concepts. Of these concepts, music scholars have

distinguished six which are essential.

Duration

Duration refers to how long or short a particular sound is. Duration does not

necessarily refer to how long the entire piece of music is, but rather the length of

the sounds being made. The combination of different durations determines the

rhythm or beat of music within a piece. For example, a note stretching over two

beats, followed by a one-beat note, may indicate a waltz timing, or 3/4-time

signature. Different durations of sounds can change the speed of the beat or tempo

within a piece. One phrase of the piece may have many fast, short sounds, which

13
could indicate the tempo allegro or vivace while a piece with longer, drawn out

sounds may be more lento.

Students can learn duration by studying different notes and phrases while adding a

physical action to each note, such as a stomp and clap. The clap can represent he

note while the stomps can represent the beat. Using simple actions like this is a

straight forward way to help students recognize different durations and note values.

Pitch

Pitch is crucial to developing a tune as it refers to how high or low the notes are.

Music is rarely just one pitch. It would be hard on the ears to hear the same note

over and over again, even if it was varying in duration and dynamics. The pitch of

the note also includes their tone and the key signature. A note that is played even

slightly off pitch will stick out and cause even untrained listeners to cringe!

Pitch also refers to intervals, triads, major and minor scales. Scales both minor and

major are made up of tones and semi-tones. These variances in pitch can change

the mood of a piece of music. An interval may sound happy – a major scale – or

sad, a minor scale. A diminished triad may leave a sense of suspense that there is

more to come.

Pitch can also dictate mood. Teaching pitch is a crucial aspect of music education

as this concept adds variety and complexity to a piece of music. Playing chords and
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encouraging students to determine whether they are major, minor, diminished or

augmented will help them understand how pitch works to create atmosphere and

harmony.

Dynamics

Dynamics is a crucial aspect of musical expression. It refers to how soft or loud a

sound is known as piano or forte in a musical score. It includes crescendo or

diminuendo which is the process of increasing or decreasing the loudness of the

sound.

Dynamics create drama and atmosphere within a piece of music. Sounds can be

long and smooth, called legato, or short and sharp, staccato. Dynamics also refer to

the way a piece of music is played. For example, a string instrument may play

pizzicato which is when they pluck the strings with their fingers, rather than using

the bow to make the sound.

Accents are also part of the concept of dynamics, where emphasis is placed on

certain notes within a phrase. Accents help create rhythm.

Dynamics are relatively straight forward to teach. A music phrase can be played

loud or soft for students then to repeat. If they are able to recognize the dynamics

in the piece they will be able to repeat it as instructed. If they struggle to create a

15
loud of soft sound themselves, they may not be able to understand different

dynamics and may require further instruction.

Timbre

Timbre also known as tone can be considered as the colour of a sound, or quality.

Tone depends on the instrument being played. For example a violin might be

considered as having a bright, sharp tone while a tuba may be described as having

a warm and rich tone.

Different tones play an important part in the dynamics of a piece of music, and can

help create atmosphere or moods. A harp might be described as having a magical

tone, and therefore creating a mystical atmosphere. In vocal training, the tone of a

singer’s voice can vary from person to person. Tone may change depending on a

person’s breath control and from what part of their body they produce the sound. A

person singing through their nose or head can sound ‘tinny’ or ‘nasal’ but singing

using full and deep breaths gives resonance and a rich tone.

Students can test this out by trying to sing firstly with an exaggerated nasal-

sounding tone by singing through their nose, followed by singing while breathing

out and pushing out their stomach muscles to help them understand the difference.

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Texture

The texture of music is about how thick or thin the sounds are and takes into

account the number of sounds there are. There can be single notes played one at a

time, or notes played together to form a chord, which produces a more complex

harmony. Sounds can be played in unison or may be layered. This could be in the

form of a ‘call and response’ or in a round where the same tune is repeated by

different groups, starting at different points in the phrase.

A solo is when one person plays an instrument or sings, carrying the main melody.

In a group setting, the lead instrument or voice may carry the main tune while

others may form background sounds and tunes to compliment the melody.

Educators may wish to play different music with different textures to students to

see if they can pick out how many instruments or voices they can hear, and

whether it is ‘thin’ or ‘thick’.

Structure

Structure is how a piece of music is put together, or the order of the parts of the

song. There are many different structures to music, but one of the most popular

forms is a chorus/verse form, with an intro and bridge also forming the overall

structure.

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Binary form is another type of musical structure commonly used. Binary form is

where there are two different parts to the song. The first part may be repeated

before the second part of the song is played, rather than alternating like the

chorus/verse structure. Ternary is a three-part music structure. There are a number

of music structures and some pieces of music have no structure.

Students should listen to music pieces carefully and decide what kind of structure

the piece has. Teachers can play certain pieces and have students say which part is

the introduction, the bridge, the verse and so forth.

Learning these concepts will help music students understand their own practice and

performance. Students should be encouraged to consider all these concepts with

composing or performing a piece of music. A memorable piece of music will have

distinct aspects from each of these concepts to create something unique and

expressive.

The Concept of Music Education

Because of differing fundamental concepts of music, the languages of many

cultures do not contain a word that can be accurately translated as "music," as that

word is generally understood by Western cultures (Nettl 2005 ). Inuit and most

North American Indian languages do not have a general term for music. Among

the Aztecs, the ancient Mexican theory of rhetorics, poetry, dance, and

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instrumental music used the Nahuatl term In xochitl-in kwikatl to refer to a

complex mix of music and other poetic verbal and non-verbal elements, and

reserve the word Kwikakayotl (or cuicacayotl) only for the sung expressions. In

Africa there is no term for music in Tiv, Yoruba, Igbo, Efik, Birom, Hausa, Idoma,

Eggon or Jarawa. Many other languages have terms which only partly cover what

Western culture typically means by the term music. The Mapuche of Argentina do

not have a word for music, but they do have words for instrumental versus

improvised forms (kantun), European and non-Mapuche music (kantun winka),

ceremonial songs (öl ), and tayil. Some languages in West Africa have no term for

music but the speakers do have the concept (Nettl 1989). Musiqi is the Persian

word for the science and art of music, muzik being the sound and performance of

music, though some things European-influenced listeners would include, such as

Quran chanting, are excluded. Despite not having a name to actively introduce

music in culture music has given so many fundamental reasons why it should be

studied in schools.

Music Education is a field of study associated with the teaching and learning of

music. It touches on all the domains of learning. Cultures from across the world

have different approaches to music education, due to various histories and politics.

Studies have shown that teaching music of other cultures can help students

perceive unfamiliar sounds more comfortably as these studies continue to show

19
that musical preference is linked to the language spoken by the listener and the

sound they are exposed to within their own culture. Music, like language is a very

important distinguishing factor in culture.

Music education helps develop language and reasoning giving students who have

early musical training concrete development in areas of the brain where language

and reasoning is controlled. The left side of the brain is better developed through

music as it helps imprint information on young minds.

Music has sometime been referred to as sorcery or a mysterious entity that has

power over our minds that we can’t quite grasp. The creation of sound so abstract

and subtle in its entirety but yet makes us feel, act, and think in a certain way is

really outstanding. A simple combination of rhythm, melody and harmony has the

potential to influence actions and feelings, as well as connect a crowd of people on

a level they don’t quite understand is worthy to be deliberately looked into.

Music stimulates us to feel a certain way through neurotransmitters called

serotonin and dopamine. The catalyst of the serotonin is usually through a “shock”

in human body created by an extraordinary sensation that can be as simple as

chocolate, or a kiss. Rhythm is a “shock” for the brain due to the consistency that

resembles the heartbeat, or Alfa-rhythm of the brain. Rhythm is electrochemical

within the human body through electrical messages and impulses in sound waves.

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Sound waves are picked up by the ear and are changed to messages and impulses.

Neurons then move these impulses along an axon to a dendrite and dendrite spine

to a synapse. The space into the synapse is crossed by a chemical movement and

moves electrically to the next neuron. The very fact that these impulses move

billions of times a day places them under the control of rhythm.

A mastery of memorization: Even when performing with sheet music, student

musicians are constantly using their memory in performance. The skill of

memorization can serve students well in education and beyond. When we hear a

familiar song, we are often able to recall a moment from our past that is connected

to that tune. Favorite songs tickle our memory in various ways; a child may even

complain that there is a song stuck in his or her head and this shows that music is

easily ingrained in the human memory.

Music has been found to stimulate parts of the brain, and recent studies have

demonstrated that music enhances the memory of Alzheimer’s and dementia

patients, including a study conducted at the University of California, Irvine,

showed that scores of Alzheimer’s patients on memory tests improved when they

listened to classical music.

It’s possible, then, to use music to help your child retain information and enhance

learning. Brewer (1995), stated that “sounds can help to hold our attention, evoke

21
emotions, and stimulate visual images. Students of all ages that includes adults

generally find that music helps them focus more clearly on the task at hand and

puts them in a better mood for learning”. He calls the use of music throughout the

day “positive mood management” and suggests that various styles of music are

appropriate for different types of activities. For instance, He recommends using

upbeat popular music to motivate learning, especially songs with lyrics that

encourage positive thinking. When studying, writing, or reading, play instrumental

music to sustain concentration. Classical music of the Baroque era, like Bach,

Handel or Mozart work particularly well. Brewer also stated that “Music can help

shift energy levels too, so playing upbeat music can boost tired minds and bodies

while slower, more reflective music helps calm and focus,”.

Students learn to improve their work through the use of music. Ludwig Van

Beethoven opined that "Music is the electrical soil in which the spirit lives, thinks

and invents”. This emphasizes that learning music promotes craftsmanship,

whereby students learn to create excellently. This desire brought to life in children

by music can be applied to all aspects of life's endeavor. Music affects our feelings

and energy levels! Without even thinking about it, we use music to create desired

moods to make us happy, to enjoy movement and dance, to energize, to bring back

powerful memories, to help us relax and focus. It is a powerful tool for our

22
personal expression within our daily lives as it helps set the scene for many

important experiences.

Throughout time, people have recognized and intentionally used the powerful

effects of music. In this century, researches prove that music greatly affects and

enhances human learning and living. Research continues to be conducted to

provide helpful guidelines for intentional use of music, especially in the classroom.

Students who practice musical instruments improve their hand-eye coordination.

Just like playing sports, children can develop motor skills when playing music. As

a child begins to learn a musical instrument the first issue encountered is the

inability of the child to process information given and put them to reality through

playing the instrument. For example when a child begins to learn the recorder he or

she will be told that holding the recorder with the fingers of the right hand over

those of the left is wrong many still erroneously put the right hand above the left,

while some find it difficult to raise a particular finger without moving those closest

to it, some others start opening the holes of the recorder from above rather than

from below but before long all these are corrected. Music acts as a bridge between

the brain and the nervous system thereby teaching the nervous system to adhere to

promptings from the brain for maximum results which will culminate in the

creativity.

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Learning to play pieces of music on a new instrument can be a challenging, but

achievable goal. Students who master even the smallest goal in music will feel

proud of their achievement and with an enjoyable subject like music that can keep

kids interested and engaged in school student musicians are likely to stay in school

and excel in other subjects.

Music is the fabric of our society, and music can shape abilities and character.

Students in band or orchestra are less likely to abuse substances over their lifetime.

Musical education can greatly contribute to children’s intellectual development as

well. Students of music to be more emotionally developed, with empathy towards

other cultures They also tend to have higher self esteem and are better at coping

with anxiety.

Students develop their math and pattern-recognition skills with the help of musical

education. Playing music offers repetition in a fun format. Students who have

experience with music performance or appreciation score higher in logical and

quantitative exams.

Musicians can better detect meaningful, information-bearing elements in sounds,

like the emotional meaning in a baby’s cry. Students who practice music can have

better auditory attention, and pick out predictable patterns from surrounding noise.

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Introducing music in the early childhood years can help foster a positive attitude

toward learning and curiosity. Artistic education develops the whole brain and

develops a child’s imagination.

Students can fight stress by learning to play music. Listening to soothing music is

especially helpful in helping kids relax. Kids who learn to play an instrument can

learn a valuable lesson in discipline. They will have to set time aside to practice

and rise to the challenge of learning with discipline to master playing their

instruments.

Investing in creative education can prepare students for the 21st century workforce.

The new economy has created more artistic careers, and these jobs may grow faster

than others in the future. Kids who study the arts can learn to think creatively. This

kind of education can help them solve problems by thinking outside the box and

realizing that there may be more than one right answer.

Students who study music show improvements in spatial intelligence, which allows

them to perceive the world accurately and form mental pictures. Spatial

intelligence is helpful for advanced mathematics and more.

Many musical education programs require teamwork as part of a band or orchestra.

In these groups, students will learn how to work together and build camaraderie.

25
Performing a musical piece can bring fear and anxiety. Doing so teaches kids how

to take risks and deal with fear, which will help them become successful and reach

their potential. With encouragement from teachers and parents, students playing a

musical instrument can build pride and confidence. Musical education is also likely

to develop better communication for students.

2.2 Theoretical Framework

The overall concept of learning as related to children is to attract their attention to

study and this has been researched on for many years by so many scholars who

through various means of careful examination, subtle data collection and critical

analysis have come up with ideas that criticize or improve upon existing learning

theories. These theories were found relevant to this study for their special

significance to music learning. For the purpose of this research, studies will be

geared towards learning theories which focus on mental processes, structures and

functionality as they relate to learning.

Piaget (2004) argued that; “conceptual growth occurs because the child while

actively attempting to adapt to the environment, organizes actions into schemata

through the processes of assimilation and accommodation” (p. 68). By this he

means the child actively organizes its past actions. Piaget went on to outline five

distinctive stages of mental development of a child:

26
  Sensory motor stage (0 – 2years):- The developmental stage where the child

begins to achieve much by way of motor and mental skill which is seen as

they walk, talk and play.

 Pre-conceptual stage (2 – 4years):- At this point the child is not able to

perceive and formulate concepts in the same way as older children and

adults.

 Intuitive stage (4 – 7years):- Children during this stage begin to develop

intellectually which is largely dependent on superficial perception of the

environment.

 Concrete operation (7 – 11years):- The child at this point describes the

environment at the highest level of abstract reasoning and tries to explain it

to the best of his/her ability.

 Formal operation (11years onward):- at this stage the child is capable of

dealing with concepts involving weight, area, number, distance or

temperature provided they can operate with concrete referents.

Piaget’s learning theories despite great strides has been criticized for depending so

much on the verbal introspection of the immature mind and for overlooking the

important role of individual differences between children due to mental, cultural

and societal factors.

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Music is a product of the behavior of human groups whether formal or informal

(Blacking, 1979, p. 58). The caption above from Blacking aptly sum up the roles

and functions of music in a society and this is also true of the African society.

“From the cradle to the grave” the African eats, sleeps, and wake-ups with music.

It passes on musical art through oral and informal sources either during festivals,

gathering in the village square, court music, and so on. Other avenues for

showcasing music that could also offer opportunities for tapping musical

knowledge are through observation or direct participation in musical activities at

home and in school.

The traditional musicians in some parts of Africa, especially in Nigeria, are treated

with disdain, regarded as belonging to the lowest echelon of the society as they are

given various tags that are unbecoming such as beggars, ne’er do well, and people

not to be associated with in the society. Perhaps, these commonly held views of

music and musicians had rubbed onto music and its usefulness as a career subject

worth studying in Post-Primary institutions. Fafunwa (1971) opined that:

There is much truth in the saying, a very cultureless people are a

hopeless people. The teaching of music and art in African schools is

still considered as a frill by many an educator. Yet there is hardly any

other subject through which the artistic and creative genius of a

people can be more easily expressed and perpetuated. Art and music
28
 touch the spirit and soul of the child and African art and music form

the focus of the African culture (p.74-75).

The aforementioned excerpt captures the essence of improper propagation of music

education in Africa and how music is a spiritual art to the Africans and that it

enhanced and developed her artistic and creative mind. However, Vidal (2008) in

an analytical review of major problems confronting music education in Nigeria

within the last century stated that:

“Formal music education was institutionalized in the schools at the

beginning to serve the interests of the missionaries and colonial

administrations. That the type of music education introduced was

alien to Nigerian culture and traditions”.

That attempts to correct this though, successful with other subject did not yield

much success in music, thus making music lag behind other subject such as

language, literature, drama in terms of cultural development and orientation.

Efforts were again made after independence to make education, including music

education functional and relevant to the needs of Nigeria and the African child but

the necessary structures were not put in place to concretize the new ideas on music

education.

29
2.3 EMPIRICAL STUDIES

Vygotsky (2008), postulated that:

Human mental activity was the result of cultural learning using social

signs. The culture into which a child is born was the source of

concepts to be internalized and affected the psychological functioning

of the brain. Tools such as language, number, art, were seen as the

means by which a culture would conceptualize, organize and transmit

thinking. Therefore, our thinking process is a product of the culture in

which we happen to be born.

All these point to the fact that children manifest individual differences and that

these differences are as a result of cultural influences which Vygotsky termed

constructivism. He then went further to identify three main stages of cognitive

development:

Vague syncretic: The child at this stage piles blocks into heaps

without any recognizable order. The grouping result from trial and

error, random arrangement or from the nearness of the blocks.

Thinking in complexes: a concept where a child groups attributes by

criteria which are not the recognized properties which could be used

for the classification of the concepts.

30
 Potential concept stages: At this stage the child can cope with one

attribute at a time but is not yet able to manipulate all the attributes at

once. Maturity in concept attainment is reached when the child can do

this.

Vygotsky here is in agreement with the Piaget’s postulation from haphazard

grouping through pseudo-concept to full concept formation in their learning but the

point of disagreement is on the factors facilitating formation of concept. Vygotsky

believed that the factors giving concept formation emanated from the

psychological functions while Piaget stated that it was more of the biological make

up of the child.

On the premise of modern music education the works of great scholars like

CarlOrff (Germany), Zoltan Kodaly (Hungary), Dr. Schinichi (Japan) have to be

studied thoroughly in order to efficiently handle the education of children be it

from the psychological or biological point of view.

The works of Carl Orff in his program designed for elementary school music used

the pentatonic scale while emphasizing the use of musical instruments. Rhythm

band instruments usually referred to as Orff’s instruments were used together with

singing in order to set apart the individuality of certain rhythmic, melodic and

harmonic functions thus showing development through elaboration and

31
improvisation. Orff’s aim was to foster a finer discrimination amongst students in

way of perception so that anything outside the child’s senses is perceived with

greater accuracy and precision.

Carl Orff’s approach to music education for child begins with the

premise that feeling precedes intellectual understanding. In their

spontaneous play, children become totally involved in rhythmic

movements; speech play and chant… their music making includes

singing and playing instruments (Reaback & Wheeler, 1980).

The musical activity in Orff’s method is certainly that of early period of music

history but with that been said certain aspect of this method hold relevance,

especially instructional aspects of singing and playing musical instruments which

is of course adopted in this research.

Another opinion of worth is that offered by the Hungarian by name Zoltan Kodaly

who installed a strong and stable system of music instruction in Hungarian schools.

His method was based upon singing and an early attack on music reading using

solfa syllables which enhanced the level of productivity demonstrated by children

choirs in Hungary during the 1960’s.

Kodaly’s work skyrocketed school choirs to a point where the international

community got interested in his method of musically educating the young mind.

32
This method brought about by Kodaly was not giving demonstration to its

effectiveness in the routine of normal schools for it to work as intended. That the

school time table had to be modified from its normal modus operandi of balanced

education activities for all children. The idea of nurturing children musically

through songs of their culture, from which they will be able to spread their interest

to other cultures is workable but only limited to places without diverse cultures.

Furthermore, it will not be out of place to re-iterate that the strength of Kodaly’s

method lies in the clearly set out sequence of activities and skill acquisition,

particularly in the area of childhood music literacy.

Dr Schinichi Suzuki of Japan through many years developed a better way to

teaching the violin. It is a special approach to individual instruction where the early

stages are taught by rote as the pupil begins while having each stage of learning

audited by one of their parents. With much listening and direct imitation the pupils

are able to pick up simple but characteristic violin playing patterns for beginners

which will be short in length, which will include short and rapid bow strokes.

These pupils are brought together occasionally during festivals as several of them

will play the violin in unison the various compositions included in the standard

course of study already memorized.

Schinichi’s approach was precisely based on the following:

33
  An organized sequence of musical material that follows an order based on

technical music levels of ability.

 Recordings by leading artistes that provides models for pupils to emulate.

 Parents attendance in every lesson so that they can assist in the learning

process.

 Games that use physical activities to free the body and remove tension in

playing.

This method has proven over the years to be very useful even though the limiting

factors include that:

 It is peculiar to the violin alone.

 It will demands parents leave everything they are doing and head to the area

where the rehearsal is to be held every week which will be perceived as

difficult task for parents.

 It is based on rote learning which is by memorization and direct imitation of

the teacher which tells that not much learning is taking place.

Music Education like every other part of education for secondary school is

supposedly intended to feed the music departments of higher institutions and if not

properly done the students are ill prepared and struggle through the program, some

drop out of the department, while some remain passive for the duration of the

34
program. It is very essential to state that music education in Post-Primary

institutions in Rivers State needs improvement.

Many Nigerian indigenous scholars have made ground breaking contributions

towards teaching and learning which of course lift spirits knowing that work in on-

going with regards to the upgrade of music studies in Junior Secondary Schools

especially those in Rivers State. Agu (2006), expressed regret that the Nigerian

Government has completely failed in implementing the section of the objectives of

the National Policy on Education which states “in order to encourage aesthetic,

creative and musical activities Government will make staff and facilities available

for the teaching of creative arts and craft in schools”. It is therefore seen that

Government Junior secondary schools can only be revived when the Government

can live up to all that was written as objectives of Education in Nigeria. The staff

needed for teaching music are graduates of music colleges who have been given

the necessary technical knowhow to impart musical knowledge on students while

the facilities needed for a superb music learning experience as stipulated in the

curriculum are tape recorders, music player, piano, drums, flutes, costumes, gongs

etc.

When all needed for proper music learning is not provided it hampers the process

and consequently does not help children in developing their music prowess or

abilities. Mbanugo (1991) stated “Rising costs and diminishing educational

35
funding in Nigeria”(p.1). This of course is the problem facing the non-compliance

of the Government towards the procurement of facilities for these schools coupled

with the nonchalant attitude of those directly saddled with the responsibility of

seeing to it that schools in Rivers State belonging to the both individuals and the

Government has what is needs to run effectively. Since what Mbanugo stated

above is true then it will not be out of place for the school leadership to go in

search of local musical instruments like the agogo, ekwe, gan-gan, ogene, oja etc.

that will be a lot cheaper and easier to get than the sophisticated instruments like

the violin, piano, trombone, tuba etc. Although the recorder does not have the same

capacity as many other instruments in terms of functions and register and harmonic

functions, it is a very useful tool in teaching the basics of music like scales, pitch,

sight reading and playing as well as public performance. It is also not out of place

to state the obvious that students who fared well in playing the recorder find it a lot

easier to switch to other sophisticated instruments that have almost the same

pattern of play. E.g. the saxophone and clarinet which is in tune with what

Swanson (1981) stated: “teachers should provide preliminary activity to break

complex skills into simpler components that can be mastered earlier. As an

example, before children can play the clarinet they can be taught to play the

recorder (an end blown wooden or plastic flute) (p. 6)”.

36
Onyuike (2005) bemoaned the non inclusion of music experts in planning school

curriculum while Aninwene (2009) asserted that the present curriculum is an

extension of the type introduced to Africa by the missionaries which is rather more

Western than African inclined. All these called for advocating the usage of African

means to teaching music so the study can be more utilitarian and active rather than

passive. To this Onuora-Oguno (2009) advocated the integration of elements of

cultural music in the education of the Nigerian child while Okonkwo (1996)

advised the use of rhymes and traditional radio jingles like Urioma in music

instruction.

The Post-Primary Institutions in Rivers state have been observed by this research

to struggle with the idea of music education hence the different approaches to the

subject. These approaches led to some schools treating music as an extra-curricular

activity, while some follow through with the theory and practical aspects of the art.

Some understand that music is a part of Creative and Cultural Arts and treat it as

such by employing both Music and Fine Arts graduates to teach CCA as separate

subjects which will be reflected on the time table but put together in the exam

questions and result records through percentage.

. To this fact Aninwene (2009) stated;

37
 The curriculum of music education in the primary schools calls for a

serious review to make it utilitarian. Music should be separated with

art and drama… This should incorporate rudiments and theory of

music and practice. Emphasis should be laid on practical

musicianship, music creativity and execution. Nigerian and African

music should be given the pride of place. (p. 60)

Okeke (2010), stated in precise terms by identifying the structural problems with

the current music curriculum;

 The curriculum is more Western oriented that African.

 The cultural content in relation to the African society is poor.

 It has no provision for learning behavior of children.

 It holds no future for music as it is embedded with Art, Craft and Drama.

 It lacks the expertise of music professionals. (p. 5, 6 )

Teacher competency also poses a negative contributory factor to students

dwindling interest in music in Government owned junior secondary schools in

Rivers State. Okeke (2010) pointed out that we have two grades to teachers who

supposedly teach music. The first group he called “teachers of music” while the

second he described as “music teachers”. In his own words Okeke stated of the

group called “teachers of music” that:

38
 This group have little or no formal experience in music and cannot

interpret the music curriculum appropriately, if they ever refer to it

and the result is that music as a subject becomes more uninteresting

and is mangled up with a lot of misconceptions and

misinterpretations. (p. 11)

Onyuike (2005) observed that:

Nigerian schools that offer music are few. Learners that are naturally

talented in music are subsequently denied the opportunity to develop

their talent and so cannot contribute effectively to the musical growth

of the nation. The music component has been relegated to the

background to such an extent that it has become mere classroom

singing and/ or dancing… the teachers are most often inadequately

prepared due to lack of necessary materials. The children are often

packed together in one classroom during the last period under the

custody of a teacher whose area of discipline may likely not be music

and this type of teacher has no interest in the music education of the

children. (p. 16)

The opinion of great intellects in the music field as stated above has shown to what

level the neglect suffered by music education at the hands of the Government,

39
Administration and so called “teachers of music” as describe by Okeke (2010) and

this does not bode well for the overall state of music education.

As a way of improving music programs for effective teaching in relation to the

curriculum Sowande (1967) suggested:

the need to marry the traditional with the orthodox Nigerian

instructors who were versatile in the field of our traditional music

should be made to give practical instruction in singing and dancing

and playing of some indigenous instruments. The construction, care

and maintenance of traditional instruments should also form part of

the programs. The Western system of music notation is equally

desirable to ensure proper documentation. (p. 50)

The teacher of music should not be restricted to using traditional music but use a

variety of songs (music) covering both African and Western for a proper and

balanced musical experience and to buttress this fact Iwotor (1981) wrote that “The

secondary school music teacher must sometimes turn to the use of current popular

music as a natural means of establishing contact with the musical interest of the

pupils” (p. 150). He warns that to ignore popular music or condemn it as all trash,

places an impossible barrier between teacher and class. These students already

have some level of musical awareness from their homes where most of these are

40
popular in nature and if the curriculum is to be related to what they already know

the study will be of more interest on both sides (teacher and learner).

Ifemesia (1983) in Faseun (1988:22) discovered that “secondary school music

teachers are not in any way involved in the planning of the curriculum for their

students. Their thoughts which will be based on being in the field are not reflected

in the curriculum used in the schools and this still holds true till date.

2.4 SUMMARY OF REVIEWED LITERATURE

From researches carried out by music scholars it will not be out of place to state

that the teacher’s role in carrying out teaching instruction is a deliberate effort

which is geared towards engineering specific changes in the learner’s behavior and

this is one major step towards improving music studies in the Rivers State. This

step cannot be narrowly conceived as it not only includes the materials like musical

instruments and so on but also items of program, procedural details, students’

problems and the teachers welfare. On this Lindly (1958) stated:

Teachers are our curators of our yesterday and the architect of our

tomorrow. Always, they accomplish this mission through the minds

and talents of others. To do is note worthy, but to be able to do and to

devote ones energies to helping others learn is man’s noblest work.

(p. 28)
41
The teacher is not only expected to teach but to also provide assistance and

encouragement in the development of positive attitudes to learning and through

this the researcher believes that music instruction under the guide of a music

scholar will go a long way to enhancing the personality of students.

42
 CHAPTER THREE

RESEARCH METHODOLOGY

This chapter describes the design, area of study, population of the study, sample

and sampling, instrument of data collection, administration of instrument and

methods of analyzing the data.

3.1 Research Design

The method employed in investigating for this study is the survey method. This

design was adopted because of its suitability to the study and the area of music

under investigation. The survey method of research has been creditably used by

many known scholars in the area of music. Nwanna (1981) established that surveys

were investigations in which subjects were studied in the natural setting.

Akwuezilo (1993) stated that a survey research is one in which a group of people

or items were studied by collecting and analyzing data from only a few people or

items considered to be a representation of the entire population under study.

Onwuekwe (2008) opined “it is necessary in a study of this nature to contact as

many schools and music teachers as possible and moderate experience”. Taking all

the opinions of the above listed scholars, it would not be out of place to emphasize

that the survey method is the most informative and effective means for gathering

data for this research.

43
3.2 Area of the Study

This study was carried out in school in four Education zones in Rivers State. These

selected schools amounted to 25 spread across four local government areas

namely; Obio-Akpor, Port Harcourt, Ikwerre and Oyigbo zones. The listed zones

are functioning under the State Ministry of Education.

3.3 Population of the Study

The target population of the study consisted of 25 post primary schools in Rivers

State. These schools were chosen so as to see the state of music education which is

a core subject in junior secondary schools. The number of Post-Primary

Institutions in Rivers State is numerous so a sample was taken for this research.

PROFILE OF SCHOOLS

Port Harcourt Zone

Emarid College

Emarid College is a private school in Rivers State, Nigeria. The school has its

campuses in both Port Harcourt city and Igwuruta. The school was established in

1992. The College took off in September, 1992 with JS1 & JS2. By the end of the

first term, six students had been register; Four in JS1 and Two in JS2. Five teachers

were employed to teach these students. It was indeed a small family, with each

44
student being given special attention. This figure was maintained throughout that

academic session. The following academic session (1993/1994), the student’s

population increased to sixteen in JS1, six in JS2 and two in JS3. As usual, the

parental love and care coupled with firm discipline under the leading of the Holy

Spirit, had together with academic excellence been the emphasis of the school

authority. In September, 1994 over 300 students joined what had now been known

as “The Emarid Family” which naturally, resulted in a corresponding increase in

the staff strength.

Emarid College Day and Boarding Campuses have well equipped science

laboratories for the under listed subjects Physics, Chemistry, Biology, Agricultural

Science, Technical Drawing, Fine Art, Home Economics, Catering Craft Practices

but no music laboratory. According to the principal of the school, the music

laboratory is a futuristic plan as they have just gotten a music teacher to help with

creative and cultural arts together with the fine art teacher.

Stella Maris College

Stella Maris College was founded in 1948 by the Holy Ghost congregation of the

“Roman Catholic Mission”. Its original site was at St. Mary’s Catholic Church

premises, Aggrey Road, Port Harcourt. Later in October 1948, the college was

45
transferred to its present site; No. 34 Harbour Road, Port Harcourt. From its

inception till date, the college is coordinated by the Holy Ghost Reverend Fathers.

The college remained synonymous with excellence; academically, morally and

socially until early 70s when the Federal Government of Nigeria took over all

mission schools and colleges.

Somewhere along the line, due to gross indiscipline, academic and moral

decadence, coupled with pressure from the church, the Government saw the need

to return the mission schools and colleges to their original owners, the Catholic

mission and other missions.

Consistent with the catholic institutions, this school has a music teacher but

according to the teacher Mr Solomon Ogan the curriculum used by the school is so

packed that music is usually pushed to be in the least of the least of subjects in the

curriculum and as such the time given on the time table for music is hardly enough.

He went further to state that music education was more theoretical than practical in

the school.

CITA International School

CITA International School, also known simply as CITA, is a private, Christian

school in Rivers State, Nigeria. CITA offers nursery, primary and secondary

school education to children ages 6 months through to 16 years. The school was
46
founded on 15 May 1981 with a capacity for 90 pupils. It initially functioned as a

nursery and primary school until 2001, when the high school section was

established. CITA is a developed school using Federal Ministry of Education

curriculum but does not have any functioning music department and no music

teacher.

Greenoak International School

Greenoak International School (GIS) is a private primary and secondary school

located in New GRA, Port Harcourt , Rivers State . The school caters for children

of all nationalities from ages 5 through 16. GIS Primary was founded in September

2004 while GIS Secondary was founded in 2008. The school offers an

International Education system, consisting of International Primary Curriculum

(IPC), along with American and British curriculum programs. At present, 25% of

the students are expatriates while 75% are Nigerians.

The Managing Director administers the overall affairs of GIS. The Principal is in

charge of the day-to-day operation of the school. The Head of Administration and

the Academic head are empowered to run their respective areas of duties while an

Advisory Committee provides support and ideas to aid GIS’s progress. The Board

of GIS is tasked with policy formulation for the wellbeing of the school.

47
This school has two well learned music teachers who brought music to life in the

school community. The school has a music laboratory which houses most orchestra

musical instruments and has an orchestra group that performs during occasions.

Norwegian International School

Norwegian International School (NIS) led by both Mrs Nkechi Fakoya and Mr

Adrian Scarlett is located at New GRA, Port Harcourt. It was set up in 1983 to

cater to the educational needs of expatriate children from Eastern Bulkcem

Company. The school first operated with two teachers and approximately twelve

students but has since grown with children of workers from other companies in

attendance. Currently, the school serves nursery through secondary, ranging from

ages 2 through 16.

The school's curriculum comprises elements of the English National Curriculum,

alongside the curricular standards of the Cambridge International Primary

Programme (CIPP) and the International General Certificate of Secondary

Education (IGCSE).

This school has one music instructor, has a functional music laboratory, a school

choir and an orchestra group.

48
Government Comprehensive Secondary School, Borokiri

One of the premier secondary school in Nigeria is GCSS which is located in

Borokiri neighborhood in Port Harcourt Local government Area. The school was

founded in a collaboration between the then United states Government led by John

F. Kennedy, University of California, Los Angeles and the then government of

Eastern Region, Nigeria in 1962. The school was led by Professor Lynne C.

Monroe until 1964 when he returned to Los Angeles. The school is now been

administered by the Rivers State government through the State Ministry of

Education.

Today the school records resounding success as they produce nearly 300 students

every year who write the West African Senior Secondary Certificate Exam. The

school has no music teacher, no music laboratory and no definite music program

and no space on the time table for music.

OBIO-AKPOR ZONE

Emilio Piazza Memorial School

EPMS was founded by Paul Amrasa on 15 September 1996. It was established to

honor the memory of Emilio Piazza, a Milan-born Italian businessman who

49
sponsored Amrasa's accounting degree at the University of Bolton, England. After

Amrasa returned from the United Kingdom, Piazza assisted him to get a job

working for A. Micheletti & Sons, a sister company to Emilio Piazza Construction

Company. In 1992, at age 56, Piazza died in Cameroon .

EPMS started with 6 classroom blocks, 7 teachers and 2 pupils. The population

later increased to 18 pupils, and by 1997, an additional 27 had joined the school.

Today, EPMS boasts around 600 pupils, 27 classroom blocks and 45 teachers, a

principal by name Peter Ighofowe bringing the teacher to student ratio to1:13. The

school has one music teacher who is on part time to the school. They have one

keyboard, two recorders and a brigade drum which will not suffice for a strong

music department.

i) St Benedict Immaculate Canadian Academy

The above named school also known as St BICA or St Benedict is a Private

Christian co-educational school owned by Mrs Funke Jack offers both preschool

and secondary education. It is located in Rukpokwu area of Rivers State. The

school was established in 2008. The school began with less than 20 students but

has now expanded with the number of students running above 600 who are served

by 42 staff members. The school operates a mix of both the British and Nigerian

50
curriculums in fulfillment of its vision which is to educate the students for global

citizenship.

St. BICA has a functioning music laboratory with electronic keyboards, drum sets,

violins, violas, saxophones etc. The only issue of music in this school is that they

operate music learning as an extracurricular activity where a group of

instrumentalists teach the students how to play these instruments twice a week

which of course is not healthy for the student’s educational well being.

ii) De World International Secondary School (DWISS)

The college was established in 1993 and is located at Km.16 Aba road, Port

Harcourt expressway, Rivers State. This school is a co-educational boarding high

school founded by Rev K. C. Eze offers from JSSI – SSSIII and operates a

comprehensive curriculum but they treat music as an extracurricular activity and a

part of the student’s social life. DWISS as fondly called is committed to providing

functional education for all children through structured and guided materials that

will enable children achieve the best in life. The school has no music teacher but

has just a keyboard and a drum set with no music laboratory.

iii) Jephthah Comprehensive Secondary School

This school is a boarding school located at Km4 East-West road, Ozuoba, Port

Harcourt, Nigeria. It was founded by Mrs Ifeoma Chukwuogo on October 6, 1995.

51
This school is a respectable international school, having more than 700 students in

attendance which are served by a team of teachers without any music teacher. The

principal affirmed that the creative arts curriculum is taught by the fine arts teacher

and that music being a “small part of the curriculum” is read up and taught to the

class by the fine art teacher.

Model Girls Secondary School, Rumueme

This is an all girls Government school that has over 1000 students in attendance

serviced by 65 teachers is located within Obio-Akpor Local Government Area of

Rivers State. It is a school where discipline is of utmost priority. From research

there was no single music teacher in sight and the time table did not show music as

one of the subjects but rather as creative and cultural art which is given two periods

per week for each class. There is no music room, no music instruments and no

music instructional materials which is very poor considering how versatility in

Nigeria needs music study for expression.

IKWERRE ZONE

Aladumo International High School

Aladumo International Schools is a co-educational institution established in 1987

with a population of twenty- four 24 pupils. The school has grown since then and

now has a crèche, a pre-nursery, a nursery, a primary and a high school and this
52
has led to the school becoming known for excellence in character and learning.

The pupils and students are nurtured and trained to excel in academics and other

areas. They are helped to develop into independent and responsible citizens.

Students of Aladumo are consistently motivated to develop the all important

passion for learning.

The school was founded and established by Rev. (Dr) Favour Ingor Ogan, a

seasoned and renowned educationist. She held several positions in the Rivers State

Ministry of Education as an English Teacher, Principal, Chief Inspector of

Education and commissioner. For over 20 years, she has invested her wealth of

experience in this establishment.

The school believes that education does not stop and should not be confined to the

premises of the school. Field trips, camps and excursions are organized within and

outside Nigeria. At all levels in the school, regular reports on the progress (not just

academic) of pupils and students are communicated to parents and guardians and a

partnership between the home and the school is built to achieve excellence and

bring up children that are positive, disciplined and confident, who can hold their

own anywhere in the world

The Junior Secondary school offers the following subjects; English language,

Mathematics, Literature in English, Integrated Science, Social Studies,

53
Introductory Technology, Agricultural Science, French, Christian Religious

Knowledge, Business Studies, Fine Art, Home Economics, Computer Studies and

Music.

The music study in the school is more theoretical than practical as they have a

limited number of instruments. The teacher of music named Mr kingsley Afam told

the researcher that he has been trying to prevail on the administration to provide

some musical instruments for the school but nothing has been done till date.

TRINITATE INTERNATIONAL SCHOOL

This is one post-primary educational institution built on the solid foundation of

commitment and excellence in line with trend and time. Focus is to become the

best institution committed to offering qualitative education. With an additional

responsibility to monitor and nurture the unique talent of every student in every

cluster,

Trinitate is putting innovation to work in mapping and developing ways for

students to meet the 21st century global requirements. In doing this, qualified

teachers and administrative staff have been engaged while quality teaching aids

have been procured to ensure the desired high performance level. In addition, an

integrated learning curriculum has been designed to benefit every student, but

54
more fundamentally to make the student better refined, intelligent and dependable

persons.

Trinitate boasts of modern standard facilities ranging from E-learning Classrooms

with Wi-Fi, air conditioned hostels. Good health facilities with an ambulance and

resident doctors. well equipped science laboratories, electronic interactive boards,

Staff conference hall., student conference hall, well equipped E-library, basic

technology lab, music studio, creative and performing art studio, entrepreneurship

center (for garment making, shoe making, catering craft) multi-purpose convention

center, sports center for indoor games a modern gym, swimming pool, a lawn

tennis court, a Basket ball Court, a Football field, and a beach ball field.

The school has one music teacher by name Adebayo Chris who teaches music to

the whole junior secondary school. The music is termed extra-curricular as they do

not have it on the school time table but rather students learn to play musical

instruments outside school hours and this is made possible because the students are

boarders and they learn their music outside classroom period.

Brookstone

Brookstone Secondary School is a school located in Port-Harcourt, Nigeria , in a

remote area called Igwuruta . It has "secondary" in its name because it also has a

primary school component in a different location. It was founded in 2006; prior to

55
its existence, other educational institutes were available in that area. The school's

mission statement is "To be totally committed to academic excellence in a

challenging and nurturing environment and groom productive citizens responsible

for their future."

The school offers both British and Nigerian curricula. Students sit for international

and local exams like Cambridge international Examinations (CIE), National

Examinations Council (NECO), International General Certificate of Secondary

Education (IGCSE), and the West African Senior School Certificate Examination

(WASSCE). These exams are taken at various points throughout the six years spent

at the school.

The school has a well furnished music laboratory but music is mainly seen as an

extra-curricular activity. The teacher handling music Mr Osas Richard, is not a

music graduate but a professional piano player who is an electrical-electronics

engineer. The school has programs like sporting activities which includes

basketball, soccer, athletics, table tennis and lawn tennis, allowing for well-

rounded students. The school's soccer team competes in various tournaments. The

school also has non-sport activities like Press Club, Drama Club, Art Club,

Swimming Club and ICT club and Music Club. Occasionally the school takes

students on field trips to France.

56
Charles Dale

Charles Dale is located at lgwuruta, lkwerre Local Government Area in Rivers

State; about 10 minutes drive from Port-Harcourt International Airport. Occupying

30 acres of land, it is well suited for an international standard co-educational

secondary school. The serene location and modern facilities make for a sound

study environment. The school is co-educational and multi-cultural, admitting

students from within and outside Nigeria. The school is strictly boarders and it

offers standard learning, living and recreational facilities to foster a vibrant life for

the students. Charles Dale is committed to training the total child by providing an

all-round qualitative education which also aims to unlock and maximize the

leadership potentials of the students.

The school's laboratory complex comprises Biology, Chemistry, Physics and

Agricultural Science laboratories. Vocational teaching and learning are

complemented by our special rooms for clothing & textile, food & nutrition, an art

studio, and a studio for music. Technology workshops for woodwork, metalwork

and technical drawing are also provided. The school has one music teacher and the

art of music is a part of Creative and Cultural Arts. In the music studio they have a

few violins, one keyboard and a drum set which is of course very poor for a school

of this standard.

57
Community Secondary School, Igwuruta

Government secondary School, Igwuruta is a school located at the outskirts of

Rivers State in Ikwerre Local Government Area. The junior arm of the school has

over 200 students in attendance serviced by a meager number of 19 teachers non

which is a music teacher. The researcher saw that there is no form of music study,

no musical instruments and no music textbook.

OYIGBO ZONE

Bishop Okoye Spiritan Secondary School, Mirinwanyi

The above named school is one of the best schools in Rivers State where music is

taken as a core subject. The school was founded by Rev. Fr Chris Amauobosi who

also doubles as the school principal under the covering of the Spiritan Priests of the

catholic church in the year 2009. The school operates an intensive curriculum

where every subject is given the required attention. BOSSS as fondly called began

with just 47 students but today has over 900 students served by 43 teachers of

which two are music teachers. The school has a big functional music laboratory

with a lot of musical instruments and books to enhance learning.

58
Dominican Basic College

Dominican Basic College and Preparatory School, Izuoma-Asa, Oyigbo is a co-

educational institution accompanying the child from the kindergarten through

Basic education to Senior Secondary level. The school founded in the year 2000 is

one of the Catholic schools in Oyigbo with student strength of over 400. The

school operates a comprehensive curriculum and they teach Catholic doctrines and

Catechesis. The focus is on innovative and creative learning which supports the

individual.

The principal of the school Anaedum, Rita (MRS) told the researcher that the

school has one music teacher who teaches the music aspect of the creative and

cultural arts curriculum in collaboration with the fine arts teacher. The school has

just one keyboard and a drumset that serves a school of over 400 students

Community Secondary School (U.B.E), Okoloma, Afam.

Community Secondary school (U.B.E.), Okoloma is a Rivers state owned

secondary school established to allow the community of Okoloma which is situated

in Oyigbo Local Government Area access to standard education and instructional

facilities. The schools was founded on the 11 th of January, 2016. The principal of

the school is Mrs Chuku Ina.

59
Being a relatively new school a lot had not been put in place to facilitate learning

and one of such is music. The school has 341 students in their records served by 20

teachers. The researcher was informed by the principal that two of these teachers

were PhD holders. They also have four corp members posted to the school for their

National Youth Service year. The school is committed to providing functional

education but the short fall is the fact that they have little space for music. When

the principal was asked by the researcher about the state of music, she said that the

school had a very capable creative arts teacher who studied fine arts and that he

was the person teaching music to the students alongside fine arts. She further said

“we do not need a music teacher because it is not a subject on its own but rather in

a merger with drama and fine arts”.

Government Secondary school, Umuagbai-Ndoki

The above named school situated in a community called Umuagbai-Ndoki was

founded in 1966 under the Rivers State Government. The principal of the school’s

junior arm is Chief Nwamenefu L. Opurum. This school has no music program for

the students but the principal showed some level of enthusiasm when the

researcher asked if he would like his students to start music lessons.

The school has a population of 550 students, 68 teachers and 23 National Youth

Corp members. The school has no music teacher and consequently has no musical

60
instructional material. The principal blamed this on the Rivers State Government

as they do not deem it necessary to employ and post a graduate music teacher to

the school which led the school to have the fine art teacher dabble into aspects of

music that could easily be read and transferred to students.

Community Secondary School (U.B.E.), Egberu-Ndoki

C.S.S. (U.B.E) was founded in 2006 by the then Governor Peter Odili led

administration. The creation of this school in Egberu-Ndoki was with the aim of

improving the standard of education within the locality and the society at large.

The principal of this school, Mrs. Dorothy Okwukwu said the school has about 300

registered junior class students in the free education system, 47 teachers to serve

the students with the help of 3 National Youth Corp members but the school has no

music teacher to cater for student’s musical and creative needs. The school has a

cluster of approximately 100 students per class which is relatively a very large

class for one teacher to effectively handle. There was absolutely nothing to herald

the presence of music education in the school.

Community Junior Secondary School (U.B.E), Obete-Ndoki

Located at ward six of Oyigbo Local Government Area of Rivers State,

Community junior Secondary School, Obete-Ndoki at the time of this study had

416 students served by 38 teachers and six National Youth Service Corp members.

61
This school serves the people on whose land the Afam Power Plant of NEPA was

established by the Nigerian Federal Government.

This school has no music teacher to assist and guide students through musical

knowledge, creativity and dexterity. The school is headed by a principal named

Mrs Lovina Nwachuku

Government Secondary School, Oyigbo.

This school is located along the Umusoya road in Oyigbo and is the in the first

community that is met as one enters into the Local Government Area, from which

the whole Local Government is named. The principal of this school is Mr. S. C.

Njoku who works with 36 teachers and 6 corp members to serve a teeming

population of 406 students. The school has no music teacher and it was gathered

that the kind of music the students are familiar with is singing during programs

organized by the school. The Fine Art teacher Mr. Patrick as fondly called by his

students jokingly stated that He dodges the music aspect of the creative arts

curriculum because he felt that the area is not for him.

Government Secondary School, Kom-Kom.

This is one of the new schools established by the Rivers State Government. The

school was founded on the 19th of September, 2016 with Mr. Jacob Shiawalam as

principal. He was quiet skeptical as to giving information to the researcher and

62
made it incredibly difficult for the researcher. He said that the state of the country

security wise was the reason why he was that way. The researcher however

gathered from him that the school began a few months ago with 21 teachers and

none of them is a music teacher. The school already has 170 students in their

register and they have neither music teachers nor music facilities.

NEPA Staff School, Afam.

During this research it was realized that the NEPA Staff School was the only

Government owned school in the local government area that has a partially

functional music department, this school is under a principal by name Mrs

Abimbola Olanitori. NEPA Staff School is located on Afam road within the

Oyigbo metropolis. The school has 29 full time teaching staff, 5 part time teaching

staff and 5 corp members as at the time of this research.

PHCN staff school has one music teacher by name Mr. Alex Ayanda who is a part

time teaching staff, the school owns one piano, one drum set and one recorder,

these serves the whole junior secondary section which is made up of approximately

23 students per class of A and B at each level. The teacher instructed the students

to all buy a personal recorder as a way of introducing the children into the art of

playing musical instruments.

63
3.4 Sampling Technique

The sampling technique employed for this research is the cluster and random

sampling technique. The junior secondary schools under survey were taken from a

cluster of schools in four Local Government Areas in Rivers State. The cluster

sampling was employed as these schools where more accessible to the researcher

and the research samples were also found to be a representative of all the junior

secondary schools in the state. The research of these schools was imperative due to

the poor music education infrastructure and teaching staff in most of the some

schools in Rivers State.

3.5 Instrument of Data Collection

The data used for this research was sourced through the following means;

a) Oral Interviews

i) Interview with school principals:

Oral interviews were granted by the principals of the seven schools under sampling

to find out various facts as to how the school is run musically and to see to what

extent the study of music is pursued. In this instance the researcher sought to find

out the state of music instruction in each school, the motive behind the music

program if any and their commitment to the sustenance of the music education.

64
ii) Interview with teachers:

Further research was paramount as to the verification of what the principals gave

during their interview. The interview with teacher was designed to find out other

relevant fact which the principals would have objectively answered, i.e. if they

have a functional music department and the effect of the department in the school

and if the music study is handled as a school subject or as an extra-curricular

activity.

b) Questionnaires for students

Questionnaires were designed for this purpose and issued out to students of Post

Primary Institutions in Rivers State.

c) Photographic clips of students musical activities

This covered various activities that were relevant to this research. For example:

music lessons, recorder performances, interviews.

3.6 Validation of Instrument

For the purpose of validation several steps were taken to ensure that all that was

gathered during this study was true. The oral interviews were taken first hand and

thus providing original information by the respondents, the questionnaires were

65
signed before distribution to teachers/students and counter signed by the researcher

after collection in order to ensure authenticity. The photograph clips were dated

and taken within the school premises producing pictures showing the researcher

and different respondents relevant to the study. All the research instruments used

by the researcher were validated by Prof. Nnamdi Onuora-Oguno.

3.7 Method of Data Collection.

The data for this research was directly sourced from the respondents through

questionnaires and active observation of the sampled schools through interviews.

He administered copies of the questionnaire to the respondents and retrieved them

after completion. This was to ensure that all the copies given out were collected.

A total of 100 copies of the questionnaire were administered to students and

teachers of secondary schools in Rivers state but 80 copies came back correctly

filled.

3.8 Method of Data Analysis.

These techniques and tools were employed in analyzing the data gathered from the

schools under observation:

a) Tables

b) Comparative analysis of variables

66
c) Mean.

d) Standard deviation

e) Average

f) Mode

g) Median

The data were organized and analyzed around the research question. The research

questions were answered with the use of frequency and mean values. The

organization was done based on five major clusters;

a. Provide enough music teachers for post primary institutions especially

public schools.

b. Increase the number of periods for music on the timetable.

c. Review the content of the syllabus to be relevant for our educational goals.

d. Provide instructional materials and facilities necessary for teaching music.

e. Use variety of teaching methods to satisfy student’s curiosity.

Each response was given a weighting as shown below

Strongly Agree = 4 points

67
Agree = 3 points

Disagree = 2 points

Strongly Disagree = 1 point

On this basis of weight, all the responses of each question were given values and

the mean values were calculated.

68
 CHAPTER FOUR

DATA PRESENTATION AND ANALYSIS

This chapter presents and covers the statistical analysis of data collected from the

questionnaire distributed to the music teachers in Port Harcourt, Obio-Akpor,

Ikwerre and Oyigbo zones.

The data obtained in this research are presented and analyzed here in relation to the

research question.

4.1 Research Question One (RQ1)

How many schools in the Area teach music?

Information gathering through 80 questionnaires given randomly to teachers and

students in the schools under survey on whether music is taught in their respective

schools was very useful in dealing with research question 1.

Table 1:

Representative number of schools that teach or do not teach music.

Is music taught in your school? YES NO TOTAL

Number of questionnaires 56 (70%) 24 (30%) 80 (100%)

Number of schools` 14 11 25

69
From the table we observe that:

i) 56 (70%) of the 80 (100%) questionnaires answered by students agreed that

music is taught in their schools although most of them where studying music as

extra-curricular without going to the depth of the study. Only a few of these

schools actually study both the theoretical and practical aspects of music.

ii) 24(30%) of the 80(100%) questionnaires retrieved stated that music was not

taught in their schools. There was no mincing words as the schools in this category

have never had a music teacher neither has there been any formal music taught to

them. It was observed that these schools only learn to sing some songs when a

program hosted by the school is coming up.

4.2 Research Question Two (RQ2)

What is the state of music education in the schools?

Responses from students, teachers and principals of the schools explained to a

great extent the level at which music is taught in each school.

Table 2
70
 The state of music education in the schools

The number of schools that actually have a semblance of music education are 14

while the others do not have any music education. Below is the outcome of the

questionnaires given to students of all the schools under study.

S/N Variables SA A D SD Mean

1 School has a music teacher? 10 4 3 8 2.64

2 Time table provision for music is 11 3 4 7 2.72

adequate

3 Teachers are adequate for the 10 4 0 11 2.52

classes

4 Musical instruments are enough to 14 0 2 11 2.84

go round the students

5 Music is taught by fine art 11 0 0 14 2.32

graduate

fig 1:

71
 Object 1

Table 2 above was quite revealing as to the state of music studies in the schools

within Rivers State. It was seen that quite a large quota of the schools in the area

are deprived of the benefits of music education. Out of the number of 14 schools

only 4 of them agreed to studying formal music as a subject both in theory and

practical. With approximately 300 students per school about 50% have a very poor

state of music study due to various factors which will be enumerated as the

analysis proceeds.

From the bulk of what has been studied and observed by the researcher, we can

objectively make an appraisal of music education in Rivers state thus;

i) Very few schools teach music. From the above data and graph it is seen that

the bulk of those who teach music as a subject are the private owned schools unlike

the public schools where the opposite is the case.

72
ii) Lack of teachers, lack of instructional materials and neglect militate against

formal music education in the state.

iii) In some schools that claim they teach music the subject is handled in a way

that it is one of the least subjects of repute in the school and this amounts to 30%

of the schools understudy.

iv) The government seems to be unconcerned in deliberately sourcing for music

teachers to be posted to the schools belonging to the government in order to

facilitate proper music education.

v) Music education is left in the hands of fine art teachers in government

schools instead of treating it as a core subject that it really is and these fine art

teachers end up teaching music as a topic in the creative arts curriculum rather than

as a subject.

4.3 Research Question Three (RQ3)

Why is there no formal music education in some schools?

The respondents of eleven of the schools under observation explained why there is

no music program in their schools.

73
 Table 3

Reasons for the absence of music education in some schools

S/N Variables SA A D SD Mean

1 Government or School administration 6 2 3 0 3.27

neglect music study and see it as not

important

2 School lacks instructional materials 9 1 1 0 3.72

3 School has no music teacher 8 3 0 0 3.72

4 School lacks Finance to be used for 8 3 0 0 3.72

music activities

5 School cut music after sometime of 3 8 0 0 3.27

studying it

74
Fig 2:

Object 3

Table 3 and figure 2 above revealed the nature of complications that have deprived

students of several secondary schools in the state of a formal music education

program. Out of a number of 80 questionnaires given to all the schools a total

number of 44 which is of 11 schools which came back bearing that formal music

education was more or less alien to their educational experiences and curriculum.

i) Answers to questionnaires stated that there are no music instructional materials

such as music textbook as well as music instruments and no music teacher in the

schools under study.

ii) Some of these examined schools especially those that are government owned

claimed that they have never had a music teacher or come across a musical

instrument in their school except those used during cultural dance presentations.
75
During the course of this fieldwork the researcher was told by the principal of

Government Secondary School, Umuagbai-Ndoki by name Chief Nwamenefu

Opurum L. saying that he did not know that music was even studied as a course in

the university. This comment on its own raised a lot of questions in the mind of the

researcher.

Anxiety is a common companion for music advocates, parents, teachers, and even

students at the end of every budget cycle as they wait to find out whether their

favorite programs have been cut. Cutting music programs has become

commonplace in many of the schools of the developed world. They always seem to

be the first to go, even though given the choice; some schools would keep music in

the school curriculum. Unfortunately for most, little influence is felt in the

decision, so there’s a general feeling of powerlessness in stopping the cuts.

However, what can’t be denied is that ultimately, cutting music from the

curriculum is wrong and denies students a vital resource that would benefit them at

every stage of their lives and not just in the classroom. So why is it that the cuts

continue despite the fact that we all generally appreciate what a musical education

has to offer?

4.4 Research Question Four (RQ4)

What is the actual situation of music study in the schools that study music?

76
Data gathered from students of the schools that study music to a good level

affirmed that music is taught in their schools but some issues were dampening the

music education idea as will be shown in the questionnaires served in such schools.

Table 4

Nature of music instruction in school.

S/N Variables SA A D SD Mean

1 The school has at least a 14 0 11 0 3.12

Music Teacher

2 School has Music textbooks 10 4 0 11 2.04

3 There is at least a Music 6 3 0 16 1.96

room/studio

4 School has musical 10 3 0 12 2.44

Instruments for rehearsals

5 There is a school Choir 6 3 4 12 2.12

6 There is a merging of music, 14 3 5 3 3.12

fine arts and drama to form

Creative and Cultural Arts

Fig 3:
77
 Object 5

From the above table and bar chart it was deduced that music is actually functional

but some things are hampering the development of the subject in the 14 schools

that study music as a part of their curriculum.

i) Questionnaires given shows that 14 schools that study music came back

claiming to have at least one music teacher while the others did not have any music

teacher.

ii) Data collected also stated that 10 out of the schools have music textbooks

while 4 of the schools that study music do not have textbooks for it. The remaining

11 schools do not have any music teacher.

iii). 24 questionnaires came back stating to the positive that the school has a

music room that houses their musical instruments and also used during rehearsals.

78
v) 6 schools stated that they have a functional school choir and this amounts up to

9% of the data collected.

vi) In this research it was found out that most of the schools teach music as a part

of CCA although on the time table fine art and music have different times on the

timetable and during school exams except those that treat music as an extra-

curricular activity. But in external examinations, drama, fine art and music come as

one subject called Creative and Cultural Arts which is now being adopted in most

subject areas within the Junior Secondary School curriculum such as: Computer

Science, Basic Science, Basic Technology and Physical and Health Education are

now referred to as Basic Science and Technology, Home Economics, Agricultural

Science and Entrepreneurship are now merged and called Pre-Vocational Studies

while Christian Religious Studies. Islamic Religious Studies, Social Studies, Civic

Education and Security education is now called Religious and National Values.

4.5 Research Questions Five (RQ5)

How much does parental/societal influence bear on formal music education in

the schools?

Drawing from the deductions in the literature review of this work, music education

is often threatened to the point of extinction in the secondary schools system. The

society often regard music instruction in schools as a waste of resources, while

79
some regard it as a means to an end which is why they use music as an extra-

curricular activity. The immediate society regards music instruction in schools as a

waste of resources when children, they believe, can comfortably learn it within the

society/traditional enclave (Okafor, 2005; Nnamani, 2006; Aninwene, 2009). Most

parents do not see the reason why music is added to the curriculum that also

prepares their children to be doctors, lawyers and engineers. From the foregoing it

is deduced that these prejudices are major factors to hampering the growth and

sustenance of music study in Rivers State. Below is a table that clearly highlights

parent’s response to purchasing a musical instrument of worth for their children as

raised in the questionnaire served in the various schools.

In order to get the data below the researcher gave a small questionnaire to parents

during the Parents Teacher Association meeting held in the different schools

Table 5: Parental response to buying a keyboard for their wards.

S/N Variable SA A D SD Mean

| Will parents buy a musical 6 4 3 12 1.8

instrument for their ward?

80
Fig 4:

Object 7

The table above establishes the fact that:

i) Above 50% of parents to the students in the schools under review frowned at

the idea of buying a musical instrument for their children for music practice

because of various reasons which range from waste of funds to the relevance of the

instrument to what the child intends to become in the future.

ii) Six schools showed that the parents surveyed agreed but this number is even

shaky due to the sincerity of these parents to the question. Some might have given

the positive answer out of duress and trying to impress either their ward or the

researcher as most people will readily admit that music is important, but it is the

researcher’s opinion that many of them do not actually believe that the school

curriculum would be lacking if music was excluded. Those who should be leading
81
the education reform to lay more emphasis on the arts are inadequately armed.

Cutting music instruction will negatively affect the creativity of our next

generation’s leaders, so now is the time for parents to be music advocates not only

in our schools, but in our communities.

4.6 Research Question Seven (RQ6)

What empirical measures could be employed?

It is noticed by this research that the private schools are making advancements in

formal music education than the public schools. The inflow of data and its analysis

has shown that music education in our Public Post-Primary Institutions is in a

threatened state and if measures towards resuscitating are taken music education

would prove effective towards the positive development of education in Rivers

State. These measures would include:

i) Development of an empirical music curriculum by trained music

professionals.

ii) Government should see recruiting music graduates to be sent to government

owned schools as a priority.

iii) Training and re-training music teachers by the school administration should

be paramount.

82
iv) Provision of adequate music teaching and learning materials as stipulated in

the National Policy on Education (2007) by the Government.

v) Adding value to music education by enforcing cultural/traditional musical

practices in classroom music teaching.

vi) Educating parents on the place of music education in child development

through workshops and seminars.

vii) Introduction of music concerts and performances for student’s interaction

and development.

Summary of the Result

To back up the analyzed result given above, the researcher statistically produced

the following to determine the status of teaching and learning music theory and

practical in Post-Primary Institutions within Rivers State and also to see clearly to

what extent music education in Rivers State is progressing according to the data

derived.

MODE MEDIAN AVERAGE STANDARD TOTAL

DEVIATION

YES 14 11 22.67 2.45 204

NO 11 11 17 2.85 153

83
From the statistic table above it is observed that the study of music is progressing

better than the years before but much of the work is done by the private owned

schools within the state. Not much can be said about the government owned or

public schools because little is been done to alleviate the strain on the study of

music in the state especially by the government.

Looking at the average and the standard deviation presented in the table above it

can be seen that music education in Rivers state is actually almost beating the

difference between those that offer music education and those that do not which is

due to the work done by private post-primary institutions in the State.

It is the researcher’s point of view that a lot has to be done to bring about a

revolution in the study of music in government owned Post-Primary Institutions so

that the negative variables fighting against the study of music can be dealt with

once and for all thereby giving music an avenue to bask in the greatness inherent.

84
 CHAPTER FIVE

RECOMMENDATION AND CONCLUSION

5.1 RECOMMENDATION

With all the knowledge of music available to us in the world and Nigeria

specifically it is very important that formal music should be of paramount

importance to the overall child development. The following are recommendations

on what could be done to raise the level of formal music studies in Rivers State,

Nigeria

5.1.1 Employ graduates of music

Recruiting seasoned graduates of music to spear head the music aspects of creative

arts is of utmost importance so that the students will be imparted with the right

study mechanics and practical ability under the right conditions. One of the

problems facing music study in post primary institutions of learning is that the

formal teaching of music is sometimes left in the hands of those who did a

3months program in music or worst still one who has never studied music but

knows how to play one instrument he might have learnt through apprenticeship or

rote.

85
It will also be very important that teachers of music being employed are scrutinized

carefully so as to ascertain to what level they know and can pass/impart music

knowledge to students.

5.1.2 Provision of Instructional Materials

One of the problems plaguing Rivers state educational system is traceable to

government and school administration negligence and ineptitude. Schools should

be equipped with basic materials for music instruction such as musical instruments,

music textbooks, music manuscripts as enshrined in the National Policy on

Education. Music is a necessary subject and should be given the necessary

attention due it.

5.1.3 Training and Re-training of music teachers

Looking to the world in general there are so many innovations in music study that

constantly beg to be learnt. They are out there and it behooves on both the school

authority and the teacher of music in such schools to position themselves in a way

such that these crop of knowledge will get to them. Some of these major

international music education methods can be learnt and adopted to suit our

Nigerian system of education.

Dalcroze method

86
The Dalcroze method was developed in the early 20th century by Swiss musician

and educator Émile Jaques- Dalcroze. The method is divided into three

fundamental concepts - the use of solfège , improvisation, and eurhythmics .

Sometimes referred to as "rhythmic gymnastics," eurhythmics teaches concepts of

rhythm, structure, and musical expression using movement, and is the concept for

which Dalcroze is best known. It focuses on allowing the student to gain physical

awareness and experience of music through training that engages all of the senses,

particularly kinesthetic.

According to the Dalcroze method, music is the fundamental language of the

human brain and therefore deeply connected to who we are. American proponents

of the Dalcroze method include Ruth Alperson, Ann Farber, Herb Henke, Virginia

Mead, Lisa Parker, Martha Sanchez, and Julia Schnebly-Black. Many active

teachers of Dalcroze method were trained by Dr. Hilda Schuster who was one of

the students of Dalcroze.

Kodály method

Zoltán Kodály (1882–1967) was a prominent Hungarian music educator and

composer who stressed the benefits of physical instruction and response to music.

Although not really an educational method, his teachings reside within a fun,

educational framework built on a solid grasp of basic music theory and music

87
notation in various verbal and written forms. Kodály's primary goal was to instill a

lifelong love of music in his students and felt that it was the duty of the child's

school to provide this vital element of education. Some of Kodály's trademark

teaching methods include the use of solfège hand signs, musical shorthand notation

(stick notation), and rhythm solmization (verbalization). Most countries have used

their own folk music traditions to construct their own instruction sequence, but the

United States primarily uses the Hungarian sequence. The work of Denise Bacon,

Katinka S. Daniel, John Feierabend, Jean Sinor, Jill Trinka, and others brought

Kodaly's ideas to the forefront of music education in the United States. The point

here is that every teacher of music should study this so that they can recreate or

invent a way music can be made more interesting to students.

Orff Schulwerk

Orff Schulwerk is considered an "approach" to music education. It begins with a

student's innate abilities to engage in rudimentary forms of music, using basic

rhythms and melodies. Carl Orff a German composer considers the whole body a

percussive instrument and students are led to develop their music abilities in a way

that parallels the development of western music. The approach fosters student self-

discovery, encourages improvisation, and discourages adult pressures and

mechanical drill. Carl Orff developed a special group of instruments, including

modifications of the glockenspiel , xylophone , metallophone , drum , and other

88
percussion instruments to accommodate the requirements of the Schulwerk

courses.

Suzuki method

The Suzuki method was developed by Shinichi Suzuki in Japan shortly after World

War II. He believed that music education enriches the lives and moral character of

its students. This rests on the double premise that every child can be well educated

musically and that learning to play music to a good degree enhances character or

virtue which gives the person value. The primary method for achieving this is

centered on creating the same environment for learning music that a person has for

learning their native language. This ideal environment includes love, high-quality

examples, praise, rote training and repetition, and a time-table set in tune with the

student's developmental readiness for learning a particular technique.

In addition to the four major international methods described above, other

approaches can be of help to music education in Rivers State Post-Primary

Institutions. These methods are described below:

Gordon's Music Learning Theory

Edwin Gordon's Music Learning Theory is based on an extensive body of research

and field testing by Edwin E. Gordon and others in the larger field of Music

Learning Theory. It provides music teachers with a comprehensive framework for

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teaching musicianship through audiation, Gordon's term for hearing music in the

mind with understanding and comprehension when the sound is not physically

present. The skills and content sequences within the Audiation theory help music

teachers establish sequential curricular objectives in accord with their own

teaching styles and beliefs.

World Music Pedagogy

The growth of cultural diversity within school-age populations prompted music

educators from the 1960s onward to diversify the music curriculum, and to work

with ethnomusicologists and artist-musicians to establish instructional practices

rooted in musical traditions. 'World music pedagogy' was coined by Patricia

Shehan Campbell to describe world music content and practice in elementary and

secondary school music programs. The pedagogy advocates the use of human

resources, i.e., "culture-bearers," as well as deep and continued listening to

archived resources.

Conversational Solfège

Influenced by both the Kodály method and Gordon's Music Learning Theory,

Conversational Solfège was developed by Dr. John M. Feierabend, former chair of

music education at the Hartt School , University of Hartford . The program begins

by immersing students in the musical literature of their own culture. In twelve

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learning stages, students move from hearing and singing music to decoding and

then creating music using spoken syllables and then standard written notation.

Rather than implementing the Kodály method directly, this method follows

Kodály's original instructions and builds on America's own folk songs instead of

on Hungarian folk songs which buttresses the fact that Africans can adopt and

modify it to suit their post –primary institutions of learning.

Carabo-Cone Method

This early-childhood approach, sometimes referred to as the Sensory-Motor

Approach to Music was developed by the violinist Madeleine Carabo-Cone. This

approach involves using props, costumes, and toys for children to learn basic

musical concepts of staff, note duration, and the piano keyboard. The concrete

environment of the specially planned classroom allows the child to learn the

fundamentals of music by exploring through touch.

Popular Music Pedagogy

'Popular music pedagogy' alternatively called rock music pedagogy, modern band,

popular music education, or rock music education is a recent development in music

education consisting of the systematic teaching and learning of rock music and

other forms of popular music both inside and outside formal classroom settings.

Popular music pedagogy tends to emphasize group improvisation, and is more

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commonly associated with community music activities than fully institutionalized

school music ensembles.

Manhattanville Music Curriculum Project

The Manhattanville Music Curriculum Project was developed in 1965 as a

response to declining student interest in school music. This creative approach aims

to shape attitudes, helping students see music not as static content to be mastered,

but as personal, current, and evolving. Rather than imparting factual knowledge,

this method centers around the student, who learns through investigation,

experimentation, and discovery. The teacher gives a group of students a specific

problem to solve together and allows freedom to create, perform, improvise,

conduct, research, and investigate different facets of music in a spiral curriculum.

MMCP is viewed as the forerunner to projects in creative music composition and

improvisation activities in schools.

Boss School Method

During its tenure, the Mumbai-based Boss School of Music developed a

proprietary method of education using audio-visual technology, simplified

concepts, and specially designed musical equipment. They trained novice students

for standardized electronic keyboard graded examinations conducted by Trinity

College London, requiring only 3–6 months of training using their methods.

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Traditional methods required up to 8 years to prepare students for testing. Dr.

Vidyadhar Vyas, Head of the Music Department at the University of Mumbai ,

claimed that they "revolutionized" music learning by teaching complex musical

concepts in short periods of time. They also trained a few young children ages 6–

10 for the Trinity College Grade 8 examination and after passing the examination,

the students were reportedly considered child prodigies. Although the Boss School

Method is not formally documented, various notable musicians in Mumbai such as

Louis Banks agreed that the school had developed a "revolutionary technique".

Some controversy has surrounded the school and its methods.

5.1.4 Enforce learning music instruments

A number of researchers and music education advocates have argued that studying

music and playing musical instruments enhances academic achievement ,

Educators such as William Earhart, former president of the Music Educators

National Conference, claimed that "Music enhances knowledge in the areas of

mathematics, science, geography, history, foreign language, physical education,

and vocational training." Researchers at the University of Wisconsin suggested that

students with piano or keyboard experience performed 34% higher on tests that

measure spatial-temporal lobe activity, which is the part of the brain that is used

when doing mathematics, science, and engineering. "Music education enhances

intellectual development and enriches the academic environment for children of all
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ages and music educators greatly contribute to the artistic, intellectual and social

development of American children and play a key role in helping children to

succeed in school." Bobbett (1990) suggested that most public school music

programs have not changed since their inception at the turn of the last century. "…

the educational climate is not conducive to their continuance as historically

conceived and the social needs and habits of people require a completely different

kind of band program."

An experiment by Wanda T. Wallace setting text to melody suggested that some

music may aid in text recall. She created a three verse song with a non- repetitive

melody; each verse with different music. A second experiment created a three

verse song with a repetitive melody; each verse had exactly the same music. A

third experiment studied text recall without music. She found the repetitive music

produced the highest amount of text recall, suggesting music can serve as a

mnemonic device.

Smith (1985) studied background music with word lists. One experiment involved

memorizing a word list with background music; participants recalled the words 48

hours later. Another experiment involved memorizing a word list with no

background music; participants also recalled the words 48 hours later. Participants

who memorized word lists with background music recalled more words

demonstrating music provides contextual cues.

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5.1.5 Orientation of parents on the relevance of Music Education

Usually parents/guardians show some little regard for music education which leads

to the nonchalance exhibited by this group towards music literacy. This is partly

due to the level of illiteracy and ever busy mentality pervading the entire area of

Rivers State which is one of the biggest oil zones in Nigeria where everyone’s

thought is about how to make the next million naira or dollar as the case may be.

Most parents find workshops and seminars organized by the school as unsolicited

and end up not attending such but always look forward to attending Parents,

Teachers Association meetings which they see as an avenue to express grievances

and to verbally attack the school with innumerable and sometimes absurd

complaints and they turn out en masse. It is during such meetings that the music

teachers can have the opportunity to educate parents and guardians on the benefits

of music education by thrilling them with performances by the children both in

singing, dancing, playing musical instruments which should culminate in short

speech by the teacher to spur them to always encourage their wards to study music

and play at least one musical instrument.

5.1.6. The Creative and Cultural Arts Idea

Schools should see to it that music education is treated properly as stipulated by

the Nigerian curriculum for primary and secondary schools as a core subject and

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should therefore be disjoined from the merger with fine arts and drama which

made Creative and Cultural Arts. Students should know the psychological, social

and physical benefits that the study of music gives them, by so doing they will

better appreciate and accept the ideals of music.

If it will not be separated, schools should allow the teaching of music, drama and

fine arts separately, having separate teachers to handle each aspect but joined

together when setting examination questions and recording results

5.2 CONCLUSION

Citing studies that support music education's involvement in intellectual

development and academic achievement, the United States Congress passed a

resolution declaring that: "Music education enhances intellectual development and

enriches the academic environment for children of all ages and music educators

greatly contribute to the artistic, intellectual and social development of American

children and play a key role in helping children to succeed in school." A 2011

study conducted by Kathleen M. Kerstetter for the Journal of Band Research found

that increased non- musical graduation requirements, block scheduling, increased

number of non-traditional programs such as magnet schools, and the testing

emphases created by the No Child Left Behind Act are only some of the concerns

facing music educators. Both teachers and students are under increased time

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restrictions" Dr. Patricia Powers states, "It is not unusual to see program cuts in the

area of music and arts when economic issues surface. It is indeed unfortunate to

lose support in this area especially since music and the art programs contribute to

society in many positive ways." This is very true to the study of music in Rivers

State.

Non- Musical Benefits to Music Education Studies have shown that music

education can be used to enhance cognitive achievement in students and if

implemented in Rivers state Post Primary Institutions it will positively impart

students. In the United States an estimated 30% of students struggle with reading,

while 17% are reported as having a specific learning disability linked to reading.

Using intensive music curriculum as an intervention paired alongside regular

classroom activities, research shows that students involved with the music

curriculum show increases in reading comprehension, word knowledge,

vocabulary recall, and word decoding.

Music education has also been noted to have the ability to increase someones

overall IQ, especially in children during peak development years. Spacial ability,

verbal memory, reading and mathematics ability are seen to be increased alongside

music education (primarily through the learning of an instrument) and this will be

of great help to Rivers state education. Researchers also note that a correlation

between general attendance and IQ increases is evident, and due to students’

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involvement in music education, general attendance rates increase along with their

IQ. Fine motor skills, social behavior, and emotional well being can also be

increased through music and music education. The learning of an instrument

increases fine motor skills in students with physical disabilities.

Emotional well being can be increased as students find meaning in songs and

connect them to their everyday life. Through social interactions of playing in

groups like jazz and concert bands, students learn to socialize and this can be

linked to emotional and mental well being.

The music education in Rivers State Post Primary Institutions will be even greater

than it is presently if the government schools will wake up and align with the work

been done by the private schools in the state by sourcing graduate music teachers

to handle music aspects of the curriculum, getting necessary materials for music

study, study music as a subject and not one watered down and merged with fine

arts and drama and of course getting musical instruments to cater for the musical,

aesthetic and psychomotor needs of the children in these schools.

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APPENDICES

Appendix A: ORAL INNTERVIEWS

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PLATE ONE

RESEARCHER WITH THE PRINCIPAL OF COMMUNITY SECONDARY

SCHOOL, EGBERU. MRS AJAELU B. N.

PLATE TWO

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 RESEARCHER WITH THE PRINCIPAL OF NEPA STAFF SCHOOL,

AFAM. MRS ABIMBOLA OLANITORI

PLATE THREE

THE RESEARCHER WITH MR PETER IGHOWOFE THE PRINCIPAL

OF EMILLIO PIAZZA

PLATE FOUR

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RESEARCHER WITH THE STUDENTS OF PHCN STAFF SECONDARY

SCHOOL, AFAM.

PLATE FIVE

RESEARCHER AT OYIGBO LOCAL GOVERNMENT AREA

SECRETATRIAT TO SEE THE DIRECTOR OF EDUCATION.

PLATE SIX

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RESEARCHER WITH INFORMATION ASSISTANT TO THE DIRECTOR OF

EDUCATION, OYIGBO LOCAL GOVERNMENT AREA. MR. ADIELE PRECIOUS

PLATE SEVEN

RESEARCHER WITH THE PRINCIPAL OF COMMUNITY SECONDARY

SCHOOL, OKOLOMA. MRS INA CHUKU

APPENDIX B

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 QUESTIONNAIRE FOR STUDENTS

Topic: Towards improving the state of Music Education in Rivers State: a

Study of Selected Post Primary Institutions

Research Fellow: Echemunor, Destiny Eziashi (2014076001F)

Music Deepartment, Nnamdi Azikiwe University,

Awka.

Note: Every information given here is useful to the researcher and shall be kept

confidential.

Name:

Name of school:

Sex:

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Number of children in school:

Is music taught as a subject to the students in your school?

Does your school have a music teacher?

Does your school have provision for music on the time table?

Is the number of music teachers in your school adequate?

Does your school have adequate musical instruments to go round the students?

Is the music taught by a fine arts graduate?

Do you think your school neglects music education?

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Does your school lack music instructional materials?

Does your school have a music graduate as music teacher?

Does your school lack financing for music activities?

Music study was cut after some time of studying it?

How many music teachers does your school have?

Does the school have music textbooks?

Does your school have a music studio/laboratory?

If YES, List the types of musical instruments in your music room.

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Does your school have a choir?

Will parents agree to buy musical instruments for their wards?

Does your school observe the merger between music, fine arts and drama?

APPENDIX C

CULTURAL AND CREATIVE ARTS CURRICULUM

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