Babcock University



ARTICLESAdebowaie Oluranti Adeogun 1 Qualifications of available music teachers in Colleges of Education in Enugu, Imo, and River States; an examination.Chukwuemeka ?. Mbanugo 16 Source of stress among the music students in Nigerian Universities.Agatha Ijeoma Onwuekwe 27 The composer: a force to be reckoned with in music education of the Nigerian child.Atinuke Adenike Idamoyibo 38African traditional music:the study of ijala musical performance.Alvan-Ikoku Nwamara 49 Computer technology as strategy for advancing art music composition in Nigeria.Femi Adedeji 61 Form m Nigerian gospel music.Gladys Ijeoma Akunna 72 Hajia Fatima Loio: portrait of a Nigerian artist.Nnamdi C. Onuora-Oguno 77 Problems of evaluation in practical music at the tertiary level of Nigerian musical studies.Trade Utoh- Ezeajugh 83 Aesthetics of body designs in the festival performances of the Ezza-Effium and the Effium people of South East Nigeria.Ijeoma I. Forchu 93Music as a product of human behaviour.Cordis Marie Achikeh (Rev. 5r.) 101 Let justice in the worid roll down in songs.Ovaborhene I. Idamoyibo 111The composer; a resourceful, creative and effective Music onEducator in Nigeria.Sunday N. Nnamani 121 Problems and prospects of using field trips in the teaching of music in Nigerian schools.Clifford Ezekwe Nwanna 129 Cliff Nivanna's song performing masquerade {ulagd}: its social commitment and gender concern.Arugha Aboyowa Ogisi 134Nigerian composers and the search for national identity: ofthe sonic and structural.Young-sook Onyiuke 146 Playing classroom instruments: experiences with simple musical instruments.PLAYING CLASSROOM INSTRUMENTS: EARLY EXPERIENCES WITH SIMPLE MUSICAL INSTRUMENTSDr. (Mrs.) Young-Sock OnyiukeAssociate professorDepartment of MusicFaculty of ArtsNnamdi Azikiwe University, AwkaABSTRACTIn this Article, the importance of early experiences in musicianship has been stressed, and it has been emphasized that the child, who is not sufficiently exposed to musical concept in the primary school, may have difficulty to adapt his/her potential in the musical area. Such exposure should include listening to music and active participation in singing as well as in performing through playing simple classroom musical instruments (The part one). In the part two, which will continue in the volume 4 of this journal, journal, will expose some of the values associated with playing class-room musical instruments and some suggestions should proffered for providing such opportunities.INTRODUCTIONIt is generally acknowledged that young children grasp some concepts and acquire some skills faster and more easily than do older children or adults. This appears to be true of the learning of music. Referring to Bruner's (I960) interpretation of Piaget's theory of concept formation, Leonhard and House (1972) write that there seems to be a critical stage beyond which a child can never realize his potential in certain abilities. The critical stage for development of musicianship and sensitivity appears to occur early - probably before the age of nine. In consideration of this evidence, according to Leonhard and House, music instruction should be concentrated at the level of nursery school through the primary grades; if delayed beyond that stage, the child may never attain his/her potential in music. Since there is no reason to believe that the process of concept formation in the development of the Nigerian child differs from that of the child in any other environment, it follows that our music curriculum should provide for meaningful music experiences at the primary level. This article attempts to provide practical exercises for such experiences.THE VALUE OF PLAYING MUSICA INSTRUMENTS AT SCHOOLWell-balanced programme in music education should give children opportunities to make music as well as listen to music. Although singing is the most widely practiced musical activity in our primary schools, and although the supply of musical instruments is not a priority in our school budgets, it is generally accepted that instrumental playing is the most pervasive of activities arousing children's interest in music (Onyiuke, 2005). The following are some of the important aims of playing classroom instruments, as-outlined by Raebeek and Wheeler (1964:311-212):? to extend the child's interest in musical knowledge and musical instruments in particular;? to give the child the opportunity to know and experiment with as many instruments as possible, such as melody, rhythm and harmony instruments;? to help the child gain a clearer understanding of notation, as demonstrated in playing and singing from the musical score and playing ensemble;? to give the child the opportunity to develop skill in playing one or more of these instruments;? to help the child experience the expressive elements of music (melody, rhythm, tempo, dynamics etc.) through playing instruments;? to stimulate musical response and encourage the child to learn about the science of sound; and? to give the child experience with a wide variety of instruments and teach the importance of proper care, use and technique of playing instruments.These are all part of skill-learning in music education that is what Brocklehurst (1971:17) calls 'intrinsic values' or 'education in music'. As Ben-Toyim (1979:9) noted "There is only one way to come understand music: by learning to play a musical instrument..."There are also extra-musical values of instrumental playing (referred to by Brocklehurst as 'education through music' or extrinsic values'). The following are mentioned by Greenberg (1979) as the variety of ways in which playing instruments contributes to the enjoyment and education of the child:? instruments can be used for providing sound effects for stories and poems;? They can highlight the rhythmic flow of poems and language patterns; and? They can be used to teach mathematical counting patterns or developclassification concepts.The extra-musical values of instrumental playing cannot be denied. This article, however, is concerned with performing music through playing instruments. As Mursell (1951) says to the classroom teacher:In bringing music to your children you should by all means give them rich and varied opportunities for making music with instruments. Such opportunities open up awareness of personal participation other than those afforded by singing or expressive bodily movement and highlight various aspects of music which are not emphasized elsewhere. No programme of music for your children can be rounded and complete unless it includes the experience of music making by instrumental means (1951:204).EXPERIENCE WITH RHYTHM INSTRUMENTSRhythm instruments are agents which make all musical activities more meaningful and more enjoyable. As Raebeck and Wheeler (1964:230) contend, "when the child is encouraged to express his own rhythmic responses through instruments...their use is of immeasurable value." Brocklehurst (1962:105) gives several reasons for music educators attaching so much importance to playing rhythm instruments. In summary, Brockiehurst show that'.? Such instrument playing has social and physical values;? Apart from the fact that these instruments are not expensive, their technique is not complicated;? Rhythm instruments are excellent aids in the teaching of time and rhythm, simple sight reading and basic principle of phrasing and musical form;? They provide a useful introduction to ensemble playing, following the conductor's beat, reading a part, counting rest, etc; and? As a result of active participation with a wide range of instrumental music, rhythm instruments can be valuable aids to intelligent musical appreciation.Apart from the views expressed above, it is generally accepted that rhythm instruments are most suited for beginning instrumental musical activities through the primary school period.INTRODUCING RHYTHM INSTRUMENTSSound effects fascinate children greatly. Therefore, children should be guided to discover the distinctive musical sound of various rhythm instruments. At this stage the teacher should encourage children to differentiate the musical sounds of various instruments, such as ringing, swishing, booming, clanging or tingling, and to use these to describe sound situations such as the pattern of raindrops on the roof, city sounds like moving cars, etc. Children should also be encouraged to discover for themselves the beat instrument and accompaniment pattern to enhance the expressive musical qualities. For example the teacher might let children act out a story with instrumental support that is, Using various instruments to illustrate the sounds made by various characters (to create the sound of a giant walking in the story, use drum or bass drum, etc.). The following chart is given by Raebeck and Wheeler (1964:130) to show different types of rhythm instruments and their creative effects (see Table 1). Supporting this creative use of classroom instruments, Brocklehurst writes "in considering the range of creative activities, it is important not to overlook the creative element in vocal and instrumental performance, movement and dance" (1971:102), so that children may experience rhythmic characteristics. Raebeck and Wheeler also note that they should be encouraged in such a way that they become aware of rhythm of the melody; rhythm of meter, strong and weak beats (accents) and repeating the rhythmic patterns.Table 1: Different types of rhythm instruments and their creative effectsClassroom instrumentsTypes of sound effectCymbalsaccents, climaxes, special effectsDrumsaccents, meterFinger cymbalssoft, slow music, long notes, accents, ringing effectsGongsspecial sound effectsJingle bellsfast, jingly musicMaracasrunning, fast music, shaking effectsRhythm sticksrunning music, short note valuesSound blockssoft running music sound effectsTambourineaccents, shaking effectsTone blockswalking (moderate) music, accents of beatsmeter, basicTrianglesslow music, long notes, accents ringingeffectsFLAVINS RHYTHM ACCOMPANIMENT TO SONSSSample Lesson 1: for lower primary gradesThe suggested motivation and teaching procedure is based on the recommendations of Raebeck and W heeler (1964). A familiar song, 'Love somebody' is used as ensemble:a) Review the song - Love Somebody;b) Review some of the rhythm patterns by clapping and tapping the beat, and later by using on instruments;c) Let children clap with you as they sing. They should clap on strong beats only, not on each note of the melody, so that they feel the rhythmic pattern of the song.d) Distribute rhythm instruments. Arrange the class so that children playing similar instruments are sitting near one another.e) Now write on the board the rhythm patterns or place on the board the rhythm pattern which you have prepared.Musical Example 1 Rhythm Patterns of "Love Somebody"f) Let the children play together the rhythm patterns. Remind children that they should give attention to the conductor, to 'start' and 'end' together.g) Divide class into two halves (firoup A and group B). Group A will sing the song, while Group B plays instruments, and vice versa. h) Children should sing and play together until end of song.Sample Lesson 2; Another familiar song appropriate for lower primary grades is 'Kumbaya', an African traditional song included in ^Songs that Children Sing' by Chroman (1970:90). Instruments used here are triangles and finger cymbals for melody pattern; maracos and wooden blocks for underlying beat and for accent, the drum and tambourine.Teaching Procedure: Same procedure as sample Lesson 1 will be applied. For the tambourine part, first two beats in first and third bar can be played as two beats shake instead qf two beats rests.EXPERIENCE WITH MELODY INSTRUMENTSExperiencing music with simple melody instruments can begin when children are still young, Raebeck and Wheeler (1964:212) write that with instruments such as song bells, a child ''can easily learn to play two or three notes taken from familiar songs" such as nursery rhymes as well as "simple intervals and scale passages from songs; and even entire songs when they are very short and simple." They further note that such use of simple melody instruments provides experiences that greatly enhance the child's enjoyment of singing and playing instruments. It also increases the child's musical knowledge. The most effective method of presenting these experiences is by exploring the sounds and effects of various instruments. According to Raebeck and Wheeler (1964:213), generally the child will respond most enthusiastically;? When he/she is allowed to explore the instrument and talk about it to discover the sound it makes and how, and to ascertain the various moods it creates and how they contrast with moods of other instruments;? When he/she is encouraged to play the instrument in various activities, as solo, as an accompaniment to singing, in ensemble with other children; and? When he/she senses the teacher's respect for, and enjoyment of, the musical value of the instrument.Introducing Melody InstrumentsThe use of melody instruments in the classroom is an effective aid in teaching children to enjoy and understand music. They are especially helpful for teachers and children with limited musical background in learning the melodies of simple tones. Children should be encouraged to use classroom instruments to play familiar songs and simple melody patterns by ear. Short childhood chants are effective for developing their and also for vocal tone matching. As children sing the chants they should match them on the song bells or recorder,The following melody instruments (Western and traditional) are appropriate for use in a music classroom: xylophone, recorder, thumb piano, song bells, etc.two will continue in September 2008) REFERENCESBen -Tovim, A. (1979). Children and music a handbook for parents, teachers and others interested in the musical welfare of children. London: A. &. C, Black.Boardman, ?., Landis, B. and Andress, B. (1975). Exploring music. (Teacher's edition). New York: Holt, Rinehart and Winston.Burner, J. 1960. The process of education. New York; Vintage Books. Broklehurst, B. (1962). Music in chools. London: Routledge <& Paul,Chroman, J. (1970:90). Songs that children like to sing. London: Routledge & Paul.Greenberg, M. (1979). Young children need music', a guide for parents and teachers of young children. Englewood Clifs, NJ: Prentice Hall.Leonhard, C. & House, R. W. 1972. Foundation and principles of music Education, second edition. New York; McGraw-Hill,Mursell, J. L. (1951). Music and the classroom teacher. New York; Silver Burdett.Onyiuke, Y. S. (2005). Childhood music education in Nigeria: A Case Study. Unpublished DMus Dissertation, University of Pretoria, South Africa.Raebeck, L. and Wheeler (1964). New approaches to music in the elementary school. Dubuque, Iowa: WM. C, Brown ................
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