University of Nigeria Research Publications

UMEH, Bessie Eziahakaku

Aut

hor

PG/Ph.D/86/4272

Title

Competency-Improvement Needs of Music Teachers in

Secondary Schools in Enugu State

Facu

lty

Education

Dep

artm

ent

Education

Dat

e June, 2000

Sign

atur

e

9 , TITLE PAGE

COIVII'ETENCY-IMPROVEMENT NEEDS OF MUSIC TEACHERS IN SECONDARY I

S C H ~ O L S IN ENUGU STATE

#

A THESIS PRESENTED TO THE DEPARTMENT OF EDUCATION, UNIVERSITY ,I

OF NIGERIA,NSUKKA

I

IN PARTIAL FULFILMENT OF REQUIREMENTS FOR THE AWARD OF DOCTOR

d F PIIILOSOPHY (Ph.D) DEGREE IN EDUCATION (CURRICULUM STUDIES)

UMEH, BESSIE EZIAHAKAKU

PGII'h. Dl8614272

JUNE 2000

APPROVAL PAGE

THIS THESIS HAS BEEN APPROVED FOR THE DEPARTMENT OF EDUCATION,

UNIVERSITY OF NIGERIA, NSUKKA 8

t SUPERVISOR

4 I'X EIINAL EXAMINER k HEAD OF DEPARTMENT

DEAN OF FACULTY

CERTIFICATION

UMEH, EZIAHAKAKU BESSIE, a postgraduate student in the

Department of Education with Registration Number PG/Ph,D/86/4272, has

satisfactorily co~npleted the requirements for the award of the degree of f

DOCTOR O F PHILOSOPHY IN CURRICULUM STUDIES. The work

embodied in this thesis is original and has not been submitted in part or full for

any other diploma or degree of this or any other University.

HEAD ~EPARTMENT O F EDUCATION

u ......................................... SUPERVISOR

This thesis is dedicated to all interested in the improvement of Music Education in

Nigeria.

ACKNQWLKDGEIMENTS

A work of this natusc rclics o n various influences, direct and indiscct, I'cx

accomplisIlment. To those who cannot be mentioned in this write-up, I hereby

acknowlcdgc indebkdncss.

Wortlly ol' special mcrltio~l is m y Suporvisor, I'rofessor S.O. Olaitan, 1 owc

irnn~casurablc ~ ra t i lude to his incslimable paliencc, undesskindin_p, encouragement and

diligcnt s~rpel-vision of this work.

1 am very p-atcful to Prol'. (Mrs.) E.J. b laduenu i , I b f ' . (klrs.) J.1. Okpala,

PI-of, A . A . Ali, Dr. A ~ n a Nwacliukwu, Prof. (Mrs.) Ilarbor-Pctcrs, Dr . J . N . Dgb-azi,

1.11-. T.O. Mgbodile, Dr. (MI -5 . ) c;.C. Offbrrna, Dr. 13.G. Nworgu, Dr. D.N. Eze and

otller lecturers in the I'aculty of'Educalion, who cither read this work, at various stazes,

ard of fc rd valuabIc advice, or gave encorrragenlenl. Equally, my colleagues in t hc

music teaching profession: Dr. A . K . Achinivn, Dr. (Mrs . ) I . Iferiiesia, Rev. Dr . C.C.

Lzevhe and Mr . d,S, Maison, dcsc.1-ve spccial mciilion and thanks f ) r their useful and

invaluable ccx~rsibutions.

l'he iatnl support of' m y husband, Chief Sir U.O. IJmeh arid the entire ~ n c n ~ h e r x

o f nay FdrniIy b.wards the cornplc-[ion of rhis work is inestimable. I am dccply grateful

to r km.

Finally, 1 remain erernally grateful to the Almighty God for sustaining rue

tilrouphoilt the period of this study,

TABLE OF CONTENTS

TITLEPAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

APPROVAL PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i i

CERTIPTCATJON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

DEDICATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ACKNOWLEDGEMEWS v

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TARLF, OF CONTENTS vi

LIST OF TABLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ai

LIST OF FIGLm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ABSTRACT xiii

CHAPTER 0.W: IRTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . 1

. . . . . . . . . . . . . . . . . . . . . . . . . . . . Background OF the Study 1

. . . . . . . . . . . . . . . . . . . . . . . . . . . . Stalement of the Problem 5

Purpose of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

. . . . . . . . . . . . . . . . . . . . . . . . . . . . Signihicance o f the Study 9

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scope of the Study 12

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hypotheses 13

. . . . . . . . . . . . . CHAPTER TWO: REVIEW OF LITERATURE 14

vl i

Theoretical Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I 5

Theory of Needs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Concepts of Effective Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

The Competency-Based Approach . . . . . . . . . . . . . . . . . . . . . . . . . 18

In-service Teacher Mucation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The Keyboard Inslmment - thc Piano . . . . . . . . . . . . . . . . . . . . . . . . 23

The Plurnarl Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

PrafesionaI Mucation/ Music Fxiucation . . . . . . . . . . . . . . . . . . . . . 26

Some aspects of the Musical Language related to the Present Study . . . . . 27

Review of relevant ProfessionaI Association reports and Curriculum Guides 29

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Empirical Literature 33

. . . . . . . . . . . . . . . . . . . . . . . . . . Studies on Need5Assessment - 3 3

. . . . . . . . . . . . . . . . . . . . . . . . . . Studies on Teaching Effectiveness 37

Studies on Competcncy-Based Teacher Education in Music and other Areas 42

Studies on In-scrvicc Teachcr Education . . . . . . . . . . . . . . . . . . . . . . 50

Studies on the Human Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Studies on Qualification 54

. . . Summry of the Literature Review . . . . . . . . . . . . . . . . . . . 56

CIWFTER THREE: RESEARCH METHODOLOGY . . . . . . . . . . . 59

Resmrch Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Area of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

vlii

Population of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -60

Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Validation of the Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Reliability of the Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Administration of the Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Method of Data Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

CHAPTER FOUR: PETENTATION AND ANALYSIS OF DATA . . . . . . . 66

Research Question 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Research Question 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Hypotheses 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Ffypotheses 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Findings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

CHAPTER FIVE: DISCUSSION, CONCLUSION, R E C O ~ E N D A T I O N S AND

SPJMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Ratings on Importance Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Wings on Performance Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Results of the Two Hypotheses . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Carrcllrsim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Educational Irnp!fcations of thc Study . . . . . . . . . . . . . . . . . . . . . . 162

Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Ix Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Suggestions for Further Restarch . . . . . . . . . . . . . . . . . . . . . . . . . 165

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

REW, MNCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

APPENDICES - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Appendix A Inslrurncnt: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Appendix 13 Enrolment in Junior Secondary School Certificate Examination in

. . . . . . . . . . . 26 schools in Enugu State (1995 & 1996) 209

Appendix C Number of Srudents that offered music at the Senior Secondary

level from t!BO - 1994 . . . . . . . . . . . . . . . . . . . . . . 213

Appendix I) Perforrziance Trcnd of Students eruolled in Junior Secondary

School Certif'icatc Examination in Music in Enugu State from 1994

to 1996 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Appendix E Dafa on Music Teachers in Secondary Schools in Enugu Sta ta l6

Appendix I; Secondary Schools hi OrIu Educational Zone of Imo State Used for

field trial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Appendix G Forniulae for Cronbach Alpha. Mean. S tamlard Deviation. t-Test

Used for the study . . . . . . . . . . . . . . . . . . . . . . . . . 220

Appendix W Reliability Coefficients far the CIusters of the Music

Competencies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

X

Appendix I Responses of the Enugu State Music Teachers on the Importance

of the Three Music Cornpetenr;y Categories A, B and C . . 224

Appendix I Responses of the 40 Enugu State Music Teachers on their

Perfm-~nance Levels on the Categories of the Music

. . . . . . . . . . . . . . . . . . . . . . . . . . . . Competencies 226

Appendix K Responses of the 40 Music 'TeacIlers in Enugu State Secondary

ScIlools on the inlportance levels of the Clusters of the Music

Cornpctencies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Appendix L Responses of the Enugu State Music Teachers on their

perfurmance levels on the Ciusters of the Music Cornpetencie331

Appendix M Performance kvels of the Respondents on the 100 Competencies

they rated inlportant for thc Effective Tcaching of Music in the

Secondary Schools showing the ones they possessed and needm2

Appendix N Perfor~rlance Lctvcls of the Respondents on the 15 Competencies

they rated 'Not Importanta . . . . . . . . . . . . . . . . . . . . 252

Table

Luw Enroln~ent in Junior Secondary School Cefiificate Examinations in Music in

26 Schools in Enugu State (1995 and 1996) . . . . . . . . . . . . . . . . . . . . 6

Performance Trend of Sh~denls E~lrollcd in Junior Secondary School Certificate

Examination in Music in 14 Schools in Nsukka Zone of' Enugu State from 1994

to1996 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Mean Scorcs for the Tcachers'Responses on Competencies Needed for Effective

Teaching of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Mean Scores for the Teachers' Responses on the Competencies Possessed and

Needed by the Tcacller Respondents . . . . . . . . . . . . . . . . . . . . . , . 87

The t-Test Analysis of Importance Accorded the Clusters of the Competencies:

Functional Keyboard. Vocal Activities and Professional/Music Education . SO9

The 2-Test Analysis of the hlcan Ratings of the Clusters of the Music

Competencies on their Performance Level in Functional Keyboard, Vocal

Activities and Professional/Music Education . . . . . . . . . . . . . . . . . . 116

xii

LIST OF IWXJRES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi

Figure

I Musical Slogan for 6-3-3-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

2 iVaslnw's 1Hicrar.chy of Needs . . . . . . . . . . . . . . . . . . . . . . . . . . . . ! 5

3 Sragcs of Aclolesccnr hflalc Changing Vocal Devclo~-rt~~cn~ . . . . . . . . . . . S I

4 Mean Ranges and Tcssitura Voice Change Stages . . . . . . . . . . . . . . . . 52

5 Shorlhand Form of thc lh-ation of Musical No~es . . . . . . . . . . . . . . 145

6 Shortliand Form of the Khy~lini of' " Mic wish ycn~ a M w y Christmas" . 145

7 The mclody u f "Wc wish you n Merry Christmas' on the Staff . . . . . . 146

ABSTRACT

The study was motivated by a great concern about the future and continuity of

Music Education in all tiers of our educational system, particularly in the secondary

schools. The concern stemmed from poor performance, low and declining enrolment in

the Junior Secondary School Examinations in Music and almost non-enrolment in the

Scnior Secondary School Examinations. Pertinent questions and doubts were raised on

ithe competence of the teachers currently teaching Music in the secondary schools. The

study, therefore, focused on the competencies needed for effective teaching of Music in

the swondary schoo!s in Nigeria using Enugu state as a frame of reference. Objectives

were stated, two research q~estions asked, and two hypotheses formulated and tested at

0.05 level of significance. h questionnairc, titled "Inventory of Competencies for

Effective Teaching of Music" (ICETM) consisting of 115 items, was structured, based

on three broad music areas: FunctionaI Keyboard activitics,vocaI activities and

professional educatiordmusic education and administered to a11 40 music teaohcrs in

Enlrpu Stare. Data thus colIected WCFC analyzed using the Inem and t-test statistics. One

Hundred (100) competencies were rated as important. Respondents rated themselves as

deficient in 96 competencies. The study has impIications for in-service training of music

teachers and therefore recommendations involving short term training, workshops and

seminars were made towards the implementation of the findings of the study.

CHAM'ER ONE

INTRODUCTION

Music is for everyone. Sincc the emergence of human society, the importance of

Music Education for community, national and individual development has always k n

recognised. It is a refuge in limes of troublc, a springing fountain in thirsty land (Nye

and Vernice, 1970), and a moulder of good cilaracter and g d citizenship (PIato, 1974).

To tbc Nigerian, as well as to any other African, it serves, primarily, a traditional

purpose and function (Echezona, 1978) and a part of the process of living itself (Okafor

and Maison. 1987). According to Ifemesia (1987), Music Education in the traditional

African Society, for example, has been flourishing by direct and indirect instructional

situations which mainly depend on practical teaching and learning by doing, observation

and participation as by oral transmission, listening and reproduction. Music i s conceived

as 3 medium of commurlication and social cohesion. of recording and of documentation,

af meditation and u:orship, of llcaling and socialisation, of recreatiork and cclebration

(Ifemesia, 1987). Through traditional songs and dances, young people learn a b u t the

customs and practices of their society. Obedience. honesty, habits of truthlirlness and

citizenship are instilIed in children through Music Education (Okeke, 1998).

For natianaI rnahiliz.ation in our modern times, (Okafor, 1987) pointed out that

music could be used as slogans for integrated rural dcveloprnent, for mutual love and

respect, for anti-iiliteracy campaign; fur health care, for nationaI IoyaIty and soIidarity;

for eradication of' etIlriic suspicion and distrust; for encouraging good Icadership and

followership and for fighting IIK ills of the socicty. Music as a vocational subject, offers

many job opporhrnities /o tIx individuat as a music educator, conductor, choir master.

music journalist, printer or publisher, an instrurncntalist or vocalist,

In Figure 1 below (Okafor, 1987: 17) demonstrated the use of music as arr

effective tool or vehicle for social cohesion and national mobilization,

Figure 1 : Music Slogan for 6-3-3-4

The above is a short four-har musical sentence in Key G (originaIly in solfa

notation but transcribed to stnf'l' notation by the researcher) used as a sIogan to

communicate the ultimate goai of the 6-3-3-4 (ix. six ycars in the primary school, three

years in the Junior Secondary School, three years in the Senior Secondary School and

four years in the tertiary institution) system (FRN, 1981).

Prior to the i ! I t t ~ ~ b ~ ~ t i ~ n of the 6-3-3-4 system in Nigeria and before Nigerian

independence, the content of music instruction was circumscrikd to singing in

c[crnentsry schooIs and extra-curricuIa activities in secondary schods (Ornibiyi - Obidike,

3

19S7j. According to a survcy conduckd in 1971 by Omibiyi, covering the whole Nigerian

Federation, tIierc was a prcscl-ibed schenic of work for schools which was divided into four

sectinns - vocal rraini~lg, pcrct~ssion work, listening activities and theory of music. In the

primary secrion, children wcrc first introducctl lo vocal and per-cussrori work and as they

progressed in their cducation, liste~lirig activilics. cllilrirc~i musl Ilavc Iiad a wosking k~~owlctlgc

of some basic musical tcrms, c.g. thythrnic valuc, sitig by sight. w i t e in staff riotation, playing

'rhc Secondary school sy#la'bus was drawn up by an overseas sy ndicatc - the Associatcd

b a r d nf the Royal School of Music i ~ r London. Thc prescribed scl~enle of work coi~crcd such

;irtx.s ;as aura! training, xigl~r-reading, tllcory and lilcratul-c of rnusic.

tin the Teacher 'I 'ra~n\ng Colleges, thc prescr-ihed curricula varied lion1 State to State

as in the elementary schools. ?'hc cu~itc~lt or instruction was categoriscd inio two: practical and

writlen. Praclical work ccivcrcrl ~iingi~ig ;ic(ivi[ic~; a d ins t lxm~r~kl playing - usually the

harrnoninn~. Written work included ~iiettiod of teaching, Ilistnry and ~ulirncnts of 11iusic.

Omibiyi's (1971) survcy li~rtIler rcvealcd that a l h u g h nus sic was a recognised past of the

curricula of t . 1 ~ Nigerian school, lilerc was no organised and effective system of' Music

Education. Music was a nlcrcwindow dressing withon1 uniform national ob.jective, appropriate

and rclevani curriculnn~ conkilt and instructiona1 materials fos training teaclicrs in music.

4

Government, in its National Policy on Erlucation (FKN, 1981) listed music as one of the

sub,jects to be studied at ail levels of t11c educational institutions. Music was also listed

as one of the subjects for which specialist teachers should be provided. T ie wlicy also

made a declaralicm to the efyect that "in ordct to er~courage aesthetic, creative and

musical activities, Government will make sfaff and facilities available for tlw: teaching

of creative arts and crafts and music in primary schooIs" (FRN, 1981: 13).

The objeclives of the 6-3-3-4 system, as outlined in the National Policy on

Education (I981), touch on the nature of the contents of some specific subjects, incIuding

music. At the primary level, the needs for aesthetic, creative and musical activities are

specified. Thus, a new subject matter, titlcd Cultural and Creative Arts, in which Art,

Music and Dance wcre intcgrated, was designed. lYx first curriculum is for Junior

Secondary Schools (JSS). Thc context is a mixture of Westcrn and Nigerian materials.

The second curriculum is for Senior Secondary Schools (SSS). Here the music

prugranme inchdcs: Theory ot' Music! consisting of Harmony and Counterpint and

Aural Training; Form and Analysis of Music and Dance; History and Literature of

Music; and Performance (on inxtrwme~its or voice).

111 the area of Harniony and Counterpoint, the sludents are introduced to the

Ianguage of music, the nature of n~usical sounds and Ihe science of combining thcm for

creative purposes. Such elements of ~nusical language incIudc pitch, chor-il progression,

cadence of finality, change of ronality, rhythm and rhythmic patterns, diatonic intervals

5

and melodic and rliqlhrnic dictat~crn. Aural tsa~nir~g is compulsory for music students. i t

invdvcs the developnlent of a g d car which IS an indispensable equiprmnl br any rnusic~an,

bc he a vocaIist, a n instru~nentalisc, a conductor or a composer. The sfudents arc also expected

to perform proIicientIy on son= musical i~lslruments of Western and Nigcriari origin, including

the piano. The iwlusion of Music Education at both primary, junior and senior secondary

feveIs provides a mediim through rich minds of youngsters are cultivated and developed to

appreciate their cultural and social heritage,

'Flius, examining the Nigerian Government policy witlim its global context, onc finds

tbc positiunofmusic quite encouraging. Therc is constant reference to ttic iniportance of t ~ u s i c

a r d it3 need in thc education OF Nigcrian youths. Music Education is an important area of

human endeavour. Deqpitc its importance, the teaching arid learning of music in secondary

schools in Nigeria are fiaughl 94th Inany problems. Several studies including Omiblyi -

Obidikc (1987), Ekernutalu and Ugokwe (198'3), A~iekive (1990), Aloamaka (1996), and

Okonkwo (1998). for example, have revcaled prohlcms of various kinds that impede rhe

effective teaching and learning of niusic in the schools. Thcse problems include ne~at ivc

attihrde: of teachers and students to Inusrc, 1cnv and decreasing enrolment of students at the

Jur~ios Scconda~y Sciiclol rnusic exaniinations; ncm-enroln~enl in the Scnior Secondary music

cxarninarions and the low levcl pcrfortnance by Illc sludents who er~rolIed in i t , as shown in

Tables 1 and 2 beIow.

Tablc I: Enrolment in Jnninr Srcandary School Cert ificrtf e Esa~nina t ion in ILln.4~ in 26 Schools (see Appendix I3) in Enugu State in 1995 and 1996

Division, Education Coinmission, Nsukka

Table 1 sl~crws ~hc- total Junior Secondary School enrolrncnl in 26 out of 33 secondary

schools in h ~ g u Statc i n 1995 arid I99G. Tlic rahlc also shows tho total cnr.olmct~t in the

the same period.

Alci-tough the total junior .secondary school enrolment ill 19C1h, was by far highcr than

the enrolment in 1995, yet the L ' I I ~ C I ~ I I I C I I L 111 111usic fib- tile Junior Secondary School C:crtifica[c

Examination in 1995 was higher than h r of 1996, I\ lesser ptrccnragc of students enrolled

in 1996 than in 1995. Of the secondary sclmols in Enugu, no sludcnt curvIled for the Scnior

Secondary School Ceriificatc Music Lsaminaticm in 1995 and 1996. E~irolmenl at [he sunior

7

secondary school certificate cxarnina\ions is worse than t h ; ~ ~ of lIle junior secondary school

cer~ificate level. Kccords a t the West Africa11 Examinatiolis CounciI oftice, Enugn, M~nis[ry

of ExIueat'ton, Enugu, show rhar four students trfl'rcd music in the S c n i ~ Schwl Ccrlificate

Exmination in Enugir State from 1990 lo I994 (sce Appendix C). Sirice then, there has been

Table 2: Performance Trend of Students Enrolled in JSSCE Music in 14 Schools in Nswlrka Edumtinn Zone of Eriugu State from 1994 to 1996

Toral Distirlcrion Credit Pass Failure

Enrolment

1673 5 5 108 I306 171

3.4 6.6 79.6 10.4 Source: Statistical Division, Edrlcarion Comn~ission, Nsukka Education Zone

Table 2 above reveals that very rew carldidates (3.4%) passed at dislinclion level whilc

the greater majority (79.9 %I) per-fbrmed ai lhc ordinary pass levcl,

Research reports have rcvealcd this incidcrlce of low enrolnlent and poor per formme

and have attributed it partly to the teachers' incompelence and altitude. For esamplc,

Ekemucalu and Ugokwe's study (1989) reveaIed that the performance problenis of J .S.S

students in music were gcneraily low and also that ihe rnirsic competencies of J.S.S music

teachers were vcry low. From their findings rheq: concluded that there is a high positive

corrdatioo between J.S.S. music students' performances and the music competencies of the

8

Music texher cornpctenct. and its rclatio11 to student perlbrrnancc and atriludc has also

hem of serious concern in other developed countries and i n ortlcr disciplines. F'os exal~lpje,

Barnes and Shim (1938), after investigaling Leach compctcncy and expertise i n five schools

in North Eist England, idc~itified music and sciencc as areas of scsious conce1.n. Carnlichael

(1989) found I h t possession of specific ccm~ptcncies for. inslrurncntal music teachers is

beneficial in teaching non-perf'orrnar~cc cIasscs. F%rrherrnore, 'I'aehel's (1990) ass'essnlcnl of

cTassroorn performance of' music teachers revcaIcd that music tcachcrs' competency scorcs

were below the mean of tcxllers in othcl- suh.jmrs.

Statement OF the Problcni

Given the poor perli~rniancc, low and decreasing enrolment in music at tho Junior and

Seninr School Certificate Examinations in Enugu Stale, the necessity to attempt Lo find a

solutinn becnmcs ury;mt. I n view , ( I I C I T ~ ' ~ I . C . of ~ I I C Iiigh posilivc correl;~tion fo~rld to exis(

hctwcen tcachcrs' incompclencc n ~ i d ~l lc slutlcnls' pcsformancc, the prohleni of this study, put

ic a question, is staled thus: What corripetences do Enugu Stale Secondary Scl~ool teachers

need to irtlpl-ow r heir nlusic tc;.aching6?

Pi~rpose nF the Study

The nlajor purpose of the study is to detcrlninc the competencies which secondary

school music Lcachers in Erlugu Slate need f o r cffcctivc teaching of rnusic in schools,

Sprcifmlly , the study is intended to

9

identifj the competencies necessary for ~eachir~g music cffeclively with respcut t3

(a) Functional Keyboard Activities

(b) Vocal Activilicss. and (c) I'rofessional EducationlIt4usic: 13ducariun;

idcnrify thc performance level of tcachcrs nn the competcncies oc-ccssary .for te;~ching

music cffccliveIg in secondary scl~ools in (Ire rl1rc.c broad music areas;

identify the cornpete~icics w1i1cl1 ihc music reachers i n Er lug~~ Srate secorldary schools

posse~s and rhc ones which tlwy r w d for wl~ich improvcrncnl is nceded;

Significance d the Sturlp

l'he findings of this study arc expcctcd to providc thc frarne\vork for ur~ivcrsities and

colleges o f education ol'foring music progranlmcs, for designing pre-scrvicc courses whicI.1

would equip icachors with the compctcncics nerdcd for el'kctive teaching of music ill tllc

ICeyboard. Vocal Act~vity, slid I'rorclisit)~~aldnilr~sic E r i u c a ~ i o ~ ~ nrca?: in pnrlicular. Sudl

programmes arc necessary t'or Ihcl irnprovcn~e~it and itpdating of' tlw gcncral nlusicianship o l

the teachers, Furthermore, the rcsuli of his study would mosl probably draw 171usic ~eacher

educators' attent ion lo some of t hu field-hascd music leaching competcncies which are

neglected or over emphasised in the training of music lcachers. 'This could be done through

disseminating t l~c ~ C S U I ~ S p~~ t~ l f ca~ io~ i -wi s~ ' . n y l ~ ~ c o ~ u i ~ ~ g sc11sitized to tlic reality of wilar.

cornpetel~cics arc importmt, musk education planners would bcgin to realisc that any

programme of training 31~1 retraining of music teachers that fakes inlo cognisrtnce field-based

10

Therefore to !Ire cxfcnl that thc findings of this sludy a r ~ ficld-based. 1he11. significance

is ccnrrcd on thc relevarm, useliilncss and appropriateness of findings as a basis for

developing conlpetencies for training and sctraining rnusic teachers for Nigcrian secondary

this study ~ i d d , most likely, seilsilizc them to a wide range of'co~npete~~cies which c a i w from

scvcral sources including IIK music curriculum a d the music ~eachcr educators. 'Thc findings

of this siudy would Ilelp lcachers Ioin~pr-ove [heir (cachirlg methods, skills as wcll as enhancc

their general musicianship. Tcacllcrs could usc [he list of compekncies for self-cvaluarion and

individual srudies for self-improvt.mer~t+ Tllc tcachers WOLM also bellefit from LIK in-service

education pr-ogrartmc try he organiscd based on the nceded competencies.

Upon disserninalion. ! l l ~ r~osulls of this study would, hopefiilly , e ~ l i g l ~ t e ~ i the

Inspectorarc Uivisiorl uf the Mi l~ i s r ry of liducation, I:nugu, 011 a widc I-arlgc of ficld-tusd

music teacher cornpetencics in the areas o f Functional Kcyboard Activities arid VocaI Activities

and ProfessinnaI Educatir?n/Music Education. 11 will also cnlmce rhe inkrest of polentiaI

candidatex for supe.rvisory furicrion. Tile findings of thc sludy will creak awareness in

supervisors on rhc in ipr tanf task requirclnent areas of [he Keyboard. Vocal and Music

Education Activities. Such knrswlcdge would also provide lmis or] which t11c supervisors can

evaluate their supervisory fulncfions.

11

The results of this study upon dissemi~larion ~vould hopefully, enlighten ~ h c

Profmianal Music Associations and Minislries of Education o n thc ncctl to orgariise

ivorkshops and seminars and in-scrvicc education based on the ncEdex! arcas. This is consisren~

with previous rescarch o n rlcetl assesslncnt, Olailan (IP78), Akubuc (198 I ) . Dy so doing,

tcacliers mi~ l i t gain morc grounding on ways and nicans c ~ f I~;tndJi~lg [lie s~~h icc r rnorc

cfkdvely . When this happens, studunh would n m l likely enrol i n music in thcir schools.

Proper handling of this subjjcct would, Ihercfare. equip the students wilh job entry skills that

rnighl be usefd to t h n even when [hey Icave school

Government of Er~ugu Slatc l~llghl also sce 1hc 1lccc1 lo provide facilities such as music

laboratory, music:tl instruments, especially the kcyhoard music kst hooks including stiitablc

piano and voice liicraturc

'The study apart from bring hcrleficial to ~ h c univet-silies and collcges offering n w i c

p rng ramnm. music Lcaclws, {hc Inl;pcclorr-tk Ilivision of blinlslrics of Educarion,

Professional Music Associririorls and students, is considcrtil i~npor tan t , gerlerdly, kcause i t

would hopefully providc thc dircly nccded empirical dara on improving rhc quality nf tcacliing

music in the secondary schools, through the icFcntificaIion and clisscmination. pul>licatkm-wise,

ot thc competencies needed by serving teachcrr o f music. I t would also uontribule lo thc

exist~ng literalure on music [caching in thc area of Keyboard, Vocal and Music Education

competencies.

Thc study w a s rcstrictcd to L I x nus sic teachers in scco~ldary scI~ools in Enugu Stale of

Nigeria. I t was delirnilcd to

1. identifying the importan! and needed co~npemcics for cl'fcc~ivc leaching of

teaching music el'fectivcly in thc scconrhry schools;

3. considering only threc areas of musical learning: Functional Keyba rd

Activitics. Vocal Activities am! Prufessional~Music~s Education Activities, and

Resea rch Questions

I . What are the ccirnpete~lcics needcd for effective teaching of music in the areas of (a)

Functional Keyboard Activitics, (b) Vocal Activitics and (c) Professional

Educatinn/Music E c l u c a h , in seconclary schools in Enngu State?

2. What lcvcls of he identified competencies in the music areas of (a) Furlcliorral

Keyboard Activitics, (b) Vocal Activitics, and (c) Professional Educationihlusic

Education arc possessed or needed by lhc secondary school music teachers in Eriirgu

State?

H ~ p t l ~ ~ s ~ s

'I'hc following Iiypotlicses which were tested at 0.05 levcl of significance guidcd the

study :

1 . There will bc no significant diflere~~ce in 1Iic mean ratings of'tlie level of in~purrancc

n f cornpctcncics l b r effuchc rcachi~lg ol'rnusic Ixtw~wi dhc NCE and Graduate music

teachers in Iinugu Statc secondary schools.

2. There w i l l he rlo significant tliffcrence ill the nwon sclf ratings of' the Icvc! of

performance of thc cornpclencies for cfloc~ivc tcaching of 111usic between [lie NCX and

Gradua~c music teachers in Enugu Statc secondary schocl.fs.

This cilspkr presenls the review of literature, which is organised in two sections:

Theoretical Literature and Empirical Literature.

Thc Theoretical Litcraturc deals with:

Theory of Needs;

Concepts of Effectiveness and Effective Teaching;

The Competency -Based Approach;

In-service Teacher Education;

The Keyboard Instrumnt - the Piano;

The Human Voice;

Professional EducatiodMusic Education;

Some Aspects of MusicaI Language related to the present study; and

Review of relevant Profcssio~lal Association

Reports and Curriculum Guides.

The Empirical Literature deals with studies on

NeedsAssessment;

Teaching Effectiveness;

Competency-based Teacher Education in Music and other arcas;

In-sew ice Teacher Education,

The Human Voice, and

Qualification

I . THEORETICAL L1mR.A-

(a) Theory or Nee&

Some individual theorists have made great impacts with their conceptual scheme

of motivation which have implication for clxssroor~l teachers. Madsen (1961) notedthat

personality devdopment can be described as a combination of x prcss and a need.

According to Madsen each theme in an individual's life is charxicterised by the existence

of a need in relatian to a prtrticular press, a stimulus - situation that has a potentiaI

influence upon the life of the organism.

In his view, Maslow (1962) saw need gratification as the basis for most hurnan

hehaviours. He argued that needs are arranged in rt hierarchy (see diagram below)

AL Aesthetic Ne ,

/---A '1 Desire to know or understand Being Needs

Deficiency N d s

Fig. 2: Maslow's Hierarchy crf Needs

16

Thus as m e ,general type o f wcd is satisfied, another. Iiigl~cs order of need will crncrge and

hccome operative in life. The deficicncy nceds can bc satisfied only by othcrs. This shows

that an individual can dcpctld on others as sources of need gratification. That of self-

actualization, desire to know 01- undersland aml acsrl~etic needs are the k i n g Nccds. A need,

rthc~ef~rc, devclops and molivates bctraviour m l y il' an individual is exposed to a certain

press ( G d and Ilrophy, 1977). Mcnce the dcsirt: lo satisry nr gratify Lhcse needs dirccts or

The above concepts of need, have iniplicalions, among other things, for teachers in

eeneral and the nus sic tcac11cr.s in particular. TIie teacher should concern himself with efforls L,

to Cirid our how best lo structure his classrr~orn activities so that slr~dents will be opportuncd

and rncouragcd to satisfy thcir individual nccds T h u ~ the kcy concepr to bear in ~ t t i~ td i5 the

occasional and appropriare involvemcnl of students' interests and necds in ( 1 1 ~ planning of

curriculum and instruction, Also, syskn~a[ic exposure 10 e~~vi~.onmenlal pressures will lead

to some reasonably slrong intcrcsts i n the students.

(b) Concepts of E T k t ive Teaching

Appropriate involvement of students' intcrcsts and needs in the planning and

interpretation of thc curriculum to achievc llic desired educnfiond goals depends on rhe

teacher and thc effcctivcncss of his ttaching. 'Fhe role of [he reacher with rcspec! to cffectiije

teaching and Icarning is impol-rant. Ani, Olailan, AkubiIo and Anadi 1(1989), Cannon ( 1 WF)

focu,sed their views on the leacher-factor. To Ani et al (1989: 103), cffectivc tcaching would

mean

the conscjous and deliberate a t temp by one wIio pos~csses reqnircd

knowledge and skills through some nlorailr accepted nicrhvds ro one

who lacks rhc knowledgu and skills wirh tlic inlcnlion 11181 lhc lattcr will

master. [he knowIcclge and ski11 so impartctl, and bc ahlc to apply tlic

knowledge and use the skill in solving prac[ical problems of' life.

Whik lhcy pasirsd' that tcaching effectiveness is n function of what Lo Icach, who will

teach, to; who111 it will bc taught and tlic condition undcr- which il: will be [aught, Reisbilrg

(IW) enlphasisccl curriculum evaluation and ~noclificalio~i as an effcclivc (caching

perspective. Cannon (1991) also focused cm the personal and professional qualities of thc

teacher fur effective reaching and Lcarming.

In agreement wirh [he views almvc, Silcock (1993) was of'rhc view thal cffccrivencss

tlcl~c~ids as nluch 011 ~hc indcpmlc~il a c l i o ~ ~ s a11r1 rcspor~sil~ililics or t l r Icarwr as on 11ic

hehaviour of tllc teacher. Hc fintiler poililcd our that rcachi~ig i~ivolves a 1;lr.g~ number of

diverse, social encounters which have to bc managed succesHully if pupils/~uden(s arc ro

be provided with consistent Iearnin~ opporrunitics.

The nccd for value-orienlccl rescarchcs has I~co~i crnphasised by various autliors

18

as a means towards effecting teaching and learning. For example, BartcIl (1991)

advocates action research with rcspect to effective teaching practices. Brown and Atkins

(1993) maintained that effectiveness is best estimated in relation to goals of teaching and

that research on effective teaching should consider successful teaching stratcgks in the

context of what Iccturefi and students value.

hoking at tk various views ar'lalyticalIy, one can draw the cor~clusion that

decision making on Teaching Effectiveness shouId be focused on various different

contexts such as, the context of teaching itself; students' characteristics, teacher

characteristics, particular situations, research and rcsearch findings which wit1 help

teachers to deveIap suitable ~neihods that work in their situations. In agreement with the

above views and concepts, the preserlt study Cc~used 012 the teacher contextifactor

t hmug h identify ing the competencies needed by teachers of music for effect b e teaching

o f nrusic in the Nigerian secondary schools.

(u) Thc Cmpttrrncy-Bas hpprnadi

Competency-Based Education (CBE) evolved in America as a

part of a culturally-baed movement resulting from two factors: (a) emphasis on

accnuntahiIity, and (b) need for perzo~~alisation,

In an important treaeise on CBE, Spady (1977: 10) as cited by Okafor (1981: 180)

theoretically conceived CBE as:

a ditca-based. adaptive, performance-oriented set of integrated processes

19

that facilitate, measure, record and certify within the context of flexibk

time parameters, the demonstration and known, expIicitly stated and

agreed upon learning outcomes, that retlect successful functioning in life

roles (Okafor, (1981: 180) quoting Spady, (1977: 10)).

In the above theoretical co~lception, co~npetencks are defined as "indicators of

successful perforn~trs in life-role activities such as (consumer. producer, family membcr,

engineer, drivcr, educator, for example).

Five classes of competencies are defined according to Houston (1975). They are:

Cognitive-Based Competencies - which define knowledge and intellectual skills

and abilities that are expected of the learner.

PerfctmanceRased Gompdcncim - The learner demonstrates that he or she can

do s o m e ~ i n g .

Conscqucnce-Based Compdencies - The person is required to bring about

change in orhers. In other wnrds, this tspe refers to what one can accomplish. A

teacher's cornpetencc is assessed by examining the achievement of pupils being

taught.

Affective Competenci~s - define attitudes and values. They are marc difficult to

assess than the first three types. They are typically embedded in other competency

statements.

Exploratory Competencies - have been referred to by educators as experience

objectives.

Furthermore, Houston (1974) posited that competency-based approachleduction

ernphasise a minimum standard of what anybody trained in the competency-based

education programme should achievc in order to be rated as a successful graduate who

can be effective. This movement has also been applied to teacher education as

Competency-Based-Teacher Fducation.

According to Akks (19841, Competemy-Based-Texher-mucation (CRTE)

atrernpts ta document what is necessary to make competent teachers agree on goals and

on the means to evaluate their success in meeting them, CBTE Focuses on the end

products of the teacher-training programmes: the behaviours demonstrated by the

graduating pre-service tcachcr. CBTE also parallels accountability by emphasising

specific behavioural outcomes of the programme and the importance of the evaluator

actuaI1y being ahIe to observe the desired goals. Abeles (1984) further mentioned that the

initial step in structuring a CBTE programme is to determine or identify the necessary

competencies that contribute toward developing a teacher who will perform as a

professional in a musical, knowledgeabie and ethical manner. The essential competencies

are to be determined first in terms of the total curriculum, and later reduced to

pcrfrrmances~in each of the classcs.

Okafar (1 988) emphasised the need to note that competency-based education

{CBE) has gone further to introduce, in special cases or circumstances, individualised

2 1

insrruction in currrculu~n impIemcnta1ion in a special n~elliod called the Learning Activity

Packages (LAP) methodology. I n this approach, learning competencies are packaged

according to rhe abilities or aptitudes of each pupilisluden~ and the individual proceeds to

accomplish the 'packaged' tasks at his own pace. I-ie is thcn tested out arld credilcd with the

amount of learning outcomes. I-ic notcd two important noriom that wcre addcd as CXTE,

applied this approach (CBTE) to thc professional trailling of' rcachcrs. Firs[, that objectives

were ba.sed on the role requirements of teachers and second, performance rathcr Illan

knowledge alone was rcquired per prograrrunc completion. By basing ptogranime

requirements and standitrds on Ihc hcllaviou~. of cffeclive leacl~crs, tcacllc~ cducalors could

most closcly atiurlc programmes to valid basc (Okafor, 1988)

(d) In-servicc Teachcr ErIuca ti011

organisation, content and rnclhods OF tcacher education nlusl be constaritly irnprovctl. Hcnce

a comprehensive policy is needcd to cnsurc Illat teaclicr education is recognised as a

continuous coordinated proccss tl~roughout thc teacher's professional career. In such a

.system, prc-servicc and in-service education s l io~~ld be integratd, bstering the concept of

life-long learning and the need for rccurrcnr cducalio~l (Irltcrnarronal Conference an Education

UNESCO, 1975).

22

Furllwmore, post civil war dcvcIopments and policy in Nigeria touchccl on h e

importarice ofand the nccd for in-service. teacher educa~iorr A rc1evant policy decision ivhicll

appeared in the Nigerian Narional 14lky on Education (FliN 1992: 13) revised is worth

noting viz: "In-service training rvi1T be be~elopcd as an integral part of continuing teacher

education and shall takc care o l a ~ i y 'rnadcqurrcies." 'I'i~c ahovc policy st;irclnent nJas acccplcd

in principle and el'forts rnacle to adopt and in~plcmcnt thern in the states. For exarnplc, in

Cross River State, following an in-scrvicc progranune mounted i11 1978, 420 unqualified

!eachcrr; with experience 1-angi11g fro111 1.5 - 40 years were seIected from the various local

government areas In the state and haincd (Onwnka, 1?S2). T l ~ c maill purpose of the training

course was ro cxposc pr[icipan"t lu rrnlodcrn conteinporary approaches, tcch~liqucs,

koowlebgc and skilIs so as LO impr'ovc thcir cl'ficiency and professional per~urniance, and lo

npdatc. participanls' knowledge of cssclilial subjccts i n priinary scllool. Somc of lIlc un~rained

teachers were thus enabled to merit direct entry in to Teacl~cr Training ColIeges in the State.

Pre-service training is the initial cdr~cation and (raining of an individual in gencral

education and educational methodology courses to preparc hi111 for a career in teaching.

23

For instance, Richard and Killen (1996) pointed out the pre-service influcnce on fcsson

planning. It is different from in-service training in that in-service training is undertaken

or designed to improve professional competencies of servmg teachers after their initial

training. Through this, tcachers renew and preserve themselves, a view also shared by

Sistrunk (1986).

Several writcrs have attempted to dcfine in-service education. For example.

Barms and Shim (1981) clefi~led in-scrvice education as a11 planned professional activities

designed to improvc the technical and pedagogical competencies of teachers, Ozigi

(19RI): 83) defining in-service education sees i t as "all those services and activities of

professional nature in which serving teachers participate in order to improve their

knowledge, skill arid competence." A synthesis of the above concepts shows that the

authors agree on the selection of appropriate means (activities of professional nature) to

improve the tcachcr on the job. llence in agreement with the above views, the p r w n t

study s,ought to idcntify those nlusic conipelencies whcre serving music teachers arc

deficient and in which they need retraining. Such identified needed competencies could

be incorporated into a planned programme of in-service education to improve the

teacher's competence.

(e) The Keyhard Instrument - The fiano R-'

Ernphasing the importance of the acquisition of functional piano skills Clark

(l98O), Peters and Miller (1982) and Hughes (1992) pointed out various piano keyboard

24

skills for various music educaLors. Piano skill is a trcmcndous practical acquisition f'or Lhe

music educator. Fnr [he tcacher of' gcrleral music, the piano serves for bolh (.he

accompaniment of class pcrfornianccanci rhe dcn~onstration of musical ideas e , g, rudirnenlary

training in playing scales, harmonics, nusic ~heory , si~ilple accornpa~iimcnts and in private

p i a l ~ ~ lessons.

Fur the instrumntal music, the ability to accompany simple solos will encourage

students to perForn~ sdo literature (nlusic written to accompany solo inslruments ranging from

voicc co 3s clivcrre as a horn in F or. ruba in double 13-fat key). h teacher should k 3ble to

xcon~pt is ls simple tr'ansposilicln lo niatch lhe range of thC singer(sJ. Ability itu transpose as

onc accompanies students is a skill that can he rmscd to an advantage in the keyboard area.

Furthcsmurc, Peters and Mrller (1982) poirlted out that a higher order keyboard skill is that

of sight-rmding musical scores. Sight-readiriglsightainging O H thc othcr hand, is a skill that

is directIy useful in thc lifc 01' cvery music.ia11. I t requires morc ability than playing music

written for piano, since thc visual ar.ra~lgmcnt of thc nu sic lliakes i t n ~ o t c difficult to rcad.

To further highlight the inlportancc of piano skills, Paters and Millcr (1982: 63) c ~ ~ i c l u d e d ;

Once you apply yourself assiduously to the study of

piano, you will find that you have a tool h a t you will

use virlually everyday that you teach music. It' you

neglect rhe s t ~ d y of piano, you will bc as much at odds

as a mechanic. without his wrenches.

25

Sur and Schuller (1958) posited out that a FunctionaI piano approach to piano

pIayjng has immense immeasurable values in teaching of school music and shouId be

given greater emphasis in the preparation of teachers and in the guidance of prospective

candidates for music teaching. Sur and Schuller emphasised that many teachers' musical

competence have been limited because of their failure to recognise the piano as the basic

instnment to all music instruction.

( f ) The Human Voice

Equally important as the piano keyboard for effective teaching of school music

is the human voice. The voice is the only musical instrunlent ownod by every human

being. Thus it is a natural gift to every human being. In connection with the effective use

of the voice and the effective teaching of singing, Arnold (1971) writes that the teaching

of sinring ... invoIves two main aspects, first the teaching of voice production whereby the

pupil Iearns to deveIop and control his voice sa as to sing with the greatest pnssible

beau~y of tone and to express his feding clcarly without in any way destroying tk purity

of the vocal line; and seco~id, the teaching of musicianship, which implies knowkdge of

musical theory, sight-reading languages, memory rates and songs and finally a deep

understanding of what, is sung in order to express the inherent mesage of the music in

the most beautiful and poiverfuI manner. A teacher of singing is, therefore, a [exher

who teaches all these things to his pupils.

The human voice according to Lynch (1983) is so powerful that when trained and

20

pr~perly dtrccted, 11 can sound liirough a fu l l orclicma Yet i~ 15 so dcllcalc that when

abused for a long lime, rt can be j r re~~a~ably damaged espcciiilIy when dealing witi~

adolcscenr voice. The imporrance of the Iiunm voice and srnging canriol bc over

emphssised. especially i n tiic musical devclapriic~lt of the adolescents. Arlewumi (1995) had

noted t h a t singing is one of'thc niost valued of Ilunian activilies, so much so that ils high

priorily is often rellccted in the amount of rccognirion it receives in diff'crmt societies.

especially African smet ics , Purcell (1992) had poinred out thc use of songs for class

enrichment and Wolf (1992) for creativc scsponsc acthitics by the children. For successful

sinsing expcsiences, particularly in relation lo adolcsccnts, ~eaclrcrs must, ttmeforc, cvolve

ways of doding with niany different tlevclopnmtal stagcs at o w time. Cookscy ( 1992)

recorn~tlcnds mcthds which have been devised for assessing and classifying voices

individually and by group, assigning singers to correct voice parts, a~$lying voca1ises in

classrmm and choral singing, eshblishrrlg Iiealthy singing Rabirs, and selecting appropriate

perfnrmancc litcrature.

(g) FrnTcssinnnl E rlucatinni3"l1sic Erlncat ion

1)rofcssional cducariontrnusic education compclwce for h e rnusic tuachcr is

~rnpurtanl. Emphasising teacher preparalionr b a d on nccdctl sompetencicq Sur and

SchuIIer (1958) pointed out thal all secondary school tcacl~ers should have a broad gencral

cducation in additron to thorougli traiurng in !I ICI I ficld of spccralisatio~~ in order- to Icach

efFectively. Sur and Schuller (195S), Leedtr arid I-Iaync (1958) and Synde (1965)

27

recnnlnxndeil specific professional education cornpcicwe fur rhe music rcachcr in addition

to his musical conipetencc. [bus i n hislory. ~xincil~lcs. philosophy of cducalion, gcneral and

educational psychology, child growth and clcvclopmenl. Sur and Schullcr ( I 958) recommend

thc I'ollowing foundalion courses which are parlicularly meaningful and fu11ctionaI to the

tnusic lcacher whcr~ [hey are of pl-aclic;il valuc. 'I'l~cy arc: Courscs in audio-visual

instruction; School Administration; Curriculum construction; Methodology; arid

Counselling and guidance, to rnentinn a fcw.

In addirion, Syndc (1965) maintains rhar the music teachcr needs both a basic

understanding and basic skills for scheduling co~npelence lo t ~ c able to funcrion cff'cclively.

Lceder and Iiayne (1958) conccrn !hc~nselves with the importance and need fix tlic music

teacher's knowledge of nu sic likmlurc and rccon~rncndcd l'ivc areas of' exccllcnce as

follows: Wide technical knowledge; tlioruugh understanding of what constitutes tone

pmduction; a good sciisc of lone quality;, ability to analyzc and rcco~nmcx~d rwnerlics;

adequate judgement of and priqmnimak atlenliorl to tcclir~ical and nlusical problerr~s.

(h) Some Aspects OF the Musical Laligunge related to thc Presctrt Study

This sub-section presents a brief rcview of some inlportant aspech of thc musical

I n n p a ~ ; e ('I'heory and h~lnsicianship) which arc ]-elated t o this study, Walton (1981)

ernphasised six arms in the fcaching of theory and niusicianship which ovcrlap and join in

a total musical experience of an individual. 'I'hese arc

28

(i) Listerzing - the basis of all musical experience. This implies a mental grasp of the

music as the mind selects, organises, and cIarifm what the ear hears;

(ri) Analysis - which simply implies how the composer organises his material. It is

not enough for students to know isolated chords and symbols. Students must discover

t k i r function in a partkular tnusic context;

(iii) Mmicianship - To establish theory as a vital aspect of the curriculum, teachers

must help deveIop the studenrs' ability to identify the elements of music and develop their

skills as 'tools' so that they can he better musicians. All aspects of music, harmony.

polyphony, style, texture, form, structure, combine and become the basis for the study

of music literature, This syn~hesis is rightly called musicianship which pulls everything

together a- to increase and deepen students' insight. In Schouten's (1982: 40) view, "a we!]

rounded curricuIurn should incorporate all phases of the career such as general music,

vwaI music, instrumental music, and sn on;

(iv) Mwic Reading - Music reading skill is a high ordcr skill (Peters and Miller,

1982). Elliot (1982) writes that one of the objectives nf wr music programmes should

be to praduce musically independent students who have the skills to continue with music

after high school graduation, Gregory (1982: 462) further states that 'a prime educational

goal of any discipline is the development of an independent learner. In music an obvious

prerequisite to independence is the ability to sight-read". As the person who cannot read

is deprived of corning to grips with any form of literature for himself, so is the person

29

who cannot read music deprived of active participation in any music that he has bot

memorized by listening to others (MurselI, 1982). Continuing, Mursell(1982), Middleton

(1984) argue that the teaching of Music Reading could be justified on the basis that it is

a tool skill that car1 lead 10 e deeper understanding and deeper appreciation of Music;

(I)) CrmCivity;

(vi) M s i c Writing and

(vii) Kqboard H a m m y - which offers a practicat means for applying ail the other

skills in other areas and focusing them on an instrument. It enhances the study and

unrlers tanding of music. The activities here are playing by ear, hannonising nlelod ies.

inlprovising, score-reading, deriving chord studies from the music itself (WaIton, 1983).

(i) Review of Relevant Professional Amciation Rlepart.c; and Carricull~w Guid~s

This sub-section deals with the review of reports from Music Educators National

Conference (MENC, 1972) USA; Florida Music Education Association, (FMEA, 1981)

and Music CurricuIurn Guide (1988), Departwent of Education, Alberta. These reports

have thrown more light on music tcaclier competencies and have highlighted the

rationale for carrying out this present study. inherent in any profession is the need to

continue growing and be revitalised. Because of this basic need, it is appropriate that a

text on the foundation of music education examine the most active arena that not only

prepares members for the profession but also is the chief means for the in-service

training of its members already in the field. According to Klotrnari and Andrews (1972),

30 the developnent of music teacher competencies should result from the total prosranme

of the teacher training institution.

Most concerns in teacher training have not changed. It was such a concern that

caused MENC to create a commission to examine teacher education programmer in

music and to recommend changes that would lead to thc improvement of these

programmes.

In their Teacher Education in Music: Finai Report, KIotrnan and Andrews (1972)

not only developed a set of rccornrnendations designed to strengthen the training of

individuals preparing to be musk educators but also identified qualities and competencies

necessary for such teachers. The Commission also published "Recommended Standards

and Evaluative Criterian by which rnusic education departments in colleges and

universities could evaluate their offerings.

Each criterion in the Final Report identified a specific competency and provided

pertinent questions for determining what existing conditions were available to assist in

promotin2 skills and competencies and how well these conditions fulfilled this need.

Three areas of Music Teacher Training on review are : General Mucation, Music and

Pmfessional Education. The Final Report also reviewed personal qualities involved in

seleding and training future music teachers for the schools. The &rmnission also in the

Final Report identified and listed desirable competencies in broad categories thus:

Qualities and Competencies For Mllric Educators Personal Qualities:

Inspire other.5;

Continue to Iearn in their own and in other fields;

Relate to individuals and society;

Relate to other disciplines and Arts. They must seek relationship between music and other disciplines;

Identify and evaluate new ideas;

lJse their imagination;

llnderstand the role of the teacher.

Musiral Competencies ('Pcrformancc)

Perform with rnusical understanding and technical proficiency;

Play accompaniments;

Sing;

Conduct;

Supervise and evaluate the performance of others;

Organise sounds for prsonal expression;

Demonstrate an. understanding of the elernents of rnusic through original cornpasiltion and irnprwisafion in a variely of styles;

Demonstrate the ability ra identify and explain cornpositional choices of satisfactory an8 less satisfactory nature;

Notate and arrange sounds for performance in school situations;

Identify and explain compositional devices as they are employed in a11 music;

Discuss the affective results of cornposirional devices;

1)escribe the means by which the sounds used in music are created.

Prcifmional Qualification

Express their philosophy of music and education;

Demonstrate a farniIiarity with contemporary educatimal thought;

Apply a broad knowledge of musical repertory (collection of musical information) to the )earning problems of music students;

Dern~nstrate by example, the concept of the comprehensive musicians dedicated to teaching.

Priorities must be established in order to develop these cornpeterlcies of major

importance during the Pre-service period. Those qualities and competencies must be

realised (or acquired) ny a continuous process of self-evaluation and study. The good

music texhcr discovers many opportunities, both formal and informal, for improving his

performance as a musician arid teachcr and this process never ceases,

AIso in June, 1981, the Florida Music Educators Association (FMEA) published

its awn pamphlet, Music Teacher Corn~etenciw, Palmer (198 1) listed and divided

desirable guide. This guide autIines a secondary music programme for Alberta, Canada,

that aims at:

developing s k i k in listening, performing, and using notation;

encouragjng students to strive for musical exceIlence;

enabling students to appreciate music;

fostering seIf-expression and creativity; and

making students aware of the history of music and the inlplications of nlusic in

society.

Addirtianal goals are wtlincd for the instrumental music programme that enables students

to deveIop competencies and strive for ex~ellence, within the limits of their individual

capabilities. in the arcas of playing, listening, reading, creating and valuing music.

GuideIinm for irnplcmenting ek instrun~ental music programme arc outlined addressing

such areas as shldent enrolments, student scheduling, teacher scheduling, faciiities,

suggested methods of evaluation. cIass procedures, budget management, and pmfessional

support. The remainder of the guide discusses requirements for successfuI wide-

percussion and strings programmes including technical-theoretical skilh, interpretative

skiIls, synthesis skills and authorised learning resources for each area,

2. EMPIRICAL L I T E R A T W

(a) Studies of NwtBAsessment

This subsection presents various research reparts on Needs Assessment and Need

Theories. Most writers have emphasized that bcibre any in-service education programme

can be established, the felt needs of teachers who will participate in such a programme

must be ascertained. As stated by Hughes and Dougherty (1977), perceived needs of

33

teachers must hc consiclc~d end also in-service education progranunc should be bascd on

the identified needs of rhe tecxlm-s which should bc structured to per mi^ thcir ac~ivc

invoIvcinent.

Most researchers have aclatcd their sludics o n need itlcn~ii'ication to i~nplications for

in-service education. For exatnple, Akubuc (1981) invcsligntecl the in-service necds of

sccondar!; school principals in instructional supcsvision where principals of secotdary

schools in Anambra State necd professional i~nprovcrnents. IIc for4rnuIated three research

q~restions and one hypothesis. Dala lverc collcctcd through two scls of qucstions on

importance and perfornlrznce qucstions for the principals. 'f'he sample cornpr~sed I44

secondary school principals randomly drawn fro111 five educational zoncs in [he state

Means. standard deviahns and chi-square were used in the statistical analysis of the data.

The resull showcd that out of the tcii major li~nctional areas of i~~st ruct ion (which werc

organised in clustcrs), six were poorly obscrvcd.

Still based on need idei~til'icalion is Anyakoha's (1982) study. Sllc idenlified 98

clothing and textiles compckncy n e d s or post-p-imaty school teachcrs of Momc Economics

i n Anambra Statc of Nigeria. Three diffcrenl oatcgorics of I tome Economics tcachers who

responded to her structured questionnaire were i n v o i v d In thc study. Her s i d y revealed

that thrir (the respondents') exprcsstd pxforlnancc ralings of the cornpctencics wcre

generally lower than thcir pcrccived irnimrtar~e ratings of

35

competencies by the three different categories of Home Economics teachers. This implies

that the three different categories of the Home Ekonornics teachers needed improvement

on all the identified clothing and textile competencies.

Other researchers who based their studies on identified needs for teacher

improvement arc 3s follows: Crawford (1979) who carried out a study aimed at

derermirr ing the perceived in-service needs of vmatiorlal teachers working with

disadvantaged and handicapped students. He found that significant differences in

perceived needs existed anlong the different categories of the respondents. Igbafajabi

(1 888) revealed that in-service teachers showed significantly higher needs for training

than pre-service teachers. There was a significant difference between the expressed and

the observed necds of the teachers.

Kole (1987) conducted an investigation on needsassessment. The purpose of his

investigation was to develop isolation reduction strategies in Order to reduce the feeling

of isolation expressed by many of' the Nova University programmes For Higher Education

regional cIuster students. A needs assessment was initiated to discover what the broad-

range needs of regional students were and to activeIy develop strategies to meet those

needs. He also conducted a needs assessmer-it among the South Florida Local cluster

students to determine whether their feelings of isolation were the same. A content

analysis of the regionaI cluster survey results revealed that a majority of the regional

students did experience feelings of isolation, The main area of concern was the general

36

communication gaps between students faculty, research associates, teacher ... The

response rating of the local cluster survey was too Iow to develop reco~nmendations.

However, 111e regional rluster survey was adequate enough to devclop the following

recornmendations to increase regional cluster conlnlunication system-wide; provide more

dctailed prapramme infm-malion, arrd organise programmes for Higher. Education regional

information into an "orientation manual".

Concerncd with Maslow's theory of human motivation in which Maslow saw

"need gratification as the hasis for most human behaviours, Betz (1984) conducted a two

part-test on Maslow's theory. His study supported Maslow's model of regarding need

deficiencies and their relationship to life. He explained the relationships between nced

deficiencies and need importance and need deficiencies and life satisfaction in female

college graduation numbering 474.

On the need for adequate preparation of teachers in the Teacher Education

preparation colleges, Tracz (1987) conducted a survey study. The purpose uf the study

was €0 survey the needs of the highlsecondary scl-rool band directors (N = 250) and that

of the college music educators fn = 150) concerning their pre-senkc prcpa~a~ion in

marching band techniques. The results reveaIed that 34% of band directors had no

prepatation while 66% were prepared in either a partial or full marching band technique

classes. The college survey revealed that 44% of the colleges offered a fulI marching

band technique course within the curriculum, while 50% did not.

(b) Studies on tea chi ti^ Elfcctivctwss

S~ucIics rwic~vcd uncle^ this suhscclio~l, which have inlplicatlons for Teaching

Effeciivcncss focuscd o n tllc teacher-('actor basis. Oladc-io (I98 1 ) . Nnabr~o (1988), and

Madsen (1990), importance of kcyboard skills for cffectivc ulusic teaching (Wclls, 1987);

teaching common lo all classrooms (Iludgins arld Herlry (1992); nlodcl for kacher

motivation and instroctio~l technique; and characleristics of effective teaching (Ali and

A Imbue, 1990).

Sonic studies on 'I'eaching Eff'cctivcncss arc relational iri design, for exampIe

Nnabuo's study (1988) is dcsigrlcd to exarninc specifically t l~c relationships between teacl~er

eff'ectivcncss and academic perfor~nancc of some secondary school students (Form 4) in the

hIlo\.ving subjects: IIistorg, Chemistry, Biology and English Imguagc iri Rivers State.

111 llis study thc following 1iypnrhese.s werc tested at significant Icvcl of' .05.

'I'l~crc is no significant tlif'kreucc bc.t\vcc~l typc of scl~ool and tcachcrs effectiveness (I'L 0.05).

'I'herc 1s rlo signil'ica~it differcnce between Ioca~ion of' rhe school and tcachcr cffectivcr~ess.

'There is no significatit diffeswcc het\vcen teacher's sex, age, marital status, prrsfessinrial qualifications, teaching experience arid sturlerirs academic pcrfwmar~ce.

In this method, a total of'six secondary scl~or~ls wcr-e selected, Stratified random sa~npling

technique included schools fro111 Phalga, Bolga, Kelga and Oyigbo Tai-Elerne Local

Government Areas. Thc pop~~latiorl of'the study includcd 270 tcachcrs and 270 students,

3 8

d r a w from single malc schools, siriglc femalc sluderlts and co-educational instiblions, Four

instrulnents were used for the data collectiot-I, viz: the 'Teacher Demographic inventory

(TDI), thc Teacher Self-rating 1nvcntar.y ('f SI) and Students; Rating Inventory (SKI). The

instrumenls uscd were basically desigued for this research and were pretested for validity

and rcliallili[y.

Hc used both the analysis of' variance 2nd 1-tesl of' significance. The itenls were

crganised in clusters. Nwabuo's (1988) study has sl~oivn a positive relationship betwecn

teacher's sex, marital status, teaching experience a11d students' acadenlic pcrformancc

(teacher cfi'ectivencss). I ( means that 111e above variable could be uscd for predicti~ig

academic pcrlormance of studcrits.

hiladsen's (1990) study preseritcd experiments or1 thc relationship between teacher

i~lter~siry a11d Icvels of student attentiveness. I-Ie reportcd that increased Icvels of teacher

intensiiy led to greatcr srudent r~rtcntivcness. His finding has significant implications for

the general music instruction which clcrilands general musicianship on the part of' the

:eacher. On the other I m d , tllc rescarcller felt that the teacher factor could lcad to

teaching ineffectiveness, i f adeqnalc steps wcre not l a h i both in the pre-service and in-

service education. This is part of tile ralionalc for the preserlt st.udy. 111 agreement w i t h

this view, Oladejo (1991) using Nigeria as an illuslralion, argued that the English-as-n

39

second-Iangaage (ESL) teaching ineffectiveness in developing English countries, resultu

primarily from chronic teacher-related factors such as shortage of well-trained teachers,

use of unqualified teachers and lack of in-service opportunities. He advocated higher

standards of prof&onalism in E.S.L. teaching.

It is through effective teacher educatiori programmathat the Nigerian Educational

abjectives can best be achieved since training is one of the conditions which can influence

rcacher effectiveness. Bello (1981) has reported a startling revelation from a research,

i t was revealed that untrained teachers performed slightly better than trained teachers in

m m s of student gain scores. A survey of visits he made to sample some training

institutions in the Lagos metropoIitan, reveaIed the f'act that in a 3-4 year programme,

only about I0 weeks were spent on teaching practice. The rest of the time was spent on

theory teaching. He suggests an increase in the length of time given to teaching practice.

In agreement with the above, Okafor (1988) highlighted the need for effective teacher

preparation programme when he pointcd out that curriculum should in essence be result-

mien ted and performance-based.

Fisher (1991) has maintained that nlusic teacher education should attend to the

development of personal skills for effective classroom teaching. For example, the skills

for conducting and directing the school marching band can be part of the music education

programme (in reference to Tracz's (1982) study earlier cited). Personal skill acquisition

iil pianolkeyboard playing, among other things, goes a long way to erlhance music

40

teaching effectively, especially i n the area of n~usical aestherics and illustration of

musical concepts.

In the light of the foregoing, Wells (1987) conducted a study on keyboard skills.

Thc prlrposo of his sludy was [o find which keyboard skills arc rakd as nmst i m p tan[

h r music tcachirlg and which a r c nlost. oftcn used in pi~blic scl~ools music (I'SM)

teachirrg. (PSM as used in this study refers to teaching from kindergarten - Grade 6)

Two groups that are ablc to evaluate tho in~portance and ulilisation of' keyboard

skills in PSM are I'SM toachcrs and collcge or. university music faculty members

involved in the preparation of piano proficiency exarninatior~ from 29 North Carolina

colleges or universities offcring degrees i u music educi~rion were collected and a rating

list of skills were compiled. With regard ro PSM teaching, the subjects evaluated the

importance of' skill and subsequently evaluated the usefulness by appropriately placing

nunlbzrs 1 through 13

'The Spear-marl Iiank Order currelarioi~ cocfficicnt and rlw t-test wcrc uscd to

delemine whether signil'ican[ correlations csisted bctwc-cn ratings of groups. Thc

No significant correlation cxists betwen ratings of PSM teachers and collcgc or universilp rnusic teachers regarding thc importance of' keyboard skills in PSM teaching, and

No significant correlation cxists hctiveen ratings (FSM) teachers and college or university music tcachcrs regarding the usage of kcyboard skills in PSM teaching.

41

These findings imply that there is an agreement among the respondcnts regarding

piano skills which arc inlportant and useful in PSM teaching. Results also indicate that

ratings af b ~ t h the importance and usage of keyboard skills irx PSM teaching are nut

influenced by the fo1Towing variables:

Highest degree obiaincd

Major arca of conccntntion (piano)

Piano proficiency examination requirement

Type of college or university piano study.

Mudgins and Henry (1992) based their recommendation on a sunrey of Ohio's

elementary and high schoul pri11cipaI.s. They proposed the following list of specific,

selected set of effective teaching elerncnts : classroom clirnate; questioning, set induction

(to spark up student tnotivation); stimuIus variation, and reinforcement and closure. The

authors maintained that principals will find these elements practicalIy based, observabie,

camrnon to all: clasxroorns and rneani~lgful to all teachers.

Furthermore, Ali and Akubue (1990) conducted a study to

determine the nature and scope of activities which constitute the duties of the Nigerian teacher (primary, secondary and tertiary);

identify teacher characteristics which constitute those of effeclive teaching. and

determine the best way these characteristics can be imparted to teacher trainees.

In their sample, the researchers randomly used four States. From each Stale, 5

42

teachers: 50 secondary school reachers; 50 primary school pupils in psi~nasy six; 50

s ~ o n d a r ~ s c l ~ m d students in SS 11 and sarnplcd principals, deans and provosts in colleges

of education and universities. The instrument used for collecting data for answering che

research rlucstior~s of the study was Practical-Bascd Inventory for t k preparation of

Teachcrs (I'IPT) - a sliglir rnodificatior~ or i~lslru~iien~ c.lcvclopcrl by Ali and Dctlga ( 1 983)

in two related earlier studies. The inlerr~al corisistency value of the inslrun~enl was

de-kmnir~ed ~llrougk Kudcr-Richardson forrnula 21 calculation value = .9 1 .

Their study wvealed the Sollowing itenis and their ranks as charactcrislics of

Effective Teaching as indicated by all the respndcnts. In heir study such items relating

to the needs of students werc raled very Iiighly by a verll high percentage of the

respnndenfs. Such irerns as "Quite helpful to the sludcnt in his work by explaining,

c l a r j f p g and using cxarnplcs to illr~strale ideas, concepts, lopics etc." and "shows

interest in students' work elc and rlw psychological pressures and aspirations of

studcnts . "

2(c) Studies on Competency-Based Teadier Education in Music and other Areas

On identification and classification of Co~npc~cncies, RainIan (1975) conductcd

a research s~udy. 'The purpose of Lhc research was to idcntify and classify in a llierarchy

of competencies. objxtives of studcnl teaching in music that should have been achieved

at the ccmplclion of student teaching,

In his proccdurc the initial list of objcctivcs uscd i n the de\~efopmetll and

43

administration of the Delphi survey was developed from the review of literature. The

objectives wcre placed in a ~Iassification system under major headings of competencies

aIso devdoped from the Iiterature. A seven-step delineation process reduced the original

list of objectives to 134. Thc lhird step in the procedure involved the random selection

of a representation of institution from which cxperts in rnusic education and student

teaching could be chosen as respondents to 3 survey. The fourth step was the

administration of a partial DeIphi survey consisting of Iwo questionnaires. Delphi survey

may be defined as a methodology used to obtain the most reliable opinion feedback. In

the first questionnaire, the respondents were asked to assess the list of objectives and to

rate the items by degree of importance. On the second questionnaire, the respondents

were given the opportunity to agrce or disagree with the results of the first survey thus

generating data for the construction of the final herarchy of objectives.

To establish the degree af correspondences between response to the first and

=and surveys, the ranked ilctns from the two queslionnaires were subjected to a

Spearman's rank differential method for dctennining a correlation coefFicient. It was

subjected to a test of signif cmce.

The findings reveaIed that a correlation coefficient of .65 between the surveys was

significant beyond .Q1 level. Ilowever, the data from the s f d y suggest that there is

agreement on those objectives that are important. The study also succeeded in identifying

and ranking, in a hierarchy of competencies, objectives of student teaching in music

44

education as ranked by experts. Thc hierarchy competencics and otjectivcs reprcscnt the

priorit~cs of thc teacher training profession in music. 'The purpose and procedure of'this

study guided thc present study. TIIC rclalinnship is seen in the identification of

con~petuncii's and the various similar steps taken in the proccdurc which the prescnt study

adupied.

Lorccr~ (1981) conducred a research study on competencics. The purpose of her

study was ro asccrlain what compete~~cics professional accompany iug teachcrs deem

sufficiently important to be inciudcd at snmc poinl in the devclopmerit of a prcifcssional

acccrmpanisl. An accornpa~lisr is a pcrson who supports a solo singer, congrega t io~~ or

orchestra while playing eittlcr on a kcyboard instrun~enl or olllcr inslr'umcnt(s) providkg

a harmonic background. It was aIso aitncd at finding areas rnosl consistently very

importarit by the tcachcrs and professionals.

Research p rob lem were forrliulated lo dc~crrrii~le whal dil'Tcrrrices cxist betwecn

1Iic c)pini011 01' t c a c k r illid p r ~ f c s s i ~ ~ ~ i ~ l s regard irlg necessary skills in prcparat ion of

accomparlinient with Illc following calcgories of competencies: Pianistic (keyboard)

skills, Accotnpa~iyirlg skitls, Vwal skilk, Linguistic skills, K~iowlcdgc of ~ q x r [ o i r c .

U~lderstanding in hunian rolntionship and Other compete~icics suggested by tlic

respondents.

I h l a were colleckd by means of' a valida~ed quest io~inai~c conraining items

grouped into the scvcri catcgorics listed above. These were sui t to the 20 professionals

45

and 31 schools offcrmg accompanying classcs. Each competency was rated first for its

relative ilnporta~lcc to a p~oiessional acco~npanis! and lhcn for its appropriate place In thc

s q u c w c of an accolnpanisl's prcparalion. i\ chr-square test uscd in comparing two

groups regarding the i~i~portancc of' uach cornpeiency shuwcd virtually no significant

UiWeic~cs.

hrcas most consister~tly considcrcd very impor~anl by teachers and professionals

were knowledge of repertoire, undcrstanding i n human rclatio~lstiips, sight wading,

rehearsal and pcrformaricc compctcnc~es, cornpctcncics in intcrpl-eration and pianistic

skills. Othcr arcas like con'cct phonetics and translations i n G c r n m , French and Italian

were considcrcd lcss imporlant .

Furrherrtxm a atlafed a r m in which rcscarches have also rcportcd tlielr

invesligation hascd on compck~cy-1.ra.d education is in the trahi11g of social studics.

For example, Felder and Scliomhurg (1981) i n tlicir* write-up discussed an approach

which used thc dcvclopnwnt principles ol'co111j~c~~11~y-bascd alucation as guidclincs Sol-

training o f social studies tcacIvm at thc Uni\wsi[y of Ilouston. Co~npetencios irlcntifrcrl

for training socIaE sfudies teachers wi l l bc either gencric or specialised. Generic

cnmpctencies reflect those teaching behaviours considcrecl mxntial for all tcachers to

master so that they can teach their subjects within thc context of thc cntire school

curriculum. Spccialised rompi!tuncies for social studies can thcn build and extend these

gcncric skill areas and respnd to the unique dimnsions of social slud~es education. Thc

46

paper lists the 16 generic cornpetencies which all students preparing to teach at the

University of Houston are expected to detnonstfate. In developing the social studies

competencies the Houston faculty first established assumption, for example. "madel

hehaviour expected of their students'. Social studies cornpetencies were then grouped into

four components:

Goal delemination in the social studies;

Insfmctional design, strategies and material in the social studies;

implcnlentation and demonstration in social studies, and

consequence and evaIuation in the social studies.

Competency statements arld instructional objectives for each component were

developed and served as the basis for the design of karnirlg experiences for pre-service

teachers. The use of the developmental principles of competency-based education which

Felder and Schomburg (1981) adopted also provided a guideline for the present study.

Not only is competency-based approach applied in music teaching, it is also

ernploycd in science. For example in 1988, Barnes and Shim, in their report i~lvestigated

teacher competency a d expertise in five primary schools in North-hst England.

Identifying music arid sciencc as areas of serious concern, [hey stated that it is desirable

to use specialists to cover gaps in the classmom teacher" knowIedge, skills and interest.

In 1983, Stanford and Ernest gave a rcpm of their investigation in a paper titled

"Sbdent 'Teacher Perceptions of Teaching Competencies related to educational nledia."

47

In this write-up the educational media competencies were identified as most i~nportant

by Alabama student teachers. Also the competencics they feel that they possess and the

rel~tionship between perception of cornpefcncy levd and impdance was investigated for

majors in five programmes: Special education; N = 12 certification; elementary

education, early childhood cducation, and secondary education. Subjects were 5 18 student

teachers in the latter half of their student teaching exprience at 15 Alabama Universities

during the spring of 1982. Data were collected through Inventory of Teacher

Competencies Related to Educational Media (ITCREM). This includes a Likert-type scale

of 69 structured items to assess perception of importance level of competencies in

educationaI ~nedia. Findings showed significant positive correlations between the upper

I0 ranked competencies and the lower 10 ranked competencies for importance and

cmpeiency Ievel. The findings also indicated that student teachers received traditional

preparation in education media. There were no significant difference$ in the perceived

importance of the competencics within the five programmes, or in the levels of

competence. T h e four inventory i t e m related to microcomputer operation received the

lowest ratings of importance and competency Ievel. Appendices indude Iists of

p~rtklpating I n s t h t b n and cornpete~icies ranked by importance as indicated by mean

scores.

The importance OF instrumenhl music pmgratnme in the music curriculum of

primary, secondary and tertiary institutions cannot be over-emphasised. For example, the

48

keyboard instrument, the piano is very important to the classroom teacher. It is therefore

very necessary for the classroom teacher to acquire the necessary functional piano skills.

Wich this in view Wendy (1988) carried out a study of piano proficiency requirement at

the institution of higher education in the State of Oregon.

The purpose of Wendy's (1988) study was to investigate the states of piano

profkiency requirements related to the needs of music educators in the State of Oregon.

In his procedure, a three-wdy conlparison was undertaken.

First, literature related to piano proficiency was e x a m i d . Second, piano

proficiency requirements and curricula were reviewed a1 fhe six colleges and universities

in the: Oregon State system of Higher Education where programmes exist. Third, opinion

of Oregon pubIic school music teachers were sought regarding neecled and used piano

skills. Also in interview controlled instrument was constructed to aid with the coilection

of data from the colleges. Interviews were then conducted on campuses with instructors

who taught piano proficiency skills. The interviews focused on nine piano skilk areas

which included

accompanying

plajring chord progression

harmmising

improvising

playing piano repertoire

playing by ear

score reading

developing technical ability, and

transposing.

50

research. Other studies which dealt with identification of competencies for improvement

purposes in other areas include Onyike (1981), I k e m and Offorma (1990), Madubuko

(1990) for example, in Nigcrian secondary schools.

2(d) Studies in In-Service Teacher Education

On the need for in-service Tcacher Education in Nigeria, many writers have

written among whom t: Adeyemi (1989) who in his write-up delineated the

guidelines for pre-service education of Nigerian social studies teachers; the way that core

social studies should be taught; and thc qualities expected of social studies teachcrs in

Nigerian society. Abolaji and Rencau (1988) discusseda study of agricultural science

teachers in 60 secondary schools in Kwara State, Nigcria, that of'fered agricultural

science courses during the 1985 school year. The survey revealed a necd for more in-

servicc education, bclrer funding and better equipment in agricultural science

laboratories.

Esu (1991) examined the current status of in-service tcacher education in Nigeria.

He indicates ihree approaches: The ccntral office approach: the long vacation

programme; and the Associateship Cerlificate in Education distance learning approach.

I-Ie made same recomn~enda~ions for planning and irnple~ncnting in-scrvice teacher

education programmes in Nigeria. In agreement with the long vacation approach Ormu

( I 985) sought to determine, among other things, the most preferred types/ formats of in-

service education programme for tcachers of technicat education. His study reveals that

5 1

teachers prcfer to receive in-service training during long vacation period as to minimize

the dismpticsn of their daily teaching duties.

Sntnt studies on in-service needs cited earlier in this review such as Anyakoha

(1982) and Akvbue (1981) based their nced indicators on conipetencies in which the

respondents fnund themselves deficient and so need retraining in an in-service education

progtanlme, The studies also seck to idcntify thc competencies where the tcachers find

themselves not performing and so need retraining. 'Tlius the study has inlpkation for in-

service education for music teachers,

2(r) Studies on the Human Voice

The Arlolwent Voice

Adolescence is characterised by a distinctive phase of vocal development which

bridges childhood and adulthood. Longitudinal research studies, e.g. [Cooksey , 1977a,

1977b, 1977c, 1977d and Wolverton (1985)] for example, indicate that there are

distinctive features to each stage of the adolescent voice change and that with an

apprupriate matching of repertoire, it is possible for all young people to continue to sing

successfully throughout this period (Cooksey and Welch, 1998).

Findings from the above studies revealed the following definable voice change

stages in the development scheme of the adolescent voice change as presented by

Ccloksey and Welch (1998), see figure 3 below:

Pre Stage I - Unchanged

Stage I - Mid voice I (Early beginning of change)

S t a ~ e 11 Mid voice 11 (Middle of change)

Stage 111 - Mid voice IIA (Climax of change)

Stage IV - New voice (Tapering period)

S t a g V - Emerging Adult (Expansion and developnicnt period).

Fig. 3 - Staigfs OF Adolescent Male Changing Voice Development.

These developments take place most often between the ages of 12 - I 3 years, but

can occur much sooner and last frorn scveral months to more than a year. The emerging

adult is beginning among 14 - 15 years old and reptsents the begiruing of the road to

vocal maturity (Cooksey and Welch, 1998).

Figure 4 below shows the mean ranges and tessiture (most cornforrable sirrgirrg pitch range) for the voice chan~e stages rnentioncd above.

Fig- 4 - Mean ranges and tessiture for the voice c h a ~ ~ g e stages. Bracketed notes represent the voice tessitura pitch boundaries.

Source - Cooksey and Welch (1998).

In the mid voice II stage: lower pitches appear and the higher ones gradually

k m m c mnre unstable. Voice quality in the mid voice II stage is distinctive, thicker and

darker in colour and Iess resonant. For most males, this stage lasts about 12 - 13 months

and begins most often at approxi~nately 13 years of agc.

Stage: 111: Mid voice IIA - Voicc-changcs rcaches a 'high point'. This stage is

considewbly wlnetable to vocal abuse. There are few vocal parts published in choral and

song literature which fit the range of this unique stage. The qualily of tone is often husky

and sometimes quite breathy. Healthy training coupIed with good voice production during

this stage has a powerfully beneficial impact. Mid voice IIA is a pivotal slage, Iasting

from two to ten month, and beginning some time between the ages of 13 - 14 years.

S t q e IV - New voice, represents the beginning of more stability in the growth

process. Along with steady increases in height and weight, the vacal pitch range

stabilizes and voice quality becomes clcarer whilst remaining Iighr and somewhat thin.

The new voice sound which commences at approximately about 14 years of age and

lasting one to three months does not yet approximate adult-likc quality. Cooksey however

found exception to this in his London study of 1992 - 1994, that a number of boys

reached this stage by the age of 13 years.

The ihportance of the above findings reIating ro the successfuI management of

thc adolescents' voice (male and femaIe) cannot be overemphasised. In summary, voice

change in ad~ lc swnt males is a pr-cdictable and sequential phenomena with singing range

being the most valid indicator of' voice cbangc. 'These uniquc aspects of thc changing

male voice have an implicalion for the music teachers in the secondary schools.

Abulcscent male voices cannot experience success in singing activities if their changing

vocal limitations are ~ w t taken into account. Adolescent boys experience irregular growth

rates in the vwal mechanism which can make their voices unpredictable and difficult to

carttrd, espdiatly if forced inro the wrong pitch range (Cooksey and Welch, 1998).

Z(F) Studtm on Qualification

The need for good qualification for the music leachcr has bcerl emplmised by

Morgan (1953); Abeles (1984) and Ekwucnle (1987) to mention a few. Qualified music

teachem must possess classroom tcaching abilities, musicianship and educational

preparation, Morgan (1953). For one to become a professional educator, Abeles (1984)

pointed out, it entails among other things an accumulatior~ of a body nf knowledge. The

56

prnfessional qua1ification and students academic performance. Nnabuo (1988) and

Gilfwpie (1991) shtdies revealed no significant relationship between teachers skill and

student competencies.

Positive correlations exist in the fimlings of Ejiofor f 1990) and Gwanyama (1992).

E-iiofor's study was to find thc link between the educational level of a counsellor to the

wrtbiness of a client to cornmunicatc. She found that the studcnts prefer counsellors with

hlghcr degrees to the first degree counsellors. The need for professional qualification

cannot be overemphasistd. This is portrayed in Gwanyama (1992) study which aimed

specificalIy to assess in a valid and reliable way the relative teaching effectiveness of

both rnalhcmatics teacher with a professional background and mathematics teacher

without a professional background. he found That mathenlatics teachers with professio~ial

background are more effective in teaching mathematics rhan mathematics teachers with

no professional background.

SUMlMARY OF TIW, LITERATURE W T E W

The review of literature has rcvealed that problems facing educators in general

and thc music' teachers in particular are not limited to Nigeria ohe. l 'he problenx cxist

in other developed countries as cited by K1otma.n and Andrews (1972); FMEA (1981);

tVells (1987); Fisher (1991), for example. Literature also revealed the strategies used to

solve these music cducatim problems. These efforts provided guidelines, focus and

inspiration to carry out the present study motivated by the observation of such identical

prnbIerns with music education in Nigeria.

The implication of the need theory to the classroom teacher and the music

accumulation of such knowledge in most cases involves a lengthy continuous study which

usually culminates in a degree or certificates. In agreement with the above idea,

Ekwueme (1987) stressed that a music teacher, in a schao1, shouid possess, at teast, a

music diploma lasting from one year to at most three years with some minimum

proficiency in two instruments, one of which must bc the keyboard. Such a teacher, he

added, should have received some pedagogical training.

Some studies (~gw& 1976; Iroakasi, 1990; Nnabuo, 1988; Ejiofor, 1990;

GiIIespie, 1991; Gwanyama, 1992) have revealed various results linking teacher

quali ficatiun with students' altitude, interests and performance. Ogwe (1976) study

revealed that the quaiity of staff affects students' enrolment in the West African School

Certificate Geography. Assessing the qualifications of the Geography tcachers in the

schnols, he found that there was a high positive correlation berwecn staff and student

enrolment. Iroakasi (1990) study conduded that entry qualification is a significant factor

in candidates' performance in Teachers' Grade I1 Certificares lkaminafions in English,

Mathematics and Education. Testing whether qualification could be used as a predictor

of teacher effectiveness, Nnabuo (1988) study revealed no significant difference between

57

cducator in particular lies in the appropriate invoirerneni of the students' needs and

interests in curriculum planning. The competency-based approach to the development of

curriculum is also advocated, as a good system of attaining professional improvenlent.

This approach helps a researcher to identify job-relaled competencies when thcy are

pcrfosrned. Many rescarchcrs and wrikrs liavc crnphasised in-service education as a

means of achieving the continued professional growth of teachers, edl~lariona1

administrators and supervisors. Research studies on teaching effectiveness have been

focused on the teacher factor, e.g. AIi and Akubue (1990); Iiudgins and Henry (19'92);

Fisher (1991), for example with implications for the teacher-preparation programmes.

Thc researchers have agreed that through idcntifying the 'deficiency needs' (competency-

needs) of the serving teachers, an in-service education could be organised for the purpose

of retraining and updating the teachers' knowledge. The constant improvement of the

teacher factor also contributes to the irnprove~rmt of curricuIum and teaching.

Vaice change in adolescent nlales is a predictable and sequential phenomena with

singing range being the most valid indicator of change. According to Cooksey and Welch

1998), adalescent male voices cannot experience success in singing activities if their

changing vocal: firnitations are not taken into account. In addition to providing theoretical

framework for the present study. these reviews haw also helped to provide specific

pedagogjcal .suggestions, models and processes to solve particular problems posed for the

study. The reviews have helped to guide the inquiry and contributed in suggesting

58

techniques for i~lvestigating such questions, Much work Ilas becn done on competency

in various disciptims, Ihis pr-cseni study ;itternpts lo identifj coinpclencies needed

specifically for- the improvernerrt of Ihc nu sic tcachrng arltl 1m-ning prtlblerns of musrc

teachers in Enugu Srak secondary schools.

CHAPTER THREE

RESEARCH METHODOLOGY

IR this chapter, the researcher presented and discussed the methods used in

carrying out the study. The chapter is organised into the followir~g sections: Research

Design, Area of the Study, Population of the Study, Instrument, Administration of the

Instrument and the Method of Data Analysis.

Research ]Design

This is a survey research designed to enable the researcher identify the

cornpe~encim considered important for effective teaching of secondary school music, as

we11 as the levd of perfomlance, by teachers, on thc identified important competencies.

A survey is a descriptive design which samples the views, opinions, for example, of a

part or all the population and describes the findings (Ali and Denga, 1985). me survey

research design was used and c~mirlercd appropriate because the researcher was

interested only in identifying the competencies and the teachers' performance levels on

them. The survey research design has been successfulIy used in studies similar to the

present one in Delphi, Nigeria, North fist England a d Alberta, to mention a few.

Area of the Study

This study was carried out in Enugu State secondary schools, Enugu. Enugu Stale

is one of Nigiria's 36 states. It is locatd in the south&st central part of Nigeria. There

are two mucation Zones, namely, Enugu Eclucation Zone and Nsukka Education Zone.

The smdy was carried out in these two Education Zones.

Population of the Study

The popuIation of the study comprised all the quatified music teachers teaching

music in Enugu State secondary schools as at 1998. A teacher was corlsidered qualified

if be had one or more of the following certificates:

Diploma in Music Education

National Certificate in Education (NCE) (Music)

B.A./B.Ed. (Music)

M.A./M.Ed. (Music), and

Ph. D. (MusiclMusic Eclucation).

Data on music teachen in secondary schools in Enugu State show4 that there are 41

qualified music teachen (as at 1998) teaching music in the secondary schools (see

Appendix 0. The information also reveated that there are 252 secondary schools. Out

nf these, ody 33 secondary xhmTs offer music in the curriculum. The subjects of this

study were the entire 41 qualified secondary scIlooI teachers currently teaching music in

Enugu State secondary schools. Qf these, 9 are first degree holders @.Ed.) in Music,

whiIe 32 hold NCEIDiploma (Musk) certificates.

Instrment

The instrument used in collecting the data of this study was the Inventory of

Competencies for Effective Teaching of Music (ICETM). This i~istrument was dcvcloped

61

by the researcher for identifying the important competencies needed for teaching

secondary school music, effectively, as well as teachers' levels of perfornlance on the

competencies. Its contents especiaIly in terns of the competencies generated for teachers

to rate, were developed from several sources, including .the junior and senior secondary

school music curriculum and information from the music teacher educators in

Universities and Colleges of Education.

The instrument (Appendix A) consisted of three sections. Section A dealt with an

introduction as well as rhe purpose for which the instrument was sent ro the teachers for

compIetion and also an instruction on how to fiIl the entire inventory. Section B dealt

with persona1 data form to elicit infarmation of personal nature from the nus sic teacher

respondents. Section C deaIt with the 1 15 competency items organised into three broad

rnusjcal arcas, in categories, namely:

Category A - Functinnal Keyboard Activities

Category I3 - VocaI Activities

Category C - ProtessionaI ~uca t ion/Music Education Activities.

category was or~anised into clusters. Altogether there were 20 clusters.

bch of the 115 items was, according to the instruction, ratcd on the basis of the

respondents' perceived IeveI of importance of the items and hidher perceived IevcI of

performance on them, using a five-point likert-type scale as follows:

(i) Competency is of very high importance

or performance lcvcl - -

Competency is slightly abovc ave rqe

importance or performance Ievel =

Competency is of average importance

or performance IeveI - -

Competency is slightly below average

importance or performance level =

Competency is ~f no Impclrhnce

or performance tevel

Validatinn of the Inatrumant

The initial draft of the instrument contained 120 items. This was face-validated

by three lecturers in Music Education at the then Anambra State University of

Technology, Enugu, two exwrts in the Department of Education and three in the

Department of Music, Univcrsily of Nigeria, Nsukkn. 'The appropriateness and adequacy

of the competencies as those needed [or cffeetive teaching of music were checked by the

validators. The items were also vetted for darity, suitability and relevance. For example,

competency item number (1) which was origirlally "Read short and open keyboard music

at sight", was recast as "Read music in piano keyboard score at sight", for clarity.

"Scored-read proficientIyW was recast as "Read a score proficiently". The suggestions

made werr incorporated in rhe ,second draft of the instrument now reduced to 115. There

63

were no other additions to the competencies as requested at the end of each category.

Reliability of the Instrument

The second shgc of validating thc instmmerlt was through field trial. The field

triaI involved administering the face-validated instrument on ten secondary school music

teachers in Orlu Education Zone of Imo State (see Appendix F). Thcir responses were

scored and analyzed for the coefficient of inlernal consistency using Cronbach Alpha.

This is a generaIiscd formuIa which deals with tests with multipIe scored items. The

procedure is to find the variance of all individual scores for each item and then to add

variances across all items (Madubuko, 1990) (see Appendix G for the fnrmuIa).

Thc ~I iab i l i ty indices for the clusters ranged from (0.67 - 0.91) on importance

IevcI and (0.63 - 0.89) on performance level (Appendix H). The cluster values showed

an indication that the instrument was of hjgh internal consistency. Consequently, the

instrument was considered reliable for gathering the data used in addressing rhc problem

of this study.

Administration of the Instrument

The instrument was personalfy d is kbured to all the music teacher respondents

by the researcher and her assistants. Upon being completed, the researcher went and

retrieved them. Forty out of the forty-one music teachers responded to the questionnaire.

The teacher who did not respond is not an Enugu State indigene and had left for her State

of origin before the adminisiralion of the instrument. Thus 97.6% of the total population

used for the study responded to the instrument.

Methad oF Data Analysis

Dala cnllected were nrganised around the rescarch questivns and the hypotheses.

The mean was used as the rnnin descriptive statistics to determine the importance of each

cnmpetency. It was also uscd to dcterinine Ihe performance of the respondcnts on each

competency.

Based on the five-point tkcn scale 5 , 4 , 3 , 2, I , a mean of 3 .SO is the upper limit

of 3 with an interval of 0.5. The upper real limit of the number assigned to the average

importance (3) option is 3.49. Therefore any competency that received a mean score of

3.50 and above was considered important. Where the mean score fell below 3.50, the

c~nlpetency was considered not important. This rule guided the decisions taken in

determining the important and unin~wrtant competencies in Research Question I .

In answering Research Question 2, any competency which attracted a mean rating

of 3.50 and above on 'performance level' was deemed to have been possessed by the

rcspondcnts. A mcnn rating behw 350 on 'performmx level' was dcenlcd not to hnvc

heen possessed but needed by the respondents.

In each case, the mean scores for each competency item were computed separately

with respect to the groups represented in the total population. For exanlple, the group

mean scores (NCYDegree) indicate how each of the groups reprcsented in the population

ntmj the item in relation to the issue under consideration.

t-test

65

The t-test at 0.05 level OF signif'icance was used to test hypotheses one and two.

The mean ratings of each of the clusters of the music by the NCE and Graduate music

teachers were subjected to a tcst of no significant difference at 0.05 Ievel of significance.

The data arising from this study were praxessed w i h the aid of Statistical Package of

Social Sciences (SPSS) provided by the Computer Services Unit of the University of

Nigeria, Nsukka.

CHAIWTR FOUR

PWSENTATION AND ANALYSIS OF DATA

The results and anaIyses of data coIlected are presentcd in this chapter. They are

based on the research questions and hypotheses formulatcd for the study.

Research Question 1

What are the competencies nceded for effective teaching of music in the areas of

(a) Functional Keyboard Activities, (b) VocaI hclivities, and (c) Professional

EducatindMusic Education, in secondary schoois in Enugu Stare'?

To answer this rcsearch question Ithe forty music teachers were asked to indicate

the leveI of importance which they accord to each of the competencies in Functional

Keyboard Activities, Vocal Activities and professional EducatiordMusic Education. T k

mean and standard deviation of the ratings provided by the respondents were computed

for each of the musical areas, The competencies were organised serially in the three

broad musical areas:

Keyboard Activitics (1 - 28)

Vncal Activities (29 - 871, and

ProfessianaI/Musie Education (88 - 115).

The results obtained are presented in Table 3.

Mean Scows h r the teacl~crs' responses on cnmpctencics needwl fur

Read music in piano keybard

at sieht

JLem

harmonic praogr ession ar the

Competencies

N = 40

same lime

hh in t a in steady renlpo while

- X

sieht-reading

I SD REMARK

Apply rhy thrnic notations

correctly

Play piano music of any

standard with cmfidcnse

Item

6

7

8 ,

9

10

1 1

- X-

3.73

3.73

3.33

3.87

3.63

3.65

Competencies

Denmnstrate musicaF examples

on the keyboard

Improvise accompaniments to

instrunlentdist or solo singers,

given a melody line

Transpse during

congregational singing

Acquire knowledge of simple

chord progression

Write simple piano

accompaniments

Self-composed and confident

whiIe accompanying in music

SD

1.24

1.24

1 .05

1.22

1 .25

1 .07

REMARK

Important

Important

Not Important

Importa~it

Important

Iniporta~it

Competencies Item

12

13

14

I

Apply basic theory and

I

Freely interprets piano music

15

16

17

18

19

Appreciate contemporary and

old style of keyboard music

Encourage students to enjoy

piano music

Care for and maintain the

piano

Detest key buard music

Listen to piano music with

focusdattention.

Encourage pupil partkipa tion

in keyboard music ac~ivities

- I I SD / REMARK

3 -97 1.03 Important

3.55 1.04 Important

G j j - 1.22 Important

2.95 1 1 3 8 1 Not Important

2.38 1.48 Not Important

2.20 1.36 Not Important

Item

20

2 1

22

23

24

25

26

Competencies

-

Encourage the study and

practice of piano nlusic

Possess good musical ears

Detect when a piano is in tune

or out of tune

Tune and repair the piano

- - - -

use of various piano

literature 2 0 enhance piano

pIaying lessons

Demonstrate the skills of

various techniques of piano

playing

Play African musk rhythm on

the keyboard

REMARK

Not Important

Important

Important

Not Irnportar~t

Important

Important

Not I rnportant

Vocai Activitin

Sing. a part in a vocal score of 3.73

-#

Soprano, AIto, Tenor, Bass

- -X

2.28

3.3G

with cnnfrdermce

Illustrate musical example 3.98

Item

27

2 8

using the voice

Cornpctencin

Play orchestral reduction

Usage of c clcf or rigurcd bass

I SD '

1.32

1.38

Sing from solia to sMff and 1 4.33

mMARK

Not Important

NatImportant

vice versa

Develop high singing ability in

pupils

----+F Interpret vocal music freely

Important

Important

Important

-- --

Important

Important

Competencies

I

AppIy correct time signature

when sight-singing

Item

3 4

35

- 36

3 7

38

39

- - - - -

Arrange the voices according

to qualities [Soprano, Alto,

Tenor, Bass]

Improve the weaker voices to

high level of performance

Test voices frequently and

individuaIly for proper

classification

Assign voices for proper blend

and balance

Attend to positions of chest . breagth and confrol over breath

Important

Important

Important

Important

Important

the purpose of suggesting

remedies

Detect nasaI obstruction with

Develop vocal and nasaI 1 3.78

3.65

ren~edies i n pupils I

Acquire good know1dge of the

respiratory system

Demonstrate good breath using

vocal exercises

Knowledge of rulcs for hreath

control

3.85

Develop .and improve the aural

1 .OO Important

I

I .08 Important

imaginations of pupils

1. I0 Important

0.95 Important

1.03 Important

Competencies -% SD REMARK

Use nledium register as a point 3.35 1.12 Not Important

of departure at the onset of I I I change in boys' voices I I I Use appropriate pa* songs for 3 .GO 1.24 Important

the vocal compass

- - - - -

Transpose tunes to suit the

compass of pupils voices

Write voice training exercise in 3.95 1.00 Important

various ways

Sequence voice training 3.75 1.03 Important

exercise for easy attainrncnl

AppIy wards to vowels and 2.75 1.16 Not Important

diphthong used in training

exercises

Competencies

Read a score proficiently

Co~uc tacho i rwl~ i l e r - ead ing

a score

Arrange! pieces for proper ( 1.50 1 1.13 1 Important

Draw a nxntal picture of any

given choral piece

- -X-

3 -95

3.90

3.93

blend of voice and orchestra

DispIay general musicianship

SD

1.11

1.0 1

Possess good human relations

Structure and sequence

necessary IL

REMARK

Important

- Important

1 .OO

3.98

rehearsals properly I

Take appropriate decision to 4.15

stop and rehearse when

Inlportant

4.32

4. 18

1.10

1.03

I~nportant

0.94

0.93

Important

Important

Important

Competencies

Identify iinportant structures

e .g . form, phrase, 1nodnlations

Identify the harmonic structure,

whether plyphonic or

homophonic

Analyze and synthesize all

parts of the piece

Classify vocal pieces

accordingly for easy

accornpIis hment

AuraT imagination of vocal

Communicate in different

REMARK

important

Important

I .25 Important

Competencies

Identify songs from various

creatures

Plan singing lessons from

various types of song Iiterature

Compare works of composers

from different periods for

purposes of identification

Use sanss adequatdy to suit

varying siluations

Use spccific funtlamentnt

rhythms as basic means of

n10 vemenl

I)ereIop in pupils abiIity t o

sing songs with rhythmic

precision

0.96 Important r 0.83

1.01

Important

Important

Competencies

Develop muscular, vocal co-

ordination and control

Write music shorthand for

transcription to vocal music

Combine rhythm, drama and

movement in a vocal lesson

Encourage intelligent arrd

purposeful listening to vocal

nu sic

- --

Discriminale between good and

r

I

I

bad quality voice production

REMARK Itcn1

72

7 3

-- 74

75

76

77

78

-

Not Important

Not Important -

--

Assist pupils to acquire or

Important

form musical tastc

Participate in choral activities

Important

-

-

Important 4.13

Important

0.99

- -

Competencies

Encourage pupils to enjoy

vmal music

Encourage satisfactory reasons

to responses to musical stimuli

Train pupils ta focus Iistenirlg

on elements of structure,

tempo. for example

Write simple, short repetitive

songs ro be Icarnt by note

-- -

Arrange short pieccs for voicc

and orchestra

Choose song texts associated

with concrctc objects

important

Important

Not Important

Important

Important

Important

Write simple rhpn~es using

simple melodic rnoverncnts

Devise some voca1 music

reading techniques for

heginners

1

I '

1 .

Encourage creative vocal music

making

Item

85

86

87

Professinnal Education1 Music Education

Breakdown of music coursc

into scheme of work

Divide scheme of work into

units and into daily lesson

topics

REMARK

Important

Important

Important

Important

Important

Competencies

Identify specific behavionra1 4.25 0.98

objectives for a lcsson

Consider needs and interests of 4.47 0.82

students during the planning of

music activities

Select appropriate teaching 4.47 0.91

methods for a Iesson

- Consider the previous 4.45 0.85

experience of students when

planning a lesson

Develop teacher-made

Important

important

Important

Important

Competencies ..

- --

Involve students in the

Item

95

96

97

98

99

preparation o f instructional

materials

Keep im,~tructional materials

neat and safe

Use audio visual aids in music

effectively e.g. radios, records,

cassettes

Present information with the

aid of a flannel board

Provide for Individual

difference in students

REMARK

Important

Important

Important

Not Importarit

Important

Item

-- 100

101

L

Competencies

Show knowledge of physical

and nlentaI develop~rient of

students in the secondary

schooIs

Cater especially for the need of

the handicapped students in thc

class

Counsel to improve individual

pupil's achievement in music

Maintain a wo~kablc

relationship with his students

Provide a classroom

atmosphere where a variety of

individual differences can be

accommodated

REMARK

Important

Important

Important

Important

Competencies

Maintain an orderIy

atmosphere in class

Conk01 discipline problems to

protect the learning exprience

of the students

- -

Apply appropriate correcrive

measures to indiscipline

behaviours of students

Use students' g d behaviour

to encourage them

Formulate a system of grading

in music consistent with the

school policy

REMARK

Important

Important

Important

Important

Important

Competencies

Appraise student performance

in relation to stated behavioura1

objectives

Use a variety of evaluation

device, and procedures, e.g.

tcsts, assignnlents and projects

Develop self-cvalualion

techniques for stu&~lts to

evafuate their own progress

- - - - - - -

Involve students in formulating

procedures for scl f-cxarnination

Develop and use various types

of validated resl in music e.g.

matching, true-false

completion, etc

REMARK

Important

Important

Important

Important

Table 3 presents the result of the music teachers' rating of the competencies

needed for effective teaching of music in the areas of (a) Functional Keyboard Activity,

(h) Vocal Activities, and (c) Professional EducatiodMusic Education. Each of the

competencies considered important had a mean rating above 3.5 cut off point w hiIe those

deemed not important had a mean score of 3.49 and below.

In the functional Keyboard Activities, eighteen cornpe tencics were considered

important while ten were rated not important, whiIe in the Vocal Activities, fifty-five

competencies werc ratcd "importnnl" and four "uot important". All the conq-xtencics in

the Professional MucationMusic Education arca were considered important with only

one ex~ept ion~present information with the aid of a flannel board (item 98).

Thus Table 3 revealed that altogether, one hundred cornpetenc ies were considered

important for effective teaching of music in the secondary schools in the Functional

Key board, Vocal Activities and Prdcssional EducatiodMusic Education Areas. Fifteen

cornperencies were rated "not important".

z

4.05

Cornpetcncies

Use test rcsults to improve

teaching and learning

- Item

115

SD

0.97

REMARK

Important

Competencies I X

L

l tem

2

3

4

5

7

Sight-read melody and

harmonic progression at the

same time

Apply rhythmic notations

correctIy

3.30

Maintain steady tempo while

sight-reading

3.18

SD 1 REMARK

Play piano music of any

standard with confidence

Dernonstratc ~nusicnl cxa~nplcs

on the keyboard

Improvise accompaniments to

inst rumentaIist Or so10 singers,

given a rneIody Iine

0.97 Needed -r-

3.02

3.18

3.18

0.93 I Needed

0.82 1 Needed

1.32 Needed

1.08 Needed

Research Questinn 2

What level of the co~npelencies in the areas of'(a) 1;unctional Key board Activities.

( b j Vocai Acrivirits, artd (c) ProFessional EducatiorlIh4usic Education arc possesses and

Answers to this rescarcll qucstion \were ohlairled by asking rhe music teaclws Io

indicate their acrual perforrriance abililies in cncli of tIic cornpctencies in ~ R c three broad

musical areas. The man and srandard deviation o f thc ratings provided by tlic

respondents were computed for each conlpetency itern. Data for a~lswering this research

question are presen[~d in Table 4.

Ta tlle 4: Mean ,%errs for the teachers' responses ou tfic c~mpctencies posserscd and nclcded by the Tei~cher-responde~its.

[[ern Cornpetcncies

N = 40

Keyboard Aaivifics

R F M A K K X SD

1 1 Read music in piano keyboard 3.20 0.04 Needed

Competencies

1

Transpose during

congregational singing

b

Write simple piano

accompaniments

Item

8

10

- 11

12

13

14

-

Acquire knowledge of simple

chord progression

3. I2

Apply basic theory and

rudirner~ts

Self-compasd and confident

w M e accotnpanying in music

3.23

Appreciate contemporary and

old styIe of keyboard music

Freely interprets piano music

Needed

2.88

Needed

Needed

Needed

Needed

Needed

Needed

REMARK

Encourage students to enjoy

piano music

Possessed

-

Care for and maintain the

piano

Detest keyboard music Needed

Listen to piano music with \

,, I< focuseSjattention

Needed

Encourage pupi! participation Needed

in keyboard music activities

Needed Encourage the study and

practice of piano music

P~ssess good musical ears Needed

Detect when a viano is in tune Needed

or out of tune

Competencies

Tune and repair the piano

Make usc or various piano

literature to enhance piano

pIay ing lessons

Demonstrate the skills of

varinus techniques of piano

playing

Play African music rhythm on

the keyboard

Play orclcstral reduction

Usage of c clef or figured bass

REMARK

Needed

Needed

- - -

Needed

Needed

Vocal Activities

Competencies

Sing ;a part in a vocal %ore of

Soprano, Alto, Tenor, D m

with confidence

Illustrate rnusicaI example

using the voice

- - - .

Sing from solfa to s&ff and

vicc versa

DeveIop high singing ability in

pupils

Apply correct time signature

when sight sineinp,

REMARK

Needed

Needed

Possessed

Needed

Arrange the voices according

to quaIities [Soprano, AIto,

Tenor, BclssJ

Improve the weaker voices to

high Ievel of performance

Test voices frequently and

individually for proper

classification

Assign voices for proper blend

and balance

Attend to positions of chcst

breadth and control over breath

Detect nasal obstruction with

the purpose of suggesting

remedies

REMARK

Possessed

Needed

Needed

Needed

Needed

Needed

I ~ e m Competencies

I l 4 ~ I Develop v0c.d and nasal

I1 I remedies in pupils

42 Demonstrate good breath using

vocal exercises

Acquire good krmwkdge of the t q d II ( respiratory system

I1 44 1 Knowledge of rules for breath

Develop and improve thc aural 1 II I imaginations of pupils

46 Use medium regisles as a point

of departure a1 thc onset of

change in boys' voices

- X SD REMARK

3.33 I .05 Needed

2.13 1.27 Needed

-1 Use appropriate past songs for

the vocal compass

Transpose lunes to suit the

compass of pupils voices

Write voice training cxercise in

various ways

Sequence voice training

exercise for easy attainment

Apply words to vowels aid

diphthong used in training

exercises

Read a score praficierrtTy

Conduct a choir while reading

a score

REMARK

Needed

Needed

Needed

Needed

Needed

Needed

Needed

Draw a mental piclure o f any

given cf~oral picce

Arrange pieces for proper

b I e d of voice a d orchestra

Display general nlusiciansfiip

Possess good human relations

Structure and sequence

~hearsals proper1 y

Take appropriate decisiorx to

stop and rclicarsi- when

necessary

IdcntiQ important structures

c.g. form, phrase, modulations

REMARK

Needcd

Needed

Needed

Needed

Competencies

Identify the harrmnic structure,

whether poIypRorlic or

homophonic

Analyze and synthesize all

parts of the piece .- - -

Classify vocal pieces

accordingly for easy

accomplishment

Aural imagination of vocal

scores in sections

Con~municate in different

languages

Tdentify songs from various

(cuJ tu res)

SD / REMARK

1.00 Needed

0.93 Needed 7-

1 .OI Needed

Item

67

6 8

6 9

70

7 1

72

Competencies

Plan singing lessons from

various lypm of' song literafurc

Compare works of composers

from different periods for

purposes of identification

Use songs adequately to suit

varying siluations

Use specific fundamental

rhychrns as basic means of

movement

DeveIop in pupils ability to

sing songs with rhythmic

precision

DeveIap muscular, vocal co-

ordination and control

REMARK

Needed

Needed

Needed

Needed

Needed

Needed

Competencies I

Write music shorlharld for

Item

73

74

75

76

77

78

79

transcription to v t m l music

Combine rhythm, drama and

movement in a vocal lesson

Encourage intelligent and

pu~paseful Iistening to vocal

music

Discriminate between good and

bad quality voice production

form nlusical taste

Parkipate in choral activities

Encourage pupils to enjoy

vocal music

Needed

Needed

Needed

Possessed

Possessed

Needed

Competencies

Encourage satisfactory reasons

to responses to musical stimuli

Train pupils to focus listening

on elements of struclure,

tempo, for exampIe

Write simple, short repetitive

songs lo be learnt by Wote

Arrange short pieces fbr voice

and orchestra

Choose song tcxls associnlcd

with concrete objccts

Write simple rhymes using

simpk metodic nmvements

REMARK

Needed

Needed

Needed

Needed

Necdcd

Needed

Competencies

Devise some vocal music

reading rechniques for

beginners

Needed

Encourage creative vocal music

making

E-lhofc~sional Education/ music Education

Breakdown of music course

into scheme of work

Divide scheme of work into

units and into daily Icsson

topics

Possessed

Identify specific bchavioural

ob.jectives for a lesson

Possessed

Competencies

Consider needs and interests of

students during the planning of

music activities

Select appropriate teaching

rnethads for a lesson

Consider the previous

experience of students when

planning a lesson

DeveIn p teacher-made

materials e.g. charts, models,

Involve students in the

preparation of inslructional

ma teriaIs

REMARK

Possessed

Possessed

Possessed

Needed

Possessed

Competencies

Keep instructional materials

neat and safe

Use audio visual aids in music

effectively e.g. radios, records,

cassettes

Present information with the

aid of a flarmeI board

-

Provide for individual

difference in studcrits

Show knowlcdgc of physical

and mental development of

students in the secondary

schools

REMARK

Possessed

Needed

Competencies

Cater especially for the need of

the handicapped students in the

class

Counsel to improve individual

pwpiI's achievement in music

- - --

Maintain a workable

relationship witti his students

Provide a classruorn

atmosphere where a variety of

individual differences can bc

accorn~nodated

Maintain an orderly

atmosphere in class

REMARK

Needed

Needed

Possessed

Competencies

Control discipline problems to

protcct the learning expecicnce

of the students

Apply appropriate corrective

measures to indiscipline

behaviours of students

Use students' goad behaviour

to encourage them

h rmu la t e a system of grading

in music consistent wilh the

school policy

Apprltise student performance

in relation to stated behavioural

objectives

REMARK

Possessed

Possessed

Possessed

Needed

Needed

Competencies

Use a variety of evaluation

device, and procedures, c. g.

tests, assignmcrlts and projccts

Develop self-evaluation

techniques for students to

evaluate their own progress

Involve students in formulating

procedures for self-examination

Develop and use various types

of validated tests in music e .g .

matching, true-false

corrtpletion, ctc

Use test resuhs to improve

teaching and learning

0.97 1 Needed

1.10 Needed

1.08 Needed

1 07

Table 4 presents the resuIts of the rnusic teachers' indication of their performance

abilities in each of the cornpctencies in thc three broad musical areas (a) FunctionaI

Keyboard Activity, @) Vocal Activities. and (c) Professional J3ueatiodMusic Mucation.

Performance ability rated up to 3 .5 and above was considered as a competency possessed

by the respondents. Any pert'ormance abiIity rated below 3.5 was considerctl not

possessed and therefore needed for improvement purposes.

In the Functional Keyboard area, the music teachert respondents indicated they

possess the ability to cncourage students lo enjoy piano music (itc~n 15) and necd

jrnpmvemenl on a11 the others.

In the VocaI activity area, the teachers indicated they possess the ability to sing

from soIfrt to staff and vice-versa, arrange the voices according to qualities [Soprano,

Alto Tenor, Bass], discriminate hetween good and bad quality voice production,

participate in choral activities and lo cncourage creative vocal music making, and need

in~provcment in the r a t .

In the Prdessional Education arm thc teachers possess competence in thirtcen out

of the twenty-eight competencies in. this area. Altogether, the teacher respondents possess

onIy 19 competemes out of the 100 they rated important and needed improvement on

8 1 cornpc!cncies.

Hypothesis 1

There 1141 k no significant difference in the m a n ~atings of' the level of

1 of3 importance of the competencies for effective teaching of music between the

DipIorna/NCE music teachers and the Graduate music teachers in Enugu State secondary

schools.

To test this hypothesis arid the subsequent one, it was convenient to consider rhc

different clusters in thc tlirce brOi~d rnusical arcas, ix., thc Keyboard, Vocal Activities

and Pr~fessional/Music Education Arcas. The group rnean ratings by the teacher

respondent^ were computed for each competency cluster. The t-test statistics was utilized

to compare the means of the ratings on each competency. The sunlrnaries of the data

used in testing the hypothesis and the resuIts are presented in TabIe 5 .

109

Tnl~te 5: The t-test Analysis of Importance accordctl thc Clusters nt'lthc

COMPETUKY

CLUSTERS

1 Kcyboard Activities

A-I - Sight-reading

musical scores

I on the

key hoard

2 A-11 - Skill i11

accompanying

I of music

COMPETENCY

CLUSTERS

A-In - Attitude

towards

piam music

A-IV - Aural

perception of

tuned and

untuned piano

A-V - KnowIedgc

of key board

repertoire

NCE

N = 26

GRADUATES

N = 14

CALCULAT

ED t-

VALUE

COMPETENCY

CLUSTERS

Vocal Activities

B-I - Sight-singing

from a vocal

score

I3-I1 - Classifying

VQ ices

R-I11 - Developing

breath

control

B-IV - Training the

adolescent

voice

NCE GRADUATES CALCULAT

ED t-

VALUE

COMPETENCY

CLUSTERS NCE

N = 26

GRADUATES CALC ULAT

ED t-

VALUE

B-V - Conductirig

cfio irs

B-VI - Analysing

vocal Iscorcs

I3-VII - Knowledge

of song

repertoire

B-VIII-Interpreting

vocal music

though

rhythmic

movement

CALCULAT

ED t-

VALUE

*-2.04

COMPETENCY

CLUSTERS

C-I1 - Developing

instructional

1natcria1s

C-111 - Interest in

works and

pupik

C-IV - Discipline/

C-V - Evaluating

performances

of students

NCE GKADUATES CALCULAT

ED t-

VALUE

Note: * = Significant at P = 0.05 (df: 381, Critical value t-vaIue = 2.02,

115

As shown in Table 5, there was no significant difference in the respondents'

rating of competency dusters in the Keyboard area. Results of the test of the nu11

hypothesis indicate that none of the caiculated t-valucs excecded the critical value of

2.02. 'The 111.111 hypothesis of no significant difference betwcen the responses of the NCE

and thc Graduatc music tcachcrs is uplield to that effect. 111 the Vocal Activity area,

significant difference existed in classifying voices, training the adolescent voice,

interpreting vocal music through rhythmic movement. In the Professional

EducalionlMusic Education, significant differences existed in discipline and r~lanagenient .

In each of these clusters, the calculated t-value is greater than the table t-value. hence the

null hyputhcsis was rejected in each. Thus the resuit of the test of tile null hypdhesis in

Table 5 indicate that aItogethcr there was no significant difference in the mcan ratings

of the clusters of the music cornpetcnclcs by the graduates and NCE music teachers on

the "importance lcvcl" in sixteen out of the lwenly clusters of lhe nlusic competencies.

In tact1 of time clusrets thc tablc t-value is grcater than rhe caIcu1ated t -va lw Hence the

hypothesis was acceptd.

Hypl t ia i s 2

There will be no significant dirkfence in tho mmn ratings of rhe level of

perfomance of the competencies for effective teaching of music between the NCE and

Graduate music teachers in Enugu State secondary schools.

To test this hypothesis, the group mean ratings provided by the NCE and

116

Graduate music ~eachcrs indicating t k i r pc~Torrnancc abililicc in uach of [hc clustcrs o f

competencies were computed. The two-tailed 1-rcsl was used to compare the mean

responses of the two groups. The I-CSLI~IS of rhc t a r s arc prcsentcti ill 'Tat~lc 6.

Tahle 6: The t-test Analysis of M P ~ Ratings OF ihc Clustcrs of tlie Music Compekrtcies on tlic Performance Level in the Fttnctio~ial Kcyhoarcl, Vocal Aciivities and I'mfessioi1aIlh4r1sic Kducntion

SINO. COMPETENCY

1 Key board

Activities

A-1 - Sight-

reading

nlusical scorcs

on the

key board

COMPETENCY

CLUSTERS N = 26

A41 - Skill in

of music

A-111 - Attitude -k towards I

piano music

A-IV - Aunl 1 2-87

tuned aud I

of keyboard

GRADUATES

N = 14 CALCULATED t-

VALUE

COMPETENCY

CLUSTERS GRADUATES

N = 14 CALCULATED L-

VALUE

Vacirl Activities

B-I - Sighl-singing

from a vocal

score

0-11 - Classifying

voiccs

B-111 - Developing

brcath

conlrol

13-IV - Training the

voice

B-V - Conducting

choirs

COMPETENCY

CLUSTERS

3-VZ - Analysing

vocal scorcs

EI-VII - Kriowleilgc

o l song

rcperrnire

B-VIII-Interpreting

vocai music

rhrough

rliythmic

nlOVCtlK71L

@-IS- Approcinting

ruu l music

U-X - Wifing

sirnplc vocal

nus sic

GRADUATES

N = 24 CALCJIJLATED t-

V A L U E

COMPETENCY

CLUSTERS

IJrolcssional

Educa~ionlhlusic

Education

C-I - Planninlr, a

music lesson

C-111 - Inlcrcsl i n

works and

pupils

C-IV - Discipline1

Management

GRADUATES

b! = 14 CALCULATED t-

VALUE

Note: * = Significant at P 5 0.05 (df: 38) critical t-value = 2.02.

The result of the test of Hypothesis 2 I-evealed the existence of significant

differences in Lhc performance abilities of the NCE and Graduate inusic teachers in sigbt-

singing from a vocal score (t = -2.081, classifying voices (t = -2.051, training the

adolescent voice (t = -2.331, arid interpreting vocat music through rhythmic movement

(t = -2.09). 'Tile null hypolhesis of MI significant difference in the Ievel of performance

nf the NCE and Gradua~e music teacllcrs is thcrefore rejected with respect to the above-

mentioned competencies. For a11 the other competencies in which the calculated t-value

did not exceed 2.02, the null hypothesis is upheld, (Table 6).

COMPETENCY

CLUSTERS

C-V - Evaluar i~t~

performances

of sludcrlrs

CALCULATED r-

VALUE

*-2.04

NCElDIPLOMA

N = 26

- X-

3.16

GRADUATES

N = 14

SD

.71

- -X

3.00

SD

.52

FlMSI1VGS

From the data analyzed in 'Tables ( 3 4 , tlx folhwillg findings were made:

1, One hundred competencies were considered important for effective teaching of

music in the secondary schools in the v u d , functional keyboard and Professional

Education/Music Education arcas. Thcy arc list& below in descending order of ratcd

importance:

A Consider needs and intercs~s of students during the planning of music

activities (4.47).

+. Sclcct appropriate teaching nielhods for a lesson (4.47).

* Break down a music course inio scheme of' work (4.45).

+ Consider the previous experience of students when planning a lesson

(4.45).

+ Maintain an orderly atmosphere in class (4.45).

+: Divide schemo of work into units and into daiIy lesson topics (4.40).

5; Provide a classroom atmosphere where a variety of individual difference

can be accommodated (4.35).

.* Sing from soKa to staff notation and vice versa (4.33(.

+ Possess g d human relations (4.32).

+ Apply appropriate corrective measures to indiscipline behaviours of

s tuden ls (4.27).

Apply correct time signarure when sizht-singing (4.25).

Identify specific khavioural objectives for a lesson (4.25).

Arrange thc voices according to qualities (4,22).

Develop teacher-made materials e.g. chart models etc. (4.20)

Gmtrnl dixiplino pr~oblcins to protect t l~c Icarning cxpcrierrces of' the

students (4.20).

Use a varieky of evaluation devices and procedures e.g. tcsts, assignments

and projects (4.20).

Srructun a n d sequence mkarsals ppuperly (4.18).

Maintain a workable relationship with the students (4.18).

Transpose tunes to svit the compass of pupils' voices (4.15).

Take appropriate decisions to stop and rehearse when necessary (4. f 5).

Usc songs adequately to suit varying situstiom (4.15).

Involvc sludcnts in PI-cparation of instructionaf ~nalerials (4.15).

Keep instructionaI materials ncat and safe (4.13).

Forn~uiate a system of grading in music consistent with the schoc~l policy

(4.13).

Partkiparc in ct~mal activities (4.13).

Discriminate between good and bad quality voice production (4.10),

ldentify impartant struclures e .3 . form, phrase modulation (4.10).

Use students' good bchaviour to encourage them (4.10).

Develop high singing ability in pupils (4.10).

Detcct when a piano is in tune or out of tune (4.10).

Usc test rcsults to improve teaching and learning (4.08).

Devclop in pupils Ihc ability to sing songs with rhythmic precision (4.07).

Appraise students' pcrfonnance in rchtion to stated behavioural objectives

(4.07).

Sllow knowledge of physical a d develapments of students in the

seconclaly . ~ h a o l s (4.05).

Improve the weaker voices to high level of pcrfo'orrnance (4.05).

Interpret vocal music freely (4.05).

Encourage creative vocal music making (4.05).

Provide for individual differences in students (4.03).

Counsel to i~nprovc individual pupil's achievement in i nu sic (4.02).

Devise some vocal n~usic reading techniques for beginners (4.00).

Care for and maintain the piano (4.00).

Illustrate musica1 examples usins the voice (3.98).

Test voice frequenrly and individually for proper classification (3.98).

Display general musicianship (3.98).

Apply basic theory and rudiments (3.97).

Assign voices for proper blcnd and balance (3.97).

Identify songs from various cultures (3 -97).

Encourage inteIIigent and purposeful listening to vocal nlusic (3.97).

Read music in piano keyboard at sight (3.95).

Maintain steady tcrqm while sight-nading (3.95).

Write vi~ice training exercises in various ways (3.95).

Read vocal score prcjfkiently (5.95).

Cornpare works df cortiposers from diffcrent periods for purposes of

identification (3.95).

Use specific fundanmta! rhy lhnls as basic means of movement (3.95).

Assist pupils to. acquire or form musical taste (3.95).

Use audio-visual aids in music effectively e.g. radios, records, cassettes

(3.95).

Draw a mwtal piclusc of any given choral piece (3.93).

Conduct a choir while reading a score (3.90).

Irivolve students in ror~nulating procedures for self-examination (3.90).

Encourage pupils to cnjoy vocal music (3.88).

Cater especially for the need of the handicapped students in the class

(3.88).

Acquire knowledge of simple chord progression (3.87).

126

Delmnstrate good breath using vocal exercises (3.85).

Develop self-evaluation techniques for students to evaluate thcir. own

progress (3.85).

Apply rhythmic rwtations correctly (3.83).

Encourage sludcnts to cnjoy piano nus sic (3.83).

Apply words to vowels used in training exerciscs (3.80).

Develop and usc various types of validated tests in music e.g. matching,

true-falsc, completion, ctc.

DcvcIcrp vocal and nasal rernedies in pupils (3.78).

Acquire good knowledge of the respiratory system (3.78).

KnowIedge of rules for breath controI (3.78).

Analyze and synthesise all parts of the piece (3.78).

Develop improve the aural imagination of pupils (3.75).

Sequencc voicc tt-rtit~itlg cxe~uiscs fix casy attainment (3.75).

Demonstrate ~l~usical exampIcs on the keyboard (3.73).

Improvise accompaniment to inslrumentalists or solo singers (3.75).

Demonstrate the skills of various techniques of piano playing (3.73).

Sing a part in a vocal score of Soprano, AIto, Tenor, Bass with

confidence (3.73).

Attend to position of chcst, breath and control over breath (3.73)-

Classify vocal piem accordingIy for easy acco~nplishrnent (3.73).

Wrire s h p k rhymes using simple melodic movements (3.72).

Identify the harmonic structure: polyphonic or homophonic (3.70).

Encourage satis fixtion to responses to musical stimuli (3 -70).

Sight-read melody and harmonic progression at the same time (3.67).

Conlbine rhyttun, d r a m and movement in a vocal lcsson (3.67).

SeIf-composed and co~lfident while accompanying nlusic (3.65).

Detect nasal obslr-uction with the purpose of suggesting remedies (3.65).

Write simple piano accompaniments (3.63).

Communicate in different languages (3.52).

Plan singing Iessorls konl various types of songs literature (3.62).

Write simple, short, repetitive songs to be learnt by rote (3.62).

Use appropriate part songs for the vocal compass (3.60).

Makc use of various piano lilcralurc to e ~ l ~ a n c c piano playing Icssoils

(3,58).

Arrange short pieces far voice and orchestra (3.58).

Aural imagination of vwal scores in sections (3.57).

Play piano music of any standard with confidence (3.55).

Freely interpret piano music (3 .55) .

Choose song texts associated with concrete objects (3.52).

e Arrange pieces for proper blend of voice and orchestra (3.50).

2. I5 co~nptencies were rated as "not important".

They are listed as follows:

* Transpose during congregational singing.

* Apprccialc C O I I ~ C ~ I I ~ O I , ~ N ~ a td old slylc of keyboard music.

+: Detect keyboard music.

... ... Listen to piano music with focused attention.

0 Encourage pupil participation in keyboard music activities.

Q Encourage the study and practice of piano music.

::: Tune and repair the piano.

+ Play African music rhythm 011 the keyboard.

* Play orchestrai reduction.

+. IJsagc of C clef or figured bass.

... .+ Use the ~ncdium I - C ~ ~ S ~ L ' S as ;I point of dcpi~s t~sc at tllc ousct of cllangc in

boys.

Develop, muscular, vocal co-ordination and co~llrol.

x : Write music shorthand for Iranscription to vocal music.

... Train pupils ru focus liste~iing on elements of structure, tempo, rhythn:,

for example.

* Present info~matiorl with the aid of a flannel board.

I29

3. Competencies in Professional Education/Music Education were rated very

highly in impaitance more than the cotnpetencics in the vocal activities and

keyboard activities.

The music tcachcrs perceived themselves as perfornling above average in

19 compctenuies out of thc onc hundrcd they considered important. Thcy arc

listed below in clescending order of rated performance:

Consider needs and interah sf students during the planning of rr~usical

activities (4.05).

Identify specific behavioural objectives for a lesson (3.97).

Select appropriate teaching methods for a Iesson (3.95).

Consider the previous experknce of students when planning a lesson

(3 .go).

Break down a music course into schcmc of work (3.85).

Divide scheme of' work into units and into daily fcsson topics (3.83).

Sing from soIfa to staff and vice versa (3.75).

Maintain a workable relationship with his studcnu (3.75).

Apply appropriate corrective measures to indiscipline behaviours of

sludents (3.73).

Control discipline problems to promote the learning experiences of the

students (3.73).

Maintain an orderly atmosphere in class (3.70).

Encourage creative vocal music making (3.68).

Arrange the voices according to qualities (Soprano, Alto, 'Tenor, Bass)

(3.68).

Kcep instructional matcriaki lical and sn i c (3.65).

trnwlve students in the preparation of instnlctiorla1 materials (3.60).

Use students' g o d behaviours to encourage thcm (3.58).

Participate in choral activities (3.53).

Discriminate between good and bad quality voice production (3.53).

Encourage students to enjoy piano music (3 -53) .

T k music tcachew in G11ugu Stale secondary schools indicated they were . deficient in 81 competencies where they needed improvement. 'The 81

competencies arc listed below:

* Read music in piano keybomi at sight.

6 Sight-read melody and harmonic progression at thc same time.

+. Maintain steady tempo while sight-reading.

Apply rhythmic notation correctly.

:> Play piano music of any slandard with confidence.

+ Demonstrate nlusical examples on the keyboard.

... .- Improvise accompaniment to instlun~entalists or solo singers.

132

Dctect nasal obstructions with the purpose of suggesting remedies.

Develop vocal and nasal rcrnedies in pupils.

Demonstrate good breath using vocal exercises.

Acquire good knowledge of the respiratory system.

Knowledge of ndus for breath control.

Develop and improvc thc aural imagination of pupils.

Use appropriate part slvrrgs for the vocai compass.

Writc voice training exercises in various ways.

Tnnspose to suit the compass of pupils voices.

S e q ~ n c c voice training exercises for easy attainnlent.

Apply itiords to vowels used in training exercises.

Read s score proficiently.

Conduct a choir while reading a score.

Draw a rncntal picturc of any givcn choral piece.

Arrange pieces for proper blend of voice and orchestra.

Display general musicianship.

Posscss good human rdations.

Sltmfure and sequence rehearsals properly.

Take appropriate decisions to stop and rehearse when necessary.

Identify i~nporlant structures, e.g. forrr~, phrase, modulation.

Acquire knowledge of simple chon1 progression,

Write simple piano accompaniments.

Self-con~posed and confident while accompanying music.

Apply basic theory and rudinlents.

Freely interpret piano nirrsic.

Care for and maintain the piano.

Possess good musical ear.

Derect whcll a piano is in rune or out of tune.

Make ue of various piano Iiterature Lo enhance piano playing lessons.

Demonstrate the skills of various techniques of piano playing.

Sing a part in a vocal score of Soprano, Alto, Tenor, Bass with

confidence.

IlIrrstrate musical examples using the voice.

Develop high singing ability in pupils.

Interpret vocal nlusic freely.

Apply correct time signature when sight-singing.

Tmprove the weaker voices to high level of performance.

Test voice frequently and individually for proper ciassif'ication.

Assign voices for proper blcnd and balance.

Attend to position of chest, breath and control of breath.

133

Identify the harnlonic struchrre: Polyphonic or hon~ophonic.

Analyze and synthesise all parts of the piece.

Classify vocal pieccs accordingly for casy accomplishment.

Aural iniaginarion of vocal scores in sections.

Communicak in different languages.

identify songs from various cullures .

Plan singing lessons from various types of songs literature.

Compare wurks of composers from different periods for purposes of

identification.

Use songs adequately to suit valying situations.

Use specific fundamental rhythms as basic Inearls of movement.

Develop in pupils, ability to sing songs with rhythmic precision.

Combine rhythm, drama, and movement in a vocal lesson.

Encourage intclli~cnt and pul-poscfi~l listening to vocal music.

Assist pupils to acquire or form musical taste.

Encourage pupils to cnjoy vocd music.

Encourage satisfactory rcasons to responses to musical stimuli.

Write simple, short and repetitive songs to be learnt by rote.

Arrange short pieces for voice and orchestra.

Choose song texts associated with concrete objects.

Write simple rhymes using a simple melodic movements.

Devise some vocal music reading techniques for beginners.

Develop teacher-made materials, e . g. charts, models, etc.

Use audio visual aids in music effectively, e.g. records, cassettes.

Provide for individual differences in students.

Show knowledge of physical and mental development of students in the

secondary schools.

Cater especially for the need of the handicapped students in the class.

Counsel to improve individual pupil's achievement in class.

Provide n classroom atmosphere where a variety of individual differences

can ;be accomnmdated.

Formulate n system of grading in music consistent with the school policy.

Appraise student perfomlance in relation to stated behavioural objectives.

Use a variely of' cvalualion deviccs and prwcdures, c,g , tests, assignments

and projects.

Develop self-evaluation techniques for students to evaluate their own

progress.

involve students in formulating procedures for self-examination.

Develop and use various types of validated tests styles in nlusic e.g.

matching, true-false compktion, etc.

135

.+ Use test results to improve teaching and learning.

6 . The teachers' pcrfomances 0x1 the k5 ~ompe~emics they rat& "not

important" were very low as shown below:

... <. Transpose during congregational sin!& (2.73).

3 Apprcciare conlcmpor;~ry and old style of keyboard music (2.73).

:+ Detect key board music (2. SO).

.:, Listen to piano rriusic with no focused attention (2.50).

:+ Encourage pupiI participation in keyboard music f 1.87).

:C Encourage the study and practice of piano music (1.93).

+ Tune and repair the piano (2.35).

:+ Play African music rhythm on the keyboard (2.62)

:+: Play orchestral reduction (2.63).

.* LJsage of C clef or figured bass (2.85).

+ Use the medium register AS a point of departure at the onset of cIlnngc in

boys (2.55).

:+ Develop, muscular, vocal co-ordination and control (2. 80).

+ Write nlusic sfiorthad for transcription to vocal rriusic (2.35).

* Train pupils to focus Iistcning on elements of structure, tempo, rhythm,

for example (2.85).

d Present infomiation with the aid of a flannel board (2.93).

136

The nlean scores in parenll~esis show the level of performance of the teachers on

each of the itctns. Thus, the findings revealed a poor and low level performance

generally, very poor pcrfornlance in the EunctionaI Keyboard and Vocal Activitics area L

and fairIy good perfarn~ance in the ProfessionalfMusic Education area (see Appendix J) .

7, From the t-tcst analysis of (11-w mean ratings of lllc clusters on impo~tnrice

IeveI, by the graduate a d N.C.E. teachers, there were significant differences in

their mean ratings at O,05 Ievcl of significance on the following clusters - (Table

6 j.

Cluster 13-11 Classifying voices

Cluster B-iV Training the adolescent voice

Cluster B-VIII - Interpreting vocal music through rhythmic

movement

Cluster C-IV - Discipline/management

'There were also 110 significant differences in thc Incan ratings by the eritdt~:tt~ and

N.C.E. music teachers on their responses with respect to the five cluslcrs in the

keyboard.

8. i t was revealed frorn the t-test analysis of the mean ratings of the clusters

on performance level. by the graduate and N.C.E. teachers rhat there were

significant differences in the mean rating of their performance in sight-singing

frorn a vocal score, training the adolescent voice, classifying voices, conducting

137

choirs, interpreting vocal music through rhythmic movement and evaluating

performances of students.

FURTHER FXNI)mGS

9. 18 clusters of rhe nus sic compctencns were rated important by the nlusic teacher

rcspondcnts, while two clusters - Cluster A-111 - Attitude towards piano nu sic m d

Cluster A-V - Knowledge of keyhoard repertoire were rated not important (see

Appendix K).

10. The respondents performed above standard only in two cIusters, namely, Cluster

C-I - Planning a musk Iamn (3.93), and Cluster C-IV - Discipline/Management

(3.60). They pcrfonncd below average in 18 competencies (see Appmdiix L).

CHArn,R F r n

DISCUSSION OF FINDINGS, CONCLUSION, IUTCOhlME~ATJONS AND

SUMMARY

This chapter deals with the discussion of findings, conclusion, implications of the

study nnd summary. Recommendations and stlggestions for furlher study are also

presented.

The discussion of the findings for this s ~ d y is based on the research questions

and hypotheses that guided the study and is treated in sections, as foilows:

Section A: Discussion af Ratings on 'Tmpartance Level"

1 . Competencies rated 'Important'

2. Competencies rated 'not important'

3. Clusters rated 'important'

4. Cluster A 4 - "Sight-reading music scores on the Keyboard."

Cluster B-T - "Sight-singing from a vocal score".

5 , Cluslcrs rated 'not important'.

6. Competencies within the range of 4.47 - 4.35.

Section B: Discussion of Ratings on 'I)erformance Level'

1. Performance levels of the music teacher respondents: An Overview.

2. The Respondents' Performance Levels in Keyboard Activities-

3. The Respondents' Performance Levels in Vocal Activities.

139

4. The Rymndents' Performance Levels in Professional Education/Music

Education Activities.

Section C: D ix~s ion of f i le rfwlks of the two hypdh~ses

Cluster B-2V - "Training the adolescent voice",

Scdim A.

1. C~mpetencies 'Rated Important'

TabIe 3 presents the resuIt which shows that the rnusic teachers in Enugu State

secondary schools rated one hundred competencies out of the validated one hundred and

fifteen, as important for effective teaching of music in the secondary schools. These

represent their perception sf a large body of competencies required of a music teacher

RS part of his 'personal skilIs' (Fisher, 1991) acquisition in order to be successful in his

jnb.

The huxldred compctemlcies were spread in the three broad musical areas of the

study, namely :

the Keyboard Activities (Category A);

the Vocal Activities (Category B), and

the Professlunal/Music Education (Category C.

These l'indtngs of the study are consistent with similar investigations by Olaitan

(1978) and Anyakoha (1982), for example where the respondents of their studics

140

perceived large bodies of skills important for effective teaching of their areas of

s~c ia I i sa t ion in secondary schools in othcr parts of Nigeria. These pre-service

competencies revealed by thc present study is in litre with Raiman (1975) whose similar

study identified and classified a hierarchy of competencies, which should have been

achieved ;it the completion of thc studcntsl p-c-scrvicc programme.

The music teacher respondents perceivcd all the rnusicaI areas as important in the

curricufum. To their perception, Professional/Music Eclucation and Vocal Activities are

mom important in the schooI music curriculum than the Keyboard Activities. The Iow

rating of the keyboard competencies is inconsistent with the findings of the prior

researchers (Loreen, 1981 ; Wendy, 1988) where the pianistic skills wcre considered

'very important'. A list of the idcntified 100 music competencies in their descending

order of importance is shown urldcr findings in Chapter Four. Further findings on

'Importance Level' revealcd tila& many highly rated (4 points and above) items were

found in Professional Education/Music Education. fbllowed by Vocal Activities areas.

Only rhrce items were rated 4 points and above in the keyboard area. Thcy are:

Itern Number (16) "Care for and maintain the piano (4.00)."

Itern Number (22) "Detect when a piano is in tune or out of tune (4.10)."

Itern Numbcr (21) "Possess good musical ear (4.05)".

The teachers rightly observed the importame of the above keyboard skills and

rated them appropriately.

141

2. Cmnpet~nrries rated 'Not Imprrrtant"

The result of the analysis on Table 3 shows that the music teachers rated 15

competencies 'not important', (below 3.5). The competencies rated 'not important' are,

Transpose during a congregational singing (3.33).

Appreciate contemporary and oId styIe of keyboard rnusic (3.28).

Detect keyboard music (2.95).

Listen to piano music with focused attenlion (2.38).

Encourage pupil participation in keyboard nlusic activities (2.20).

Encourage the study and practice of piano music (2.28).

Tune and repair the piano (3.20).

Play Afr~can rnusic rhythm on the keyboard (3.45).

Play orchestral reduction (2.28).

Usage of C cIef or figurcd bass (3.36).

Use the nlediurn register as a point of departure at the onset of

change in boys' voices (3.35).

Develop muscular, vocal coordination and control (3.45).

Write music sfmrthand for transcription to vocaI nlusic (3.33).

Train pupils to focus listening on elements of structure, tempo,

harmony, for example (3.48).

(95) - Present information with Ihc aid of flannel board (3.45).

From the researcher's point of view all the I5 competencies above should have

been rated 'in~portant'. Each of the competcncies is important in its own merit and in the

general music programme.

The skills that can be used La advantage in the keyboard arca include the ability

to transpose as one accompanies 3tudents' choral activities. During choral activities or

even in a solo performance, the perfornler rnay suddenly wander away from the originaI

key of the piece of music. This also has relevance to the situation often experienced in *

our churches where the orgmistlpianist and the congregation suddenly find themselves

moving in different keys. The music teacher who possesses a good musicaI ear and who

is competent in sight-reading will quickly detect the off-key situation arid maintain the

unity of the voice and the accompanying instrunrent by transposing both the melody and

harmony inlo the new key the congregatiorl has suddenTy gone into. Ability to transpose

a melody from one key to the other ir a high order skill of the keyboard area.

To appreciate Contemporary and Old Style of Keyboard Music is important

because o f the interrdatedness of the old style of keyboard music with the contemporary

literature. Some of the conternporary styles irnbib fragments of the old structure.

Appreciating $ontemporary and old style of keyboard music will enhance the students'

understanding and appreciation of their music history.

143

Detecting specific sounds of instrument is a Iow IeveI cognition before a student

can analyze the instruments of a symphony orchestra. Students should be able to

recognise and identify instruments of the orchestra and particular function performed by

each in the composition, Ability to detcct the keyboard music enhances Listening and

Apprec jrttjon class.

Whereas listening to piano music with focused attention deals with a general

objective of listening, training pupils to focus listening on elements of structure, tempo

and harmony deals with the specifics. Nonetheless, the respondents stilI rated thein below

the standard. This shows their incompetence on the aspect of the curric~lum known as

Listening and Appreciation. A focused Iistening on structural elements of music such as

rhythm, rnehdy, harmony, form, instruments and instrument combination, helps the

students understand and appreciate the inner essence of music.

The teachers' attitude with respect to piano music appreciation could be givcn as

a rationale for rating encouraging pupil participation in Keyboard music activities and

encouraging the study and practice o I piano music low. Studcnls should be encouragcd

to appreciate and practise piano music for children learn to do what they do. If they are

encouraged to appreciate and play keyboard music, the studcnts will have opportunity to

experience and enjoy piano music.

Tuning and repairing the piano is an important keyboard skill which requires the

possession of a developed ~nusical ear to detect whcn the piano is out of tune. This is a

144

specialised area in nrusic tcchnohgy. Although music teachers may not be required to

perform prrrficient!y on this, the teacher should he expcled to dctect a fault and suggest

or recommend repairs.

Playing African Music Rhythms on *he Keyboard entails the demonstration or the

accompaniment of some of tlic sirnplc foIk rhythms and melodics of various parts of

Afric-a and Nigeria in particular on the keyboard. It is an exarnpIe of the marriage of

both the African and Western idioms to produce a new musical effect.

Such songs as 'Re~simesi odun de o', 'Onuru ube nwa gba nuzo', 'Egberikoko

uya ila me', for example, can he accompanied by a combination of the keyboard and

Afr7can instruments for more enrichment.

"PIaying Orcheskal seduction" and "the Usngc of C cIef or Figured Bass" art:

important as keyboard skills but may not be necessary with respect to music teaching in

the secondary schools. Perhaps this explains the rationale for the low rating by the

respondents.

Developing Muscular, VocaI Co-ordination and ControI will pertain to voice

training and breath control which are very necessary skills for successful singing.

"Writing Music Shorthand for transcription to Vocal Music" is a skill that could

be applied to all areas of rnusic learning, cspccially music writing and transcription. The

music shodland deal with rnwsical duration in relation to Notes and Note Values (see

figure below):

and their Symbols Rhythm Name

d o r I Taa

Shorthand Form

0

Fig. 5: Shorthand Fomrs af the Duration of Musical Nates

Taa - aa - aa - ad

With music shorthand, a known melody, for example, "We wish you a merry

Christmas and a happy New year" could be written thus:

Fig. 6: Shorthand Form of the Rhythm of "We wish you a Merry Christmas

and then transcribed into a vocal line as shown l~elow:

We Wish you a merry Christmas (A Carol).

Fig. 7: The Melody of " ~ e ' w i s h you a Merry Christmas", on the Staff.

From the researcher's personal experience, she has found that children find music

shorthand very fascinating, attractive and enjoyade as they can play with transcribing a

known meIody into shorthand and then into a vocal Iine on [he staff. It affords the

students opportunity for ear training, practice in music writing during either rhythmic or

melodic dictation, and also opportunities for creative response activities. A teacher who

has expIored the use of music shorthand in his music teaching wilI derive huge success

in terms of student pain scores, especially in Iistening, music appreciation and music

writing in particular.

"Presenting Information with the Aid of a Flannel Board" requires ability to use

147

an instructional material or teaching aid effecrively for musical illustrations. The

advantage of the flannel board for effecting the teaching of music cannot be

overernphasised. Teacher and students can engage in improvising a CIanr~eI board. Strips

of note vatues, their rhythm names, rnelodic and rhythmic patterns could be illustrated

on the flannel board, an insrtuctional material, is usHd for it appeals to a11 the senses.

Findings also revealed that the teachers did no1 perform well on the abovc

competencies which they rated unimportant and which have k e n found 1s be important.

To rate thc above con~petencies not imprFanr portrays the teachers' incompetence

cognitively. This perhaps explains their low perfonnancc.. The low rating of "Using the

medium re~ister as a point of departure at the omet of voice change in Boys", and

"devehping nluscular itnd vocal co-ordination and control" impIid that the teachers did

not understand the implications of the use of the adolescent voice. The low regard for

these competencies did not conform lo t k c~nclusion arrived at from the current studies

of Cooksey and Welch (1998), nor did it agrcc with the notion of Lynch (1983) about

the power of the human voice. The imprtance of the voice for the effective teaching of

schacsl music cannot be overcmphasised. The voice, apart from the human structure, is

a natural gift of every human being. It is not expensive though it requires great care for

purposes of sound music making. For music reading, the voice requires only orle rnelody

line - harmony and polyphony exclusive. With the abifity to sight sing vocal melody

lines, one could explore independently various areas of vocal literature and accomplish

148

a lot of songs within a period of time. Furthermore, for schooI music teaching, vocal

work is a more convenient, irlstrunlental activity, rclevant and practicable to start with,

to arouse the musical consciousness of the adolescents in ~ h o o l s .

Using the medium register of the voice as a plateau stage in the boys' changing

voice is a bedrock of change into new voice. Tcacf~crs should realisc this and maintain

the cornfortabIc pitch range at this pin{. For the adolescents cannot experience success

I +- &in singing activity? If they are forced into the wrong pitches. This scares boys (in

p x r h ~ l a r ) away from singing and this consequently makes them disinterested in music

generalIy .

"Train pupils to focus listening on elements of structure, tempo", for example,

was rated Iow (3.48). The regard of listening activcly as 'not important' did not conform

with prior research reports like Wells (1987), Wendy (1988) and the Association reports

and curriculum guide of FMEA which have co~isistently regarded Iistening as a very

important aspect of the general music curriculum. Listening is the key point of musical

appreciation. ?'his is effective when listening is not passive. Again most of these

competencies rated 'not important' were contained in the keyboard activities with only

five in the uocaI activities area.

3. Clu.stcrs of Cmnpetencie 'rated Important'

The analysis revealed that 18 clusters out of the twenty used in the study were

rated 'important' (3.5 and above) by the music teacher respondents. The table showing

149

the importance rating of the clusters is shown at the Appendix. Only two clusters were

rated below (3.5).

The eighteen 'important' clusters with their rnean score ratings are, as listed

below;

Cluster

A-I

A-I1

A-IV

B-I

R-II

R-111

B-IV

B-V

B-VI

B-VII

B-VIII

R-1X

B-X

C-I

C-I1

Sight reading musical scores on the keyboard (3.78),

SkilI in acconlpanying music (3,70).

Aura1 pemptkn of tuned and untuned piano (3.78).

Sight singing from a vocaI scorc (4.07).

Classi fyirg voices (4.06).

Developing breath control (3.76).

Training the Eibolesccnt voice (3 .76).

Conducting chits (3.99).

Analysing vocal scores (3.78).

Knowledge: of song scprtsire (3.87).

Interpretation of vocal music through rhythmic movement (3.70).

Appreciating vocaI music (3.89).

Writin: simple vocal music for inexperienced singers (3.75).

Planning a music lesson (4,42).

DeveIoping insrruct ionaI materials (3.97).

C-111 Interest in work and pupiIs (4.03).

C-IV - DiscipIine/Managernent (4.27).

C-V Evaluatirig perfortnance of students (4.00).

It is necessary to ~ncntion that out of the cighteen clusters rated 'important', again

the Prclfcssional Education and the Vocal competencies were Inore positiveIy observcd

as irnprrrtant than the keyboard activities. The teachers' high perception of the

professional education competencies did support and confirm Sur and Schuller's notion

on the need for ptofessiona1 education competencies for the music teachers. Furthermore,

the reports of Music Educators' National Conferewe (MENC, 1972) and FIorida Music

Educators Association (FMEA, 198 1) had outlined prrsfessioml education competencies

as a necessity for the music teacher.

The music teachers rated a11 the Len clusters of thc vocal activities (Category R)

'important'. This irnpIics !ha1 the music teachers in Enugu State secondary schools

understand a ~ l recognise the importance of the human voice in effective teaching and

Imrning of music in schools a d that "the human voice is so powerful that when traincd

and properly directed it can sound through a fulI orchestra" (Lynch, 1983: 42). Thus thc

teachers did support the rationale for contenlporary and current researches and research

findings on the adolescent voice's powcr and vocal range (Cooksey and Welch, 1998).

One could conclude then that thc music teachers rccognised that proper classification of

the students' voices into their proper voice ranges, the selection of appropriate song

151

literature (repertnire) to match the voice ranges and good training in voice production and

breath control, will bring rewarding experiences in choral classes in the secondary

sc hads.

The raring of the two cluslers - Sight-Reading Musical Scores (3.78) and Sight-

Singing from a VocaI Score (4.07) of the keyboard and vocal activities as importanl is

in apeement with the nolions of Mursell (1932) and Peters and Miller (1982) who

viewed sight reading as a high order skill For the music teacher.

Sight-reading and sight-singing are tbe kcy points of the keyboard and vocal

competencies. With the ability to sight-read or sight-sing, an instrumental (keyboard) or

a vocal major could explore independently various areas of voice or keyboard literature.

IIe could play or sing a melody line on the staff without first transcribing it to solfa-

syllatks.

5. Ciluster Cornpctencics rated 'Nd Important'

Two dusters of the cornpctencies, Clustcr A-11 - "Attitude towards piano music

(3.11)" and Cluster A-V - "Knowledge of Keybard repertoire (3.48)", were rated not

important by the respondents. The two clusters are from the keyboard area. "Attitude

towards piano music" had the lowest rating among the cIusters (3.11). This perhaps gives

a true picture of the teachers' low regard for kb keyboard arm. With tk teachers' low

regard for the piano music, how then can the teacher encourage hidher pupils to

nppreciate keyboard music in particular and music in general?

152

6. Comp~tmcies within the Range of 4.47 - 4.35 Competencies that feli into the

range of (4.47 - 4.35) as revealed by the study are:

Consider needs and interests of students during the planning of rnusicaI activities (4.47).

SeIect appropriate teaching methods for a lesson (4.47).

Break down a nlusic course into scheme of work (4.45).

Consider the previous expcriensc of students when planning a lesson (4.45).

Divide scheme of work into units and daily lesson topics (4.40).

Provide a classroom atmosphere where a variety of individual differences can bc accommodated (4.35).

These first six important competencies falling within the mean ranges of 4.47 -

4.32 were education skiIls. The teachers demonstrated theoretically their knowledge of

what constitutes effective teaching as propounded by educational theorists such as Tyler

(1950) and need theorist like Mastow (1962), for example. In addition, the six

professional education competencies fit into the conceptual Framework of Ani et id (1989)

with regard to effective teaching.

13.

I . Performance Levels of the Music Teacher Respondents: An Overview

The resuIt of anaIysis showed that the music kachers currently teaching in E n u p

Srate secondary schools expressed themselves as performing (3.5 and above) in 19

competencies out of the 100 they rated important. Consequently they performed below

153

average, i.e. (3.49 and below) on 81 competencies (Table 4). Onc of the purposes of thc

present study was to identify the important competencies for effective teaching of music

in secondary schooIs which the teachers possess and thc ones they nmd for purpose of

retraining. The teachers have thus demonstrated that thcy are deficient in a Iarge body

of skilIs required for music teaching (appendix M).

2. Perfomance Levds in Key board Activities

The following keyboard activities: Sight-reading musical scores on h e keyboard;

skill in accompanying of music; aural perccption of tuned and untuncd piano; inlcrpreting

piam music and encouraging students to cnjoy piano music were perceived by the music

teachers as iniportant. The samc music tcachers i~ldicated that they are deficient in these

keybnard activities in which they rated themselves low and not performing (see cluster

performances in the Appendix). This implies that they have a need for retraining on tfie

fol [owing keyboard competencies:

I Read music in piano kcyhoard at sigl-~t.

+: Sight-rwd melody and harmonic progression at the samc time.

w Maintain steady ternpo while sight-reading.

+ Apply rhythmic notation correctly.

-c: Play piano music of any standard with confidence.

:$ Demonstrate nlusical exampIes on the keyboard.

+: Improvise accompaniment to instrumentalists or solo singers.

.*. + Transpose during congregational singing.

:+ Acquire knowledge of simpIe chord progression.

*. Write simpIe piano accompaniments.

+ Self-composed 3rd confident whiIe accompanying music.

+ AppIy basic theory and rudiments.

+: Care for and maintain thc piano.

?. Detect keyboard nlusic.

+ Listen to piano music with focused attention.

:+ Encourage pupil participation in keyboard music activities.

r': Encourage the study and practice of piano music.

* Possess good musical ear.

8 Detect when a piano is in tune or out of tune.

* Tunc and repair the piano.

:+ Make use of various piano litcraturc to enhancc piano playing lessons.

* Demonstrate the skills of various techniques of piano playing.

e Play African nus sic rhythm on the keyboard.

e Play orchestral reduction.

* Usage of C clef or figured bass.

3. The Respondents' Performance Levels in Vocal Activities

All the vocal activities identified, namely, sight-singing from a vocal score;

155

dassifying voices; developing breath contrul; trailling the adolescent voice; conducting

choirs; analysing vocal scores; knowledge of repertoire; interpretation of vocal nlusic

through rhythmic movement; appreciating vocal music; writing simple vocal music for

inexperienced singers were perceived by the rnusic teachers as quite important. Again,

the music teachers indicated that they were deficient in all the vocaI activities except in

Singing from staff to sol fa and vice versa; Arranging the voices according to qualities:

Encouraging creative inusic making; Participathg in choral activities. They therefore

need retraining in the fol1owing competencies:

+: Sing a part in a vocal score of Soprano, Alto, Tenor, Bass with

confidence.

:3 1lIustrate musical examples using the voice.

+ DevcIop high singing ability in pupils.

<: Interpret vocal music freely.

$: AppIy correct timc signature when sight-singing.

!+ Arrange the voices according to qualities (Soprano, Alto, Tenor, Bass).

Imprvve the weaker voices to high level of perforlnancc.

:+ Test voice frequently and individually for proper classification.

+ Assign voices for proper hlend arld balance.

+ Read a score proficientIy.

$: Conduct a choir while reading a score.

Draw a mental picture of any choral piece.

Arrange pieces for proper voice and orchestra.

Display general musicianship.

Possess good human relations.

Structure and sequence rehearsals propcrly.

Take appropriate decision to stop and rehearse when necessary.

Identify important structures, e.g. form, phrase, modulation.

Identify the harmonic structure, whether polyphonic or homophonic.

Analyze and synthesize all parts of the piece.

Classify vocal pieces accordingly for easy accompIishn~ent,

Aural imagination of vocal scores in sections.

Encourage intelligent and purposeful listening to vocal music.

Assist pupiIs to acquirc or form musical taste.

Encourage pupils to enjoy vocal music.

Encourage satisfactory reasons to responses to musical slirnuli.

Train pupiIs to focus listening on elements of structure, tempo, etc.

Write sirnpIe. short, repetitive songs to be Iearnt by rote.

Arrange short pieces for voice and orchestra.

Choose song texts associated with concrete objects.

Write simple rhymes using simple melodic movements.

~k Devise some vocaI music reading teclmiques for beginners.

4. The Respondents' Performance hvt ls in fiofessional EducatiordMusic Education

The professional education activities, identified i.e. planning music lessons;

devehping instrucclona1 materials; interest in work and pupils; discipline and

mamgernent, and evaluating perfarmance of students, were perceived by the music

teachers as very inrprtant. While the music tcactlers performed well in the areas of

planning a music lesson and discipIine and management, they did not perfbrrn well in

developing instructional materials: interest in work and pupils and evaluating

perfflrnrnncc of s tdenls .

They therefore n e d retrain in^ in the following competencies:

:+ Develop teacher-made materials, e,g. charts, models, etc.

Q Use audio visual aids in music effectiveIy, e.g. radios, records, cassettes.

e Present infomation with the aid of a Hannel board.

4 Provide for individual differemes in students.

-A Show knowIedge of physical and mental development of students in the

mondary schaols.

* Cater especially Tor lhe need of the handicapped students in the class.

# Cmnsel to improve individual pupil's achievement in class.

* Provide a cIassroom atrnmpherc where a variety of ifdividual diflerences

can be a~ornrndated.

+ Use students' good behaviour to encourage them.

w FormuIate a systcm of grading in nlusic consistent with the school policy.

c Appraise students' performance in relation to stated behavioural

objectives.

* Use a variety of evaIuatior~ devices and procedures, e.g. tests, assignments

and projects.

:L Develop self-evaluation lechniques for students to evaIuate their own

progress,

A InvoIve students irl formulating procedures for sclf-examination.

* r)evelop and use various types 01 validated tests styles in music e.g.

matching, true-false cornp!e!ion. etc.

+: Use test resuIts to improve teaching and learning.

The Rmpondents' Performance Levels on the 15 Cornpetenrics rated 'Not Important'

As shown in thc findings in Chapter four, the respondents performed very poorly

in the 15 competencies thcy rated not important (Appcndix N). This is probably in lirlc

with their Jow concept of their importance for effective teaching of music in the

secondary school.

Section C:

Discussinn of' the results OF the Two Hygothesa oF the Study

No significant difference was found in the mean ratings of the clusters of the

159

cnmpetencies by the graduare and N.C.E. music teachers on sixteen cIusters out of the

twenty cIusters. These include all tk cIusters of the keyboard area, Like Wells' (1987)

findings, this implies that there is an agreement among the graduate and N.C.E.

respondents regarding the keyboard skiIls that are important for school rnusic teaching.

Furthermore, it shows that their qualifications did not influence their ratings of the

keyhoard competencies. In like manner, their qualifications did not influence their rating

of the seven vocal activities' clusters and four prof~ssional/music education clusters

indicated on Table 5.

However significant differences existed on three clusters of the vocal activity area

and one in the professional education area. These are:

Cluster B-I1 - Classifying voices (3.86: 4.43),

Cluster B-IV - Training the adolcscent voice (3 .GI: 4.27).

Cluster B-WII - Interpreting vocal music through rhythmic movement (3.48:

4.13).

Cluster C-IV - DiscipIine/Managemerlt (4.07: 4.66).

The scores in parenthesis denote (N.C.E.: Graduates) mean ratings of the cluster

competencies. In each case, the ratings of the graduates were higher than those of the

N.C.E. teachers. Thus one could cuncIude that their qualifications influe~~cecl their

ratings. Perhaps this could be as a result of the depth of training received, on the

importance of 17mI activities.

1m

Furlhemlore, significant difference also existed in the performancc abiIities of the

N.C.E. and graduate music teachers in the following clusters of the music competencics:

NCE Graduate

Classifying voices (3.18 : 3.75)

Training thc adolescent voicc (2.80 : 3.39)

Interpreting vocal music through

rhythmic movernent (2.71 : 3 -23)

Both N,C,E, and graduate music teachers rated the above competency clusters very

important but performed below the average generally. The graduates indicated thcir

competence only in classifying voices (5 -75).

The irnportancc of training thc adolescent voice cannot he overernphasised. While

the N.C.E. holders scored this competency (3.61), the graduates scored it very high

(4.27) signifying that both groups understand the powers of the adolescent voicc. It is

inlpartant to note that both the N,C.E./Diplorna and graduate music teachers performed

poorly on the compeience showing their incompetence on the art of voice training.

Recent research e.g. [Cwksey and WeIch, 1998) has shown that the adolescent voice

could be trained alxl properly directed for a successful singing and overall ~nusical

experience in schools. This training should be accompanied with sraitablc vocal exercises

and vocal literature within the mean ranges of the voice change Iirnitations,

In the professional education area, significant difference existed in the mean

161

ratings of the performance of the cluster uf cornpztencies between the graduates and

N.C,E. holders on evaIuating perfbrn~ances of students. The teachers indicated their

incompetence by rating their perfortt~arlce as (3.16 and 3.00) N.C.E. arid graduates

respectively .

CONCLUSION

Competence in professional education, theory and practice has been found to be

very necessary for a music graduate who is aspiring to succeed as a mask teacher in the

It is significant tIlat the music leachers themselves rated the competencies as

important and aIso rated their own performance in those competencies vety low. In the

three broad categories of competencies considered, the Enugu State music teachers were

found deficient. The general non-performance of' the music teacher respxdcnts in the

field casts doubts oil their in-depth training. This perhaps explains the poor performance

of the students at the J.S.S. examinations and lack of motivation in rnusic teaching.

From the findings of the study, one could draw the conclusion that qualification

influences the IeveI of perception of the importance of the competencies, for the

graduates rated all the competency clusters slightly above average impom~e whereas

the DiplomdNCE music teachers rated them iowcr than that of rhe graduates.

In consonance with Abcles (1984), this is an attempt to docurllent what is partIy

necessary to make a competent music educator. With this as a consensus of opinion of

162

the teachers currently teaching music, they (teachers) can agree on goals and on the

means to evaluate thcir success in achieving them. This is the essence of C.B.T.E. which

lays emphasis an behaviours demonstrate$ by t k graduate reacher in the field.

Educational Implications of the Study

The study has impIimtions for music tcachers, kacller training institutions,

pmfessional music assmiation, the Ministry of Mucation and Govcrmen[. The ovcralI

impIications to the teacher lies on the demand of the large body of skills for him to

I acquire. He has to understand that the activities involved in music teaching in the field

are wide, varied and all-involving. Therefore the nlusic texhing job cam1 bc handled

haphazardly.

It has implications for the already serving teachers in schools, for self evaTuatian

and subsequent seIEimprovement. Ir the findings of this study are disseminated

publication-wise, not nnIy the teachem but the music teacher educators' atfention will be

drawn to a wide range of field-based nus sic teaching cornpetemies which might h a w

been neglected o r over-emphasised in thc training of music teackrs. The training

institutions will find the field-based competencies relevant, and appropriate in thc training

and retraining of music teachers.

Furthermore, ProfessionaI Music Associatiori and the Ministry of Mucation could

organise workshops, seminars/confcrences based on the identified music teaching

competency needs. These would heIp the teachers to gain more grounding on the means

163

to handIe the music teaching in the schools effectively. The LcacIlers would then achieve

better results.

T f ~ e implication of the findings of this study to the Federal and state Governments

lies in the training of more music teachers by the Federal and state Govermnents. These

teachers should be posted to the primary and secondary schools. Government should also

buy textbooks and other music literature books for sight singing, sight reading, keyboard

harmony, establish music Iibraries in each locaI government area and equip the schools

with rnusicaI instruments, especially the keyboard nlusical instruments in sound proof

rooms.

Recommendations

Based on the findings of this study, the following recommendations are suggested:

Workshops, seminar and in-service training, should be organised for the

music teachers based on the 81 needed co~npete~lcies in order to retrain the music

teachers and update their knowledge.

2. The compstencics which have heen perceived as important shouId form a

component of factors to k used in evaluating music programmes in tertiary

institutions with respect to t k three broad areas of musical activities used for the

study.

3. Thc 100 competcneies perceived as important by the teachers shouId be

used by the already serving teachers in schools for seIf-evaluation and self

impr~vement.

4. Furthermore the identified important competencies could be interpreted

and translated into content for music curriculunl of the secondary schools.

5. Government and school administrations should provide keyboard

insttuments and keyboard literature hooks [or the music teachers in the secondary

schoois and training institutions.

6. Practicals should form a rnajor component of the training programme for

music teachers. There should be an increase in length of time given to teaching

practice.

The alarming rate of non-performance by thc music reachers will require

constant and adequate supervision by the Inspcctorate Division irl the schools.

As a result of the aIarming rate of non-performance of the music teachers

in the keyboard activity area in particular, arid the importance of the keyboard

instrument in the effective teaching of school music, comes in functional

keyboard should be made compuIsory in colleges of education and universities.

Limitations

The findings would have been different i f the population had been larger. The

researcher had hnped to include other music teachers within the state but these belong

to a few private and Federal iustitutions. Thus she was compcllccl to use the data given

by the Ministry of Education, Naming Research and Statistics Department, Enugu (see

165

Appendix ), since this gives an insight into the music situation in the schools run by the

State. Findings within this State could be a predictor to the situation of music in other

States within the Federation.

At the request for record of cnroIrncnt and performance, only those of 1995 and

1996 were made available to the researcher by the Examination Development Centre,

Enugw , in 1997, when the request was made.

Suggestions for Furthw Raearch

The foIlowing suggestions have been made:

1. It is suggested that the study be replicated in other areas of the genera1

music programme: African music, music history, Musical Apprwiation, Theory

and Rudinzents sf Music.

The study could be replicated in other States of the Federalion.

Researchers should research into the slrategies for using thc human voice

for effective teaching and learning of nus sic in the secondary schooIs.

Summary

Music i s for every child. It is important in both human and national development

and in the training of the mind in the understanding of the world around us. It is an

important secondary school subject capable of equipping the students with job entry

skills.

Music education in Nigerian secondary schooIs with particular reference to Enugu

166

State, is fraught with many problems. These problems include the low enrolmetlt of

students at J.S.S. music examinations; non-enrolment in the senior secondary school

music examinations and tk low level prformancc by the studerlts who enrolled in

music, for exmpIe, in Enugu state. This situation has k e n partly attributed to possible

chronic-teacher related characteristics lhat irxlpedc thc effccfive teaching and learning of

music, hence this study sought tu identify

(a) the competencies needed for effective teaching of music in secondary

schools and

(b) the competencies which music teachers possessed and needed for purpose

of refraining.

The study answered Iwo research questions and tested two hypotheses. The survey

research desipn was used to enahlc the researcher identify the competencies. The

inventory of cclrnpetencies for Effective teaching of Music (ICETM) was developed by

the researcher for iden t ily ing the important cornpetencies . the contur~ts were deveIopcd

from several sources of Iiterature and the junior and senior secondary school curriculum

and information from the universities and colleges of education.

The instrument consisted of three sections dealing with

(a) Introduction and instruction on how to filI the entire inventory;

(b) personal data and

[c) the 115 competency items organized into three categories, namely

1 fi7

Keyboard Activities; Vocal Activities and Professional EducatiodMusic

Educatim. Each cate~ory was organised into clusters,

The 115 validated items wcre rated on a five poinr Likert scale on the basis of the

respondents' perceived level of importance and his perceived level of performance on

cash item.

Research reports have advocated identitkation of cornpctencies. Researchers and

education theorists have a p e d that through identifying the 'deficiency' needs of serving

teacher, an in-service education could be organised for the purpose of retraining and

updating the teaclrers' knowlcdgc.

The results of the analysis of data to answer the two research questions revealed

I00 important competencies perceived by the music teachers in Enugu state secondary

schools and 81 competency 11eeds of the music tertchers in Enugu State. Significant

differences existed on the mean ratings by N.C.E. and Graduate teachers respondents

when compared by qualification, on some clusters of competencies.

The keyboard competencies received the bwest ratings of importance when

compared with vocal and professional education skills. The teachers performed very

poorly in the vocal and keyboard competencies. The professional educatiodmusic

education competencies were rated very highly on importance level. The teachers

performed fairIy better in this area.

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APPENDIX A

QUEsTIONNATRE

TITLE - THE INVENTORY OF COMPETENCIES FOR EFFECTIVE

TEACHING OF h.TUSIC (ICETIM).

SECTTON A ABOUT THE QUESTIONNAIRE USED

INTROlDUCTION

The purpose for which this instrurncnl is sent lo you for completion is to obtain

data ncccssmy for identification of cornpcteneies which music teachers need for the

effeche teaching of this subject in Nigerian secondary schools. The identification of the

needed competencies is inter~dcd for compiling spec if^ activities of music education, at

the secondary level, in which additional training and or retraining of music teachers are

considered important and, so, required. The competencies are grouped into categories

which a r e basically broad activities of music reducation. Each catcgory is further broken

down into clusters. A cluster is a grouping d'cToscly linked and related competencies.

Below each cluster are the competencies themsehcs. They are actions which can only be

successfully undertaken by persons trained and knowledgeable in music, especially a t the

level of teaching it at the secondary schools.

The competencies are arranged into three broad categories:

Category A - Functional keybard activities

Category B - Vocal activities

If9

Categnry C - Professional educatio~l/rnusic education competencics.

INSTRUCTIONS

This insrrurncnt is In two parts, the persona1 data section and the categorisation

section. The cornpetencie~ are serially numbered on the left hand column of the

instmrnent. There are two columns to the right of the serially listed competencies. One

of the columns is the Ievel of importancc on the particular competence as perceived by

you. ReIuw each of these :wo columns, there are five possible respoxlses. Thus, each

competency is to be rated oil a five-point scale, under both columns. The five-point scalc

are as fol'lows:

Competency is of very high importancc or performance level = 5

Competency is slightly above average importance or performance level = 4

Competency is of average importance or perfomlance level = 3

Competency is slighc1-j below average importance or performance level = 2

Competency is of no iniprtance or performance level = 1

The level of importance of a comptcncy is an indication of the extent you feel or know

that the particuIar competency is important or othcrwise, for effective tcaching of rnusic

at the secondary school. The level of performance is an indication of thc extent you feel

or know that you can perform (the particular competency as teacher of music in the

secondary school. If there are observed gaps between importance and performance of

these c~rnpetencies, after your responses have been collated and analyzed, such gaps will

I80

be the identified competencies for further lraining and retraining of secondary school

music teachers.

Kindly read each competency careful2y and thoughtfully and mark an (x) in the

box which best indicates your perceived itnfrortance Ievel of thc competency; similarly

mark an (x) in the box which best indicates thc level at which you fed or know you

perfom this cnrnpetzncy. Kindly complete al! the items of This questionnaire iegibly and

accuratdy. If there are other important compete~lcies which you consider that music

teachers in secondary schools must possess, kindly indicate these in the spaces provided

at the end of this inventory.

SECTION R PERSONAL DATA,

1. Please tick J in the box besides your highest qualificatiorx and date.

Diploma in Music NCE (Music)

Date

Bachelors degree and Diplon~a in Music

Bachelors degree in Music (B.A. or R.Ed in Music)

Date 0

Masters degree in Music (M.A. or M.Ed. in Music) U

Date [7

Doctorate degree in Music

Date

Doctorate degree and Diploma in Music

Others (specify)

Sex: Male u Female 0

Experience:

SECTION C - COMPETENCIES IN THE THmE BROAD CATEGORIES

OF MUSTCAL AREAS (A, B, C).

CATEGORY A - FUNCTIONAL KFWBOARD? ACTIVITIES

SIN

1

2

3

Clustcr A. I :

Sight-Reading hlusicat

Scow on he. Kryboard

Rcad lnusic in piano

keyboard score at sight

Sigh[-rmd mclotiy md

har~~lonic progression at

rhe same h ~ c

Maintain steady t e m p

while sight-reading

Lcvcl of iuiporrancc as

pcrceivcd by you

5 4 3 2 1

o a o o n

C1

n 0

[7 C]

Ixvcl o f pcrfoniinncc as

perceived by you

5 4 3 2 1

o o o o o

0 0 0

0 C]

SIN

8

9

10

Transpose during

congreg;rrional singing

Acquire knowledge of

sirnplt chord

progression

Writ simplc piano

xccompmirr~enC

Sclfsomposcxf and

confidcnt whilc

nccompnnymg i n music

Apply basic thcory and

rudiments

pcrreivcd by you

5 4 3 2 1

- --

Level of importance as

FrccIy Intcrprcr p imo

music

Appreciate

coorcrnporary and old

style of k q h a r d m s i c

Crustcr A. 111:

Attirude towards piano

music

-

Encourafe stutlcnts ro

Listm to pimn music

with focused attairion

pcrceivcd by you

Lcvcl of pcrforinancc as

pcrccived by you

5 4 3 2 1

0 0 n n u

Encourage pgEl

pariiciparing in

kcyboard music

x.c\iviries

Encourage 111e nrdy

.and pfac!icc of piam

music

Cluster A.. W ;

Aural Perceplion of

tuncd and untur~cd piano

irr tunc or out of tunc

Tune and repair thc

piano

Ixvel of importance as

perceivcd by you

Lcvel of performance as

pcrceivcd by you

5 4 3 2 1

o n 0 o n

SJN

24

25

26

27

Clustcr A . IV:

Knowledge af Keyboard

repertoire

Makc use of various

piano lilerar~~rc to

cnhmce pimo playirig

le*ssons

Dcrnonslrarc the skilIs

of various tcclmiques of

piano playing

Play Airican rhythm on

the keyboard

Play orchmtral

reduction

k v u l of imponmix as

pcrccived by you

5 4 3 2 1

O O O D O

0 0

IJ

q q q

0 ~ [ 7 c K l

!hvel of performance as

pcrccivcd by you

5 4 3 2 1

0 0 0 0 0

I73 u

IJ 0

q q q q q

~ [ 7 o C ] o

-

I rsk them, below).

Cluster B-I: i--- Sight-singing from a

I vocal score

Sing a part in a vocal 7 score of S .A .T .B . with

confidence

30 illustrate musical

cxarnples using Ihe

I voice I

Level of imporrance as

perceived by you

Level of pcrfornlancc as

perccivcd by you

Sing from solfa lo slal'i

wd vicc versa

Dcvclop high singing

ability in pupils

Irlrerpret vocal music

frccly

Apply correct time

signalure when sight-

singing

Clustcr U-11:

Classifying Voiceb

Arrange the voiccs

according to qualities

(Sop., Alto, Tcnor,

Bass).

Level of impor1,mce as

perccived by you

5 4 3 2 1

U 0 0 U O

Levcl of pcrformancc as

pcrccivcd by you

5 4 3 2 1

n u 0 O U

Improvc thc tvcakcr

voices to high Icvcl of

pcrfor~n~mce

Test voice frequently and

individually for proper

classification

Assign voices for proper

blend and balance

Clus~er U-HI

I)evcloping brcalh control

Arrend to position of

chest, breath ;md conrrul

ovcr breath

Detccr rlasal obstruc~ion

wirh the purposc of

sug&s~ing rcmedies

Level of importance as

perceived by you

5 4 3 2 1

n o o o n

Level o l perfurmame as

perceived by you

Davclop vocal and nasal

rcmedics in pupils

Demonslrate good

breath using voicc

exercises

Acquirc good

knowledge of lllc

rcspirarory systcrn

Knowledge of rulcs for

tmnlh control

Clusrcr £3-IV:

Training rllc adolescent

voice

-

Develop and improvc

the aural imagiriarion of

the pupils

Level of imporlancc as

perceived by yo^ pcrceivcd by you

Usc Illc I I I C ~ ~ U I I ~

regisler as a poinl of

departure at ~ h c onset of

ci~angc i n bops

Use appropriate par1

songs for Ihe vocal

compass

Trmposc lunes to suit

thc cornpass of pupils'

voiccs

Writc voice training

cxerciscs in various

ways

Sequence v o n ~ training

exercise lor easy

altainlnent

Level of imporlance as

perceived by you

5 4 3 2 1

u o n u o

Level of performance as

perceived by you

5 4 3 2 1

0 0 u 0 0

pcrceivcd by you

1 51 1 Apply words lo rowvcls I !-"J

and diphthong used in

training exercise

I I

Cluster 13-V:

i I Conducting Choirs

Draw a rr~cnral picturc 17 0

of any givcn choral I 55 Arrange pieces for

Ijropcr blcnd of voice I and orchestra

pcrccived by you

Display gcncral

musicianship

Possess good h u ~ r ~ a n

- - --

Slruclure and sequence

Take appropriate

decision ro stop and

rchcarsc w l m

ncccssary

Cluster D-W:

hna[ysing VwaI Scores

structures c.$. lorrn,

perceived by you

n o o a a

ldcnrify ttlc harmonic

struclurc, whether

polyphonic or

homo phonic,

--

Analyze and synthesize

all pans bf [he p i ~ r c

Classify vucd pieces

accordingly for easy

accnn~p~mimcnt

Aurd imagination or

vocal scores in sccrions

Clustcr B-VII:

Knowkdpe of song

rcpcrto i re

Communicate i n

L.evcl of importance as

pcrceivcd by you

5 4 3 2 1

u u a n

Level of performance as

perceived hy you

various cultures

Plan sinsing lmons

l'rorn various typcs of

song literarure

Compare works of

composers from

diffctrnt pcriods for

purposes of

idcn~ification

Use songs adcquarely to

suit varying situations

Cluster B-VIII:

Inrcrprcl Vocal rnusic

through rhythmic

rimvemem

Level of i~npnrtance in Lcvcl OF performance as

perceived by you

5 4 3 2 1

perceived by you

5 4 3 2 1

u n o a n o o o o o

[lcrccivcd by you

5 4 3 2 1

O U O 0 0

70 Uxl. specific C m C M J r ]

hndamcnlal rhylhrrrs as

Devcbp in pupils, 0 0 0 ~ [ 1 3

ability to sing songs

I with rhythmic precision I

1 74 1 Combinc rhy rhm.

I I drama and movement in I

pcrccived by you

Level of iniporrar~ce as

I perceived by you

Cluster 13-IX:

Appreciating Vocal

Music

Encourage intelligent C] 0

and purposeful listening

lo vocal music I Discriminak bctwcen 0 0 I good and bad quality I

enjoy piano music

Level of performance ns ----I perccivcd by you I

Encourage satisiaclory

redsons 10 rrsponscs to

~nusical srirnuli

Train pupils lo focus

listening on ckmcrus of

structure. IcInpo, elc

Clusrer B-X:

Writing sinlple vocal

music for inexperienced

singers

Write simple ahort

np3irive songs to hc

learnt by role

Arrange short pieces for

mice md archrma

perceived by you perceived by you

Cl1oosc song [EXtS

associaid with concrctc

ohjms

Wrhe simple rhymes

using 11imp1~ melodic

rnovenlents

Devise some vocal

music reading

techniqnn for kginncrs

Encourage crcalivc

music making

Other Cvrripercncics

(Please 011 them and

rare I1n.m bclow)

Level of irnporrance as

pcrccivcd by you

5 4 3 2 1

n n n n n

perceived by you

5 4 3 2 1

SIN

Cluster C-I:

Plnrirling a Music

Lesson

Break down a nlusic

coum into ~Aiernce of

work

Dividc sckntc of work

into units and daily

lesson ropics

k v c l of irnpvrmcc 3s Level of pcrfvr~nmrc as

perceived by you perceived by you

5 4 3 2 1 5 4 3 2 1

a a a o o o o o u o

Identify spxilic

txh avioural ob.jm~ives

for a laxon

- ~. -

Consider nceds and

interests of sludcnts

durhg the planning of

lrlr~sic activities

-

-

A

pcrccivrc! by you

5 4 3 2 1

92 Sclcc~ appropriate C]"a 'C1r]m

, reaching methods far a

I I experience of students I I when planning a I m n

I

Cluster C-!I:

I I preparation of I ins~ructiond materials

1

96 K c p instrucrional n n

I n~arericls neat and safe I

perccivcd by you I

S/K

97

d~7.elopmcnt of audcnrs

/ in lhc secondary xhml

I

Lcvcl of importance as

pcrccivcd by you

98

9

k v c l of perfornmce as

perceived by you

Usc audio viaud aids in'

music clf~ctively, e.g.

physica1 and mental

radios, records,

cawttcs

Prescnl iniorrnaliim

with thc aid of a flannel

board

CIusrer C-111:

Intcrest in work ,and

pupils

Pravidc for irdividual

d i f f c r c m in s rdcnts

Show k~~owlcdgc ul

5 4 3 2 1

n o n o I 3

a Clj, 0

5 4 3 2 1

n o 0 0 0

0 q 0 0 q

0 0 u n

CJ [?

U U a U

0 0 0 0 0

rr] rJ 0

U 0

SIN

101

102

- I04

Level of impurt~mce as LevcI of p ~ r f o r ~ ~ a

perceived by you pcrccivcd by you

5 4 3 2 1 5 4 3 2 1

0 0 0 0 0 0 0 0

- C a m cspccially for !Be 0 0 0 C] [1?

fid or CIIC ~~mditapped

student in tk class

Counsel to improve [1? C] 0 0

individual pupil's

relationship wilh his 1 students I I

Cluslcr C-IV:

DisciplinelManqenlent

Pravidc a classroom C] CJ 0 [1? [1? n atmosphere w k r c a

varicty of individual

diffc'crences can be

acctsmmoda~cd

Conrrd discipline

problcms lo pfntccl thc

ka-rriy cxperlc~ms of

thc sludtnis

Apply appropriale

corEclivc rncnsurea lo

indiscipline bchaviours

of sludenrs

Usts sludcnu' gmd

khaviours to tnmurrgc

1hen1

Clusrer C-V:

Evaluate perfarmlance

of students

percejvcd by you I perceived by you

- Forrnutntc a syslcm of

_~rading in music

conqislcnt wilh thc

school pdicy

Appaisc sbdcrit

per forrnancc in relalion

to s lakd behavinurnl

ubjcct i v ~

Usc a vmicty OF'

eviduation d c v i w and

proccdurcs c.g. tests,

assignmcnb and

gmjojecls

pcrceivcd by you

Develop scl f-cvalunlion

rcchniques for sludcnts

to evaluate [heir own

progmss

InvoIvc studen~s in

formulating procedures

for sd f-cxamination

Dcvelop a d use

vmlnus Cypcs of

validated lcsrs In music

e.g. matching, rrut-

ialse completion, etc

Use tts[ rcsulrs to

i~nprove reaching and

learning

Lcvel of imporlance as

prceivcd by you

Level of performance as

perceived by you

SIN Lwei of importarm as

perceived by you

5 4 3 2 1

n n n n

Otllcr compctcncies

(PI- f i l l and ratc

~hcrn, bclaw)

- Level of perfornlancc as

pcrccived by you

5 4 3 2 1

n o n a n

APPENnrn I3

Fnmlmcnt in Junior Sccor~dary Scbcwll Cetlificate Examination in 26 Schools in Entre,u Stotc

Sch

Codc

No.

3088

309 I

m r 2

3 0 7

30 LO

3023

3057

Army Day Sx. Sch

hbakpa Nikc

Army Day Sec. ScIr

Awkt~nanaw

Qumns Sch. Enugu

Union kc. Sch

Awkunanaw

Giris High k h

Awkunanaw

Uwntri Sec. Sch,

U w m i

Girls I-Iigh Sch

Ugwuoba

Music

Enroln~cn~

4 9

35

70

10

20

JSS

Eruolnlcrll

534

58 I

4GO

406

500

203

102

M txic

Enrolment

I Scc. Sch, E n u g ~

Sell

Codc '

No.

3062

I Trms Ekulu Girls

Nane of ScRml I

Rcpublican Girls

Sscnd IlcaFt Sot.

Sch. Nsude

1Jrban Girls S e c .

Sch. Enugu

Holy Rosary

College, Enugu

Our hrd's Shcpherc

[ntlepcndcnr Sec.

Sch. Enugu

JSS Music JSS

Enrolment Enrolnicnl Erlrolmcnt

Music

Em01 menr

Sch

Code

No. -

3136

3 147

400 I

4003

4 00.1

4006

4WD

Osisa Tcch Scc. Sch.

Enugu

The Good Shcphcrd

Scc. &11. Enugu

SI. ntresa's

College, Nsukka

Qacen of the Rosary

Sec. Sch. Nsukkn

Nsukka High Sch.

Nsultka

Communily Scc.

Sch. Isienu

Community Scc.

Sch., Obirno

JSS

Enrolment

98

311

230

4UO

157

Music

Enrolment

JSS

Enrolrncnr

I

Music

Enrolmenl

d

19

17

34

63

16

280

1 G

Sch / Nme of School

Codc

No. I 4049 Community Scc.

Sch., Edc Obrilla

4053 Girls Sec. Sch.

Owcrre-Ezeosba

4O8O S.C.G. Sch,, Nsnkka

4081 , Union Sec. Sch.,

JSS

Enrol men t

Music

Enrolment

JSS

Enrolrncnl

Music

Enrolnlen~

255

68

18

4 1

214

Souwc: Exun. Dcvclopmcnt C'enlrc, hlinis[sy of Education, Enugu, and Statistical

Division, Education Con~mission, Nsukka

214

AWENRZX D

P~rformance Trend of Students enrolled in Junior Secondary School Certificate Exarnination in

Music in Enugu Sfdlc from I994 ta 1996

School

Code

4004

4004

Url7m

Gids

Nsukka

4003

400 1

4040

4ll40

409.7

4093

4080

4080

Told

Enrol mcnt

34

16

253

36

34

4 1

16

195

214

70

I8

Distinction

0

I

0

0

I

0

0

2

5

0

0

I

Pass ~

17

12

243

3 1

25

39

9

171

197

65

12

Failure

17

2

0

3

2

4

I

0

0

2

3 (not

rclcimd)

APPEMIJX C

Number of students that ofrered Music at the Senior Secondary Level from 1990 - 1994

Na~nc of' School

Queens &hllol, Enugu

Daughter of Divine

Love, Abakpa - Enugu

College of Irmnaculatc

Concept im, Enugu

Sourcc: Wesr African Examinations CounciI Office, Minisly of Education, Enugu.

School

Code

Toral

Enrolment

Saurcc: Statistical Division, Education Conmission, Nsukka Education Zone

215

Disiinction

3

0

4 3

Pass

227

IS5

103

Credit

9

0

5 7

Failure

12

56

72

Rcmxks

29 absent

Yciu

1996

1995

1996

APPENIIIX E

I: Data on Music Teachers in ,Sermtlary %hoots in Enllg11 State

Enucu Easr

Nknnu Vicst

Nkmu Easl

Awgu

E7.eleu

Udi

Urban GSS. Enr~gu

M w h n GSS, Fni~gu

Qllccns Sclr., E n u p

Uninn SS, A wku~iarxw

Boys SS;. Uwani

Girls M.S. Awknaira.rv

Army Day S.S., Awk.

Girls S.S. Eraw

Girl.; S.S. .4lmkp1 Nikc

Trrins-Ekulu GSS FHUCLI

~ n l l ~ ~ l i t i ~ t i ~ n SS. Nikc

Cn~iim. S.S. Obunfia

Girls S . S . Ulx

Girls S.S M~lw\vo

Cnninr. S.S. Unrunh Ndiuno

COIIIII~. S.S Ngwo Unn

Sl. Tlicwsa's S.S. A h r

Colnin. S.S. Nsr~dc

Girls I - 1 5 . hiyi

Ngwo

Nsudc

SIN

Nsakka Zvnc --.

hfalcrn S.S. Nmkta

Urban G.S.S. Ns~~kka

Quec~i Sth. Nsul;ka

Sl. Cyp. G.S.S. Nrukkn

SI . Tlwc~a'r 5.5. Nrl~kk;~

Cnmn. G.S.S. Isicnu

Cnmm. S.S. me Otx i l l ~

Colnm. S.S. O b i m

R o y ' S . S . Nru

N ~ I I ~ ~ J H.S. Nsukka

C m m . S.S. O h k p

I.!nlo~~ S.S. Eha A~rnrfa

Il:caka G . S . S . nr;rka

T.T.C. NSUKKA

14

KO. OF M1XTT

TEACI TERS

11: LETTER TO ME FROM THE hYlNlSTRY OF EBUCATION, ENJGU ON 7'RE DATA

COLLECTION ADOVE

GOVERNMENT OF ENUGU STATE OF NTGERIA

Telegrams: (State Govt. Logo) MINISTRY OF EDUCATION

Telephone: PI,AN?+TTNG RJISEARCH Br SI'ATTSIUS

DEPT.

P.M.B. 1020

Your r c F .................... . 8 Dcccrnber, 1W7

B.E. Umeh (Mrs)

401 Elias Avcnue

Univcrsi~y of Nigeria,

Nsukka

Dc3r Madam,

DATA ON MUSIC TEACHERS IN SECONDARY SCBCKILS IN EMJGU STATE

I forward hercwilh llx: mmplcrcd data on Ihe number of Secondary Schools that offer Music,

Number of Masic Tcachrs pcr school and the Number olScconrlary Schools per Local Government A r u .

It i s therefore bcIicvctl that ~ h c data will be uscd accordingly.

Thanks.

(Sgrl)

V. E. Mogboh (klrs)

Director (PRSD)

Ministry of Edricarion

Enugu

- - 219

APPErnrn F

SECONDAXY SCHOOL5 IN ORLU EDUCATION ZONE OF IMO ,STATE IISED FOR FIELD

TRIAL

SIN NAME OF SECONDARY SCHOOL

Camprcl~cnsive Swonclary School,

Eziama, Obaire

St. Carherinc's Girls Sccondary

School, Nkwere

Hnfy Rusary Sccondary %.tiool,

Ihioma

Township Conlprcherrsive Secondary I I

Scliool. Amaifekt

Secondary Tectiniwl School, Umuowa

I Ogberuru Sccundaq School

LOCATION

Nkwcrc

Nkwere

Orlu

Orlu

Orlu

Orlu

NO. OF; MUSIC TEACIIERS

220

APF'ENDIX G

FCSRMUI,AI% FOR L-DNI3ACH ALPHA, MEAN, STANDARD DEVIATfON, t-+TTS USED

FOR THK STLVY

Cro~ibach Alpha

n - Numbcr or t c s ~ itcm

EVar = Sum of varimce of each ilcm

Var t = Variance of the rest

x, - x, t - t e s t = ,

Standard Deviation f S D ) =

CfX = Total of Scores

Cx

n = number of respondents

'. 11 -1

- - X, & X, = Group Mean Scores

C X = Sum mean deviation

CaIculatisn was carried out using SPSS.

Catcgarics and

Clusters

CAT. A

(Clusr ersj

A - l

A - I1

A - 111

A - IV

A - V

CAT. %.

B - I

B - 11

Group of Items

I - G

7 - 12

13 - 20

21 - 23

24 - 28

29 - 34

35 - 38

'Importance

Levcl'

' P c r f o r m d c

Level '

Categories and

Clusters

CAT. C.

Group of ltcms 'Importance 'Performance

Levcl '

0.74

Categories and Group of I r m s I Level'

224

AWEhTlIX I

RESPONSES OF THE ENUGU STATE MUSIC TEACHEW3 ON THE

IMPORTANCE OF THE THREE W S l C COMPETENCY CATEGORIES A, B,

and C

Category A:

Category R:

Category C:

Functional

Kcybard

Activities

Vocal

Activities

Professional

EducationlMu-

sic Mucalion

MEAN

Important

Important

Important

The above s h w s the mean response of the music teachers on the importance of

each v f the categories used for the study. Category A consists of five clusters with a total

of 28 cornpctency statements. Category B consists of 10 clusters with a total numher of

59 competency statements and Category C consists of five clusters with a total of 28

competency statements. Altogether there are 115 competency items.

225

It also revealed that the music teachers in Enugu State schools rated all rhe

categories important with Category C, Professional EXucaticdMusic Education rated

highest with a mean of 4.14. Second in the order of importance is Category B. Vocal

Activities and lastly Category A, Functional Keyboard Activities was rated 3rd i n

importance with a mean of 3.57.

APPENDIX J

RESmNSES OF THF 40 EwGU STATE MUSIC TEACHERS ON 7 M I T R

PEWSUMANCE LEWIS ON THE CA7EGORE.S OF THE MUSIC

Category A:

Category B:

Category C:

Functional

Keyboard

Activities

Vocal

Activities

Professional

Ecfucat ion/Mu-

sic Education

MEAN Remarks --l Not

Performing

Performing

Performing

The above presents the analysis of the teachers' performance in the tlwec bnlad

categories. The teachers performed un the average in Category C, Professional

EducationMusic Educa~ion but below average in Categories A, Functional Keyboard

Activities and B, Vocal Activities. The Ieast level of performance is in Calcgory A -

Functional Keyboard Activities with a mean of 2.95.

APPErnIX K

RESPONSES OF THE 40 MUSIC TEACHERS IN ENUGU STATE

SECONDARY SCHOOL! ON THE IMPORTANCE LEVELS UP THE

CLUSTERS OF THE MUSIC COMPETENCY

Clusters of Comperencies

A-IV

A-V

Aunl

perception of

tuned and

untuned piano

Knowkdge of

keyboard

repertoire

Sight singing

from a vocal

score

Classifying

voices

Developing

Mean

breath control 1

Remarks

Important

Not Important

Important

Important

Important

Ciusters of Competencies

-

B-IV

B-VII

B-VIII

B-IX

Training the

adolescent

voice

Conducting

tho i rs

Analy sing

~ 8 1 scores

Knowledge of

song repertoire

Interpretat ion

of vocal i nu sic

tllrough

rhy thrnic

movement

Appreciating

vocal music

Mean Remarks

Important

Important

Important

Clusters of Competencies Mean

B-X

C-I

C-I V

Writing simplc 3.75

vocal music for

inexperience

Planning a 4.42

music Iesson

DeveIoping 3,97

instruct ions

work and

pupils

Discipline 1427 and

management I Evaluating 1.- performance of I students I

SD / Remarks

.78 Important

.72 Important

.77 Important

The above shows that 18 clusters were rated important The highest mean score is 4.42 for Cluster C-I.

SD - Standard Deviation

APW,F,NDIX L

231

by the music teacher respondents.

1' I - ,

1,

i

SIN

1

2

4

5

B

b I

Meao

3.18

3.16

2,GG

0.01

2.74

3.09

3.38

3.09

3.011

3 .19

2 .98

3.03

2.89

Clustcr Sfafcnlcn~s

Clusccrs

Ci. A-I - Sight-wading music scow.; trn h c ksyl~oarrl

CI. A-I1 - Skill in a~companying or n~usic

CI. A411 - Allittide rawrtds piano nlusic

CI. 11-iV - Aunl yrccpriun o r hlwd and unrunctl pi:lnc,

CI. A-V - Knnwltdgr: 01 keyhoard wpnujrs

CI. B-I - Sight-singing f m n ~ a vmal scorc

CI. 0-11 - Classiiying vr6cw

CI. U- i l l - Developing hm!h control

SD

:: I (i

17

1R

I9

20 -

1 9

I!

I I

12

13

- P or XP

0. R-N - Training the adnlcrccnt 'oicc

CI. B-V - Conrluaring chairs

C1. El-VI - Anaty.ring VWI scores - . - - ~

Cl. D-VIl - Knorvlcdge of song rcpnoire

[51. LbV111 - 1nrcrptmtion of vmr1 music llmugh rl~yrhnic ~novcmcrrt

.75 CII. 6-IX - Apprcziaiing vnral nnlcic

Cl. D-X - Wrili~ig s i~i~plz v ~ : d nus sic fur incxptric~rrd singen

Ct. C-1 - Plmninp, a nrusic Icsson

Cf. C-Il - Developing inarruclionel marcrials

CI. C-I11 - Iarerc~t in work and pupils

Cl. C-IV - D~sciplii~/rnrrml;cment

C1. C-V - EvaIuarirrg pefiorm~wc nf students

N 1'

.77

5.27

3.21

3 .93

3.40

3.29

3 .

3.31

N P

- .G9 N P

.SR

.80

P

KP

.72

.57

NP

N P

M I HP

,621 P

.95

,68

NP

X P

1 .90 1 NP

.S8 NP

.P7 N P

.86 X P

.M XP

.B9 N P

.74 ir'P -

.G7 N P

.78 KP

APPENDIX M

PERFORMANCE LEVETA OF THE RESPONDENTS ON THX 100

COMPEmNCES THEY RATED lM3'3RTANT FOR EFFECTTnl7;, TEACHING

OF MUSIC IN THE SECONDARY SCHOOL? SH0'5VlNG THE ONFS THEY

POSSESSED AND NEEDED

Cornpe tencics

Consider the prcvious

experience of students when

Maintain an orderIy

atmosphere in class

Divide scheme of work into

units and into daily lesson

topics

Provide a cIassrooni

atmosphere where individual

difference can be

accommodated

-2

Importance Perforn~ance

Lmel Lcvel

Remarks

Competencies

Sing from staff to solfa

notation

Possess good human relations

Apply appropriate corrective

measures to iridiscipline

behaviouss of students

maturc Apply current tune si,

when sight-singing

Identify specific behavioural

objectives for a lesson

Arrange the voices according

to qualities

Importance

Remarks

Level

3.30 Needed

Possessed iq----

3.33 Needed

Possessed G q - -

Competencies

Develop teachermade

materials e.g. charts, models

Control discipline problems to

promote the learning

experiences of the students

Use a variety of evaluation

devices and prmedures e.g.

tests, assignments and projects

Structure and sequence

rehearsals properly

relationship with his sludcnts

Level

Remarks

Needed

Needed

Possessed

Transpose tunes to suit thc

compass of pupils' voices

Take appropriate decisions to

slop and rehame when

necessary

Use songs adequately to suit

varying situations

- 11ivoIve students in preparing

Keep instnrctiona1 materials

neat and safe

Possessed d

Fort-rlulate a system of grading

in music consistent with the

school policy

Participate in choral activities

Discriminate between good and

bad quality voice production

Identify important structures,

e.g. form, phrase, modulation,

etc.

Use students' goad bchaviour

to encourage them

Develop high singing ability in

pupils

Importance

Level

- X-

Performance

Level

Remarks

Needed

Possessed

Competencies

Detect when n piano is in tune

or out of tune

Use text rcsults to improve

teaching and learning

. - - - -

Develop in pupils the ability to

sing songs with rhythmic

precision

Appraise students' perhrmance

in relation to stated khavioural

objectives

Competencies

Show knowIedgc sf physical

and mental developments of

students in the secondary

schools

Improve the weaker voiccs to

high Ievcl of perbrmance

Interpret vocal music freely

Possess good musics! ear

Encourage creative vocal music

making

Provide for individual

differences in students

X

Importance

k v c l

Performance

Remarks

Possessed

Needed

Competencies

CounseI to improve individual

pupil's achievement in music

Devise some vocal music

reading techniques for

heginners

Care for and maintain the

piano

Illustrate musical examples

using the voice

Test voice frequently and

inclividually for proper

cIassi fication

- -

Display genera1 rnusiciarlship

5-

Importance

Level

4.02

4.00

4,00

3.98

3.95

3.98

- -X- Remarks

Needed L

Competencies

Apply basic theory and

rudiments

Assign voices For proper blend

and balance

Identify songs from various

cultures

Encourage intelligent and

purposeful listening to vocal

music

Read music in piano keyboard

at sight

Maintain steady tempo while

sight reading

- -X- Rcrnarks

Performance

LcveI

Write voice training exercises

I

I

I I

in various ways

SIN

j2

5 3

- 54

55

Read a vocal score proficiently

Compare works of conlposers

from different periods for

purposes of identification

Use specific fundamental

rhythms as basic means of

movement

Assist pupiIs tn acquire or

form musical taste

Remarks

Competencies

Usc audio-visual aids in music

effectively e.g. radios, records,

cassettes

Draw a mental picture of any

given choral piece

Conduct a choir while rcadir~g

Involve students in formulating

prncedura for self-examination

Encourage pupils to enjoy

v ~ a l music

Level

Remarks

Level

- Cornptencics -Xu

Importance

Levcl

Cater especially for the need of 3.88

the handicapped student in the

class

Acquire knowledge of simple 3.87

chord progression

Demonstrate g d breath using 3.85

vocal exercises

techniques For students to

evaluak their own progress I Apply rhythmic notations 3.83

correctly

Level

Encowage students to enjoy

piano music

Apply ~ o r d s to vol;vcls used in

voice training exercises

Develop and use various types

of validated tests in music e .g .

matching, true-fafse,

completion etc

DcveIop vocal and nasal

remedies in pupils

Acquire good knowledge of the

respiratory system

Knowledge of ruIes for breath

control

Analyze and synthesize all

parts of the piece

Develop and improve the aural

imagination of pupils

Sequence voice training

exercises for easy attai~lnlent

- - - -

Demonstrate musical examples

an the keyboard

Improvise accompaniment to

instrumentalists or so10 singers

Remarks

Importance Performance

Lcvel Level

3.78 3 .03 9 9

3.78 3 .03 1 5

3.75 2.90 ? I

Competencies

Dcmonstratc the skills ~f

various techniques of piam

playing

- Sing a part in a vmal score of

Soprano, AIto, Tenor, Bass

with confidence

Attend to position of chest,

breath and control over breath

Classify vocal pieces

acco rdi ngI y for easy

accomplishment

Write simple rhymes using

simple meIodic movements

2-

Importance

Lcvel

3.73

Remarks

Rcrnarks S/N

53

84

85

85

87

Campetcncics

ldenlify the harmonic str-ucture:

polyphonic or homophonic

Encourage satisfactory

responses to musical stimuli

Sight-read melcdy and

harmonic prngression at the

same time

Combine rhythm, drama and

movemcnt in a vocal lcsson

Self-composed am confident

while accompanying music

- X

irnpurtance

Level

3.70

3.70

3.67

3.67

3.65

- X

I

Pesfonnance

Level

3.03

2.98

3.30

2.95

3 .23

Compe tcncies

Detect nasal obslruction with

the purpose of suzpesting

remedies

Write simple piano

accompaniments

Communicate in different

languages

Plan singing lessons from

various types of song literature

Write simple, short, repetitive

songs to be learnt by rote

Usc appropriate part songs for

the vocaI compass

3-

Perforn~arice

Level

Remarks

Competencies

Make use of various piano

Iiterature to enhance piano

playing Iessons

Arrange short pieces for voice

and orchestra

Aural imagination of vocal

scores in sectio~ls

Play piano music of any

standard with confidence

Freely interpret piano music

Choose song texts assnciatecl

with concrere objccts

Performance

Remarks

- -

Competencies

Arrange pieces for proper

blend of voice and orchestra

Importance Performance

APPENDIX N

mWORMANCE LEVELS OF THE RESPONDENTS ON W E 15

COMPETENCXES THEY RATED "NOT JIWPORTANT'

Transpose during

congregational singing

Appreciate contemporary and

old style of keyboard music

Detect keyboard music

Listcn to piano musk with

focused attention

Encounge pupil parlkipation

in keyboard activities

- -x-

Iniportant

Level

3.33

3.28

2.95

2.38

2.20

- X

Perfol-mance

Level

2.73

2.73

2.80

2.50

1.87

Remarks

Needed

3 )

* 7

? 9

1 9

Exourage the study and

practice of piano music

Tune and repair the piano

Play Afrkan music rhythm u i ~

the keyboard

Play orchestral reduction

U s g e of C Clcf for figured

bass

Use of the medium register as

a point of departure at the

n i m t of change in boys

Develop muscular, vocal co-

ordination and control

- -X

Important

Ixvei

2.28

3.26

3.45

2.28

3.36

3.35

3 -45

N = 40

- -X

Perfo~~tlance

Level

1.93

2.35

2.62

2.63

2.85

2.55

2.80

13. Wriie music shortl~and for

transcription to vocal music

14. Train pupils to focus listening

on elements of structure,

tempo, for example

15. Present information with the

aid of a flannel board

- -X- -75

Important Performance

Levcl Level