Papers for Volume 16, No.1, June, 2024
CULTURAL PRESERVATION AND
TRANSFORMATION IN ACHIEVING VISION
2030 IN MUSICAL ARTS EDUCATION
Abstract
This study examined the role of cultural preservation and transformation in achieving
vision 2030 in musical arts education. A survey research design was used for the purpose
of the study. The sample of the study was all the 60 music lecturers drawn through
purposive sampling technique. Two research questions guided the study. A 17-item
statements/questionnaire was used to collect data from the respondents (lecturers). The
instrument was validated by two experts in Department of music from faculty of Arts and
one expert in Measurement and Evaluation from Faculty of Education University of
Nigeria, Nsukka respectively. The instrument yielded the reliability estimate of 0.86 using
Cronbach Alpha method. Data was analyzed using mean scores and standard deviation.
Results revealed that cultural preservation through musical arts education will help in
achieving cultural diversity, foster identity and community cohesion, promote
understanding, tolerance and create cognitive and expressive demands of the 21st century
skills among other skills which are in alignment with vision 2030. Findings also revealed
that cultural transformation in musical arts education will aid in refining students'
artistic, intellectual and technological curiosities, thereby helping them to create music,
play instrument and perform music at the highest collegiate level, it will also make
cultural activities accessible to all and diversified while promoting inclusion and
strengthening learner center among others. Government should ensure that curriculum
content of music in Nigeria's educational systems should reflect the true African musical
arts culture, vis-a-vis local musical instruments and teaching materials for illustrations
and exercises.
Keywords: Musical Arts Education, Cultural heritage, Cultural Preservation, Transformation,
Vision 2030
EZUGWU, SCHOLASTICA IFEOMA
ART MUSIC AS A TOOL FOR SOCIAL AWARENESS:
A TEXUAL ANALYSIS OF DAYO OYEDUN''S ''NEPA''
Abstract
This paper explores a contemporary Nigerian art music ‟NEPA‟ composed by Dayo Oyedun through a
qualitative research approach. The background of the study highlights the significance of art music in
Nigerian culture and its role in communicating social experiences to a wider audience. The research
problem focuses on the textual analysis of „NEPA‟ to understand its content, purpose, and relevance in
contemporary Nigeria. The thrust of the study is to examine the changing state of art music audience
and the implications of using art music as a tool for social orientation and critique. The methodology
involves ethnomusicology approaches such as unstructured interviews, observations, and literary
methods to interpret the lyrics and context of the music. "NEPA" is a satirical choral piece that
combines Western and African musical forms to convey the composer's intentions. The results of the
text analysis reveal themes of frustration with electricity outages and social commentary on daily life
in Nigeria. The study highlights the potential of art music to reach a diverse audience and provoke
critical reflection on societal issues.
Keywords: Nigerian art music, „NEPA‟, Dayo Oyedun, ethnomusicological social discourse, social critique
JULIUS OLUWAYOMI OLUWADAMILARE, PHD & OLAOLUWA MARVELOUS AYOKUNMI
MUSIC TEACHERS' PERCEPTION ON THE
RELEVANCE OF DIGITAL TECHNOLOGY IN
ACHIEVING VISION 2030 IN SECONDARY MUSIC
EDUCATION IN NIGERIA
Abstract
This paper examines the relevance of secondary music education in Vision 2030. It explores the
effectiveness of music technology and the roles the music teachers are likely to play in birthing Vision
2030 secondary music education in Nigeria. This study adopted the cross-sectional descriptive
approach. Secondary school music teachers' responses show that digital music technology will be
continually relevant in improving secondary music education. The outcome of the study reveals that
the greatest breakthrough that has revolutionized digitalization in music education and production is
the development of music software. The development of software has led to the introduction,
modification, and improvement of sound-based composition approaches and aesthetics into the
professional and educational practices. Given the speed and rate with which modern technologies
become fashionable and outdated, will this music software still fit into Vision 2030? Will the music
teachers' knowledge, perception, years of experience, and utilization of this music software continue
to be relevant in aiding the teaching and learning of music by 2030? To prognosticate, finding new
ways of incorporating the existing and newly developed technologies into the teaching and learning of
music will open new methods and innovative ideas in the teaching and learning of music. In
conclusion, the current and future music teachers and students are more likely to apply innovative
methods on the use of music software so that the teaching and learning process will be as free-flowing
as possible. Also, the teaching and learning methods they adopt need be facilitative.It will continue to
be used by music teachers and students as a tool to help achieve the aim and objectives of Vision 2030
secondary music education in Nigeria.
Keywords: Digital, Technology, Music, secondary, education.
Margret David Uyoh & Adeogun, A.O
VISION 2030: AN EXPLORATION OF
PARADIGM SHIFTS IN MUSIC EDUCATION FOR
SENIOR SECONDARY SCHOOL IN NIGERIA
Abstract
Music education is a vital part of the Nigerian educational landscape. It has been relegated to the
fringes of mainstream education. However, despite the potential benefits, integrating music education
into the mainstream curriculum faces challenges like limited resources, shortage of qualified
educators, and the prevailing perception of music as a recreational rather than an academic pursuit.
This paper posits that musical arts education holds immense potential in contributing to the
realisation of Vision 2030, while simultaneously aligning with the aspirations of the Sustainable
Development Goals. Using a combination of historical, descriptive, and analytical methods, the paper
presents a possible exploration of paradigm shifts on the curriculum of Music Subject at the Senior
Secondary School level in Nigeria. It examines the core values enshrined within the Vision and
analyse the inherent benefits of music education. It also argues for the strategic integration of music
programmes into Nigerian education landscape. Furthermore, the paper proposes a framework for the
unbundling of the current music curriculum for senior secondary schools in Nigeria by breaking it in
order to create room for specialised trade (entrepreneurial) subjects. This framework will allow
students to pursue their passions, develop expertise, and contribute to the vibrant musical culture of
Nigeria.
Prof. Michael Olutayo Olatunji
ACTUALIZING VISION 2030: HOW TEACHERS'
EFFECTIVENESS SHAPE NIGERIA'S FUTURE THROUGH MUSICAL
ARTS EDUCATION
Abstract
Teachers' effectiveness plays a pivotal role in achieving Nigeria's Vision 2030, particularly
through the integration of musical arts education into the curriculum. This study explores how
music education can serve as a tool for cultural preservation, creative innovation, and social
harmony, aligning with the nation's development goals. Using a review of existing research
literature and expert insights, the study identifies key skills and strategies teachers' needs to
effectively deliver musical arts education. Findings reveal that teacher's effectiveness significantly
enhances students' creativity, critical thinking, and problem-solving abilities, which are essential
for realizing Vision 2030. The study concludes that investing in teacher training and development
programs focused on musical arts education can strengthen Nigeria's educational system and
contribute to sustainable national growth. Recommendations include prioritizing professional
development for teachers and incorporating music education into national policy frameworks as
imperatives.
Key words: vision 2030, effective teacher, musical arts education
Francisca Tochukwu Udu & Samson Obialor Onu
VISION 2030 AND DIGITAL INFLUENCES
ON TRADITIONAL MUSIC COMPOSITION
Abstract
The use of social media and artificial intelligence in 21st century have created more platforms for varied
music compositions as a major communication art tool for the preservation and promotion of traditional
cultures and values. It has also paved way for the huge influx of western music influences on traditional
music in which composers, performers and music producers enjoy varying degrees of interconnections,
cross-cultural music understandings and partnerships with increase in musical exposures and wealth.
The aforementioned influence now appear as distractions to composers, making several compositions
western in nature due to the lack of traditional musical elements. This study discusses the intersection of
traditional music compositions with social media and software for sustainable developmental goals of
vision 2030. Using qualitative research method through observation and review of existing literature, the
study discovers that traditional music compositions aided by digital devices, software and the media, can
actually be beneficial to its practices, promotion and preservation. The study recommends that
composers of indigenous music, musicians and promoters should align themselves with digital trends for
the actualization of vision 2030.
Key word: Artificial Intelligence (AI), Social Media (SM), Platforms. Social Networking
ADEMOLA, Adedoyin Oluwaseun & THOMPSON, Elijah Olagoke
FORECASTING ENTREPRENEURIAL TRANSFORMATIONS
OF MUSICAL ARTS IN NIGERIA THROUGH THE
LENS OF VISION 2030: IMPLICATION FOR
UNIVERSITY MUSIC EDUCATION
Abstract
This study explores the potential entrepreneurial transformations of the musical arts in Nigeria
through the lens of Vision 2030, the country's national development plan. Using a qualitative
analysis of policy documents and expert opinions, we identify key trends and drivers of change in
the musical arts sector, including the growing demand for creative industries, digitalization and
innovation. Our findings suggest that Vision 2030's emphasis on entrepreneurship, innovation, and
cultural development is likely to shape the future of musical arts in Nigeria, with implications for
university music education. We argue that music education programs in Nigeria must adapt to
these changes by incorporating entrepreneurial skills, technology, and innovative thinking to
prepare students for the evolving musical arts landscape. This study contributes to the ongoing
conversation on the role of music education in fostering creative entrepreneurship and cultural
development in Nigeria and beyond.
Keywords: entrepreneurship, transformation, musical arts, vision 2030
Samson O. Onu, Maryvivian C. Anya-Njoku, Francisca T. Udu & Chinyere C Ukwueze
VISION 2030 AND PEACE-BUILDING: AN ANALYSIS
OF ALPHONS OKOSA'S ''UDO K'AYI N'AYO' (PEACE)
Abstract
In African traditional society, music and music making has been used for both positive and negative
indoctrinations. It is satirically used to ridicule a person, situation, state or character in an attempt to
reform. It also serves the purpose of praise and eulogy to make way for improvement to foster a sense
of consciousness on moral virtues such as love, peace, unity and progress. This paper examines,
through analysis, the work of a composer, Alphonso Okosa “Udo K'ayi N'ayo” (Peace), exploring the
textual nuances that buttress peace as a veritable ingredient in the society both now and beyond.
Presently, there have been studies on Okosa focusing on his life, music and career. However, no study
has focused on a detailed examination through analysis of his song “Udo K'ayi N'ayo” (Peace), as it
buttresses peace-building. This paper therefore is an X-ray on the capability of a composer who
prognostically doubles as a prophet and a preacher in buttressing peace-building through his musical
art. This study adopts Agu's (1999); Uzoigwe's (1992) and Ezegbe's (1982) criteria for identification
and analysis of African songs. The criteria include: the form, the basic structural form, phraseology,
presentational form and the text, performance, harmonic principles and styles, the rhythmic structure
of the melody, tonal shift and instrumentation.
Keywords: Peace-building, Alphonso Okosa, Africa, Traditional Music.
IZUCHUKWU JOHN EWULU, Ph.D.
VISION 2030 AND THE ROLE OF PUUSKAAT
FESTIVAL IN THE PRESERVATION AND TRANSMISSION
OF MUSICAL ARTS EDUCATION IN MANGU LOCAL GOVERNMENT AREA
OF PLATEAU STATE
Abstract
Similar to other ethnic groups in Plateau State, the Mwaghavul people are blessed with rich musical
culture and tradition. However, the people are on the verge of losing their cultural and musical
identity due to globalisation, acculturation and other external influnces. Thus, this paper within the
context of the vision 2030 examines the role of PuusKaat festival in the preservation and transmission
of musical arts education in Mangu Local Government Area of Plateau State. The primary sources of
information include oral interview and personal observation, while the secondary sources of
information include literary materials from textbooks, journals and other written and non-written
materials. The methodology employed in this paper is the descriptive method. The result of the
findings revealed that the PuusKaat festival provides an avenue where young talented and aspiring
musicians are encouraged, nurtured, sponsored and promoted in the production and performance of
cultural music typical of the Mwaghavul tradition.
Keywords: Vision 2030, Role of “PuusKaat”, Festival, Preservation, Transmission, Musical Arts Education.
Vwambok, ZabeIliya
THE USE OF FOLK MUSIC IN A
TYPICAL (BINI) AFRICAN SOCIETY
(Tapping into present reality for the achievement of set goals)
Abstract
This paper on the use of folk music in a typical African society examines the possibility
of tapping into the content of folk-based musical pract ice for the promot ion of socioeducational
goals. It focused its attention on the Bini in Edo State, Nigeria. Using
observation method and depending on his experience as a 'Bini man' to interview
notable Bini indigenes, the study delved into practice of music and examined the extent
to which music indigenous to Bini have deployed in propagating their socio-cultural
values. With analysis of selected samples of folk songs, the paper noted the symbiotic
relat ionship between the musical activities of the p eople and their societal values. A
concerted effort of specialized groups l ike the Inneh Cultural Troupe was
acknowledged for their promotion of folk music. The paper concluded that the practice
of folk music among the Bini has contributed to the sustenance and propagat ion of
socio-cultural values. It therefore recommends that the content of Bini folk music
should be used as a foundation for the attainment of socio-educational goals. Cultural
Troupes, Books, Journals and the Internet provided additional data for this work.
Key words: Bini, Edo, Inneh Cultural Troupe
AKIOYA, Innocent I. (PhD)
CULTURAL PRESERVATION AND
TRANSFORMATION IN MUSICAL ARTS FOR
THE REALIZATION OF VISION 2030 IN NIGERIA.
Abstract
The study focused on cultural preservation and transformation in musical arts for the realization of
vision 2030 in Nigeria. Descriptive Survey Research design was used. The target population for the
study consisted of over 108 music teachers from all public secondary schools in Anambra State,
Nigeria. The sample of the study was 52 music teachers drawn across 20 public schools in Anambra
state. The instrument used in data collection is titled “Cultural Music Preservation and
Transformation Questionnaire (CMPTQ)”. The CMPTQ was a developed instrument patterned after
the 4-point Likert scale of The Very High Extent (VHE), High Extent (HE), Low Extent (LE) and Very
Low Extent (VLE). The instrument contained two sections (A and B). Validity of the instrument is
determined through expert judgment from measurement and evaluation. Cronbach Alpha method is
used in determining a reliability coefficient of 0.86 indicating that the instrument is highly reliable.
Fifty two (52) copies of the questionnaire were administered using Direct Delivery Technique (DDT).
The administration and collection of data were carried out personally and assisted by three field
assistants. The questionnaires were collected from the respondents and checked to ensure that
respondents complied with the given instructions. Responses were sorted and arranged accordingly.
Descriptive statistics including mean, standard deviation and one-sample t-test is used for data
analysis. Findings of the study showed that cultural preservation of musical Arts Education in Nigeria
is low. Also, cultural transformation of musical Arts Education in Nigeria is high. Cultural
preservation of musical Arts Education in Nigeria influences vision 2030 to a very high extent while
cultural transformation of musical Arts in Nigeria influences vision 2030 only to a low extent. The
study recommended that traditional music artists should encourage, mentor and promote music that
preserve culture of the Nigerian society.
Keywords: Culture, Cultural Preservation, Cultural transformation, Musical Arts, Vision 2030
Eyiuche Rita Modeme PhD
IMPACT OF TEACHING METHODOLOGY
ON SKILL ACQUISITION IN MUSIC EDUCATION AMONG
STUDENTS EMMANUEL ALAYANDE UNIVERSITY
OF EDUCATION, OYO
Abstract
Skill acquisition in professional fields has been prioritised and considered essential to demonstrate
mastery of subject matter and present oneself as an expert in such a profession. However, the ability to
acquire skills in different fields calls for other methods from the instructor or teacher during training.
Music is not an exception to such a profession, as it also requires skills acquisition through practical
performance. This paper focused on the impact and effects of various methods on the acquisition of
practical knowledge in the handling of four musical instruments among the students of Emmanuel
Alayande University of Education, Oyo. In this study, 30 students were selected and divided into two
groups based on the chosen area of learning; further divisions were made on each of the two major
groups to consist of five students each, trained using different methodologies for two months and three
hours per week. A comparison of skills acquired was made using standard research instruments at a
reliable level of significance, Tests were carried out on the thirty students considered for the study
based on the area of skill acquisition. Students trained on the keyboard and saxophone using the
playway method, followed by those taught using the demonstration method, and those who received
teaching instruction through the lecture method performed below average. In conclusion, the study
reveals that the playway method enhances the ability to acquire professional skills in handling musical
instruments such as saxophone and keyboard among other musical instruments.
Keywords: Skill acquisition, saxophone, music education, keyboard
Omotayo, Abidemi Funmilayo
INVESTIGATING THE NEED FOR ENTREPRENEURIAL
MUSIC EDUCATION AMONG MUSIC STUDENTS:
A REVIEW OF FEDERAL COLLEGE OF EDUCATION, ABEOKUTA
Abstract
The challenge of music students inability to maintain a profession in music after graduation is the
concern of major stakeholders in music industry. The study therefore investigated the need for
entrepreneurial music education in Federal College of Education (F.C.E), Abeokuta. The study
discovered awareness level of the benefits of entrepreneurial music education, examined the need for
music entrepreneurial education, identified its challenges and proffered possible solutions to the
identified problems. Quantitative research method was adopted while questionnaire was utilized as
tool for data collection. Simple random sampling technique was used to select 60 music students of the
FCE. Data collected were descriptively analyzed using frequency counts, simple percentage, mean
and standard deviation while inferential tools employed were Chi-square and linear regression.
Results indicates that 73.3% of the respondents fell between 18–26 age range, 53.3% were male,
76.7% were married while 46.7% of the respondents were in 200 Level. Majority (68.3%) received
stipend of ≤N25,000. Majority (83.3%) were aware of music production as benefits, 96.7% agreed that
networking is crucial for building a support system and creating opportunities in the music business.
Also, 98.3% agreed that knowledge of music copyright, intellectual property rights and contract law is
essential to protect musicians from legal issues. Overwhelming majority (91.7%) agreed that limited
access to practice rooms, rehearsal spaces, instruments, and recording equipment (95%) and
irrelevant curriculum (95%) were quite challenging. Significant relationship existed between need for
entrepreneurial music education and awareness of event promotion (ꭕ2=2.370; p≤0.05), sales of
musical materials (ꭕ2=2.194; p≤0.05), limited budgets (t=3.878; p≤0.05) and limiting students access
to practice rooms, rehearsal spaces, instruments, and recording equipment (t=3.649;p≤0.05).
Conclusively, entrepreneurial music education prepares students for a dynamic and ever-changing
music industry. It is therefore recommended that music curriculum should be reviewed to
accommodate ever changing needs, interests and aspirations of music students and the society at large
through acquisition of relevant musical skills.
Key words: Entrepreneurial Music Education, Musical Skills, Benefits, Employment, music Graduates.
Soretire, E. A., Onyeke, B. U. & Adeolu-Abe, P. O.
RIVERS STATE GOVERNMENT YOUTHS
EMPOWERMENT IN MUSICAL ARTS:
SUCCESS AND CHALLENGES
Abstract
This paper evaluates youth empowerment in Nigeria with focus on the Rivers State government's
contributions in the development of musical arts. It identified and discussed identifiable successes and
challenges. Qualitative and discussion method is employed through the review of related literature
and interviews to collect data. Finding shows within the tenure of Sir, Dr. Peter Odili in 2016, Rivers
State Government empowered the youths of the State in musical arts through a festival called
CaniRivs. Subsequent presentation of the template for Rivers State youth empowerment in musical arts
to the different tenures of government has been turned down, no action taken toward the
implementation. The paper notes that Rivers youths' empowerment in musical arts has the potentials to
intervene in the issues of communal crisis and youth restiveness, and solve financial bankruptcy
among the youths of Rivers State when considered as an avenue for development.
Evangeline B. Giami PhD
CHALLENGES AND PROSPECTS OF
MUSICAL ARTS EDUCATION AT FEDERAL
UNIVERSITY OF EDUCATION, PANKSHIN
Abstract
This paper examines the relevance of music and its prospects in Nigeria. It specifically highlights
some of the challenges of musical arts education in Federal University of Education, Pankshin. The
paper points out identifiable and viable areas of professionalism available in studying music. Survey
design was adopted, using questionnaires and interviews as its research tools. Population consists of
the 80 students in the Department of Music, Federal University of Education Pankshin, from NCE I-III
with 50 Students randomly sampled. Data collected were analyzed using the simple percentage
method. Outcome of the study reveals that studying music is viable and useful to students in the
Department of Music, Federal University of Education Pankshin. It is deemed functional in the vision
2030 agenda and beyond, serves as an eye opener and a drive for students to pursue profitable
careers in music. Music is not only a functional art but a creative, applied, and performing art. Its
lucrative prowess should be well harnessed and applied in order to yield greater economic relevance
in the “Vision 2030 Agenda”.
Keywords: Challenge, Prospects, Professionalism, Career, Education, Vision 2030
KUFRE EFFIONG PHD
A COMPARATIVE DISCOURSE ON
THE WESTERN CONCERT FLUTE AND
THE OJA FLUTE OF THE IGBO IN NIGERIA
Abstract
This comparative discourse focuses on the Western concert flute and the Oja of the Igbo people in
Nigeria. Both are samples of esteemed wind instruments from the aerophone family. Aerophones
are instruments that produce sounds through the vibrations of an air column, which is blown into
a pipe. Other examples of such instruments used in Nigeria are the algaita, whistle, trumpets,
clarinets, and saxophones, to mention a few. The Western concert flute and the Oja, are both
prominent musical instruments in their cultural settings, respectively. As popular as the Oja is in
the Nigerian cultural space, not much has been done on the comparative structural and
performance analyses of its prominence among other flutes in the aerophonic African musical
instruments. This comparative discourse explores the characteristics, cultural significance, and
playing techniques of the two distinct types of flutes. The study is premised on cultural relativism
theory.
Keywords: Concert flute, Oja, Speech Surrogate, Southern Eastern Nigeria, African Traditional
Musical Instrument