VOICE PEDAGOGY IN DEPARTMENTS OF MUSIC IN NIGERIAN UNIVERSITIES A CASE STUDY OF DEPARTMENTOF MUSIC UNIVERSITY OF NIGERIA NSUKKA ENUGU STATE

ABSTRACT

This study presents a critical review of the teaching and learning of voice as instrument of study in Nigerian Universities. Department of Music, university of Nigeria, Nsukka was used as a case study. In doing this however, reference was made to departments of music in South Eastern Nigeria for a balanced view. The teaching methods, forms, scope, outcomes, attitudes, quality of teaching and learning skills were primarily considered. The study employs a combination of Qualitative and Quantitative research methods. In the course of this research, it was discovered that most teachers of voice are not voice specialists and therefore do not handle voice pedagogy in the appropriate manner, coupled with the fact that the curriculum did not clearly state how voice pedagogy should be handled. Based on the research findings the researcher recommends that voice specialists be given the responsibility of teaching  voice  as  is  the  case  with other  instruments, also  the  curriculum should be reviewed to reflect the aspects of voice to be learnt at certain times. Above all,  in the  absence of voice  specialists,  lecturers who  teach voice should  go  for  some  specialists  training  in  vocal  pedagogy  in  order  for effective      teaching      and      learning     of     voice      to     take      place.

CHAPTER ONE

INTRODUCTION

1.1      Background of the Study

Formal Music education at the University level started in Nigeria at the University of Nigeria,  Nsukka  in  1961,  being  the  first  indigenous Nigerian University.  Before  then, however, forms of musical pedagogy on organ, piano and church music (Choir) were given in  semi-formal  settings  in  church  choirs,  school  choirs  and  also  privately.  Since  the inception of formal tertiary music education in 1961, several institutions of higher learning have embraced the study of music. At least nine universities and no fewer than sixteen colleges of education now offer Music in their educational programmes. Of the number of departments offering music however, only five (University of Nigeria, Nsukka 1961, Obafemi Awolowo University Ile-Ife 1976, Nnamdi Azikiwe University, Awka 1992, Delta State University, Abraka 1985 and University of Uyo, Uyo 1982) are departments of music in Nigerian universities while three (University of Ilorin, Ilorin; University of Lagos, Akoka

1975 and Lagos State University, Ijanikin) are departments of performing arts and cultural and creative arts respectively. One, (University of Ibadan 1981) is an Institute of African Studies. Idolor (2005:138-140) provides a fairly comprehensive list of higher institutions that offer Music and their dates of establishment. In Ilorin and Lagos Universities, Music is combined with other disciplines such as dance and theatre arts, while only Research at postgraduate levels in African Music option is offered in Ibadan. As such, they do not offer full Music programme as in the other five departments.

Although the programmes adopted by these institutions are bi-cultural, featuring studies in Western and African Music on equal footing, a constant on the study programmes

is voice as an option of instrument of study (excluding Ibadan of course). The implication is that  for  more  than  forty  years  the  teaching  and  learning  of  voice  have  been  on  the programme of various Departments of Music in Nigerian Universities and Colleges.

As  in other instruments, training in voice  in these  institutions aim at  equipping students for its use, management, development, teaching and performance as professional Musicians. It also aims to enable or empower such students to face challenges of Vocal Music and Voice performance in global competitive situations.

1.2      Statement of the Problem

A close observation of the outcome of voice studies in Departments of Music in Nigeria reveals a worrisome situation – in fact, a glaring anomaly. The issues range from who teaches, what is taught and the methods of teaching voice in these departments to misconceptions about voice as a serious instrument of study. It is quite easy to observe that voice studies in Nigeria have failed to make any substantial impact on Music education and music performance in Nigeria. The result being that about 98% of graduates of Music who majored in voice cannot perform a song in a concert how much more present independent concerts on voice. Such a situation presents a clear anomaly. While many graduates of Music majored in voice, it would be instructive to discover why many of such people are not heard and do not perform after graduation. Little or no serious art music performances are given by such graduates, raising the question on how voice students are prepared for the challenges of the profession on graduation in their student days.

The study investigates the teaching and learning methods adopted by lecturers, their requisite training and skills in voice as well as attitude to the teaching of the instrument in

the departments. Also investigated are the attitude of students and the outcome of voice pedagogy. It appears all lecturers of Music engage in teaching and learning of voice raising the question of specialization and its impact on learners. It seems technical and skill-bound aspects of voice pedagogy (Hewit, 1978: 1; Ekwueme, 1993: 54; Ware, 1995: 94) that require careful and methodical approach by the teachers and learners are ignored in the approach to voice studies. There is also a feeling that voice study is an easy option or an instrument a lazy student should opt for. There is a general belief that serious students take musical instruments other than voice while the reverse is the case for weak students. It is also believed that there is very little or no opportunity for serious career as a voice major student. The causes of such misconceptions are investigated. These situation presents clear anomaly. The researcher imagines that if no one draws the attention of the departments to this anomaly, it would persist as a norm as is the current situation. This challenging situation calls for immediate attention in order to find solutions to the problems. It would be a plus to motivate students to opt for voice as an instrument for self and professional expression rather than as a course to fulfill university requirements.

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