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VOICE PEDAGOGY IN DEPARTMENTS OF MUSIC IN NIGERIAN UNIVERSITIES
ABSTRACT
This study presents a critical review of the teaching and learning of voice as instrument of study in Nigerian Universities. Department of Music, university of Nigeria, Nsukka was used as a case study. In doing this however, reference was made to departments of music in South Eastern Nigeria for a balanced view. The teaching methods, forms, scope, outcomes, attitudes, quality of teaching and learning skills were primarily considered. The study employs a combination of Qualitative and Quantitative research methods. In the course of this research, it was discovered that most teachers of voice are not voice specialists and therefore do not handle voice pedagogy in the appropriate manner, coupled with the fact that the curriculum did not clearly state how voice pedagogy should be handled. Based on the research findings the researcher recommends that voice specialists be given the responsibility of teaching voice as is the case with other instruments, also the curriculum should be reviewed to reflect the aspects of voice to be learnt at certain times. Above all, in the absence of voice specialists, lecturers who teach voice should go for some specialists training in vocal pedagogy in order for effective teaching and learning of voice to take place.
TABLE OF CONTENTS
Title Page ————————————————————————————————-i
Approval Page——————————————————————————————–ii
Dedication ———————————————————————————————–iii
Acknowledgement————————————————————————————–iv
Table of Contents—————————————————————————————-v
Abstract————————————————————————————————–vii
CHAPTER ONE: INTRODUCTION
- Background of the Study ———————————————————————-1
- Statement of the Problem ———————————————————————2
- Objectives of the Study————————————————————————3
- Purpose of the Study ————————————————————————–4
- Significance of the Study———————————————————————-5
- Scope/Limitation of the Study—————————————————————-5
- Research Questions—————————————————————————–6
- Hypothesis—————————————————————————————7
- Definition of Terms/Keywords—————————————————————-7
CHAPTER TWO: REVIEW OF RELATED LITERATURE
- Voice as an Instrument ———————————————————————-10
- View Points on Voice Pedagogy ———————————————————–16
- Curricular Provisions of Voice Pedagogy in Departments of Music in Nigeria——24
- Conclusion ————————————————————————————-30
CHAPTER THREE: RESEARCH METHODOLOGY
- The Research Design ————————————————————————-32
- Study Location ——————————————————————————–33
- Study Population ——————————————————————————33
- Sample and Sampling Techniques ———————————————————35
- Instrument for data collection—————————————————————39
- Validation of the Instrument —————————————————————-39
- Reliability of the Instrument —————————————————————-40
- Administration of the Instrument———————————————————–41
- Scoring of the Instrument ——————————————————————-41
CHAPTER FOUR: RESULTS AND DISCUSSION
- Presentation of Data—————————————————————————43
- Data Analysis———————————————————————————-43
- Findings —————————————————————————————-43
CHAPTER FIVE: SUMMARY OF FINDINGS, CONCLUSION AND RECOMMENDATIONS
- Summary and conclusion ——————————————————————-61
- Recommendations —————————————————————————63
- Suggestion for further Study —————————————————————64
REFERENCES—————————————————————————————-65
APPENDIXES—————————————————————————————–69
CHAPTER ONE
INTRODUCTION
- Background of the Study
Formal Music education at the University level started in Nigeria at the University of Nigeria, Nsukka in 1961, being the first indigenous Nigerian University. Before then, however, forms of musical pedagogy on organ, piano and church music (Choir) were given in semi-formal settings in church choirs, school choirs and also privately. Since the inception of formal tertiary music education in 1961, several institutions of higher learning have embraced the study of music. At least nine universities and no fewer than sixteen colleges of education now offer Music in their educational programmes. Of the number of departments offering music however, only five (University of Nigeria, Nsukka 1961, Obafemi Awolowo University Ile-Ife 1976, Nnamdi Azikiwe University, Awka 1992, Delta State University, Abraka 1985 and University of Uyo, Uyo 1982) are departments of music in Nigerian universities while three (University of Ilorin, Ilorin; University of Lagos, Akoka 1975 and Lagos State University, Ijanikin) are departments of performing arts and cultural and creative arts respectively. One, (University of Ibadan 1981) is an Institute of African Studies. Idolor (2005:138-140) provides a fairly comprehensive list of higher institutions that offer Music and their dates of establishment. In Ilorin and Lagos Universities, Music is combined with other disciplines such as dance and theatre arts, while only Research at postgraduate levels in African Music option is offered in Ibadan. As such, they do not offer full Music programme as in the other five departments.
Although the programmes adopted by these institutions are bi-cultural, featuring studies in Western and African Music on equal footing, a constant on the study programmes is voice as an option of instrument of study (excluding Ibadan of course). The implication is that for more than forty years the teaching and learning of voice have been on the programme of various Departments of Music in Nigerian Universities and Colleges.
As in other instruments, training in voice in these institutions aim at equipping students for its use, management, development, teaching and performance as professional Musicians. It also aims to enable or empower such students to face challenges of Vocal Music and Voice performance in global competitive situations.
- Statement of the Problem
A close observation of the outcome of voice studies in Departments of Music in Nigeria reveals a worrisome situation – in fact, a glaring anomaly. The issues range from who teaches, what is taught and the methods of teaching voice in these departments to misconceptions about voice as a serious instrument of study. It is quite easy to observe that voice studies in Nigeria have failed to make any substantial impact on Music education and music performance in Nigeria. The result being that about 98% of graduates of Music who majored in voice cannot perform a song in a concert how much more present independent concerts on voice. Such a situation presents a clear anomaly. While many graduates of Music majored in voice, it would be instructive to discover why many of such people are not heard and do not perform after graduation. Little or no serious art music performances are given by such graduates, raising the question on how voice students are prepared for the challenges of the profession on graduation in their student days.
The study investigates the teaching and learning methods adopted by lecturers, their requisite training and skills in voice as well as attitude to the teaching of the instrument in the departments. Also investigated are the attitude of students and the outcome of voice pedagogy. It appears all lecturers of Music engage in teaching and learning of voice raising the question of specialization and its impact on learners. It seems technical and skill-bound aspects of voice pedagogy (Hewit, 1978: 1; Ekwueme, 1993: 54; Ware, 1995: 94) that require careful and methodical approach by the teachers and learners are ignored in the approach to voice studies. There is also a feeling that voice study is an easy option or an instrument a lazy student should opt for. There is a general belief that serious students take musical instruments other than voice while the reverse is the case for weak students. It is also believed that there is very little or no opportunity for serious career as a voice major student. The causes of such misconceptions are investigated. These situation presents clear anomaly. The researcher imagines that if no one draws the attention of the departments to this anomaly, it would persist as a norm as is the current situation. This challenging situation calls for immediate attention in order to find solutions to the problems. It would be a plus to motivate students to opt for voice as an instrument for self and professional expression rather than as a course to fulfill university requirements.
- Objectives of the Study
The general objectives of the study is to investigate the teaching and learning methods for voice in Nigerian universities and to determine the factors that contribute to perceived lack of professionalism among graduates of voice, with a view to finding solutions.
The specific objectives of the study are:
- How and why the approach to voice pedagogy is a contributing factor to non-productivity/professionalism in voice.
- Why music students are not properly motivated to develop positive perception of voice studies.
- To assess the relevance and impact of the teaching methods to the outcomes of voice pedagogy.
- To find critical issues resulting from the methods.
- Why some staff and students perceive voice study as an easy option.
- What skills are generally lacking among staff and students of voice.
- How the problem of technical development and misconception of voice as an instrument of study may be addressed.
- To assess the problem and prospects of the teaching methods and find critical ways of improving voice pedagogy in the departments of music.
- The role of staff and students in the present situation and how they could be addressed.
- Purpose of the Study
Over the years students of voice have taken to the culture of learning of voice pieces as representing voice pedagogy. This could be the result of the teaching methods employed by voice teachers owing to reason that this research intends to highlight. While many students take voice as their major instrument, many of them have not gained proficiency on the instrument to the point that one would consider them professionally trained for the challenges ahead. For many of such students, singing ends as soon as examinations are over, while some manage to identify with church choirs where they hardly play any significant role as voice major students/graduates. A simple observation shows that the few voice graduates that have made their marks in Nigeria (Joy Nwosu – Lo Bamijoko and Ori Enyiri Okoro) – among the older generation; (Oguchi Egbunine, Patience Oikhelome and the researcher among the younger generation) are those that studied outside Nigeria or at least outside the department of Music before their study programmes in the Universities. There seems to be a situation that students of voice that started their singing lessons in their various departments have not been able to excel as professional singers/Arts Music Soloists. There is a need for critical appraisal of voice pedagogy in departments of Music of Nigerian Universities to find urgent solutions to the perceived problems. There is also the need to re-motivate teachers and learners of voice for effective and productive outcome. It is believed that a teaching method that would lead to professionalism by voice graduates is critical if voice studies would make its mark in the future.
- Significance of the Study
The study is significant to the discovery of the root causes of the research problems and their solutions for positive impact of voice graduates in the Nigerian Music scene. It is believed that the study will be of great significance to students and teachers of voice to re-motivate positive outcomes in voice studies.
- Scope/Limitation of the Study
This study confines itself to the investigation of the root causes and solution of the research problem raised in the preceding section. Although teaching and learning of other aspects of music impact directly and indirectly on the teaching and learning of voice in Nigerian Universities, the study would focus on voice pedagogy in the department of Music, University of Nigeria, Nsukka but would draw relevant examples where necessary from the other two universities in South-eastern Nigeria – Nnamdi Azikiwe University Awka and University of Uyo, Uyo. It is the researcher’s belief that the teaching methods adopted in the department of Music, University of Nigeria, Nsukka is reflected in the rest of the departments in Nigeria with little variations drawing from the fact that many of the staff that teaches in the various departments are products of Nsukka. However, two other departments have been included in the study. Obafemi Awolowo University, Ile-Ife (South West Nigeria) and Delta State University, Abraka (South South Nigeria) in the study to note any specific variations in the teaching and learning methods as well as learning outcomes.
- Research Questions
The critical question that arises from the research problem is: what are the factors that contribute to non-professionalism of voice major graduates of Nigerian Universities?
Some specific questions are:
- Is the approach to voice pedagogy a contributing factor to the above problem?
- What are the responsibilities of voice teachers to voice pedagogy?
- What are the responsibilities of voice students to voice pedagogy?
- Are music students properly motivated to develop positive perception of voice studies?
- Is voice study really an easy option as may be perceived by some staff and students?
- What skills are generally lacking among teachers and students of voice?
- How can the problems bordering on misconception of voice as instrument be addressed?
- Hypothesis
Based on the above research questions, the researcher came up with the following hypothesis. Proper perception and skills development leading to professionalism in voice may be attained by change of approach and attitude to voice pedagogy by staff and student as well as positive motivation of voice students by voice teachers.
- Definition of Terms/Keywords
- Music: Music is generally defined as the art of combining sounds that is pleasant to the ears. These sounds can either be produced by the human voice, musical instruments or a combination of the two.
- Voice: The voice is an instrument for sound production by human beings. This can either be in speech or song by means of the vocal cords. The voice is a delicate instrument which cannot be replaced or repaired and so should be handled with utmost care.
- Voice Pedagogy: Voice pedagogy is the study of the methods and activities of teaching voice. It refers to ways and approaches to teaching and learning of voice as an instrument of study in music education.
- Singing: Singing is the act of producing organized musical sounds with the voice.
- Music Education: Music education is a process of training and study in the acquisition of skills and knowledge in music for effective functioning in the society.
- Curriculum: A curriculum is the set of courses, course work and content offered at a school or university in any given discipline.
The researcher thought it necessary to include these definitions of Terms/keywords for the benefit of the general readers, who might be interested in the work but are not necessarily Music Scholers.
VOICE PEDAGOGY IN DEPARTMENTS OF MUSIC IN NIGERIAN UNIVERSITIES
