Content Analysis of Music Curriculum for Nigeria Certificate in Education (NCE)

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Content Analysis of Music Curriculum for Nigeria Certificate in Education (NCE) Vol. 8(19), pp. 1753-1762, 10 October, 2013 DOI: 10.5897/ERR2013.1577 Educational Research and Reviews ISSN 1990-3839 © 2013 Academic Journals http://www.academicjournals.org/ERR Perspective Content analysis of music curriculum for Nigeria Certificate in Education (NCE) Ogunrinade, D. O. A. Department of Music, Adeyemi College of Education, Ondo State, Nigeria. Accepted 27 August, 2013 The philosophy of music curriculum for Nigeria Certificate in Education (NCE) developed by the National Commission for Colleges of Education (NCCE) is conceived from the background of Western music. If music has been described as an essential, inseparable and a fundamental part of African cultures, hence, our curriculum should reflect in the least basic African musical culture. A critical analysis of the current music curriculum for Nigeria Certificate in Education (NCE) was carried out. Existing research works were also perused which include Faseun (2005), Omibiyi (2008), Vidal (2012). In the course of this study, it was discovered that the present curriculum impacts little or no learning of Nigerian music. Finally, it was therefore conceptualised in this paper the possibility of replacing some of the repertoire of imposed western musical tradition with Nigerian musical heritage, in order to make it more relevant to the student’s social environment and for the economic advancement of the lots of its graduates and the society at large. Key words: Curriculum, philosophy of music education, content analysis, Nigeria Certificate in Education (NCE). INTRODUCTION The importance and role of music in the growth of a child real life. This however should not be meant for academic cannot be over-emphasized. The Nigerian child in pursuit alone but the contents there – in should enable its particular is born and nurtured in music. He grows and product (students) to be self reliant and contribute their learns in the society and he takes his nexit from the world own quota to the economic advancement of the with music. (Federal Republic of Nigeria, 2009). community and the nation at large. The philosophy further stated that music is used at ceremonies and Above represent the first paragraph of the music festive occasions to enrich and add colour to them, it curriculum by the National Commission for Colleges of serves social, political, historical, economic, religious, Education in Nigeria. Based on the premise that context communicative and moral functions in a society (Federal and environmental setting should be considered in the Republic of Nigeria, 2009). formulation of an appropriate philosophy, one would Conversely, African music practices are first and fore- expect that an apposite curriculum for such aesthetic most meant for, and directed by, the community‟s ideo- form of arts should be culturally embedded in such a way logy, economic, social, religious, recreational tendencies that relate music as a school subject and school work to and rite of passage rituals. Thus there is an inseparable E-mail: [email protected]. 1754 Educ. Res. Rev. link between the community way of life and musical New ideas and experiences are matched against existing practices. Community cultural practices are directed and knowledge, and the learner constructs new or adapted transacted through music. rules to make sense of the world (Matthews, 2000). Like Also, the traditional systems of the Nigerian society western imperial music theory, appreciation, history and consider music to be an indispensable part of education the rest, have a close relation with the musical culture to and some families were renowned with long traditions of which it developed and bringing such to another society music making. The mode of training notably involved a is like new wine in the old sack, which undeniably will long period of apprenticeship with imitation approach as a destroy the sack (Mathew 9:17). And that is now the major method of the teaching-learning process. However, situation of Nigerian musical art culture; students coming music education curriculum based on Western classical from specific background peculiar with its own rich music dominates curriculum content of schools on the musical culture but on getting to the school, eccentric African continent especially in Nigeria setting, whilst musical culture quite different from their experience are community musical practices are not equally represented what were placed before them as material of instruction, properly (Omibiyi–Obidike, 2001; Okafor, 2005; Vidal, what an incongruity?. Additionally, teaching in higher 2012 ). Despite the fact that the Nigerian child is nurtured education is concerned with adult students who construct and raised from this type of community musical practices, knowledge in a different way from that of the children, he gets to the institution of higher learning, founded, of therefore, significant and meaningful knowledge that will course, on the norms of western cultural music that is enable them to be self contingent should be impacted to quite different and eccentric to his cultural music expe- their lives. The following are numbers of different ways rience. The task of making music curriculum more with which adult learners are different from child learners. relevant to the students and that of Nigerian populace that will reflect the local community‟s musical practices, 1. Child learners rely on others to decide what is embrace Nigerian contemporary music and ultimately important while adult learners decide for themselves what bring about balance between music education and is important. community‟ music, is the key motive of this study. 2. Child learners accept information at face value, adult learners use experience to validate information. 3. Child learners do not expect learning to be immediately THEORETICAL FRAMEWORK useful whilst adult learners expect what they learn to be immediately useful. 4. Child learners have little or no experience to draw on Constructivism is basically a theory - based on obser- while adult learners have much experience. Child learners vation and scientific study - about how people learn. cannot act as resource to group, adult learners have Simply put, students construct knowledge and meaning significant ability to act as resource to group (Knowles in from their interactions with others and their environment Carlile and Jordan, 2005). (Dabelstein, 2010). They construct their own understan- ding and knowledge of the world, through experiencing Furthermore, the constructivist learning theory also things and reflecting on those experiences. When en- argues that people produce knowledge and form meaning countering something new, it has to be reconciled with based upon their experiences. This learning theory takes previous ideas and experience (Educational Broadcasting a very different approach toward traditional learning as Corporation, 2004). This theory holds that learning well; it represents a paradigm shift from education based always builds upon knowledge that a student already on behaviorism to education based on cognitive theory knows; this prior knowledge is called a schema. Because (Gagnon and Collay, 2012). Kabalevsky in Faseun (2005) all learning is filtered through pre-existing schemata, succinctly explicates that: music as an essential and soul of a culture will be more meaningful, relevant and useful to its product when the The only way open was to suggest a fundamentally new contents of its curriculum mirrored the enriched back- approach, one that, like the whole of the new concept of ground from which it evolved. Conversely, music and music teaching, would arise from and be based on the society have always been intimately related which music that would naturally relate music as a school reflects and creates social conditions and factors that subject and school work to real life. either facilitate or impede social change, like language. It is an accomplishment that distinguishes us as humans. Music education curriculum at tertiary level should reflect (Ogunrinade et al., 2012). the enriched contemporary music like gospel music, fuji, In view of the above fact, constructivists‟ claim will be adamo, highlife, African reggae, hiphop to mention but ideal approach for the purpose of teaching and learning, few in other to captivate and absorb the interest of the such that people „construct‟ their own meaning by learners and for the economic advancement of the lots of building on their previous knowledge and experience. its graduates and the nation at large. Ogunrinade 1755 CURRICULUM to live together as well as cope with the ever changing challenges of life. The educational significance of musical Curriculum can be broadly defined as sum total of all the performances in traditional Nigerian societies can experiences a learner undergoes under the guidance of therefore not be overemphasised, since "education is the the school or institution. The specific and formal know- vehicle by means of which the cultural heritage of a given ledge and skills that the learners or managers will acquire society is transmitted to the younger generation. This from a course or programme constitute a core curriculum. helps to "produce an individual who is co-operative and According to Rugg in Adeyinka 1988: conforming to the social order of the day" (Fafunwa, 1983). It is important to note that despite colonisation and “Curriculum is really the entire programme of the schools' its attendant results on the socio-political and educational work. It is the essential means of education.
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