Papers for Volume 8, 2016
REPOSITIONING INDIGENOUS AFRICAN MUSICAL
INSTRUMENTS FOR THE MUCH-NEEDED CULTURAL
TRANSFORMATION OF MUSIC EDUCATION IN NIGERIA
Abstract
The objective of this article is to take a critical look at one of musical heritage of Africa, the indigenous musical instruments with the purpose of repositioning them for cultural transformation of music education in Nigeria. The methodology relies on bibliography, discography and the Internet. Hinged on the transformative theory, the paper notes the invaluable resources Africa possesses in terms of musical instruments. Several works have been done on the subject while little has been done to properly integrate the instruments into Nigerian music education. Some of the assumed problems are looked into while the way forward is suggested. The paper concludes that it is only when Nigeria makes full use of its indigenous musical instruments alongside other indigenous musical elements that it can boast of an effective music education and consequently find its rightful place in global music scholarship.
Femi Adedeji
REPOSITIONING NIGERIAN MUSIC EDUCATION THROUGH
STUDIES ON NIGERIAN MUSICAL INSTRUMENTS
Abstract
Studies on African Musical instruments and development of music education have been undertaken since the early sixties (post-independence); including specific studies of African musical instruments in direct relationship with the development of music education in Nigeria by Echezona, Euba, Nzewi, Omibiyi, Okafor, Vidal, Agu, Adedeji, Chukwu, Ekeoba, Okunade, Olorunsogo, Uche, Olaniyan, Mokwunyei and many more. Although recommendations have been made and experimented upon especially at the tertiary level, the formal music education curriculum in most African countries including Nigeria is yet being debated with a yearning not only for more prominent attention but also to include and reflect adequate local content that ensures its validity. With a desire to evolve from where we were to where we should be, the thrust of this paper is that what constitutes implements of the normal ways of life of the people is here being considered relevant as vital tools for the develpment of music education in Nigeria.
Josephine Mokwunyei
EMPLACING AFRICAN MUSICAL INSTRUMENTS IN THE
DEVELOPMENT OF MUSIC EDUCATION IN NIGERIA: ISSUES
AND COUNTER ISSUES
Abstract
Permit me to start by citing elaborately, an African- American, Julio Finn who posits that:
Drums are held to be the African instruments par excellence - and they are- but not because of the generally held notion that they are the only type of instruments Africans have produced. On the contrary, every type of instrument known to man - strings, woodwinds, brass - exists in an African version. Likewise drums exist everywhere in the world. However, the special role they play in African music and life place them in a privileged category. Each drum has specific function, and in the case of the ‘sacred’ drum, dwelling place of a deity. All speak the language of the community to which they belong; secular drums are treated with respect and sacred ones with reverence.... It is inseparable from its community and shares its fate (1992:83).
Charles O. Aluede
TOWARDS THE DEVELOPMENT OF MUSIC EDUCATION IN
NIGERIA: A GUIDE TO DUNDUN TECHNOLOGY
Abstract
Omolabake Adejoke Dada, Babatunji Oluseyi Dada
THE USE OF AFRICAN MUSICAL INSTRUMENTS IN COMPOSITION:
METHOD AND ANALYSIS
Abstract
Composition, which is the putting together of musical notes in this context, is not foreign to Africa. Composition in African music can be purely instrumental, purely vocal or both. Compositions in African music do not simply emerge; it is a creation of human beings either consciously or unconsciously. The fact remains that certain methods were applied in such compositions and such compositions can be analyzed. This work seeks to discuss the method that can be used to achieve efficiency in African instrumental composition and a way to analyze such composition. The method involved in this research includes library review, collection of discography, observation and analysis of life performances of Annang (African) music ensembles.
Isaac E. Udoh
A SYSTEMATIC APPROACH TO THE TECHNIQUES OF
CONSTRUCTING DUNDUN
Abstract
Global growth, development and technological advancements affect music as well as musical instruments in use at any particular point in time. Twenty-first century music has been witnessing tremendous growth as new instruments are being discovered and produced. One of the old instruments used in Yoruba popular music is the African talking drum popularly called the Dundun. This instrument has been handed down from generation to generation among the Yoruba people of Nigeria and has remained an indispensable instrument in the performance of Yoruba traditional African music. This is as a result of the many qualities peculiar to the dundun drum. It is saddening to note however, that despite the obvious qualities of the dundun drums, many people have failed to pay attention to the magic behind the ability of the dundun drum to stand out amongst its equals even in contemporary times.
Folorunso David Jayeola
AFRICAN MEMBRANE DRUM AND STUDENTS ACADEMIC
ACHIEVEMENTS IN ANAMBRA STATE'S SECONDARY
SCHOOL MUSIC EDUCATION
Abstract
Education is widely regarded as a veritable instrument for social change, social mobility and national development. It is a continuous process which transfers the morals and values of our culture to the next generation. It enables us to develop, and build up the new generation of our nation. In this context, schools play an important role. There is need to evolve new methods, approaches and techniques aimed at improving the quality of the teaching/learning process as well as increasing accessibility to qualitative education in Nigeria (Akudolu, 2000:27). The implication is that learners in Nigerian schools should be able to see the interdependent relationship that exists between academic contents of students offered while in school and their real life applications, for music education to be relevant and functional (Modeme, 2009).
Eyiuche Rita Modeme
ADVOCATING FOR IMPROVED INCORPORATION OF
INDIGENOUS INSTRUMENTS IN NIGERIAN CULTURAL AND
CREATIVE ARTS PROGRAMME
Abstract
In the predominantly Western-oriented academic circles, the Nigerian indigenous musical instruments are often ignored or suppressed as teaching tools. Cultural and creative arts (CCA) education has been a source of grave concern since its inception. Though the aim was to cater for varying talents of the children thereby boosting creativity, this has been a herculean task because the quality of the CCA curriculum in Nigeria has not derived from the theoretical content and performance principles of traditional arts education. Every culture in the traditional African community possesses its own indigenous musical instruments which are derived from their environment depending on their vegetation zone. In virtually every home, school and church, indigenous instruments abound. These instruments are fully utilised in the traditional African society since they serve various purposes other than music making for the community. In recent times, the modern society does not utilise these instruments to the fullest especially in Nigeria’s basic schools. African indigenous instruments are often neglected or not fully harnessed in most formal schools in Nigeria. This paper is an attempt to establish that Nigerian musical instruments can serve as the major instructional material that can be used in the basic classes until the pupils get to a certain maturational level before Western musical instruments can be introduced to them.
Ebele Veronica Ojukwu, Elizabeth Oyeamaka Obielozie
EXPANDING MUSICAL INSTRUMENTS CAPABILITIES
TOWARDS THE DEVELOPMENT OF MUSIC EDUCATION
IN NIGERIA
Abstract
Nigeria and indeed Africa as a continent, has an array of musical instruments that can fully serve the musical demands of her citizens, but still the continent is considered as lacking enough musical instruments that would fully punctuate and expose her rich but changing musical tradition. The reason for this is due to the fact that most of her musical instruments are of indefinite pitches with limited instruments capable of producing few notes. This paucity of melody instruments is not only a handicap to the modern style of singing but also negates the global principle of moving at reasonable pace with development and changing needs of the society.
Festus Ife Olisaeke
TRADITIONAL ENSEMBLE IN CLASSROOM MUSIC LEARNING:
A PEDAGOGICAL APPROACH
Abstract
The abstractness of music classes in Nigeria schools has been proven to be one of the primary causes of student’s refusal to choose music as an elective course in JS (Junior Secondary) class one to three as at 1990-1994. The introduction of musical culture, instruments and terminologies that are foreign to Nigerian student has left the students with mere imagination of non-reality subject of study called music. These unfamiliar terminologies are not only difficult for students to understand but also very difficult for most school teachers to interpret appropriately, since both the teachers and students possess little or no training on the language from which these terminologies were borrowed from. This makes it more difficult for students to remember these terms or even associate the terms with things around them.
Rita Adaobi Sunday-Kanu
AFRICAN MUSICAL INSTRUMENTS IN IDEMILI CULTURE OF
IGBO LAND
Abstract
African music and its musical instruments play prevailing roles in inter-cultural scheme of activities and events. The music of Africa and its instruments are very traditional and are handed down from generation to generation. Referred to the vastness of the African continent, the traditional music and musical instruments of Africa is historically ancient, rich and diverse with the different regions and nations of Africans having distinct musical traditions and culture. In addition, African continent is the second largest continents in the world and its people constitutes a tenth of the world population with about 1,000 indigenous languages spoken throughout the continent. Therefore, the people’s musical instruments go a long way in spreading the culture of the inhabitants as we can see in the African Musical Instruments in culture in Idemili North and South Local Government Areas of Anambra State Nigeria in Africa.
Ifeoma P. Okechukwu
ADOPTION OF AFRICAN MUSICAL INSTRUMENTS IN MUSIC
PEDAGOGY: TOWARDS SUSTAINABLE DEVELOPMENT OF
NIGERIAN MUSIC EDUCATION
Abstract
Nigerians are evidently very musical. Every aspect of their lives’ endeavours feature one form of music or another. Suffice it to say that music follows them from cradle to the grave. However, it does appear from practical class room observation cum research findings that music education does not thrive among them in comparison with other fields of study since its inception as a classroom subject. Based on this premise, the researcher delved into a critical assessment of music education in Nigeria with the view to suggesting an adoption of African musical instruments to aid Nigeria’s music education study for a sustainable development.
John Ikechukwu Ikemerike
VOICE AS A MUSICAL INSTRUMENT AND ITS ROLE IN THE
ENHANCEMENT MUSIC EDUCATION IN ENYINDA
INTERNATIONAL COLLEGE, PORT HARCOURT
Abstract
The human “voice†remains the oldest musical instrument in the world because of its nature as a natural musical instrument. Singing, which is also the oldest musical activity of man, cannot be achieved without the “voiceâ€. This is an activity in which man is involved in, from birth till death. The human voice is naturally in-built. There is no man under this planet that is without a voice; it is the birth right of every man created by God. The voice is the first instrument with which everyone can express his or herself musically.
Doris Kelechi Ofili, Masdaikek Nturem, Maureen Osua Simeon
THE TEACHING AND LEARNING OF AFRICAN MUSICAL
INSTRUMENTS, USING EZEGBE'S FIGURED
ORGANOGRAPHIC COMPOSITE NOTATIONAL SYSTEM (EFOCONS)
Abstract
Musical instruments indigenous to Africa are termed African musical instruments. As the name implies, the materials of construction are sourced primarily in Africa. This does not mean that materials of construction of these musical instruments cannot be bought outside Africa. Indigenous technologists of these instruments are readily available in the cultures that produce them. They constitute means of livelihood to the producers and so serve as incentives to them. This singular factor accounts for why these musical instruments have not gone into extinction since the markets are readily available. The vegetation of a particular culture area affects the type of musical instruments produced.
Agatha Ijeoma Onwuekwe
AVAILABILITY AND UTILIZATION OF AFRICAN MUSICAL
INSTRUMENTS FOR MUSIC PEDAGOGY IN
UNITY COLLEGES IN IMO STATE
Abstract
The identity and pride of any nation is her culture. All nations have their own musical instruments for which they are identified with, and which constitute their culture. It is no longer news that African musical instruments are relegated to the background today in Nigerian Post-Primary Schools. This is partly because of the low esteem attached to these instruments by the Nigerian society at large in preference to the Western musical instruments. This paper tries to examine among other things; the African musical instruments available in the Unity Colleges in Owerri and Okigwe both in Imo State, Nigeria and the extent of their utilization in the teaching and learning of Music in the schools under investigation. The population was made up of six Music teachers drawn from the two unity colleges in Imo state. A questionnaire titled, “African musical instruments and their utilization in unity schools†was constructed and used for data collection. For the analysis, the simple percentage was used. The result got from this study reveals that the Western musical instruments are mostly used in the teaching-learning process and also in school functions in the Unity colleges in Imo State. This study is expected to bring positive changes in the attitudes of Post Primary school authorities, Music teachers and the students in the use of African musical instruments in the teaching-learning process as well as in college functions. The research methods used include: Participatory observation, descriptive survey/case study, library method and electronic search.
Mabel Ugochi Okpara
AFRICAN INSTRUMENTATION AND CHILDREN UPBRINGING:
A CASE STUDY OF THE ANGLICAN CHILDREN'S MINISTRY
ODOAKPU ZONE, ONITSHA
Abstract
Music plays very significant role in the development of a child; morally, mentally and physically. A child begins to experience music right from birth, during which cradle songs are sung to the child so as to lull it to sleep, to stimulate laughter and so on. In Igbo land children are allowed to socialize according to age and sex, and, as well, get involved into activities which are connected to music such as dancing and playing of traditional instruments. Their music training begins with slow absorption of the music through observation and active participation. This tradition seems to be declining due to urbanization and its attendant agents. In the Anglican Children’s Ministry (ACM), music serves as a very powerful tool for children’s upbringing. This paper seeks to examine African instrumentation of the ACM Odoakpu Zone in Onitsha, Onitsha South Local Government Area of Anambra State and the roles it plays in developing children.
Ifeanyi Onyedika Okafor
IBIBIO TRADITIONAL MUSICAL INSTRUMENTS AND
GENDER SENSITIVITY
Abstract
Gender discourses have taken the centre stage in contemporary scholarship to capture the yearnings for equality in all human endeavours. In Africa, culture has been established as a catalyst and dictator of performance when considering gender stereotypes in musical instrumentations. Some instruments are ritualistic and assigned to males while the females are forbidden from ‘touch’, ‘usage’, or ‘display.’ Few instruments can be used by females in select festivals while others are universal. Through a survey of available literature on the field, participant observation, field study, interview, and content analysis, the researchers have arrived at findings which reveal that beyond human biological differences, gender sensitivity goes way down to influence objects which in this case are musical instruments. It was discovered that in the Ibibio setting, as it is applicable to other African societies, some musical instruments are categorised as female and others, male, as a result of make and tonal structures. In this case, those ‘female’ or ‘male’ instruments can be played by anyone without gender restrictions. In some ensembles, instruments with larger construction demands and heavy tonal impact are seen as males while the small sizes with lighter tonal impact are seen as female. It is also discovered that different communities have unique and very peculiar names attached to musical instruments as a result of the prevalent situations regarding the manufacture, sound, and use of the instrument in question. Others consider naming the instrument according to the position of children in the family. These go on to prove that traditional musical instruments are culture-specific.