1

UNIIVERSITY OF NIGERIA, NSUKKA DEPARTMENT OF MUSIC

FACTORS THAT HINDER EFFECTIVE TEACHING AND LEARNING OF

INSTRUMENTAL MUSIC IN JUNIOR SECONDARY SCHOOLS IN ENUGU

STATE

A Thesis in MUSIC EDUCATION submitted in partial fulfillment

of the requirements for the award of the degree of

Master of Arts (M. A.) in Music.

BY

OKORO, EUNICE IJEOMA

PG/MA/O7/43714

October, 2011

2

APPROVAL PAGE

This research has been read and approved as meeting the requirements for the Award

of Degree of Master of Arts (M.A) in the Department of Music, Faculty of Arts, of

the University of Nigeria, Nsukka.

------------------------------ ------------------------------

DR. A. O. ADEOGUN DR. Sam CHUKWU

(Supervisor) Head, Department of

Music

------------------------------

PROF. Emurobome IDOLOR

External Supervisor

3

DEDICATION

This work is dedicated to God Almighty and to my husband, Mr. L.C.N. Okoro, and

my children: Kanayochukwu, Chidubem , Chidiebere, Chinonyerem,

Echezonachukwu and Ugochukwu.

4

ACKNOWLEDGEMENTS

I like to express my sincere thanks to the following people who have contributed in

one way or the other to the successful completion of this project: First of all, the glory

and honor be to the Almighty God who is the giver and author of life, for His

mercies, guidance and protection throughout the course of this study.

My thanks and appreciation goes to my project supervisor, Dr. A.O. Adeogun who

without his guidance and assistance, this work would not have been a success. I am

grateful for all your relentless efforts in making this thesis a great success. You are

wonderful, blessed, gifted teacher and a good counselor indeed. May Almighty God

bless you abundantly. I express my profound gratitude to Dr. Ikenna E. Onwuegbuna,

Mr. E. N. Nwachukwu, and Mrs. C. N. Obiekwe of Department of Music, University

of Nigeria Nsukka for their kindness and willingness to offer useful pieces of advice

at any time during the course of this study. My gratitude also goes to my beloved

husband, Mr. L.C.N. Okoro, for his financial support, prayers, moral support and

encouragement which were veritable tools for completing my thesis and throughout

the period of my studies. I am grateful indeed my dear husband.

I appreciate my six lovely children: Kanayochukwu, Chidubem, Chidiebere,

Chinonyerem, Echezonachukwu, and Ugochukwu Okoro who had missed my

motherly care during the course of my studies. I thank you all for your prayers, moral

supports, patience, and understanding in my moments of absence. I love you all. I

5

also express my deep gratitude to my beloved parents: Mr. and Mrs. Emmanuel Odo

for their moral supports, and parental care. I am proud to have you as my dear

parents. I also wish to thank my brothers and sisters: Stella, Ngozi, Anthony,

Chinedu, and Gloria for their moral supports. I am equally grateful to my uncle, Mr.

Odo John and Mr. Cyril Ugwuezugwu who are the brains behind my early

educational pursuit.

Finally, I appreciate the efforts and co-operations rendered by my colleagues,

relations, and other friends, and well-wishers too numerous to mention, for their

individual support, advice and encouragement.

May the Almighty God reward each and every one of you accordingly.

Eunice Ijeoma Okoro.

6

Abstract

The continued decline in the teaching and learning of instrumental music in Junior

Secondary Schools in Enugu State has been of great concern to music educators. In

trying to investigate the factors that hinder effective teaching and learning of

instrumental music in Junior Secondary Schools in Enugu State, this study

concentrated on the musical activities of teacher-learner relationships between 360

Junior Secondary II students and 11 music teachers in nine selected schools in the

three educational zones of Enugu State, Nigeria. Employing the research instrument

of the questionnaire in gathering data, the study found out that there were inadequate

musical instruments; lack of qualified music teachers to teach the instruments;

discouragement from parents, peer groups, and the general public; poor

implementation of the curriculum; and poor motivational and appraisal tendencies

right from the beginning. The study, therefore, suggests that all manners of

stakeholders in music should join hands to provide enough funds for the purchase of

musical instruments, create a Music centre for each education zone, organize regular

music concerts for schools and communities, upgrade and update the structure of the

existing music syllabus so as to cater for teaching and learning of instrumental music

in secondary schools, and encourage the teachers to attend seminars, conferences and

workshops as a way of refreshing and updating themselves on what they studied.

7

TABLE OF CONTENTS

Title Page - - - - - - - - - - i

Approval Page - - - - - - - - - ii

Dedication - - - - - - - - - -

iii

Acknowledgements - - - - - - - - -

iv

Abstract - - - - - - - - - - vi

Table of Contents - - - - - - - - -

vii

CHAPTER ONE: INTRODUCTION

1.1 Background of the Study - - - - - - - 1

1.2 Statement of the Problem - - - - - - - 5

1.3 Purpose of the Study - - - - - - - - 8

1.4 Significance of the Study - - - - - - - 9

1.5 Scope of the Study - - - - - - - -

10

1.6 Research Questions - - - - - - -

10

CHAPTER TWO: LITERATURE REVIEW

2.1 Music - - - - - - - - -

11

8

2.1.1 Cultural Need for Music Education - - - - - -

14

2.1.2 Social Need for Music Education - - - - -

15

2.1.3 Musical Instrument Technology - - - - -

16

2.1.4 Career opportunities in music education - - - -

16

2.1.5 Music Therapy - - - - - - -

18

2.2 Instrumental music - - - - - - -

20

2.3 The role of playing musical instruments at school - - -

24

2.4 The value of playing musical instruments at school - - -

27

2.5 Factors that hinder effective teaching and learning of instrumental music -

30

2.5.1 Rehearsal and performance problems in instrumental music - -

33

2.5.2 Tone and pitch - - - - - - - -

33

2.5.3 Tone and intonation - - - - - - - -

34

2.5.4 Lack of excursion - - - - - - - -

34

2.5.5 Lesson time – table - - - - - - - -

34

2.6 Ways of enhancing teaching and learning of instrumental music - -

37

9

2.6.1 Parents encouragement towards playing of musical instruments - -

40

2.7 Summary of the Review - - - - - - - -

43

CHAPTER THREE: RESEARCH METHODOLOGY

3.1 Research Methodology - - - - - - -

44

3.2 Research Design - - - - - - - -

44

3.3 Area of the Study - - - - - - -

44

3.4 Population of the Study - - - - - - -

45

3.5 Sample and Sampling Techniques - - - - -

45

3.6 Instrument for Data Collection - - - - - -

46

3.7 Validation and Reliability of Instrument - - - -

46

3.8 Method of Data Collection - - - - - -

46

3.9 Method of Data Analysis - - - - - -

46

CHAPTER FOUR: PRESENTATION OF RESULTS

4.1 Research Question 1 - - - - - - -

47

4.2 Research Question 2 - - - - - - -

53

10

4.3 Research Question 3 - - - - - - -

56

4.4 Research Question 4 - - - - - - -

60

CHAPTER FIVE: DISCUSSION, SUMMARY, IMPLICATION,

LIMITATION, SUGGESTIONS, CONCLUSION, RECOMMENDATIONS

5.1 Discussion of the Findings - - - - - -

64

5.2 Summary - - - - - - - -

71

5.3 Conclusion - - - - - - - -

72

5.4 Educational Implications - - - - - -

72

5.5 Recommendations - - - - - - -

73

5.6 Suggestions For further Studies - - - - -

75

5.7 Limitations of the Studies - - - - - -

75

References - - - - - - - -

77

Appendix I - - - - - - - -

82

Appendix II - - - - - - - -

83

11

Appendix III - - - - - - - -

87

Appendix IV - - - - - - - -

90

Appendix V - - - - - - - -

93

12

Abstract

The continued decline in the teaching and learning of instrumental music in Junior

Secondary Schools in Enugu State has been of great concern to music educators. In

trying to investigate the factors that hinder effective teaching and learning of

instrumental music in Junior Secondary Schools in Enugu State, this study

concentrated on the musical activities of teacher-learner relationships between 360

Junior Secondary II students and 11 music teachers in nine selected schools in the

three educational zones of Enugu State, Nigeria. Employing the research instrument

of the questionnaire in gathering data, the study found out that there were inadequate

musical instruments; lack of qualified music teachers to teach the instruments;

discouragement from parents, peer groups, and the general public; poor

implementation of the curriculum; and poor motivational and appraisal tendencies

right from the beginning. The study, therefore, suggests that all manners of

stakeholders in music should join hands to provide enough funds for the purchase of

musical instruments, create a Music centre for each education zone, organize regular

music concerts for schools and communities, upgrade and update the structure of the

existing music syllabus so as to cater for teaching and learning of instrumental music

in secondary schools, and encourage the teachers to attend seminars, conferences and

workshops as a way of refreshing and updating themselves on what they studied.

13

CHAPTER ONE

INTRODUCTION

1.1 Background of the Study

Instrumental music may be defined as the art of combining sounds that can be

produced on instruments in a manner that is agreeable to the ear. Hornby, (2006:774)

defines instrumental music as ‘a piece of music (usually popular music) in which

only musical instruments are used with no singing’. About instrumental music,

Nwafor (2003: 14) says that ‘this type of music does not involve singing. It is purely

instrumental, often played for listening and appreciation’. Duru (1986:2) sees the

term instrumental music as ‘a piece of music to be sounded on an instrument, as

distinct from a piece to be sung’. Willi Apel, (1969:413) also sees instrumental

music as ‘music performed on instruments, as opposed to music performed by voices

(vocal or choral music)’.

Instrumental music comprises African instrumental music and Western instrumental

music. There are two main types of instrumental music, namely: ensemble (chamber

and orchestral music) and solo (piano, organ, lute, etc.). Chamber music according to

Apel, (1969) is an

Instrumental ensemble music performed by one player for each part, as

opposed to orchestral music in which there are several players for each part.

According to the number of players (or parts), chamber music is classified as

follows: trio (three players), quartet (four), quintet (five), sextet (six), septet

(seven), and octet (eight). String trios (quartet, etc.) are for stringed

14

instruments only; if one of the strings is replaced by another instrument,

names such as piano trio (piano and two strings) or horn quintet (horn and

four strings) are used (p. 143).

According to Chambers Twentieth Century Dictionary (1981:216) Chamber music is

‘music suitable for a room, rather than a theatre or a large hall, now almost confined

to music for strings with or without piano or winds’. In other hand, orchestral music

is ‘music for a large company of musicians (strings, woodwinds, brasses, and

percussion) playing together under a conductor’- Chambers Twentieth Century

Dictionary (1981:926). Solo (piano, organ, lute, etc) is a piece of musical instrument

performed by one person whether accompanied or unaccompanied. Solo according to

Apel (1969):

Solo (1) A piece executed by one performer, either alone (piano solo; violin

solo; e.g., Bach’s sonatas for violin solo), or with accompaniment by piano,

organ, orchestra, etc. (2) In orchestral scores, a passage intended to stand out.

(3) In concertos, designation for the soloist, in distinction from the orchestra

(tutti). (4) In the early concerto (Bach, Handel), the orchestral part for

passages to be played senza ripieni (p. 787).

Instrumental music is one aspect of music that helps students appreciate music

through active to a career in music. Instrumental music is an aid to perform service in

public like concerts, parades, and other functions. It helps students maintain the good

spirit they have developed towards instruments, and develop the skill and technical

15

ability leading to increased facilities, and develop them towards self reliance. It also

provides a means of recreation, pleasure and good use of leisure time.

Instrumental music is for enhancement of music education. Whenever it is time to

play any instrument whether Western or African instrument, it lifts up the students’

morale. Instrumental music creates an atmosphere of fun, interaction, and

excitement. This is more reason why people are naturally drawn to it. If this ability

is nurtured, instrumental music will provide a lifetime of enjoyment, and creativity

for our students. Music entertainment tends to set the mind free from problems. It

may be in terms of palliative, escapism and when people are entertained with musical

instruments, it provides patients with mental stability. So, it serves as a curative

measure. According to Stewart (2005),

It was not one of Audrey Walker’s better days, she was feeling a little queasy

and…. “I am sitting there with all these thoughts in my mind about the chemo

when I hear this beautiful music. The melody was just so soothing”, she said.

At first Walker thought it was the radio. Then she noticed a woman in the

treatment room who was playing a hand – held harp. The melodic tones

enveloped and calmed her. As chemotherapy drugs flowed into her body, she

closed her eyes…. There is increasing interest in the role music can play in

helping lessen stress and anxiety and even improve medical outcomes (p. 13).

Studying the link between reading music and playing the piano is very essential. It

makes students have foundational study which may later on lead them participation.

In the words of Mullen Jim (2010):

16

Over two decades ago researchers in the US began studying the link between

learning ‘to read music and play the piano’, and ability in Math and Science.

This led to a ten year…. Study comparing results for young students taking

music versus students taking computer classes. Students learning to read

music and play the piano scored significantly higher on Math and Science

assessments.

So, the fact that some students are science inclined does not mean that they cannot

join instrumental music class because students from other fields of study benefit from

instrumental music.

The rate of learning to read music and play the piano has other cognitive benefits.

This is because it has been discovered that the rate of learning to read and play music

does not only increase the rate of learning new vocabulary, but it leads to a permanent

increase in the learning experience. So, when the challenging music program is being

introduced, it will make the rate of learning to increase further. Mullen Jim (2010),

opines:

Consider that reading music requires the student to look at music notation (an

abstract symbol set) and decode it. Playing music requires that decoded

information to be used to guide ten fingers on the piano keyboard. The brain

is operating challenging receptive and productive processes simultaneously,

which is good exercise for the cerebral cortex, and it soon causes permanent

changes in this important area of the brain.

17

Music and brain work together. Instrumental music is important to a child’s

development. The study has shown that the cerebral cortex of a concert pianist is

enlarged more than the students that are considered to be intelligent but did not

undergo instrumental music studies. So, there is an added advantage if instrumental

music is introduced in all junior secondary schools in Enugu state. There will be

changes on even the side of school dropout if they involve themselves on

instrumental music but the problem lies on poor recognition of music in most junior

secondary schools. Most junior secondary schools do not include music as a subject

of study due to the fact that no music teacher was posted to them. In this regard, the

study of instrumental music is hindered.

The teaching and learning of instrumental music in secondary schools in Enugu state

need to be given urgent attention. The study of instrumental music in most schools is

limited to the use of traditional musical instruments for the accompaniment of songs

and dance, but it is not formerly taught. The use of keyboard instrument as piano is

on rare occasions in accompanying songs. Again, most of the teachers do not teach

musical instruments because they do not know how to play them, and that Western

musical instrument are the standard ones and since they are not obtainable in the

schools, instrumental music should be forgotten and they will turn to choral music.

1.2 Statement of the Problem

Music is one of the subjects listed in the National Policy of Education (2004:5).

However, the governments have not provided adequately for the teaching of music in

secondary schools in Enugu state in terms of recruitment of enough qualified music

18

teachers and also provision of adequate musical instruments needed for the teaching

of music education in secondary schools. This has created the problem of lack of

interest in the study of music and instrumental music by students in secondary

schools in Enugu state.

Instrumental music is one aspect of music education that needs proper attention. In

section 1 of the National Policy on Education 4th

edition (2004:5-8), it was stated that

(a) education is an instrument for national development; to this end, the

formulation of ideas, their integration for national development, and

the interaction of persons and ideas are all aspects of education;

(b) education fosters the worth and development of the individual, for

each individual’s sake, and for the general development of the society.

(d) there is need for functional education for the promotion of a

progressive, united Nigeria; to this end, school programmes need to be

relevant, practical and comprehensive; while interest and ability

should determine the individual’s direction in education.

In No.5 of the N.P.E. – Nigeria’s philosophy of education therefore is based

on:

(a) the development of the individual into a sound and effective citizen;

and

(b) the full integration of the individual into the community.

In No.9 (c) - education and training facilities shall continue to be

expanded in response to societal needs and made progressively

accessible

19

to afford the individual a far more diversified and flexible choice;

(d) educational activities shall be centered on the learner for maximum

self – development and self – fulfillment;

In section 12, No.107 stated that ‘the objectives of the planning, administrative,

inspectorate, supervisory and financial services in education are to:- (a) ensure

adequate and effective planning of all educational services; and (d) provide adequate

and balanced financial support for all educational services’. In section 13, No.120 to

122 – Financial education stated that

Education is an expensive social service and requires adequate financial

provision from all tiers of government for successful implementation of the

education programmes. Government’s ultimate goal is to make education….

relevant sectoral bodies such as the Education Tax Fund have been established

to respond to the funding needs of education. In addition, other funds from

which the burden of financing education can be eased are:

(i) Industrial Training Fund

(ii) National Science and Technology Fund.

Upon all these stated above, the government find it difficult to make adequate

provision for instrumental music in junior secondary schools in Enugu state.

Music is not a subject to be overlooked because human being cannot stay

comfortably without music. So, lack of proper funding of instrumental music has

really affected the improvement on music education in junior secondary schools

in Enugu state. There is no establishment that can function well without adequate

20

fund. This is also applicable to education and the teaching and learning of

instrumental music.

Many students in junior secondary schools do not have textbooks for the teaching

and learning of music let alone instrumental music. The lack of sitting down to

read and the development of proper reading habit affect the study of instrumental

music.

In addition, in some junior secondary schools that have library, they do not make

provision for music textbooks. Students who have textbooks do not give it

adequate attention for their private studies. The time allotted to the teaching and

learning of music is not large enough. Music is made up of different parts, which

comprises singing: Western chorus, and African chorus, Instrumental music:

Western Instrumental ensemble, and African instrumental ensemble, opera:

African opera, and Western opera, Psycho motion, Dance, Dance drama and so

on. These entire heavy loads are expected to be covered by one teacher in junior

section, and in most cases there are large classes in each stream. This implies that

time is a big problem in the teaching and learning of music let alone instrumental

music that consumes a lot of time.

1.3 Purpose of the Study

The purpose of this study is to identify the factors that hinder effective teaching

and learning of instrumental music in three educational zones of Enugu state.

Specifically the study seeks to find out:

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1. teachers’ related factors that are hindering effective teaching and learning of

instrumental music in the schools;

2. Government’s related factors in promoting teaching of instrumental music in

secondary schools in the state;

3. the school administration’s related factors that hinder teaching and learning of

instrumental music in the schools;

4. the students’ related factors that hinder effective teaching and learning of

instrumental music in the schools;

1.4 Significance of the Study

The outcome of this research, the researcher believes, would be of great benefit to the

education system of Enugu state, music teachers, the students, the schools, parents,

and the society at large. Firstly, it will help the Enugu state government to be aware

of the role and importance of instrumental music in the school programme and how to

develop positive attitude to music education by creating employment opportunity for

music teachers. Secondly, the music teachers will benefit from the teaching and

learning of instrumental music in the schools as this will create need for the

employment of job opportunities for the unemployed music graduates. Thirdly, the

students will benefit from teaching and learning of instrumental music in the school

because it will help them to forge ahead when they choose music as a carrier in the

higher institutions of learning. Fourthly, it is hoped that the result of this study will

enable schools to benefit more from what instrumental music offers, and will also

22

encourage further research on ways of improving chamber music instruction to

orchestral music at the secondary school level. Fifthly, parents will benefit because it

will help them to be aware of the role and importance of instrumental music in the

school programme and support their children in studying music properly. Sixthly, the

society will benefit from the teaching and learning of instrumental music because

music is a part of the fabric of our society and when instrumental music is performed,

people appreciate it. According to Michael (2008): “Music is a magical gift we must

nourish and cultivate in our children” (p. 2); this will contribute to the national

development in the Nigerian society. Lastly, the importance of this study lies in the

fact that through its findings, ways of closing the gap between the secondary schools’

students in teaching and learning of instrumental music as something that is valuable

in the school and after school life.

1.5 Scope of the Study

This research work was carried out in Enugu State. Enugu State has six educational

zones which comprise Nsukka, Obollo, Awgu, Udi, Nkanu, and Enugu. This study

was limited to the following three educational zones in Enugu State School System,

Nsukka, Obollo, and Enugu. The choice of these zones was informed by the fact that

they are the only zones where Music was taught at the time of the investigation; they,

therefore, stand out as sources of fascinating incites on the state of music education in

Enugu State.

1.6 Research Questions

The following research questions guided the study:

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1. What are the teacher-related factors that hinder the teaching and

learning of instrumental music in the schools?

2. What are the government-related factors that hinder the teaching and

learning of instrumental music in secondary schools?

3. What are the administrator-related factors that hinder the teaching and

learning of instrumental music in the schools?

4. What are the student-related factors that hinder the teaching and

learning of instrumental music in the schools?

24

CHAPTER TWO

REVIEW OF RELATED LITERATURE

The review of related literature is organized under the following sub-

headings:

* Definition of concepts.

* Instrumental music.

* The role of instrumental music in junior secondary schools.

* The value of playing musical instruments at school.

* Factors that hinder effective teaching and learning of instrumental music.

* Ways of enhancing teaching and learning of instrumental music.

* Summary of the Review.

2.1 Music

Music, as defined by Nettl (1979),

…is the art by which a composer, through a performer as intermediary,

communicates to a listener certain ideas, feelings, or states of mind. Music,

which makes use of tones, singly and in combination with various rhythmic

configurations, may be subjective or objective, appealing to the emotions or

the intellect. It is, in essence a tonal design created to stir and influence the

listener (p. 646).

Hornby (2006) simply defines music as “sounds that are arranged in a way that is

pleasant or exciting to listen to” (p. 966). Merriam (1980) defines music as “humanly

phenomenon produced by people and existing and functioning in a social situation”

25

(p. 187). Charles and Robert (1972) also define music “as an organization of sound

made by man living in a particular community expressing their sound, politics,

economic, religious, believe through performance”(p. 28). From the foregoing,

therefore, music deals with sound which has to be organized to sound pleasing to the

ear of the listener.

However, there are other definitions from various scholars which deviate somewhat

from the foregoing. In the words of Onwuegbuna (2009), “Music, the conscious and,

at times, fortuitous combination of individual notes that appear successively (melody)

or simultaneously (harmony), or even both, is arguably a global practice” (p. 90). In

this definition, Onwuegbuna has succeeded in avoiding the controversies of ‘humanly

organized’ and accommodates the possibility of ‘chance music’. He has also removed

the psychological consideration of ‘pleasing to the ear’ and considers music as a sonic

material. And Udofia (2009), defines music, aesthetically, as “organized sounds by an

individual or a group of individuals based on experience and belief” (p. 119). Music,

as defined by Deverich (2012), is “the science and art of tones, or musical sounds,

i.e., sounds of higher or lower pitch, begotten of uniform and synchronous vibrations,

as of a string at various degrees of tensions.” What it means then is that music can be

defined from various approaches, such as sonic, aesthetic, cultural, psychological,

mystical, religious, philosophical, and metaphysical.

People sing songs, play music written in languages other than their own even when

they do not understand the meaning of the text. The emphasis is not on the meaning

26

of the words but on the sound which produces enjoyment. In this regard, a French

man can sing and enjoy songs in English, Yoruba, Idoma, Hausa, and Edo languages.

In the light of the foregoing, Okafor, (2005) says:

Music plays such an important role in society that it is impossible to imagine a

society existing without it. In fact, there has not been a society, ancient or

modern, without some form of musical expression. Mankind at all times has

shown a marked need for music in education (p. 242).

Plato of ancient Greece also pointes out that ‘musical training is a more potent

instrument than any other, because rhythm and harmony find their way into the

inward places of the soul, on which they mightily fasten imparting graces…’ Russell,

(1953) points out that:

The first purpose of music education is to enrich the lives of human beings,

both as individuals and in groups. In order to carry out this intention however,

we need to use a constantly higher quality of musical literature and an

improving skill and understanding of interest is to be maintained and a

permanent enrichment of personality assured. This is the true social attitude

which music educators should maintain (p. 6).

The above statement actually shows the need for music education and agrees with

Marsell in Nye and Nye, (1970) when he said that: ‘the purpose of all music teaching

must be to bring about the evolution of musical responsiveness or musicality’ (p. 3).

Therefore, music itself should be looked upon as an experience to be lived and a

subject to be learned. Music satisfies the three domains of education namely, the

27

cognitive, the affective and the psychomotor skill. Also Nye and Nye (1970) pointed

out that the purpose of music education should be for:

…understanding and appreciation of aesthetic quality of music, transmission

of cultural heritage, fostering creativity, social education, worthy recreation

and development of intellectual activities… Music should be taught in schools

to enhance the child’s ability to feel and to react to stimuli (pp. 5-6).

This shows that music education should go beyond mere playing of music but that the

child should understand and appreciate the message communicated through the

particular music, as most music promotes cultural heritage, and enhances the child’s

creativity and social education.

2.1.1 Socio-Cultural Need for Music Education

Music is culture-oriented. It therefore means that music is part and parcel of culture.

Music is part of African lives, that the Africans are personally and deeply involved

both in the process of making the instrument as well as music itself. So there are

many cultural needs for music education. For example, culture is spread widely

through music education. In short music education is integrated with culture. Music

functions as a rallying point around which individuals engage in activities requiring

group cooperation and co-ordination. Thus, Okafor (1991) said that,

In traditional Nigerian society music was an integral part of education. A

musician was often expected to practice other areas of the arts and

occupations. There are musical families with long traditions of music-

making. There were instrument makers who were also expected to practice

other areas of occupation. Training in music often involved a long period of

28

apprenticeship during which the trainee learned other aspects of the art (p.

60).

Euba (1986) also discussed the need for music education in a cultural setting when he

stressed that; ‘since music is the principal and most effective means of

communication and public information in traditional culture, a musician needs to be

versed in the current affairs of his locality’ (p. 45). Musicians have very important

role in our society. They are usually the core of history and are highly

knowledgeable about the cultural values of respective communities. The need for

music education according to Okafor, (1989) also remarks that ‘music helps in

moulding the character of children. In our traditional system we learnt about the

moral of the society, the accepted norms, the taboos, what the community likes or

hates, simple things about the law in maintenance and the law in breach’(p. 295).

More so music is produced and shaped by culture and music in turn reshapes that

culture. This is why we cannot separate music from culture.

The fact that a child’s preparation for life must go beyond reading, writing, and

arithmetic, has long been accepted because of an awareness of the needs of an

increasingly complex society, a need for a citizenry with many interests and an

educational philosophy of personal development. According to Akrofi (1987):

The ultimate aim of our teaching music education should be to develop in the

pupils, whether vocalist, pianist or other instrumentalist, the ability to read,

listen to, use and understand music with something of ease, skill and

satisfaction with which he uses ordinary language (p. 2).

29

It should be recognized that those who have equipped themselves with this power to

understand and appreciate music literature and art have achieved one of the greatest

fundamentals of a happy and successful life. According to Okafor (2005):

Music is the most widely practiced and accessible of all the arts. It is so

easily available and associated with entertainment and relaxation that some

people hardly pause to ponder its implication in the social and economic

development of a country…. There are countries, which earn a lot of revenue

through cultural nationalism and musical tourism….The cultural diversity of

Nigeria is a huge potential for the export of music and dance (p. 269).

2.1.2 Musical Instrument Technology

Musical instrument technology is one of the areas of music education that has to do

with manufacture, repair, and maintenance of musical instruments. It is a study that

deals with materials and tools care and construction of musical instruments for

effective usage. According to Onwuegbuna (2006),

Musical instruments are sourced from the flora, fauna and mineral property of

nature within the environments where they are found. The activities of

sourcing, processing, manufacturing and maintaining these instruments all

work towards the development of the psychomotor skills of the manufacturing

workers involved (p. 177).

This is one aspect of music education that government overlooks. They do not

employ technologist so that the manufacture, repair, and maintenance of musical

30

instrument will be possible. If students were able to learn all these things, the

teaching and learning of instrumental music would have been fantastic. It will open

the students’ eyes and the zeal to study instrumental music.

2.1.3 Career Opportunities in Music Education

Idolor (2002) states that:

An impression that the only job open to music scholars is the teaching

profession. This is not true as the musicologist has employment opportunities

in the following areas:

(1) The media house as music producer, presenter, analyst and

broadcaster

(2) Publishing industry as writer and editor

(3) Military and Para-military bands like those of the Army, Navy,

Air Force and the Police Force.

(4) Private or personal band, choir and orchestra

(5) Company entertainment units

(6) Recording studios

(7) Ministries of Education, Information and Culture

(8) JAMB, WAEC and other examination bodies

(9) Art Councils

(10) Schools, Colleges, and Universities

(11) National Orchestra

(12) Church as a music director, pianist or choirmaster

(13) Music equipment, books and records business companies

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(14) Industries for manufacture and repair of musical equipment

(15) Sound archives and museums

(16) Music contracts with Government and private organizations

(17) Consultancy Units/Centers

(17) Cultural attachment to embassies

(18) Research fellows in non-governmental organizations (N.G.Os)

(19) International Centre for Music and Dance

In some places, one is able to combine two or more of these jobs

together (p. 17).

2.1.4 Music Therapy Music therapy is an interpersonal process in which the therapist uses music and all of

its facets - physical, emotional, mental, social, aesthetic, and spiritual-to help clients

to improve or maintain their health. In some instances, the client’s needs are

addressed directly through music; in others they are addressed through the

relationships that develop between the client and therapist. Music therapy is used

with individuals of all ages and with a variety of conditions, including: psychiatric

disorders, medical problems, physical handicaps, sensory impairments,

developmental disabilities, substance abuse, communication disorders, interpersonal

problems, and aging. It is also used to: improve learning, build self-esteem, reduce

stress, support physical exercise, and facilitate a host of other health-related activities

(Wikipedia, 2008).

Crawford (2006), goes on to explain that

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One of the earliest mentions of Music Therapy was in Al-Farabi’s (c.872 –

950) treatise Meanings of the Intellect which described the therapeutic effects

of music on the soul. Music has long been used to help people deal with their

emotions. In the 17th

century, the scholar Robert Burton’s The Anatomy of

Melancholy argued that music and dance were critical in treating mental

illness, especially melancholia. He noted that music has an ‘excellent

power…to expel many other diseases’ and he called it ‘a sovereign remedy

against despair and melancholy’. He pointed out that in Antiquity, Canus, a

Rhodian fiddler, used music to ‘make a melancholy man merry,.…a lover

more enamoured, a religious man more devour.’ In November 2006, Dr.

Michael J. Crawford and his colleagues also found that music therapy helped

schizophrenic patients. In the Ottoman Empire, mental illnesses were treated

with music.

Furthermore, Wilson explained that:

Music therapy has been shown to be an effective intervention in children with

a wide rang of needs. It is an interactive, primarily non-verbal therapeutic

intervention. It provides a process through which children can express

themselves, become more aware of their feelings and interact more easily.

Music therapy can provide new insights into a child’s functioning. In music

therapy sessions, interactive music is spontaneously created by the child and

therapist based on improvisation. Children do not need any musical training

experience in order to benefit from music therapy. The musical instruments

provided are all accessible to everyone and usually include a selection of

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tuned and untuned percussion instruments and a keyboard/piano. The

therapist will usually bring his/her own instrument as well. The therapist seeks

to form a musical relationship with the child through the shared use of sound.

All types of communication – vocal sounds, movements, facial expression and

instrumental playing – are supported and responded to with music or words.

This musical relationship can be the basis for new experiences of interacting,

leading to development and change. Music therapists work with children and

young people of any age, in both special and mainstream schools, and with a

range of special needs, such as:

• Learning difficulties

• Communication difficulties, including autism

• Emotional difficulties

• Behavioural difficulties

• Attachment disorders

• Children who have suffered abuse or trauma

• Physical difficulties

Aims of Music Therapy

These are tailored individually to each child, but might include:

• Increasing communication, interaction and self-expression

• Developing peer group and self-awareness

• Providing emotional support

• Developing skills such as listening, sharing and turn-taking

• Developing co-ordination and motor control

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• Increasing self-confidence and building self-esteem

Music Therapy thus contributes to a child’s overall development.

2.2 Instrumental Music

An instrumental is a musical composition or recording without lyrics or any other

sort of vocal music; all of the music is produced by musical instruments (Wikipedia,

2008).

Instrumental music is used in many places including schools and churches.

According to Effiong (2002) ‘Today, Gospel music in the Pentecostal church uses

both the indigenous and the western instruments in their ensemble. The electronic

devices assist greatly in the magnification of musical sounds for active performances’

(p. 48). These musical instruments have four major classifications. The western

instruments are of four families: string, woodwind, brass family and percussion. The

African musical instruments are grouped into four families: membranophones,

idiophones, chordophones, and aerophones. Most people combine these western

instruments and African musical instruments in their musical performances.

Western forms of Instrumental ensemble

Group Examples

String family Violin, Viola, Cello, and double string bass etc.

Wood-wind Clarinet, flute, saxophone, piccolo, oboe, etc.

Brass family Trumpet, trombone, tuba etc.

Percussion Xylophones, timpani (kettle drum), bells, gong, cymbals

etc.

African form of Instrumental ensemble

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Group Examples

Idiophones Musical pot, rattle, metal gong, wooden drum, thumb- piano

etc.

Aerophones Horn, oja (flute). Whistle etc.

Membranophones Skin drum, Samba etc.

Chordophones Musical bow, Goje, Zither etc.

Timber (Tone color)

Timber or tone color is the distinctive sound quality of an instrument. According

to Robert (1993):

Each type of musical instrument has its own distinct kind of sound. A melody

played on the oboe sounds different from the same melody played on the

clarinet because the sound quality of the clarinet is clearly different from that

of the oboe (p. 11).

This distinctive sound quality of an instrument is enjoying and the listener will

automatically observe these differences in sound which is called tone color or timber

– the distinctive sound quality of an instrument. This is because, the elements that

contribute to the tone color of an instrument include the nature of the material out of

which the instrument is constructed and the method by which it is made to sound.

Teaching instrumental music has even gone to the extent of teaching instrumental

music to deaf and hard of hearing students. According to Edwards, (1974), ‘Students

with impaired hearing have found success participating in school bands and

orchestras for over 100 years. Many reports from the early 1900s and before tell of

military bands organized for the training of deaf musicians’.

36

Teachers have great roles in facilitating learning instrumental music. According to

Regelski (1981),

A teacher is part of the learning environment. The teacher is a part of the

social interaction involved in group processes of education, and the role

adopted by the teacher, therefore, can have great bearing on the success of

instruction no matter how well planned and otherwise executed that

instruction may be (pp. 371-372).

So, instrumental music is not meant only for those who do not have problem of

hearing but also for the hearing impaired students. Educating them is possible

through visual cues and tactile stimulation and they will succeed and become useful

citizens later in life.

The educational value of instrumental music cannot be over emphasized. These

include:

(1) It takes care of psychomotor domain. The psychomotor domain is

concerned with motor skill which involves the manipulation of instruments.

Onwuegbuna (2006) has this to say:

I started a career in Pop music as a musical illiterate and learnt how to

play the bass guitar by rote. In my manipulation of the instrument, I

supported the fingerboard with the left thumb and fingered the strings

on the board with the index, middle and ring fingers of the left-hand

only. My little finger was totally excluded from this manipulation, as I

never saw a need for its use. In striking the strings to produce sound, I

37

used my right thumb exclusively – being totally ignorant of the need

for the other fingers of this right-hand. Even though I appeared to be

successful in this practice, within me, I recognized limitations in

expression of my artistry. When, later, I joined an academic-oriented

jazz band as a bassist, these limitations became manifest. I now had to

go beyond picking of notes on the fingerboard to playing of chords

that were possible only by the collective use of all the fingers of the

left-hand. The five fingers of the right-hand were also needed for

various desired styles in the manipulation of the guitar strings. To be

able to face these new challenges and function effectively, the music-

graduate leader of this band had to take me through drills that are

based on etudes – pieces that are designed and notated to aid fingering

techniques (psychomotor) and sight-reading (literacy) of the learner (p.

177).

(1) It develops student’s ability to sight – read.

(2) Instrumental music helps students to have joyous way of group

cooperation, and purposeful group life.

2.3 The Role of Instrumental Music

Instrumental music plays vital roles in so many ways:

1. Success in developing intelligence: Success in school and in society

depends on abilities. Research has shown how musical activity

contributes to brain development and skill movements.

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For instance, a University of California (Irvine) study showed that after eight

months of keyboard lessons, preschoolers showed a 46% boost in their spatial

reasoning IQ. Researchers also found that children given piano lessons

significantly improved in their spatial IQ scores. Music making makes the elderly

healthier…. There were significant decreases in anxiety, depression, and

loneliness, following keyboard lessons. These are factors that are critical in

coping with stress, stimulating the immune system, and improved health. Results

also show significant increases in human growth hormones following the same

group keyboard lessons. (Human growth hormone is implicated in aches and

pains.) (Tims, Frederick 2008).

According to Schwrarzkopf (2008),

During the Gulf war, the few opportunities I had for relaxation, I always

listened to music, and it brought to me great peace of mind. I have shared my

love of music with people throughout this world, while listening to the drums

and special instruments of the Far East, Middle East, Africa, the Caribbean,

and the Far North – and all of these started with the music appreciation course

that I was taught in a third-grade elementary class in Princeton, New Jersey.

What a tragedy it would be if we lived in a world where music was not taught

to children.

So, instrumental music contributes to the people’s appreciation of music in

general.

2. Instrumental music has a healing effect in human beings. Nursing homes,

hospitals, even verify healing powers in instrumental music. Nwafor,

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(2003) identifies the functions the instrumental music plays. These

functions include palliative music. He says that:

This type of music is used to cure sick people. The word palliative means ‘to

lessen’ or ‘remedy pain’. Palliative music, therefore is played in order to

lessen, soften or remedy pain or severity of sickness. For instance, if

somebody has a mental or emotional problem, this type of music is played for

him to calm down his worries. That is why this type of music is always

played in healing homes and psychiatric hospitals in order to reduce or lessen

the strains and pains of the patients. Sometimes, this type of music is called

‘Therapeutic’ music because of its healing powers. The music has power to

heal or cure disease (pp. 16-17).

The Bible also agrees with the efficacy of music therapy. For instance, in 1 Samuel,

chapter 16: 14-23, the Bible says:

Now the Spirit of the Lord departed from Saul, and an evil spirit from the

LORD tormented him. And Saul’s servants said to him, “Behold now, an evil

spirit from God is tormenting you. Let our Lord now command your servants,

who are before you, to seek out a man who is skilful in playing the lyre; and

when the evil spirit from God is upon you, he will play it, and you will be

well.” So Saul said to his servants, “Provide for me a man who can play well,

and bring him to me.” One of the young men answered, “Behold, I have seen

a son of Jesse the Bethlehemite, who is skilful in playing, a man of valour, a

man of war, prudent in speech, and a man of good presence; and the LORD is

with him.” Therefore Saul sent messengers to Jesse, and said, “Send me

40

David your son, who is with the sheep.” And Jesse took an ass laden with

bread, and a skin of wine and a kid, and sent them by David his son to Saul.

And David came to Saul, and entered his service. And Saul loved him

greatly, and he became his armour – bearer. And Saul sent to Jesse, saying,

“let David remain in my service, for he has found favour in my sight.” And

whenever the evil spirit from God was upon Saul, David took the lyre and

played it with his hand; so Saul was refreshed, and was well, and the evil

spirit departed from him.

Instrumental music helps students in the searching of musical literature. A child who

is good in playing musical instrument is in a better position to learn more tunes, and it

develops knowledge of the fundamentals of musical notation. Students are also

trained in cooperative musical activity through instrumental ensemble. Instrumental

music is for personal enjoyment and self-expression both individually and in a social

setting. Through instrumental music, students develop creative ability in

improvisation. Instrumental music also helps to develop students’ interest in the

acquisition of technical ability. Through instrumental music, it is possible for the

discovery of latent talents, and it helps students who have desire to continue their

vocation in music after junior secondary school education. According to Duru

(1986),

Instrumental music encourages cooperation, self-reliance, and good

sportsmanship. It stimulates all to do better work since every player strives to

gain entrance into advanced organization in the school. It provides

opportunity for all pupils to work effectively at the level of their own

41

achievement. Playing in groups carries the child beyond what he as an

individual might achieve and the satisfaction of achievement incites him to

constructive criticism, to seek for new goals, and to do better the things he is

doing already (pp. 5-6).

It became clear that from the above statement, instrumental music needs to be

given proper attention in schools. Dalby (n.d.) has this to say:

Group teaching is economical, for it enables a teacher to deal with many more

pupils than he could teach in individual lessons of the same length. It is said

that children enjoy being taught in company with others and that in a group a

child is not so self-conscious as when he is the solitary target of his teacher.

To some extent the less apt pupils are led their more able companions, and

from the beginning everyone experiences the pleasure of playing together (p.

19).

2.4 The Value of Playing Musical Instruments at School

Although the supply of musical instruments had not been a priority in our junior

secondary school budgets, it is generally accepted that playing musical

instruments is the most pervasive of activities arousing children’s interest in

music (Onyiuke, 2005). The following are some of the aims and objectives of

playing classroom instruments, as outlined by Raebeck and Wheeler (1964: 211-

212) as quoted in an article by Young-Sook Onyiuke,

1. To extend the child’s interest in musical knowledge and musical

instruments in particular;

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2. To give the child the opportunity to know and experiment with as

many instruments as possible such as melody, rhythm and harmony

instruments;

3. To help the child gain a clearer understanding of notation, as

demonstrated in playing and singing from the musical score and

playing ensemble;

4. To give the child the opportunity to develop skill in playing one or

more of these instruments;

5. To help the child experience the expressive elements of music

(melody, rhythm, tempo, dynamics etc.) through playing instruments;

6. To stimulate musical response and encourage the child to learn about

the science of sound; and

7. To give the child experience with a wide variety of instruments and

teach the importance of proper care, use and technique of playing

instruments.

These are all part of skill – learning in music education that is what Brocklehurst,

(1971: 17) calls ‘intrinsic value’ or ‘education in music’. As Ben-Tovim (1979: 9)

noted ‘there is only one way to come and understand music: by learning to play a

musical instrument …’

Furthermore, Brocklehurst described extra-musical values of instrumental playing as

‘education through music’ or ‘extrinsic values’. Greenberg, (1979) also identifies the

functions of playing instruments to the enjoyment and education of the child. These

functions include:

43

1. Instruments can be used for providing sound effects for stories and poems.

2. They can highlight the rhythmic flow of poems and language patterns; and

3. They can be used to teach mathematical counting patterns or develop

classification concepts.

The extra-musical benefits of instrumental playing cannot be under estimated. In fact,

performing music through instrumental music as Mursell, (1951) pointed out to the

teacher:

In bringing music to your children, you should by all means give them rich

and varied opportunities for making music with instruments. Such

opportunities open up awareness of personal participation other than those

afforded by singing or expressive bodily movement and highlight various

aspects of music which are not emphasized elsewhere. No programme of

music for your children can be rounded and complete unless it includes the

experience of music making by instrumental means (p. 204).

Abeles, Hoffer, and Klotman (1984) have these to say:

Members of an ensemble may attend rehearsals for different reasons. They

may gain a rewarding aesthetic experience from performing or they may be

determined to master a particularly difficult passage, or they may enjoy the

social interaction that the group provides. If the director is to be successful in

preparing the group for the Christmas concert, the students must value these

different types of goals sufficiently to attend the extra after-school rehearsals

that the director schedules (pp. 175-176).

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So, all these goals help students to experience music making through instrumental

means.

2.5 Factors that Hinder Effective Teaching and Learning of Instrumental Music

Inadequate musical instrument hinder the teaching and learning of instrumental music

which is as a result of non-availability of funds for the purchases and maintenance of

instruments. There is difference between students of high socio-economic status and

a child of low socio-economic status. Abeles et al (1984) talked about this when he

said:

Knowledge of the interaction of environmental and student characteristics

may hold the key to designing successful education systems. For example,

what happens when a child of high socioeconomic status is placed in a

musical ensemble that is organized like a military unit? Does the same

behaviour result with the child of low socioeconomic status (p. 189)?

So, the characteristic of the learner like socio-economic class is another factor that

affects learning.

The National Policy on Education (2004) 4th

edition stated that ‘the broad goals of

secondary education shall be to prepare the individual for

(a) Useful living within the society, and

(b) Higher education’.

In no. 22 (b) and (e), it is stated that ‘in specific term, secondary education shall:

(b) Offer diversified curriculum to cater for the differences in talents,

opportunities and future roles.

(e) Inspire students with a desire for self improvement and achievement of

45

excellence’(p. 17).

But upon all these stated in the National Policy on Education, there is not enough

music teachers in secondary schools to prepare students for higher education let alone

providing them with adequate musical instruments to work with. Also, due to non-

availability of fund, the hire of teachers for expert instructions and for the

organization of school musical contests and festivals are hindered.

Another factor that hinders effective teaching and learning of instrumental music is

mass availability of music. This issue, Abeles, Hoffer, and Klotman (1984) have

these to say:

No other technological changes have had such an impact on world of music as

electro-acoustical reproduction. Not only did it put many performers out of

work…. It affected greatly the way people listen, what they listen to, their

need to perform music, and the way music is marketed. It should also affect

the way music is taught. The fact that there is music virtually everywhere has

encouraged people not to listen to it. They simply cannot give concentrated

attention to all the music they hear each day, and often the conditions under

which the music is heard are not conducive to careful listening. So people

learn to ignore much of what they hear, just as they overlook sounds of traffic,

a clock ticking, and so on. The fact that people acquire the habit of not

listening carefully to music is perhaps the most detrimental effect of its mass

availability (pp. 122-123).

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So, because of mass availability, music has lost its taste with some people. Abeles et

al (1984) also points out that:

Most of the music that people hear today is produced by someone else and

presented by some electro-acoustical means. In previous centuries this was

not so. Every performance was a life performance; if music was desired, the

people themselves or someone they knew had to make it (p. 123).

The presentation of music by some electro-acoustical means and not through life

performance has created some bad effects on the part of teaching and learning of

music in schools. It has created weakness on the part of some learners on learning

instrumental music in both traditional and modern Africa. Okafor (2005:160) has this

to say ‘Instrumentalist acquire their skills through a system of apprenticeship or they

may belong to musical families’. According to Olaniyan (2002):

In our traditional set-up, some people became musicians because their parents

are musicians. The art of music is passed from hand to hand and from an

older generation to the younger one. In this way, children of drummers

become drummers. In Yoruba tradition, for example, the Ayan family passes

the art of dundun drumming from one generation to another (p. 39).

So, some people do not border about going to school since they feel that they have

gotten what they want from their parents who is a musician. So, these also hinder the

progress of teaching and learning of instrumental music in schools.

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2.5.1 Rehearsal and Performance Problems in Instrumental

Music

Non rehearsal and performance of instrumental music which will enable teachers

detect early the shortcomings of students in playing instrumental music are some of

the problems of learning instrumental music. Inexperienced teachers often fail to

discover either their errors generally or individually. There is every tendency that

they will not give adequate solution to the problems. So, if the teacher is not

knowledgeable enough, it will hinder effective general rehearsal procedures as well

as daily teaching instrumental music.

2.5.2 Tone and Pitch

This has to do with the highness (height or depth) of the sound. Some music

directors or conductors do not have the ability of good mental and aural concept of

tone as it has to do with each instrument of band. It is because some music educators

do not possess such ability that they will ignore the sense of tone and pitch in what

the students are playing. According to Leader, J.A. and Haynie, W.S. (1966),

Procedure involves two important pre-requisites: The teacher must know

what to teach, and he must insist that it be learned and applied. The conductor

must develop the habit of noting carefully every player’s position, the position

of body and instrument, and especially the embouchure with players and the

position and use of the bow with string players. Tone production is based

largely on correct physical habits, and these habits must be carefully guided

over a long period of time until they are thoroughly ingrained into the players’

48

‘automatic’ consciousness. Many errors of position, incorrect embouchure,

poor use of bow, and other basic faults are due at times to forgetfulness, too

much attention to other aspects of playing, poor attitude, low level of interest

or morale, and a number of other inadequacies. Despite these difficulties, the

teacher-conductor had best see to it that his students have the appearance of

expert performers in every physical aspect of playing at all times. It is more

likely that a satisfactory tone will result and that musical performance

generally will be far better if these details are always stressed. It is never

wasted time in a full rehearsal to comment on these items to the entire playing

group or to individuals who may be guilty of carelessness (p. 132).

2.5.3 Tone and Intonation

Instrumental students depend on the training the teacher imparts on them. If the

teacher does not teach students the exact and correct thing, there is every tendency

that the tone and the quality of playing or singing exactly in tune will be defeated.

This is one of the basic faults of learning instrumental music and it will be impossible

to produce tone or to control pitch when there is poor habit of tone production. So,

this hinders effective teaching and learning of instrumental music.

2.5.4 Lack of Excursion

Most schools do not organize excursion for their music students to watch expert or

professional group performance. This at least will help to set a good standard for the

student groups and is the best way of bridging the gap between the school and the

world.

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2.5.5 Lesson Time-Table

Another factor that hinders effective teaching and learning of instrumental music is

lack of some administrative interest and support for the programme, and in most

cases time-table allotted to the teaching of music is about 35 – 45 minutes per week

for each class. In most cases, the time-table for music comes towards the end of the

school period and this makes the instruction and assimilation difficult for students

because of tiredness. These therefore affect the scope and content of the lesson

taught.

Also Cope (1998: 266–267) argued that a fundamental problem of teaching

instruments at school was the bias towards a classical tradition which is not familiar

to many children. Our analysis was based on cognition theory in which learning is

viewed as a form of acculturation. The proponents of situated learning argue that if

learning is not culturally embedded it is essentially a meaningless experience for the

learner.

The passage goes on to explain that, this argument meshes with Aiello’s (1994: 3 –

39) second source of musical meaning, one which has been developed by Meyer

(1994: 3 – 39) who argues that meaning derives from expectations built on

familiarity. This means that ‘music in a style with which we are totally unfamiliar is

meaningless’. It may be overstating the case to say that the sort of classically based

but simple tunes often favored by instrument teachers are meaningless - but it is

certainly true that they are unlikely to strike any cultural resonance with more than a

handful of pupils at a typical school. Meyer distinguishes three stages of meaning

which arise from culturally based expectations. In the first, which he calls

50

hypothetical meaning, the listener predicts what will be the consequent of a particular

musical stimulus. There might be a number of possible consequents and so

hypothetical meaning may be ambiguous but, as the music proceeds, the actual

consequent becomes apparent. This gives rise to the second stage of meaning, when

particular hypotheses have been confirmed, a stage which Meyer terms evident

meaning. Only when a work is well known does it acquire determinate meaning in

which all the aspects of the music are realized and their relationships to one another

are comprehended.

It seems reasonable to suggest that a principle of instrument tuition should be that

acquisition of the physical skills will best be achieved when knowledge of the music

being studied is in its most secure form. The physical requirements of the skill bring

enough problems of their own, especially for a beginner. In other words, learners of

musical instruments would be better served if the music they were playing had

determinate meaning for them. Curiously, this is not always, or even often, the case.

Conventional learning of musical instruments almost always rests on the assumption

that the students will learn tunes through reading music. It is instructive to analyse

what this involves in Meyer’s terms. Assuming that the piece engenders some sort of

hypothetical meaning (and if the student is not familiar with the style, it might not)

then that hypothesis has to be confirmed by an interpretation of unfamiliar symbols to

produce sounds on an instrument with which the student has little skill. Of course, for

an experienced player and music reader, determinant meaning may come from merely

looking at the music and it may be that this facility leads to a misjudgment of

difficulty of the task faced by pupils who do not possess this level of skill. But Rees

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(1978: 267), for example, reported that difficulty with reading music was the most

common reason cited for giving up instrument lessons. Music reading is not

emphasized in traditional music and teachers of traditional instruments often teach

children tunes by ear as songs, or even as playground chants, before they expect them

to reproduce the music on an instrument, ensuring that the development of the

physical skill is not hampered by insecure, hypothetical meaning.

2.6 Ways of Enhancing Teaching and Learning of Instrumental

Music

Students enjoy playing musical instruments especially when they can play them

effectively. According to Chelson (1970: 490), ‘Simple melody instruments,

recorder, bells, tonettes and others should be an important part of the classroom

programmes’.

About musical enjoyment, Nettle (1979) states:

One may question how the foregoing mass of technical details contributes to

the enjoyment and appreciation of music. Total appreciation has two

components, emotional intellectual: a person listens, reacts and responds. If

the listener does not go beyond the sensory reactions provided by the listening

experience – that is, if he confines that experiences to the emotional – he

makes contact only with the physical material of music. The composer’s

artistry in manipulating that material to create specific and moving effects

remains undiscovered. Only by being aware of the principles and perceiving

52

those in action can the listener experience total enjoyment of both the

emotional and intellectual components (pp. 649-650).

So, instrumental music is one of the aspects of music education that needs active

participation, practicing by learning it and, listening and appreciation. It should be

regarded as lifelong hobby for everyone because of its rewarding activity such as self

– employment and relaxation.

According to Sur and Schuller (1958):

They take part in music not because someone says they must, but because

they love music. They have no fear of the great masters or modern composers

of music. With enthusiasm and energy they struggle with the music of the

past and present, and in time they gain understanding and love for music that

will be theirs throughout life. They should be able to learn what is needed to

produce different musical groups, learn their instruments and other equipment

and they can equally write and listen to other performers organizations and to

share the inspiration that comes from music (p. 4).

Sur and Schuller (1958: 18) further explained that students should acquire the general

goals of music according to his abilities and interest. ‘Acquire such knowledge about

music as: history of music, form and design of music, symbolism of music, the

quality of tone and other characteristics of the various musical instruments…’ So, if

adequate instruments are provided for students they should be able to acquire

knowledge in playing of different instruments. With the good knowledge of these

instruments they should be able to perform in a band concerts, dance programmes,

etc.

53

According to Huey (1965: 424), ‘the use of a variety of rhythmic instruments gives

children the opportunity to experiment with various rhythms and different kinds of

percussion tunes’. Rhythmic instruments like drums, triangles, bells, rattles, slit

drums etc. So, if attention is given to instrumental music, their will be zeal for

students to respond to the teaching and learning of musical instruments and form a

nice instrumental ensemble in their school.

Since teachers cannot demonstrate the most perfect examples of tone on all the

instruments, a mature student can be of good help or they can call in some private

specialist to teach the instruments. So, with these procedures and also laying constant

emphasis on listening, teaching and learning of instrumental music will be improved.

The teacher should also emphasize constant practice and this in agreement with

Leader, J.A. and Haynie, W.S. (1966) said:

Instrumental playing is an applied process which must be done and not merely

discussed. It should not be necessary to suggest that physical processes and

good playing habits must be studied and improved over a period of time. In

reality, all of these things must be taken together, each in relation to the other,

and it is impossible to learn one, disregard it, and then proceed to the next.

Learning is essentially a process of building experiences on experiences, and

this basic law of learning applies to music. Assuming that playing

fundamentals can be stressed and properly learned, the various factors of

intonation may be presented to the students through discussion accompanied

by demonstration. Two similar instruments - for example, two clarinets –

may be asked to play the same note. If the pitch is not the same, beats (sound

54

waves) will result, which the player is able to hear. If the pitch discrepancy is

wide, the beats will, of course, be rapid and very annoying to the ear. The

reverse is true if the difference in pitch is slight. The use of beats is

fundamental to intonation and its improvement, since most students can hear

these, whereas they may be unable at first to detect whether a particular sound

is sharp or flat. The presence of beats indicates bad pitch, and if players and

teachers alike hear the discrepancies as indicated by the beats, procedures can

be initiated to improve the intonation (p. 135).

It is advisable that teachers should set a basic and standard pitch for the organization

and for individuals but as the players gain maturity and experience, the reliable guide

will be the ear. Another way of enhancing the teaching and learning of instrumental

music is on the processes of improvement on tone and pitch control. It is one of the

elements of musical expression and dynamics which is also another important aspect

of musicianship. In teaching instrumental players, some certain things like elements

of rhythm, tempo, and attack and release should be taken into consideration.

Another way of development on teaching and learning of instrumental music is on the

issue of competition. Teachers of instrumental music in Enugu State should in as

much as possible conduct inter school instrumental competitions because with this

method it will lift up the moral of students in learning instrumental music. Abeles,

H.F., Hoffer, C.R. and Klotman, R.H. (1984: 183) confirmed this in their work. They

stated that ‘the sense of competition that is often developed in musical ensembles is

likely to be successful in motivating some performers to high levels’.

55

2.6.1 Parents Encouragement towards Playing of Musical

Instruments

Parents’ encouragement for instrumental music is not encouraging especially in

Nigeria. When we look into the history of some western composers, we will see that

they benefited from the encouragement they got from their parents. Example of some

of these great composers according to Robert (1993: 146) is Johann Sebastian Back, a

baroque composer, who started early in life to read music and became a composer.

He was a violinist and also organist. He was able to achieve this because he had a

very good background. Another composer according to Robert (1993: 176 & 177)

was Wolfgang Amadeus Mozart, a classical composer who started composing at the

age of five and playing the violin and the clavier. ‘His instrumental music includes

forty-one symphonies, twelve violin concertos, over twenty-five piano concertos,

some fourteen concertos for other instruments, twenty-six string quartets, seventeen

piano sonatas, over forty violin sonatas, and numerous other chamber music works’.

He achieved this because of a very good background he had. Franz Schubert by

Robert (1993: 252) was born of a musical family also were taught early how to play

the violin and piano. His early composition includes string quartets for the family to

play when at home in the holidays, and his first symphony. So, that is the stage when

Nigeria music teachers should teach the children, and later their musical growth can

be enhanced. Bloom et al (1965) and others carried out research to find that young

children can learn rapidly and acquire knowledge. The implication is that children

perform better in the early stage of their lives. Past records have shown that students

who have personal instructors and who live in environments where music is made

56

and also given the encouragement perform much better than those students who did

not have private music instructors. According to Smrekar et al (2001: 75-100)

‘parent involvement represents a powerful and critical mechanism with which to

enhance the relationships between home and school’.

Steen (2010) goes further to state:

Students whose parents are involved in their education are more likely to have

higher grade point averages, are less likely to get suspended or expelled from

school, and tend to have more postsecondary options, including matriculation

to college, than students whose parents and families are not involved (p. 12).

Andrea Creech and Susan Hallam (2003) also stated that,

An experimental study involving beginning band students (Brokaw, 1982)

designated a group of parents who undertook supervision of home practice,

and found that ‘while it was not surprising to discover a strong relationship

between the amount of time a student spends practicing and the students’

achievement in performance…the amount of time spent by parents in

supervising home practice is even a better predictor of successful achievement

in the initial stages of development’ (Brokaw, 1982: 97). Doan (1973: 79)

had already produced similar results in his study of seventh – and eighth –

grade violin students. Amongst a number of factors, parental supervision of

practice and parent attendance at the child’s concerts were identified by Doan

as being significantly correlated to student achievement on the violin, and he

concluded that ‘a significant relationship was observed between Parental

involvement scores and Inventory of Performance Ability scores’ (pp. 32-33).

57

According to Hulsebosch (1991: 191) ‘High involvement teachers typically

acknowledge and respect the child’s out-of-school life, regard the parents as an asset,

and describe instances in which the skills, knowledge and abilities of the parents are

integrated into the classroom curriculum’. Broader, Bolder Approach Task Force

(2008) goes further and stated that,

The constructive use of out-of-school time helps ensure that the learning that

occurs during the typical school day is not lost during weekends, holidays, or

summer vacations. Within the framework of the broader, bolder approach to

education, enrichment programs would no longer be considered ancillary to

the efforts taking place in schools, but as a necessary component of schooling

offering additional positive assets to counter any challenges to students’

learning, growth, and development.

Parent involvement help in terms of the outcome for the developing child and this

leads to external motivation for the child to sit down and read more. Parent

encouragement helps students to improve the performance of students.

58

CHAPTER THREE

RESEARCH METHODOLOGY

In this chapter, the researcher focuses on the general procedure and techniques

adopted for the study. It includes research design, area of the study, the population of

the study, sample and sampling techniques, instrument for data collection, validation

and reliability of instruments, method of data collection and method of data analysis.

3.1 Research Design

This study is a survey research. The structured questionnaire was used to obtain

information from the respondents. The survey is aimed at finding out the factors

hindering the effective teaching and learning of instrumental music in Enugu State

junior secondary schools. According to Nworgu (1991)

As generally conceived, a survey research is one in which a group of people

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

items considered to be representative of the entire group. The survey plan or

survey design specifies how such data will be collected and analyzed (p. 55).

The survey design therefore lays a format for data collection and makes it easy for

respondents to respond to questions asked by the researcher to facilitate analysis of

the data so collected.

59

3.2 Area of Study

The research is carried out in 9 schools in post primary schools and in three

Educational zones at both urban and rural areas of Enugu state. In each zone, three

schools were visited and the total numbers of nine schools were visited on the whole.

The zones visited are Nsukka, Obollo, and Enugu educational zones with 60, 50 and

46 secondary schools respectively. The schools visited are schools where music is

taught, and at the time of the study, there were 18 secondary schools that offer music

in all the zones.

3.3 Population of the Study

The population of the study comprises all the music teachers, the principals, School

Board, and music students in the selected secondary schools in the three zones of

Enugu state. In each secondary school, 40 students were used. In each zone 120

students were selected, and on the whole 360 music students, representing 23.9% of

the target population, were used for the study.

3.4 Sample and Sampling Techniques

A total of nine schools were chosen by stratified random sampling with the total

population of three hundred and sixty students (360) who were also chosen by simple

random sampling. An arm of junior secondary two (JS II) students was chosen in

each school to make up a total number of 360 students.

60

Table 3:1 Sample population

Name of School Zone No. of Music

Students

No. of Music

Teachers

Community Sec.

School, Ede-Oballa

11

Nsukka 40 1

Community Sec.

School, Alor Uno

Nsukka 40 1

Nsukka H. S. Nsukka

1

Nsukka 40 1

Boys’Sec. School,

Ovoko

Obollo 40 1

Girls’ Sec. School,

Obollo-Afor

Obollo 40 1

Girls’Sec. School,

Ibagwa-Aka

Obollo 40 1

Union Sec. School,

Awkunanaw, Enugu

Enugu 40 1

Uwani Sec. School,

Enugu

Enugu 40 1

3.5 Instrument for Data Collection

The instrument for data collection for the study is the questionnaire. The

questionnaire was divided into two parts. Part 1 dealt with the personal data of the

respondents while part 2 dealt with information on factors that hinder effective

teaching and learning of instrumental music and the respondents were requested to

indicate their opinions on the 4-point modified Likert-type response scale of: 4 -

Strongly Agree, 3 - Agree, 2 - Disagree, and 1 - Strongly Disagree. This was done

by ticking the appropriate box in the questionnaire.

61

3.6 Validation of Instrument

In order to ensure face, content and construct validity of the instrument for data

collection, a rough draft of the questionnaire designed by the researcher herself for

the teachers, the principals, the students and the school boards were sent alongside

with the research questions to two experts in music education. These two experts

taken from the field of Music Education at the University of Nigeria, Nsukka went

through the items in the rough written version of the questionnaire in terms of clarity,

appropriateness of the language, appropriateness of the instructions to the

respondents, coverage and structure of the instruments. They made some corrections

that led to the modification of the rough draft before the final version of the

instruments were produced.

3.7 Reliability of Instrument

The internal consistency of the questionnaire was ascertainable through the

application of the purposive sampling techniques because not all the schools in the

zone teach music. The items were designed to test three hundred and sixty (360)

students, eleven (11) qualified music teachers posted to the school, number of periods

they do in the schools, nine (9) principals and sixty (60) state government officials to

determine those factors that hinder effective teaching and learning of instrumental

music in junior secondary schools in Enugu state.

62

3.8 Method of Data Collection

The instruments were administered personally by the researcher that collects them

immediately to prevent loss.

3.9 Method of Data Analysis

The researcher used mean scores on the Likert-type response scale to analyze the data

collected from the questionnaire. Items with the mean scores between 3.50 – 4.00 are

scored Strongly Agree, 2.50 – 3.00 are scored as Agree, 1.50 – 2.00 Disagree, and

0.50 – 1.00, Strongly Disagree.

63

CHAPTER FOUR

RESULTS

This chapter is concerned with the presentation of the results based on the research

questions.

Table: 4.1 Shows the schools used for the study, their teachers and zones.

NAME OF SCHOOLS ZONE NUMBER

OF MUSIC

TEACHERS

Community Secondary School, Ede-Oballa II Nsukka 1

Community Secondary School, Alor-Uno Nsukka 1

Nsukka High School, Nsukka 1 Nsukka 1

Boys’ Secondary School, Ovoko Obollo 1

Girls’ Secondary School, Obollo – Afor Obollo 1

Girls’ Secondary School, Ibagwa – Aka Obollo 1

Union Secondary School, Awkunanaw-Enugu Enugu 3

Uwani Secondary School, Enugu Enugu 1

Girls’ Grammar School, Awkunanaw Enugu 1

TOTAL 11

64

This table shows that the schools in the three educational zones of the State are fairly

represented with the total number of eleven teachers.

Table 4.2 Number of qualified Music Teachers

Name of Schools No. of Music

Teachers

TC II Diplomas NCE BA BAED MA MAED

CSS, Ede-Oballa II 1 - - - 1 - - -

CSS, Alor-Uno 1 - - - - 1 - -

Nsukka H.S.Nsukka 1 1 - - - 1 - - -

BSS, Ovoko 1 - - - - 1 - -

GSS, Obollo-Afor 1 - - 1 - - - -

GSS, Ibagwa-Aka 1 - - - 1 - - -

USS, Awkunanaw 3 - - - 3 - - -

USS, Enugu 1 - - 1 - - - -

GGS, Awkunanaw 1 - - - - 1 - -

Table 4.2 shows the total number of music teachers in each school, and their

qualifications. In this study, eleven teachers are qualified to teach music. The

problem is that there is one teacher per school except Union Secondary School,

Awkunanaw Enugu that has three teachers. So, most schools that have one music

teacher suffer from excess work-load of covering three streams.

65

Table 4.3 Years of working experience of each Teacher

Name of Schools No. of

Music

Teachers

Years of experience

1-5 6-10 11-15 16-20 21years

and above

CSS, Ede-Oballa II 1 1

CSS, Alor-Uno 1 1

N.H.S. Nsukka 1 1 1

BSS, Ovoko 1 1

GSS, Obollo-Afor 1 1

GSS, Ibagwa-Aka 1 1

USS, Awkunanaw 3 1 1 1

USS, Enugu 1 1

GGS, Awkunanaw 1 1

Table 4.3 above shows that five music teachers have teaching experience, ranging

from one to five years while three music teachers have teaching experience, ranging

from six to ten years, one music teacher from eleven to fifteen years, two music

teachers from sixteen to twenty years respectively.

Table 4.4 Teachers response to the questionnaire Research Question 1

What are the teacher related factors that hinder the teaching and learning of

instrumental music in the schools?

S/N QUESTIONS SA A D SD MEAN

1 Lack of local musical instrument. - - 7 4 1.6

2 Lack of western musical instrument. 5 6 - - 3.5

3 Lack of fund to purchase local musical

instrument.

3 1 7 - 2.6

4 Lack of fund to purchase western musical

instrument.

6 3 2 - 3.4

66

5 Lack of qualified local instrumental music

teachers.

1 2 8 - 2.4

6 Lack of qualified western instrumental music

teachers.

4 7 - - 3.4

7 Nonchalant attitude of music teachers towards

the teaching of instrumental music.

3 6 2 - 3.1

8 Lack of encouragement by school

administrators.

6 2 2 1 3.2

9 Insufficient time allocated for instrumental

music study on school time-table.

6 4 - 1 3.4

10 No incentives for music teachers. 7 3 - 1 3.5

11 Too much work-load allotted to music teacher

affect the teaching of instrumental music.

8 2 1 - 3.6

12 No refresher course for workshops, and

seminars for instrumental music teachers.

7 3 - 1 3.5

13 Teachers of instrumental music do not have

band, choir, and traditional dance groups in

other to make instrumental music group a

success.

- 1 7 3 1.8

14 Music teachers do not organize regular music

concerts for the school, and community.

- 2 6 3 1.9

15 Music teachers do not engage their students on

excursions to television houses, higher

institutions, etc.

- - 8 3 1.7

The mean responses for questions 1 is 1.6 showing that lack of local musical

instrument does not hinder the teaching and learning of instrumental music in the

schools. Questions 5, 13, 14, and 15 have mean scores of 2.4, 1.8, 1.9 and 1.7

respectively. The low mean scores recorded here indicate that most of the teachers

used for the study disagree that lack of qualified local instrumental music teachers

hinder the teaching and learning of instrumental music in the schools. They also

disagree that teachers of instrumental music have band, choir, and traditional dance

groups in other to make instrumental music group a success let alone music teachers

67

organizing regular music concerts for the school, and community. They also

disagree that music teachers engage their students on excursions to television houses,

and higher institutions.

The mean of question 2, 3, 4, 6, and 7 are 3.5, 2.6, 3.4, 3.4 and 3.1 respectively.

Questions 8, 9, 10, 11, and 12 also have mean scores of 3.2, 3.4, 3.5, 3.6, and 3.5

respectively. The high mean scores recorded here indicate that most of the teachers

used for the study agree that lack of western musical instrument, lack of fund to

purchase it, lack of qualified western instrumental music teachers, nonchalant attitude

of some music teachers, lack of encouragement by school administrators, insufficient

time allotted for the teaching of instruments, no incentives for music teachers affects

the teaching and learning of instrumental music. They also indicate that too much

work-load allotted to music teachers, and no refresher course for workshop, and

seminars for instrumental music teachers affect the teaching and learning of

instrumental music in the schools.

Table 4.5 Workers qualifications in the zone

Name of

zone

Gradu

ates

FSLC TCII Diplo

ma

NCE B.A BA

ED

B.ED B.SC M.ED MAE

D

MA MSC PHD

Nsukka 15 3 - - - 4 - - 11 - - - - -

Obollo 15 1 - - 1 2 2 - 8 1 - - 1 1

Enugu 15 1 1 - 3 5 - 3 4 1 - 2 - -

68

In this table, there are fifteen graduates in Nsukka Zone, fifteen in Obollo Zone and

fifteen graduates in Enugu zone. Out of the three zones, there are two graduates in

music in Obollo zone, while in Nsukka and Enugu zones there is no graduate in

music. So, there are not enough representatives that will speak in defense of music

education if the need arises and this is another factor that hinders the teaching and

learning of music in junior secondary schools in Enugu state.

Table 4.6 Years of working experience of workers in the zone

Name of Zones Years of Experiene

1 – 5 6 - 10 11 – 15 16 - 20 21 and above

Nsukka - - 2 6 12

Obollo - 1 2 4 13

Enugu - 1 3 4 12

About the years of working experience of workers in this table, there are so many

experienced workers ranging from 21 years and above in the three zones, but most of

them did not study music at all.

Table 4.7 State government officials’ responses to the questionnaire

What are the government-related factors that hinder the teaching and learning of

instrumental music in secondary schools?

S/N QUESTIONS SA A D SD MEAN

69

1 Lack of musical instruments is a hindrance to teaching

and learning of music

38 22 - - 3.6

2 Government makes provision for instrumental music

training

2 11 33 14 2.0

3 The State government sponsor music festivals and

organizes regular inter-school instrumental music

competitions

1 17 33 9 2.2

4 Instrumentalist teachers are useful in the society 21 38 - 1 3.3

5 The Ministry of Education always sends music specialists

from the Education Officers under her management to

supervise the teaching of music in secondary schools

10 16 19 15 2.4

6 There are enough qualified teachers of instrumental

music in secondary schools

2 5 27 26 1.8

7 Government and philanthropists should help to supply

music equipment to schools

31 24 2 3 3.4

Question 1 of Table 2 showed that 38 government officials strongly agreed that

instrumental music is very essential to the enhancement of teaching and learning of

music, while 22 agreed to it also. The mean of the responses is 3.6

Question 2, 3, 5, 6, and 8 with the mean scores of 2.0, 2.2, 2.4, 1.8, and 2.0 are

regarded as having no significant influence as factors hindering the effective teaching

and learning of instrumental music in secondary schools. The mean responses for

questions 4 and 7 on this table are 3.3 and 3.4 respectively. This means that most

government officials that responded to the questionnaire items agreed that

instrumentalist teachers are useful in the society. They also indicate that government

and philanthropists should help to supply music equipment to schools.

Table 4:8 Qualifications of Principals

Name of

school

Grad

uates

FS

LC

TC

II

Dipl

oma

NCE B

A

BAE

D

B.E

D

BSC M

A

MAED M.ED MSC PhD

70

CSS

Ede-

Oballa II

1

CSS

Alor-Uno

1

NHS 1 1

BSS

Ovoko

1

GSS

Obollo

Afor

1

GSS

Ibagwa

Aka

1

USS

Awkunan

aw

Enugu

1

USS

Enugu

1

GGS

Awkunan

aw

1

Table 4.8 shows that all the principals are graduates and some of them have Master’s

Degree but none of them is a graduate of music.

Table 4.9 Years of working experience of Principals

Name of School Years of Experience

1 – 5 6 - 10 11 - 15 16 - 20 21 and above

CSS Ede-Oballa II 1

CSS Alor Uno 1

71

NHS Nsukka 1 1

BSS Ovoko 1

GSS Obollo Afor 1

GSS Ibagwa Aka 1

USS Awkunanaw

Enugu

1

USS Enugu 1

GGS Awkunanaw 1

This table shows that the years of working experience of all the principals used for

the study are from 21 years and above.

Table 4.10 Principals response to the questionnaire

What are the administrator- related factors that hinder the teaching and learning of

instrumental music in the schools?

S/N QUESTIONS SA A D SD MEAN

72

1 The administrative head (Principal) adequately supports the

study of instrumental music

3 5 - 1 3.1

2 Needed musical instruments and equipment are provided

by the school

- 7 - 2 2.6

3 The administrative head allocates sufficient fund for the

procurement of musical instruments in the school

- 6 12 1 2.1

4 There are spacious accommodation for the teaching of

instrumental music

- 9 - - 3.0

5 There are spacious accommodation for storage of musical

instruments

2 7 - - 3.2

Question 1 in table 4.10 shows that 3 of the respondents strongly agreed, and 5 also

agreed that the administrative head (Principal) adequately support the study of

instrumental music while one person strongly disagreed. The mean of the response is

3.1. The mean responses for questions 2, 3, 4, and 5 in this table are 2.6, 2.1, 3.0 and

3.2 respectively. This means that most of the principal respondents to the

questionnaire items agreed that needed musical instruments and equipment

instruments are provided by the school, but the administrative head does not allocate

sufficient fund for the procurement of musical instruments in the school. They also

agreed that there is spacious accommodation for the teaching of instrumental music

as well as spacious accommodation for storage of musical instruments.

Table 4.11 Students responses to the questionnaire

What are the student- related factors that hinder the teaching and learning of

instrumental music in the schools?

S/N QUESTIONS SA A D SD MEAN

73

1 I find the learning of instrumental music

interesting

187

51.94%

135

37.5%

24

6.67%

14

3.89%

3.4

2 There are enough musical instruments for

the study of instrumental music in the

school

51

14.17%

70

19.44%

107

29.72%

132

36.67%

2.1

3 My parents encourage me to study

instrumental music

64

17.77%

109

30.28%

113

31.39%

74

20.56%

2.5

4 Instrumental music is too difficult to learn 62

17.22%

86

23.89%

129

35.83%

83

23.06%

2.4

5 There are not enough teachers of music in

my school to handle instrumental music

97

26.95%

99

27.5%

71

19.72%

93

25.83%

2.6

6 I like to study instrumental music 167

46.39%

113

31.39%

35

9.72%

45

12.5%

3.1

7 I do not like instrumental music because it

is time consuming

58

16.1%

62

17.22%

90

25%

150

41.67%

2.1

8 Studying instrumental music will help me

overcome stage fright

127

35.28%

108

30%

58

16.11%

67

18.61%

2.8

9 Teaching instrumental music in school is

not necessary

40

11.11%

61

16.94%

104

28.89%

155

43.06%

2.0

10 Musical signs and symbols scare me away

from instrumental music

68

18.89%

71

19.72%

108

30%

113

31.39%

2.3

11 I will like to be an instrumentalist when I

leave school

119

33.06%

75

20.83%

60

16.67%

106

29.44%

2.6

12 My parents are not in support of my

studying instrumental music

52

14.44%

79

21.95%

109

30.28%

120

33.33%

2.2

13 I expect my parents to provide necessary

musical equipment for my music studies

133

36.95%

111

30.85%

58

16.11%

58

16.11%

2.9

74

14 My parents believe that instrumental music

does not contribute to my growth and

development.

66

18.33%

86

23.89%

92

25.56%

116

32.22%

2.3

15 Musicians can have normal family life 163

45.28

108

30%

41

11.39%

48

13.33%

3.1

16 I doubt that Instrumentalists live a normal

family life

41

11.39%

42

11.67%

107

29.72%

170

47.22%

1.9

17 My parents think that instrumental music is

an extra curricular activity

68

18.89%

113

31.39%

95

26.39%

84

23.33%

2.5

18 My parents discourage me from practicing

musical instrument at home

48

13.33%

97

26.95%

112

31.11%

103

28.61%

2.3

19 My parents look down on music teachers 61

16.94%

45

12.5%

117

32.5%

137

38.06%

2.1

Question 1 of Table 4.11 shows that majority of the students agreed that they found

instrumental music learning interesting with the mean score of 3.4. But in question 2,

students disagreed that there are enough musical instruments for the study of

instrumental music in the school, with the mean score of 2.1. But in question 3,

students agreed that their parents encourage them to study instrumental music with

the mean score of 2.5.

In question 4, students disagreed that the instrumental music is too difficult to learn

with the mean score of 2.4 and in question 5 with the mean score of 2.6, they agreed

that there are not enough teachers of music in their school to handle instrumental

music as well as question 6 students agreed that they like to study instrumental music

with the mean score of 3.1. 240 out of 360 students who responded to the

75

questionnaire disagreed with the statement ‘I do not like instrumental music because

it is time consuming’.

In question 8, students agreed that studying instrumental music will help them

overcome stage fright with the mean of 2.8 and in question 9 and 10 they disagreed

with the statement that teaching instrumental music in school is not necessary and

that musical signs and symbols scare me away from instrumental music. The mean

of their responses are 2.0 and 2.3 respectively. Students even accepted the statement

in question 11 that – I will like to be a musician when I leave school with the mean

score of 2.6. They also rejected the statement in number 12 that parents are not in

support of their children studying instrumental music. The mean of their responses is

2.2.

Students like music but the support given to them by their parents is very poor. In

number 13, students agreed with the statement that parents should provide necessary

musical equipment for their children. So parents should not wait for government for

the provision of necessary musical equipment because in most cases they do not

provide anything. The statement in number 15 was also accepted by the students that

musicians can have normal family life with the mean score of 3.1. They also agreed

in question 17 that parent think that instrumental music is an extra curricular activity.

And this is the more reason why parents do not purchase instruments for their

children because they thought it is not important. Students also rejected the statement

in numbers 14, 16, 18 and 19. They have mean scores of 2.3, 1.9, 2.3, and 2.1

respectively. The low mean scores recorded here indicate that most of the students

used for the study disagreed that many parents believe that instrumental music does

76

not contribute to the growth and development of a child and that musicians do not

live a normal family life. The statement that parents discourage their children from

practicing musical instrument at home and parents look down on music teachers are

not factors. They have no significant effect; the problem was on item 5 with high

mean of 2.6. This means that there are not enough teachers of music in their school

to handle instrumental music.

77

CHAPTER FIVE

DISCUSSION OF RESULTS

Instrumental music, which involves both Western and African musical instruments,

are each grouped into four families. The Western musical instrument comprises

string, woodwind, brass and percussion families. The African musical instrument

comprises, membranophone, idiophone, chordophone and aerophone families.

Today, instrumental music help people to gain enough proficiency in playing musical

instruments which makes it possible for people to be active participants in music.

Despite all these, there are many factors that hinder effective teaching and learning of

instrumental music in schools.

Data collected from questionnaire were analyzed using tables showing frequencies,

percentages and mean of the responses of the research population. The respondents

were drawn from teachers, government, administrative heads (principals), students

and related factors. Research question one shows the discussion and interpretation of

research questions designed for teacher-related factors that hinder effective teaching

and learning of instrumental music in the schools. There were also discussion and

interpretation of research questions two, three, and four respectively.

5.1 Outline of Major Findings

Research Question 1

What are the teacher-related factors that hinder the teaching and learning of

instrumental music in the schools?

78

From the tables used for the study, the schools in the three Educational zones of

the state are fairly represented with the total number of eleven teachers. The

available number of teachers is inadequate. It is only Union Secondary School,

Awkunanaw Enugu that has up to three teachers; other schools have one teacher

each which is not adequate.

In Table 4.2, it shows the number of trained and qualified music teachers. From

the table, there are nine music graduates, and two NCE holders. This means that

there are too much work load allotted to teachers due to low number of teachers in

most schools and this hinders the effective teaching and learning of instrumental

music in the schools. Table 4.3 shows that teachers have enough years of

experience but the problem is that the work load per teacher is too much.

According to the present findings, the available qualified music teachers cannot

meet up with the ever-increasing number of music students in the junior

secondary schools.

From table 4.4, teachers’ responses to question 1 shows that the mean score to

this question is 1.6. This means that lack of local musical instrument has no

significant effect on the teaching and learning of instrumental music. The major

problem is therefore inadequate number of music teachers and this leaves too

much work for the few available teachers.

In question 2, the mean score is 3.5. This means that most teachers used for the

study agree that lack of western musical instrument hinder the effective teaching

and learning of instrumental music. But in question 3, teachers disagree that lack

79

of fund to purchase local musical instrument was a problem, but where there is

problem was in question 4 where teachers agreed that lack of fund to purchase

western musical instrument hinder effective teaching of instrumental music. In

question 5, lack of qualified local instrumental music teachers has no significant

effect, except question 6 where all teachers agreed that lack of qualified western

instrumental music teachers was a problem.

Teachers’ responses to questions 7, 8, 9, 10 and 12 has positive response in that

teachers agreed that nonchalant attitude of music teachers towards the teaching of

instrumental music, lack of encouragement by school administrators, insufficient

time allocated for instrumental music study on school time-table, no incentives

for music teachers, too much work load allotted to music teachers and no

refresher course for workshops, and seminars for instrumental music teachers

affect the teaching and learning of instrumental music. In other hand, teachers

responses on questions 13, 14, and 15 has no significant effect on the teaching

and learning of instrumental music with low mean of 1.8, 1.9 and 1.7

respectively. So, they disagreed that teachers of instrumental music have band,

choir, and traditional dance group, also that music teachers organize regular music

concerts for the school, and community as well as music teachers engaging their

students on excursions to television houses, or higher institutions to make

instrumental music group a success.

Research Question 2

What are the government related factors that hinder the teaching and learning of

instrumental music in secondary schools?

80

In Table 4.5, it shows the workers qualifications in the zones. From the table, in

Nsukka zone, there are fifteen graduates and three First School Leaving

Certificates holders but none of them is a graduate in music. In Obollo zone,

there are fifteen graduates, one First School Leaving Certificate, one Nigerian

Certificate in Education and one Doctor of Philosophy – Ph.D. Out of these

graduates, there are only two music graduates. In Enugu zone, there are fifteen

graduates, one First School leaving Certificate, one TCII, and three N.C.E.

holders. So, there are few music graduates on the whole that will serve as

representative in music.

In table 4.6, the years of working experience of workers in Nsukka zone are

between 11 – 15 years; 2 persons, 16 – 20 years 6 persons and 21 years and

above 12 persons but in Obollo zone and Enugu zone, there years of working

experience ranges from 6 - 10, 11 – 15, 6 – 20 and 21years and above

respectively.

In table 4.7, item 1, the whole workers agreed that the instrumental music is very

essential to enhancement of teaching and learning of music with the mean

response of 3.6. Item 2, 3, 5, 6, and 8 were rejected with the low mean of 2.0,

2.2, 2.4, 1.8 and 2.0 respectively. This means that government does not make

appropriate provision for instrumental music training. It was also indicated that

the State government does not sponsor music festival and the Ministry of

Education does not always send music specialists from the Education Officers

under her management to supervise the teaching of music in secondary schools.

There are not enough qualified teachers of instrumental music in secondary

81

schools and it was disagreed that State government organizes regular inter school

instrumental music competitions.

In items 4 and 7, it was agreed that instrumentalist teachers are useful in the

society and government and philanthropists should help and supply music

equipment to schools.

Research Question 3

What are the administrators’ related factors that hinder the teaching and learning

of instrumental music in the schools?

In Table 4.8, it shows that non of the principals is a graduate of music, and in

table 4:9, it shows that all the principals’ years of working experience are 21 years

and above.

In Table 4.10, the principals’ responses to item 1 show an average score of 3.1.

This implies that the administrative head (principal) adequately support the study

of instrumental music. This is further confirmed in item 2 in the same table,

which has an average score of 2.6. The latter shows that most principals agreed

that needed musical instruments and equipment instruments are provided by the

school. Item 3 which deal with the sufficient fund for the procurement of musical

instruments in the school has an average score of 2.1. This shows that the

administrative head do not allocate sufficient fund for the procurement of musical

instruments in the school.

82

Analysis shown in item 4 and 5, have an average score of 3.0 and 3.2

respectively. This shows that principals have spacious accommodation for both

teaching of instrumental music and storage of musical instruments.

Research Question 4

What are the student related factors that hinder the teaching and learning of

instrumental music in the schools?

Students’ responses to item 1 of Table 4.11 show that the mean score to this item

is 3.4. This means that students find instrumental music learning interesting.

Moreover, the mean score of item 3 on the same table is 2.5. This means that

parents encourage their children to study instrumental music. Item 2, 4, 7, 9, and

10 were rejected with the low mean of 2.1, 2.4, 2.1, 2.0, and 2.3 respectively.

These mean that in item 2, there are not enough musical instruments for the study

of instrumental music in the school. In item 4, students disagreed that

instrumental music is too difficult to learn. In item 6, students agreed that they

like to study instrumental music with the high mean of 3.1. In item 8 students

also agreed that studying instrumental music will help them overcome stage fright

with the mean of 2.8. They went further in item 11 and agreed that they will like

to be a musician when they leave school with the mean of 2.6. Students also

agreed in item 15 that musicians can have normal family life with the high mean

of 3.1 but the problem was in item 13 with the mean of 2.9. This means that it

was agreed that parents should provide necessary musical equipment for their

children but the reverse was the case. Most parents do not provide the necessary

83

musical equipment and without the provision of musical instruments, learning

instrumental music will be an up hill task. This was confirmed in item 12, 14, 16,

18, and 19 with the low mean of 2.2, 2.3, 1.9, 2.3, and 2.1 respectively. These

means that these statements – parents are not in support of their children studying

instrumental music, many parents believe that instrumental music does not

contribute to the growth and development of a child, musicians do not live a

normal family life, parents discourage their children from practicing musical

instrument at home, and that parents look down on music teachers were all

rejected. It means that all these items mentioned have no significant effect on the

teaching of the subject. The major problem is provision of musical instruments

by the parents since the students are interested in studying instrumental music.

This was confirmed in item 15 with the high mean of 3.1. Here students agreed

that musicians can have normal family life.

Item 17, of this table also shows that parents think that instrumental music is an

extra curricular activity with the mean of 2.5. This is one of the reasons why

parents do not support their children in studying instrumental music because they

take it as a meaningless activity which is not true. Item 7 with the low mean of

2.1 had no significant effect since students know that after stressing themselves in

studying, they will reap the good seeds they have sown. In item 9, one hundred

and fifty five (155) students strongly disagreed that with the statement that

teaching instrumental music in school is not necessary and in item 10 one

hundred and thirteen students strongly disagreed with the statement that musical

signs and symbols scare me away from instrumental music with the low mean of

84

2.3. These means that the teaching of instrumental music is necessary and

musical signs and symbols is not something that should scare them away in the

study of instrumental music. The problem is in item 5 which states that there are

not enough teachers of music in my school to handle

instrumental music with the mean of 2.6.

Summary

This study was focused on factors that hinder effective teaching and learning of

instrumental music in Junior Secondary Schools in Enugu State. Four research

questions were raised to guide the study. 11 teachers, 9 principals and 360

students were drawn randomly from 9 schools, and 60 government officials from

3 zonal offices were used as sample.

From the findings of this study, it was revealed that the effective teaching and

learning of instrumental music is hindered by lack of western musical instrument,

lack of fund to purchase western musical instrument, lack of qualified western

instrumental music teachers, nonchalant attitude of some music teachers – music

teachers does not engage their students on excursions to television houses, and

higher institutions, lack of encouragement by school administrators, insufficient

time allotted for the teaching and learning of instruments, no incentives for music

teachers like science teachers, no refresher course for workshops, and seminars

particularly for music teachers are major factors being the obstacle to the effective

teaching and learning of instrumental music in our junior secondary schools.

85

The researcher recommended provision of western musical instruments, recruitment

of more qualified music teacher to handle instrumental music, which will in turn

reduce workload on the available serving teachers; the State government should

sponsor music festivals and also organize regular inter-school instrumental music

competitions; and refresher course for workshops, seminars for music teachers.

These will serve as measures to improve the teaching and learning of instrumental

music in junior secondary schools in Enugu state.

5.2 Educational Implications

The following educational implications become known from the findings of this

study:

(1) Lack of western musical instrument: Students value western instruments

than African instruments. In all the schools that offer music, they have

local instruments but the problem lies on the lack of western instruments.

If there is western instrumental ensemble in all the schools that offer

music, it would have been a better way of studying instrumental music in

junior secondary schools in Enugu state. Instrumental music gives joy and

raises students’ morale. It should not be neglected because it gives

promotion to the study of music.

(2) Lack of qualified western instrumental music teachers: Government does

not recruit adequate music teachers let alone instrumental music teachers.

Most schools do not offer music as a subject due to lack of music teachers.

Hardly do you get two music teachers in one school in the schools that

86

offer music but in other subjects, there is a teacher in one stream. The

lack of teachers in Music Department in junior secondary schools leaves

too much amount of work for the few available ones, and this hinders the

effective teaching of instrumental music greatly. This lack of qualified

music teachers is a major cause of students’ low achievement in music

studies and the strength of the few available music teachers do not meet

up with the ever - increasing number of music students in our junior sec

schools.

5.3 Recommendations

Based on the findings of the study, the researcher recommended the followings:-

1. Teachers should learn to improvise where there are no musical

instruments in their schools instead of complaining. For example, when

teaching a topic such as rhythm, and there are no standard musical

instruments to play for students the teacher can clap or sing in order to

make practical what he or she is teaching.

2. Solo and small ensemble. The teacher should start by forming small

ensemble. By this students will take part in instrumental music and

learn several solos and also play in a small ensemble.

3. Music teachers should organize regular music concerts for the school, and

community. This method will force the administrative head (principal) to

87

make adequate plans on how to provide the necessary musical instruments

for the study of instrumental music.

4. Music teachers should engage their students on excursions to television

houses, higher institutions, etc. This will also up lift the study of

instrumental music and it will lift up the students’ morale and it will act as

an enforcement measure for parents to help in buying the children/ward

some musical instruments.

5. Enugu state government should employ more instrumental music teachers

who are qualified to handle the ever growing population of music students

in our secondary schools. The teacher – student ratio should be 1: 40 and

not 1: 840. In other words, it means one teacher taking care of the whole

students in junior classes which is not recommended anywhere.

6. Refresher courses for the music teachers is important and should be

organized

so that it will be an opportunity for all music teachers to participate.

7. Time-table allotted to the teaching and learning of music should be given

serious attention so that teachers will have enough time to teach musical

instruments.

8. Music experts should be involved in the structure of syllabus so that it will

be planned well.

9. Music textbooks should be provided in the school library so that students

can go in and read music textbooks among other books.

88

10. Music room should be built for schools so that they can have a regular

chalk-board with staff line.

11. The State Government should send music inspectors or supervisors

regularly to secondary schools in Enugu state for adequate supervision.

5.4 Limitations of the study

The researcher could not reach the JS 2 students in Girls’ Grammar School,

Awkunanaw - Enugu because they are not offering music in JS 2. Consequently,

the questionnaires were rather administered to JS 3 students. This limitation

however does not invalidate the findings of the study.

5.5 Suggestions for further studies

Based on the findings of this study, the researcher suggests the following as topics

for further studies on the issue of instrumental music.

1. Strategies for procuring adequate number of instrumental music teachers for

junior secondary schools in Enugu state.

2. Home – based methods for improving the teaching and learning of

instrumental music for the young children

89

5.6 Summary and Conclusion

From the findings of this study, it can be seen that the effective teaching and learning

of instrumental music is hindered by lack of western musical instrument, lack of fund

to purchase western musical instrument, lack of qualified western instrumental music

teachers, nonchalant attitude of some music teachers – music teachers does not

engage their students on excursions to television houses, and higher institutions, lack

of encouragement by school administrators, insufficient time allotted for the teaching

and learning of instruments, no incentives for music teachers like science teachers, no

refresher course for workshops, and seminars particularly for music teachers, are

major factors being the obstacle to the effective teaching and learning of instrumental

music in our junior secondary schools.

90

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APPENDIX 1

List of schools used for the study in the 3 zones:

1. Community Secondary School, (CSS) Ede-Oballa II

2. Community Secondary School, (CSS) Alor-Uno

3. Nsukka High School, (NHS) Nsukka I

4. Boys’ Secondary School, (BSS) Ovoko

5. Girls’ Secondary School, (GSS) Obollo-Afor

6. Girls’ Secondary School, (GSS) Ibagwa-Aka

7. Union Secondary School, (USS) Awkunanaw-Enugu

8. Uwani Secondary School, (USS) Enugu

9. Girls’ Grammar School, (GGS) Awkunanaw

95

APPENDIX II

TEACHERS’ QUESTIONNAIRE

Department of Music,

University of Nigeria,

Nsukka

.

30th

September, 2010

Dear Sir/Madam,

QUESTIONNAIRE ON FACTORS THAT HINDER EFFECTIVE

TEACHING AND LEARNING OF INSTRUMENTAL MUSIC IN JUNIOR

SECONDARY SCHOOLS IN ENUGU STATE

I am a Postgraduate student of the Department of Music, University of

Nigeria, Nsukka. I am writing a thesis on ‘Factors That Hinder Effective Teaching

and Learning of Instrumental Music in Junior Secondary Schools in Enugu State’.

Please kindly supply answers to the questions raised in the attached

questionnaire by ticking in the appropriate box. The information supplied here will

be used strictly for academic purposes and treated confidentially.

Thanks for your co-operation.

Yours faithfully,

Okoro, E.I. (Mrs.)

96

Section A

___

Personal Data: Please fill or tick /___/ in the blank spaces as the case may be.

1. Name of

School………………………………………………………………

____ ____

2. Sex (a) Male /___/ (b) Female /___/

____ ____ ____

3. Age 18 – 27 /___/ 28 – 37 /___/ 38 – 60 /___/

____ ____

4. Marital Status: Single /___/ Married /___/

5. Educational qualification(s) held

___ ___

(a) T C 11 /___/ (b) Diploma in Music Education /___/

____ ____ ___

(c) N.C.E. /___/ (d) B.A. Music /___/ (e) B.A. (ED) Music /___/

___ ___ ____

(f) M. A. Music /___/ (g) M.A. (ED) Music /___/ (h) Ph. D /____/

(i) If not in the list above, specify……………………………………………..

6. Years of working experience

____ ___ ___

1 – 5 /___/ 6 – 10 /___/ 11 - 15 /___/

____ ___

16 – 20 /___/ 21 and above /___/

_____ _____

7. Employment status: Staff /____/ Part time /____/

97

Section B

How far do you agree or disagree with the under listed statement? Indicate

by ticking the appropriate column.

For responding to the questionnaire, please, note:

Strongly Agree - SA

Agree - A

Disagree - D

Strongly Disagree - SD

Research Question 1

What are the teacher related factors that hinder the teaching and

learning of instrumental music in the schools?

TABLE 1

Questions SA A D SD

1 Lack of local musical instrument.

2 Lack of western musical instrument.

3 Lack of fund to purchase local musical

instrument.

4 Lack of fund to purchase western musical

instrument

5 Lack of qualified local instrumental music

teachers.

6 Lack of qualified western instrumental

music teachers.

7 Nonchalant attitude of music teachers

towards the teaching of instrumental music.

8 Lack of encouragement by school

administrators.

9 Insufficient time allocated for instrumental

music study on school time-table.

98

10 No incentives for music teachers.

11 Too much work-load allotted to music

teacher affect the teaching of instrumental

music.

12 No refresher course for workshops, and

seminars for instrumental music teachers.

13 Teachers of instrumental music do not have

band, choir, and traditional dance groups in

other to make instrumental music group a

success.

14 Music teachers do not organize regular

music concerts for the school, and

community.

15 Music teachers do not engage their students

on excursions to television houses, higher

institutions, etc.

99

APPENDIX III

SCHOOL BOARD QUESTIONNAIRE

Department of Music,

University of Nigeria,

Nsukka

.

30th

September, 2010

Dear Sir/Madam,

QUESTIONNAIRE ON FACTORS THAT HINDER EFFECTIVE

TEACHING AND LEARNING OF INSTRUMENTAL MUSIC IN JUNIOR

SECONDARY SCHOOLS IN ENUGU STATE

I am a Postgraduate student of the Department of Music, University of

Nigeria, Nsukka. I am writing a thesis on ‘Factors That Hinder Effective Teaching

and Learning of Instrumental Music in Junior Secondary Schools in Enugu State’.

Please kindly supply answers to the questions raised in the attached

questionnaire by ticking in the appropriate box. The information supplied here will

be used strictly for academic purposes and treated confidentially.

Thanks for your co-operation.

Yours faithfully,

Okoro, E.I. (Mrs.)

100

Section A

Personal Data: Please fill or tick in the blank spaces as the case may be.

1. Name of Zone………………………………………………………………

2. Sex (a) Male (b) Female

3. Age 18 – 27 28 - 37 38 – 60

4. Marital Status: Single Married

5. Educational qualification (s) held

(a) T C 11 (b) Diploma in Music Education (c) N.C.E.

(d) B.A. Music ( ( e) B.A. (ED) Music (f) M. A . Music

(g) M.A( ED) Music (h) B.Sc (i) Ph.D

(j) If not in the list above, specify…………………………………..................

6. Years of working experience

1 – 5 6 - 10 11 - 15

16 – 20 21 and above

7. Employment status: Staff Part time

101

Section B

How far do you agree or disagree with the under listed statement? Indicate by ticking

the appropriate column.

Research Question 2

What are the government related factors that hinder the teaching and

learning of instrumental music in secondary schools?

TABLE 2

Questions SA A D SD

1 Lack of musical instruments is a hindrance

to teaching and learning of music.

2 Government makes provision for

instrumental music training

3 The State government sponsor music

festivals and organizes regular inter-school

instrumental music competitions.

4 Instrumentalist teachers are useful in the

society.

5 The Ministry of Education always sends

music specialists from the Education

Officers under her management to

supervise the teaching of music in

secondary schools.

6 There are enough qualified teachers of

instrumental music in secondary schools.

7 Government and philanthropists should

help to supply music equipment to schools

102

APPENDIX 1V

PRINCIPALS’ QUESTIONNAIRE

Department of Music,

University of Nigeria,

Nsukka

.

30th

September, 2010

Dear Sir/Madam,

QUESTIONNAIRE ON FACTORS THAT HINDER EFFECTIVE

TEACHING AND LEARNING OF INSTRUMENTAL MUSIC IN JUNIOR

SECONDARY SCHOOLS IN ENUGU STATE

I am a Postgraduate student of the Department of Music, University of

Nigeria, Nsukka. I am writing a thesis on ‘Factors That Hinder Effective Teaching

and Learning of Instrumental Music in Junior Secondary Schools in Enugu State’.

Please kindly supply answers to the questions raised in the attached

questionnaire by ticking in the appropriate box. The information supplied here will

be used strictly for academic purposes and treated confidentially.

Thanks for your co-operation.

Yours faithfully,

Okoro, E.I. (Mrs.)

103

Section A

___

Personal Data: Please fill or tick /___/ in the blank spaces as the case may be.

1. Name of School………………………………………………………………

____ ____

2. Sex (a) Male /___/ (b) Female /___/

____ ____ ____

3. Age 18 – 27 /___/ 28 – 37 /___/ 38 – 60 /___/

____ ____

4. Marital Status: Single /___/ Married /___/

5. Educational qualification(s) held

___ ___

(a) T C 11 /___/ (b) Diploma in Music Education /___/

____ ____ ___

(c) N.C.E. /___/ (d) B.A. Music /___/ (e) B.A. (ED) Music /___/

___ ___ ____

(f) M. A. Music /___/ (g) M.A. (ED) Music /___/ (h) Ph. D /____/

(i) If not in the list above, specify……………………………………………..

6. Years of working experience

____ ___ ___

1 – 5 /___/ 6 – 10 /___/ 11 - 15 /___/

____ ___

16 – 20 /___/ 21 and above /___/

104

Section B

How far do you agree or disagree with the under listed statement? Indicate

by ticking the appropriate column.

Research Question 3

What are the administrator related factors that hinder the teaching and

learning of instrumental music in the schools?

TABLE 3

Questions SA A D SD

1 The administrative head (Principal)

adequately support the study of

instrumental music

2 Needed musical instruments and

equipment instruments are provided by the

school

3. The administrative head allocate sufficient

fund for the procurement of musical

instruments in the school

4 There are spacious accommodation for the

teaching of instrumental music

5 There are spacious accommodation for

storage of musical instruments

105

APPENDIX V

STUDENTS’ QUESTIONNAIRE

Department of Music,

University of Nigeria,

Nsukka.

30th

September, 2010

Dear Respondent,

QUESTIONNAIRE

This Questionnaire is intended to find out from students, the Factors that

Hinder Effective Teaching and Learning of Instrumental Music in Junior Secondary

Schools in Enugu state.

Please kindly supply answers to the questions raised in the questionnaire by

ticking in the appropriate box. The information supplied here will be used strictly for

research purposes and will be treated confidentially.

Thanks for your co-operation.

Yours faithfully,

Okoro, E.I. (Mrs.)

106

Section A

____

Please fill or tick /___/ in the blank spaces as the case may be.

1. Name of School……………………………………………………………

2. Class……………………………………………………………………….

____

3. Age: (a) 9 – 11 years /___/

___

(b) 12 – 14 years /___/

____

(c) 15 – 17 years /___/

107

Section B

How far do you agree or disagree with the under listed statement? Indicate by

ticking the appropriate column.

Research Question 4

What are the student related factors that hinder the teaching and

learning of instrumental music in the schools?

TABLE 4

QUESTIONS SA A D SD

1 I find instrumental music learning

interesting

2 There are enough musical instruments for

the study of instrumental music in the

school

3 My parents encourage me to study

instrumental music

4 Instrumental music is too difficult to learn

5 There are not enough teachers of music in

my school to handle instrumental music

6 I like to study instrumental music

7 I do not like instrumental music because it

is time consuming

8 Studying instrumental music will help me

overcome stage fright

9 Teaching instrumental music in school is

not necessary

10 Musical signs and symbols scare me away

from instrumental music

108

11 I will like to be an instrumentalists when I

leave school

12 My parents are not in support of my

studying instrumental music

13 I expect my parents to provide necessary

musical equipment for my music studies

14 My parents believe that instrumental music

does not contribute to the growth and

development.

15 Musicians can have normal family life

16 I doubt that instrumentalists live a normal

family life

17 My parents think that instrumental music

is an extra curricular activity

18 My parents discourage me from practicing

musical instrument at home

19 My parents look down on music teachers.