



































Tonemic Substitution


 
39 

 

 
VOICE PERFORMANCE EDUCATION IN NIGERIAN 

UNIVERSITIES: THE CURRENT STATE  

 

Elizabeth Onyeji & Agatha Ijeoma Onwuekwe Ph.D.  

 

Abstract 

his article presents a critical review of the current state of 

Voice Performance Education in Nigerian Universities, which is 

a product of Voice pedagogy. Selected universities in 

Southern Nigeria were used as the primary focus of the 

paper. This followed a period of critical observation of challenges of 

professionalism and lack of performances or direction by voice 

performance graduates of departments of music of Nigerian 

universities. Voice Performance is an area of specialization students 

who have majored in voice opt for in their final year. Some Voice 

Performance programmes of selected universities outside Nigeria are 

reviewed to obtain an international perspective on Voice Performance 

Education. The objective is to present the current state of voice 

performance education in Nigerian universities with a view to 

presenting solutions to identified challenges. The study adopted a 

descriptive survey design. It employed a mixed method in the analysis 

of data. Relevant literature on Voice Performance Education as well 

as experiences gathered over the years were utilised in data 

gathering for this article. The paper argues that voice performance 

education in southern Nigeria can be improved upon if voice 

performance students are adequately prepared and supervised by 

voice specialists for their final performance. This will go a long way in 

producing voice performance graduates who are well grounded in the 

field of voice performance. 

 

T 

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 14 2020 



 
40 

Introduction 

Formal music education at the university level started in Nigeria at 

the University of Nigeria, Nsukka in 1961, being the first indigenous 

Nigerian university. Before then, however, forms of musical 

performance on organ, piano and church music (choir) were given in 

semi-formal settings in church choirs, school choirs and also 

privately. These forms of semi-formal music education were 

concentrated in the southern part of Nigeria where there was 

dominance of Christian converts and the Christian religion that was 

newly transported to Nigeria. The rich musical culture of Nigeria was 

a great impetus to the fledgling of new Western music culture of 

formal music education. Writings on Nigerian music education 

(Okafor, 1992; Nzewi, 1988; Adegbite, 2001; Idolor, 2001; Onyeji and 

Onyeji, 2013; etc.) are replete with historical perspectives on music 

education in Nigeria, hence detailed discussions on it is not necessary 

here. From its nursery of semi-formal beginnings, formal music 

education has been cultivated in Nigeria and, indeed, has become a 

formidable component of music in Nigeria.  

 

Since the inception of formal tertiary music education in 1961, 

several institutions of higher learning have embraced the study of 

music. At least twenty three universities and no fewer than sixteen 

colleges of education and one polytechnic now offer Music in their 

educational programmes. Of the number of universities offering 

music in their educational programmes, 18 have full departments of 

music (University of Nigeria, Nsukka, Enugu state 1961; Obafemi 

Awolowo University, Ile-Ife, Osun state 1976; Nnamdi Azikiwe 

University, Awka, Anambra state 1992; Delta State University, 

Abraka, Delta state 1985; University of Uyo, Uyo, Akwa Ibom state 

1982; University of Ibadan, Ibadan, Oyo state 2014; University of 

Port-Harcourt, Port-Harcourt, Rivers state 2010; Alex Ekwueme-

Federal University Ndufu Alike, Ikwo, Ebonyi state 2015; University 

of Jos, Plateau, Plateau state 2014; University of Calabar, Cross River 



 
41 

state 2016; Odumegwu Ojukwu University, Igbariam, Anambra State 

2012; University of Benin, Edo State 1978; Ignatius Ajuru University 

Of Education, Port Harcourt, Rivers State 2010; Kwara State 

University, Kwara State 2010; Godfrey Okoye University, Enugu 

State 2015; Babcock University, Ogun State 2015; Mountain Top 

University, Otta, Ogun State 2016 and Alvan Ikoku Federal College of 

Education 1974, runs a music degree programme under the University 

of Nigeria, Nsukka) while 5 are combined with other disciplines 

(University of Ilorin, Ilorin, Kwara State 1982; University of Lagos, 

Akoka, Lagos State 1975; Lagos State University, Ojo, Lagos State 

2001; Bowen University, Iwo, Osun State 2012 and Olabisi Onabanjo 

University Ago-Iwoye, Ogun state 2018 ). In these departments, 

music is combined with other disciplines such as dance and theatre 

arts. As such, they do not offer full music programme as in the other 

18 departments. For instance, University of Ilorin, University of 

Lagos and Lagos State University are Departments of Performing 

Arts and Cultural and Creative Arts respectively. Idolor (2001:138-

140) provides a fairly comprehensive list of higher institutions that 

offer music and their dates of establishment. 

 

Although the programmes adopted by these institutions are bi-

cultural, featuring studies in western and African music on equal 

footing, a constant on the study programmes is voice performance as 

an area of specialisation. The implication is that for more than fifty 

years, voice performance education has been offered in the various 

departments of music in Nigerian universities and colleges of 

education. The argument is hinged on the obvious existence of voice 

as a stress area in these universities. Also, the specialisation of 

students in voice performance as their chosen stress area affirms 

the possibility of the existence of voice performance education 

leading to the award of music degree to such students. With the 

various departments of music offering voice pedagogy and voice 



 
42 

performance education for specialisation, it becomes critical to 

interrogate the processes employed in achieving their set goals. 

 

Training in voice performance in these institutions aim at equipping 

students on how to use, manage and develop the voice in addition to 

acquiring good performance skills. It also aims at empowering such 

students to face challenges of vocal music and voice performance in 

global competitive situations. Developing competitive manpower is 

critical in such trainings. The capacity to develop interpretive and 

perceptive vocal delivery is a significant component of voice 

performance education in such instances. The achievement of the set 

objectives is, therefore, critical to this study. 

 

Over the years students whose stress area is voice performance have 

taken to the culture of learning of voice pieces as representing voice 

performance education, while some students who take voice as their 

major instrument end up doing voice performance as their area of 

specialization in their final year. Many of them have not gained 

proficiency on the instrument to the point that one would consider 

them professionally trained for the challenges ahead. Some of such 

students who end up doing voice performance as their stress area 

never took voice as their major instrument and for those who were 

voice major students, singing ended as soon as examinations were 

over, while some manage to identify with church choirs where they 

hardly play any significant role as voice major/performance 

students/graduates. A simple observation shows that the few voice 

performance graduates that have made their marks in Nigeria (Joy 

Nwosu – Lo Bamijoko and Ori-Enyiri Okoro, Oguchi Egbunine and 

Elizabeth Onyeji). These are those that studied voice performance 

outside Nigeria or at least outside the department of music before 

their study programmes in the Universities. There seems to be a 

situation where voice performance students who started their singing 



 
43 

lessons in their various departments have not been able to excel as 

professional singers/art music soloists. 

 

An earlier study (Onyeji, 2010) had focused on a comprehensive 

investigation of voice pedagogy in Nigeria. The study interrogated the 

teaching and learning processes, the available infrastructure, 

teaching methods, learning attitudes, teachers’ vocal skills and the 

outcomes of the learning processes. A close observation of the 

outcome of voice studies, which culminate in Voice Performance in 

Departments of Music in Nigeria reveals a worrisome situation. The 

issues range from who teaches, what is taught and the methods of 

teaching voice performance in these departments. While many 

graduates of music majored in voice performance, it would be 

instructive to discover why many of such people are not heard of and 

do not perform after graduation. Little or no serious art music 

performances are given by such graduates, raising the question on 

how voice performance students are prepared for the challenges of 

the profession. More worrisome is the lack of capacity and low 

manpower development among those stressing and specialising in voice 

performance for their degree. 

 

This article discusses the teaching and learning methods for voice 

performance education in Nigerian universities as well as the factors 

that contribute to perceived lack of professionalism among voice 

performance graduates, with a view to finding solutions. Emphasis is 

laid on voice performance education at the undergraduate level. Five 

universities in Southern Nigeria were used for the purposes of 

gathering data used for this article. This is because these 

universities have longer history in terms of music studies in Nigeria.  

The universities are: University of Nigeria, Nsukka; Nnamdi Azikiwe 

University, Awka; University of Uyo, Uyo; Delta state University, 

Abraka and Obafemi Awolowo University, Ile Ife. 

 



 
44 

The Human Voice as a Performing Instrument 

The human voice is a musical instrument just like the flute, the cello, 

the piano and so many other instruments. Reid (1972: 23) had earlier 

asserted that “the realisation that the vocal organs form an 

instrument having potentialities of a specific nature, like all musical 

instruments, removes many misconceptions regarding natural 

limitations…” The human voice is the only instrument capable of 

combining speech with music. In other words, it is only the human 

voice that can reach our innermost being conveying messages in words 

that no other instrument is capable of. It is the only natural 

instrument in existence; it is capable of producing sounds no other 

instrument can produce in addition to imitating other natural sounds. 

Christy (1969) describes the voice as a wind instrument, likening the 

vocal cords to the lips of a trumpet player. Sounds produced by the 

voice by means of the vocal cords are done in conjunction with other 

organs of the body. These organs function as: 

(a) Amplifiers: The organ responsible for the amplification of 

sound is known as the organ of resonance or the resonating 

system. The sound produced at the vibration of the vocal 

cords has to be “amplified” before it is sent out to the 

listener. This amplification is done within the body by the 

organs of resonance. Allied to the notion of singing on the 

breath is that of the correct place of resonance: A sound not 

sustained by the breath cannot take the proper advantage of 

the resonating capacities of the head and the resonance 

chamber of the thorax. Ekwueme (1993: 61), Wigmore (2002: 

79). The sound produced is amplified and modified by the vocal 

tract resonators- the throat, the mouth cavity and the nasal 

passages.                             

(b) Means of Articulation: Articulation is the way and manner we 

pronounce our words when singing. This has to be done in a way 

that the words are clearly formed and the message properly 



 
45 

conveyed to the listening audience. Simply put articulation is a 

clear way of pronouncing words. Proper articulation is achieved 

by the combined use of the tongue, the lips, the palate, the 

teeth and the lower jaw. These organs help in the articulation 

of words in order to convey the message of the song to the 

listening audience. These organs are also called the vocal tract 

articulators and their main function is to assist in producing 

recognizable words. “This sound is then amplified in the chest 

and head cavities of the singer and emitted through the 

mouth, having been shaped by the teeth tongue and lips into 

intelligible or unintelligible words or sounds” (Ekwueme;1993: 

53). The human voice is the only musical instrument capable of 

doing this thereby making it superior to all other musical 

instruments in existence.   

(c) Means for Enhancement:  These organs are also known as the 

air pressure system. They enhance the sound produced by 

providing and regulating air pressure to cause the vocal folds 

to vibrate. The lungs, the abdominal walls /muscles the 

diaphragm, the chest muscles and the ribs function together 

with other organs to produce quality sound. Ekwueme 

describes this as the abdominal press; this is a process where 

the muscles of the abdominal walls are used as a “support” for 

the breath in order to be able to sing the high note smoothly 

without any cracks or breaks in the voice. “This is done by 

“pulling in” the stomach muscles so that the singers’ chest 

“swells”, and the singer becomes shaped like a grey hound, a 

lion or gorilla, or like a champion weight lifter or body building 

fanatic”. (1993: 58) 

The human voice, unlike other musical instruments is under the 

influence and control of the singer. The psychological state of a 

singer can have the most profound effect on the quality of sound 

produced. Lo-Bamijoko, in an earlier article highlighted two major 



 
46 

differences between the voice and other instruments. She says “…(1) 

the voice is completely under the influence of the singer, other 

instruments are not. (2) The voice reflects the emotional and 

psychological state of the singer, other instruments do not”. (2001: 

74). Just like other instrumentalists are encouraged to take adequate 

care of their instruments, singers in the same vain are encouraged to 

care for their voices in order to avoid causing irreparable damage to 

their instruments. Unlike most instruments, the human voice is 

capable of showing how emotional the singer is by a combination of 

musical sounds and words, no other instrument can do this. Reid 

(1971) also buttresses the aforementioned by stating that “…its 

performance is therefore affected by such factors as the emotional, 

physical and even social states”. Voice pedagogues must have this at 

the back of their minds when dealing with their voice students in 

order to get the best out of them.  

 

Singing 

Singing is the act of producing organized musical sounds with the 

voice. For this research work, singing and voice performance refers 

to the same thing and will be used interchangeably.  Voice 

performance is the oldest form of performance. It is performance 

done by means of the human voice. The human voice is the most 

natural of all musical instruments and is also one of the most widely 

used. It interprets the meaning of words to the listeners. Through 

singing one can express various kinds of emotions and sentiments. All 

cultures of the world have some form of vocal music or the other. 

Voice performance is a technical engagement requiring talent, skill 

and techniques. Thus, voice performers require adequate 

preparations, training and harnessing of their talents for proper 

execution of their art.  



 
47 

Notwithstanding, there are erroneous perceptions regarding voice 

performance as an easy option or engagement for those who cannot 

do any other thing in music, especially among students of music. It is 

also felt by so many that anybody can sing and it does not require 

special training for technical knowledge for musical performance 

using the human voice. Evidence has however shown that poor training 

and inadequate knowledge or skill acquisition on the technical needs 

for voice performance have altogether resulted in lack of 

professionalism in voice performance in Nigeria, at least at the 

formal or art music context. A simple check reveals that while many 

students of music for instance, study or do voice major, not many 

develop the required skill and confidence to take up voice 

performance as their area of specialisation even after graduation. 

Such negative perception has weakened the outcome of voice 

pedagogy in Nigeria at the moment, where there are no active 

performers emerging from the teaming graduates of various 

departments that offer music.  

 

Compounding the problem is a seeming lack of method and technique 

for voice performance education in Nigeria at the moment. A simple 

check reveals a somewhat random approach where each institution 

and or teacher applies his or her own method, sometimes without a 

formal approach. Without a laid out procedure, and or specific guide 

to emerging voice performers, it becomes compelling to present a 

perspective from a performer of a possible template that could be 

considered and used in routine training of voice performers. 

 

Voice Performance Education 

Voice performance education is the process by which all the activities 

of voice pedagogy are put into practice by means of performance 

using the human voice for the purposes of music education. It refers 



 
48 

to ways and approaches to teaching and learning of voice as an 

instrument of study and performance in music education contexts. Its 

broad goal is the training of the learner to become specialist singer 

and performer on different vocal musical genres and to develop the 

required professionalism and confidence to organize and execute 

group and independent vocal music performances. This is particularly 

in the form of solo voice performance for an organized listening 

audience. To achieve this, both the teacher and the learner must be 

aware and conversant with the technical requirements for 

performance voice training. The curriculum must also make relevant 

provisions that would properly root the learner within testable 

content and methodology. This is in addition to ensuring that the 

teacher and the learners possess required skills and flare for the 

creative endeavor. Elliot Eisner 2001 rightly stated that “We must 

not forget that to know the quality of Music Education that students 

have received, we need to know how they were taught”, ( p. 10).  

 

Current Voice Performance Education Process 

The study involved five universities in Southern Nigeria namely: 

University of Nigeria, Nsukka; Nnamdi Azikiwe University, Awka; 

University of Uyo, Uyo; Obafemi Awolowo University, Ile Ife and 

Delta state University, Abraka. Eight randomly selected staff 

members who supervised voice performance and fourteen randomly 

selected students who opted for voice performance as their area of 

specialisation in their final year from the year 2016-2019 were 

interviewed, making it a total of 22 respondents for the interview. 

See Table 01 below. 

 

 

 

 



 
49 

Table 01:  Number of Staff and Students Interviewed for the Study. 
S

/

N 

Name of 

Institution 

No. of 

staff 

interviewed 

No of students interviewed Total 

2016/2017 2017/2018 2018/2019 

1 University 

of Nigeria, 

Nsukka 

2 2 4 3 11 

2 Nnamdi 

Azikiwe 

University, 

Awka 

- - - - - 

3 University 

of Uyo, 

Uyo 

2 1 1 1 5 

4 Delta 

state 

University, 

Abraka 

2 - 1 - 3 

5 Obafemi 

Awolowo 

University, 

Ile Ife 

2 - 1 - 3 

Total 8 3 7 4 22 

 

The study employed two questionnaires to solicit feedback from both 

students and lecturers who supervise voice performance. 

Questionnaires were distributed to 18 staff members who supervise 

voice performance and 37 students who opted for voice performance 

in their final years between the years 2016 to 2019 giving rise to a 

total number of 55 questionnaires for both staff and students. This 

is shown in tables 02 and 03 below. 
 

 

 

 

 

TABLE 02: Number of questionnaires distributed to students who specialized on 

voice performance. 



 
50 

S

/

N 

Name of 

Institution  

No. of Students 

specializing in voice 

performance 

No. of Questionnaires 

administered  

2016/

2017 

2017/

2018 

2018/

2019 

2016/

2017 

2017/

2018 

2018/

2019 

1 University 

of Nigeria, 

Nsukka 

3 4 6 3 4 6 

2 Nnamdi 

Azikiwe 

University, 

Awka  

- - - - - - 

3 University 

of Uyo, Uyo 

2 9 4 2 9 4 

4 Delta state 

University, 

Abraka 

2 3 0 2 3 0 

5 Obafemi 

Awolowo 

University, 

Ile-Ife  

2 2 0 2 2 0 

Total 37 37 

 
TABLE 03: Number of questionnaires distributed to Lecturers who supervise voice 

performance. 

S/N Name of 

Institution 

No. of Staff 

supervising voice 

performance students 

No. of 

Questionnaires 

administered 

1 University of 

Nigeria, Nsukka 

4 4 

2 Nnamdi Azikiwe 

University, Awka  

- - 

3 University of Uyo, 

Uyo 

8 8 

4 Delta state 

University, Abraka 

4 4 

5 Obafemi Awolowo 

University, Ile-Ife  

2 2 

Total  18 18 



 
51 

 

Data collected using questionnaires, participant observation and 

interview methods revealed critical information on the current 

process for voice performance education. The data was analysed using 

mean and standard deviation. A mean of 2.50 and above was adopted.  

 

Research Question 1. What are the areas of specialisation of 

lecturers that are involved in voice performance education in 

departments of music in universities in southern Nigeria? 

 
Table 04: Mean and Standard Deviation of the Responses of Students on the 

Area of Specialisation of Lecturers who Supervise them on Voice Performance. 

Items Mean Standard 

Deviation 

Remark 

My voice performance lecturer is a 

recognized soloist in the Department and 

beyond. 

2.08 .92 Disagree 

My voice performance lecturer specialises 

in other aspect of music other than voice 

performance. 

 

3.40 .76 Agree 

 

Table 04 above shows the mean and standard deviation of the area of 

specialisation of lecturers who supervise voice performance. It shows 

the mean of lecturers whose area of specialisation is voice 

performance at 2.08 with a standard deviation of .92 and lecturers 

who specialise in other aspects of music other than voice 

performance at 3.40 with a standard deviation of .76. From the table 

above, it can be seen that lecturers who supervise voice performance 

are not voice performance specialists. 

 
Table 05: Mean and Standard Deviation of the Responses of Lecturers on the 

Area of Specialisation of Lecturers who Supervise Voice Performance. 

 



 
52 

Item Mean Standard 

Deviation 

Remark 

My area of specialization is voice 

performance 

 

1.4118 .61835 Disagree 

I am involved in the teaching of voice 

performance as a departmental need.  

 

3.5556 .61570 Agree 

 

Table 05 above shows the mean and standard deviation scores for 

items 1 and 2 of the lecturers’ questionnaire. The mean score for 

item 1 is 1.4118 with a standard deviation of .61835. These score 

indicates that the lecturers who supervise voice performance 

students are not voice performance specialists. The mean score for 

item 2 is 3.5556 with a standard deviation of .61570 indicating that 

they are involved in the teaching of voice performance as a 

departmental need not because they are qualified to do so.  

 

Research Question 2. What are the methods used for the teaching 

and learning of voice performance education in departments of music 

in universities in southern Nigeria? 

 
Table 06: Mean and Standard Deviation of the Responses of Students on the 

Methods used for the Teaching and Learning of Voice Performance. 

Items Mean Standard 

Deviation 

Remarks 

I did not learn the vocal apparatus and 

techniques of singing while preparing for my 

performance stress examination. 

2.8108 .93802 Agree 

My voice performance lecturer demonstrates 

the performance requirements for each song 

before assigning them to me. 

1.6486 .63317 Disagree 

I study my pieces on my own without the 

assistance of my voice performance lecturer. 

3.3243 .74737 Agree 

My Lecturer is always present at every 

rehearsal to guide me. 
1.6757 .66892 

Disagree 

 



 
53 

Table 06 above shows the mean and standard deviation of the 

teaching and learning methods for voice performance. The first item 

on the table shows the mean score of students who did not learn the 

vocal apparatus and techniques of singing while preparing for their 

performance stress examination at 2.8108 with a standard deviation 

of .93802. The second item shows the mean score of students whose 

lecturers demonstrates the performance requirements for each song 

before assigning the songs to them at 1.6486 with a standard 

deviation of .63317. The third item shows the mean score of students 

who study the pieces on their own without the supervision/ assistance 

of their lecturers at 3.3243 with a standard deviation of .74737 and 

the last item on the table shows the mean score of students whose 

lecturers are always present during rehearsals at 1.6757 with a 

standard deviation of .66892. This indicates that lecturers who 

supervise voice performance students use varying methods for voice 

performance supervision as there seems not to be specific methods 

for handling voice performance in the departments.   

 
Table 07: Mean and Standard Deviation of the Responses of Lecturers on the 

Methods used for the Teaching and Learning of Voice Performance. 

Items Mean  Standard 

Deviation 

Remark 

I give vocal exercises and drills on vocal 

techniques during lessons.  

2.9412 .82694 Agree 

I give lecture notes on voice performance 

to my students.  

2.2222 
.87820 Disagree 

There is no time for note taking during 

lectures because voice performance 

classes are not scheduled on the time 

table.  

2.6667 1.08465 Agree 

I use varying evaluation techniques for my 

students. 

3.1667 .51450 Agree 

 

Table 07 above shows the mean score of lecturers’ responses to 

research questions 2. The first item on table 07 has a mean score of 



 
54 

2.9412 with a standard deviation of .82694, this implies that the 

lecturers who supervise voice performance give vocal exercises and 

drills on vocal techniques during lessons. The second item has a mean 

score of 2.2222 with a standard deviation of .87820 which translates 

to the lecturers not giving lecture notes on voice performance to 

their students. The 3rd item has a mean score of  2.6667 with a 

standard deviation of   1.08465 indicating that majority of the 

respondents agree that there is no time for note taking during 

lectures because voice performance classes are not scheduled on the 

time table. The last item has a mean score of 3.1667 with a standard 

deviation of .51450 indicating that the lecturers use varying 

evaluation techniques for my students. 

 

Research Question 3. How adequate is the curriculum content for 

Voice Performance Education and its implementation in the 

Departments of Music in Southern Nigeria? 

 
Table 08: Mean and Standard Deviation of the Responses of Students on the 

Curriculum Content and Implementation for Voice Performance. 

Items Mean Standard 

Deviation 

Remark 

My voice lecturer teaches from a 

scheme of work given to me at the 

beginning of the semester. 

 

1.8919 .73725 Disagree 

My voice performance lecturer does not 

teach from a scheme of work, I am only 

given my performance pieces and told to 

start rehearsals with my accompanists. 

 

3.2162 .75038 Agree 

The curriculum is silent on how voice 

performance should be handled. 

 

2.9189 .86212 Agree 

 

From table 08 above, the first item shows the mean score of 

students’ responses at 1.8919 with a standard deviation of .73725 



 
55 

indicating that lecturers do not teach from a scheme of work given to 

the student at the beginning of the semester, the second item shows 

the mean score of students responses at 3.2162 with the standard 

deviation of .75038 while the last item shows the students’ response 

at a mean of 2.9189 with a standard deviation of .86212. This implies 

that there is no curriculum content for voice performance. 

 
Table 09: Mean and Standard Deviation of the Responses of Lecturers on the 

Curriculum Content and Implementation for Voice Performance. 

 

Item Mean Standard 

Deviation 

Remark 

I approach the teaching of voice performance 

following the provisions of the curriculum. 

2.3750 1.02470 Disagree 

I teach from experience as there are no 

curriculum provisions for teaching voice 

performance. 

2.8333 .92355 Agree 

There are no curriculum provisions on how to 

handle voice performance. 

2.8889 
.90025 

Agree 

 

The analysis of table 09 above shows the mean score of lecturers who 

approach the teaching of voice performance following the provisions 

of the curriculum at 2.3750 with a standard deviation of 1.02470, 

this implies that lecturers do not approach the teaching of voice 

performance following the provisions of the curriculum, lecturers 

teach from experience as shown in the next item. The mean score of 

lecturers who teach from experience is 2.8333 with a standard 

deviation of .92355 and the mean score of the last item stating that 

there are no curriculum provisions on how to handle voice 

performance is 2.8889 with a standard deviation of .90025. 

 

Research Question 4. What are the problems that militate against 

voice performance education in the departments of music in 

universities in southern Nigeria? 



 
56 

Table 10: Mean and Standard Deviation of the Responses of Students on the 

Problems that Militate against Voice Performance Education in the Departments 

of Music in Universities in South Eastern Nigeria. 

Items Mean Standard 

Deviation 

Remark 

There is no time allotted for voice 

performance lessons on the time table. 

2.8108 1.02301 Agree 

There are no departmental pianists who can 

assist with preparation for voice 

performance. Student pianists sometimes 

do disappoint as they are also busy with 

their lectures. 

2.6216 .79412 Agree 

The department lack good functional pianos. 3.1351 .78748 Agree 

There is need for a recital hall suitable for 

voice performance.  

 

3.6667 .47809 Agree 

 

From the analysis of the items on Table 10 above, the first item has a 

mean of 2.8108 with a standard deviation of 1.02301 indicating that 

there is no time allotted for voice performance on the timetable. The 

second item 58 shows a mean score of 2.6216 with a standard 

deviation of .79412 indicating that there are no departmental pianists 

to assist with voice performance. The 3rd item has a mean score of 

3.1351 with a standard deviation of .78748 while the last item has a 

mean score of 3.6667 with a standard deviation of .47809. This 

implies that in addition to not having good recital halls, the 

departments lack good functional pianos.  

 
Table 11: Mean and standard Deviation of the Responses of Lecturers on the 

Problems that Militate against Voice Performance Education in the Departments 

of Music in Universities in South Eastern Nigeria. 

 

Item Mean Standard 

Deviation 

Remark 

There is not enough time to teach my voice 

performance students effectively as there is 

no time allotted for it on the time table.  

3.0000 .97014 Agree 



 
57 

Lectures and rehearsals sometimes clash with 

other lectures. 

2.8889 .67640 Agree 

The department does not have good pianos for 

rehearsals or a recital hall for performances. 

3.0556 .93760 Agree 

 

The analysis of data in table 11 shows that the mean score for the 

first item- There is not enough time to teach my voice performance 

students effectively as there is no time allotted for it on the time 

table is 3.0000 with a standard deviation of .97014 indicating that 

there is not enough time to teach voice performance students 

effectively. The second item has a mean score of 2.8889 with a 

standard deviation of .67640 meaning that lectures and rehearsals 

sometimes clash with other lectures. The mean score of the last item 

on this table is 3.0556 with a standard deviation of .93760 indicating 

that the departments do not have good pianos for rehearsals or a 

recital hall for performances. 

 

Research Question 5.  What are the possible solutions to the 

problems that militate against voice performance education in the 

departments of music in universities in southern Nigeria? 

 
Table 12: The Mean and Standard Deviation of the Students’ Response to the 

Possible Solutions to the Problems that Militate against Voice Performance 

Education in the Departments of Music in Universities in Southern Nigerian. 

 

Item Mean Standard 

Deviation 

Remark 

Lecturers who supervise voice performance 

should undergo training on voice performance 

practices. 

3.6486 .48398 Agree 

Specialists on voice performance should be 

brought in to help tackle the problems of voice 

performance 

3.7297 .45023 Agree 



 
58 

Those for voice performance option should be 

made to start from 3rd year to prepare for 

their final examination. 

3.2703 .83827 Agree 

Only voice major Students should be allowed to 

do voice performance. 

3.4324 .72803 Agree 

Voice major students should be encouraged to 

give bi-weekly recitals to prepare them for the 

task ahead. 

3.6757 .52989 Agree 

Adequate time should be allotted for voice 

performance on the time table. 

3.6486 .48398 Agree 

The curriculum should be specific on how to 

handle voice performance education. 

3.5405 .50523 Agree 

There should be a reorientation on how some 

staff and students perceive voice performance 

students. 

3.7297 

.45023 

Agree 

 

The analysis of data in table 12 is as follows: The first item has a 

mean score of 3.6486 with a standard deviation of .48398 indicating 

that Lecturers who supervise voice performance should undergo 

training on voice performance practices in order to effectively 

discharge their duties. The second item has a mean score of 3.7297 

with a standard deviation of .45023, this means that majority of the 

respondents agree that specialists on Voice performance should be 

brought in to help tackle the problems of voice performance. The 

third item has a mean score of 3.2703 with a standard deviation of 

.83827. The implication of this is that majority of the respondents 

are of the opinion that those opting for voice performance option 

should be made to start from 3rd year to prepare for their final 

examination. The fourth item has a mean score of 3.4324 with a 

standard deviation of .72808. This shows that majority of the 



 
59 

respondents agree that only voice major students should be allowed 

to do voice performance. The fifth Item has a mean score of 3.6757 

with a standard deviation of .52989 implying that Voice major 

students should be encouraged to give bi-weekly recitals to prepare 

them for the task ahead. The sixth item has a mean score of 3.6486 

with a standard deviation of .48398. This means that most of the 

respondents agree that adequate time should be allotted for voice 

performance on the time table. The seventh Item has a mean score 

of 3.5405 with a standard deviation of .50523 indicating that the 

curriculum should be specific on how to handle voice performance 

education. The last item has a mean score of 3.7297 with a standard 

deviation of .45023, this implies that there should be a reorientation 

on how some staff and students perceive voice performance students 

 
Table 13: The mean and Standard Deviation of the Lecturers’ Response on the 

Possible Solutions to the Problems that Militate against Voice Performance 

Education in the Departments of Music in Universities in Southern Nigerian. 

Item Mean Standard 

Deviation 

Remark 

I think there should be a reorientation for 

lecturers and students on the perception of voice 

performance as an easy option.  

3.5556 

.61570 Agree 

Only lecturers who specialize on voice 

performance should be given the task of 

supervising voice performance students. 

3.1111 .90025 Agree 

Students who are interested in voice 

performance should be encouraged to begin early 

to prepare for it. 

3.5556 .51131 Agree 

Lecturers of voice performance should be 

involved in mentoring the upcoming ones 

3.6111 .50163 Agree 

Adequate time should be allotted for voice 

performance on the timetable. 

3.6667 .48507 Agree 

The curriculum should be specific on how to 

handle voice performance on the time table. 

3.6667 .48507 Agree 

Specialists on voice performance should be 

brought in from time to time to help out. 

3.4444 .70479 Agree 

Voice performance lecturers should give master 3.6111 .60768 Agree 



 
60 

class at least once in a semester. 

 

The analysis of the items on table 13 above are all in the positive as 

almost all the respondents gave the same answer to the questions. 

The first item has a mean score of 3.5556 with a standard deviation 

of .61570 indicating that there should be a reorientation for 

lecturers and students on the perception of voice performance as an 

easy option. The second item has a mean score of 3.1111 with a 

standard deviation of .90025 indicating that only lecturers who 

specialize on voice performance should be given the task of 

supervising voice performance students. The third item has a mean 

score of 3.5556 with a standard deviation of .51131 indicating that 

students who are interested in voice performance should be 

encouraged to begin early to prepare for it. The fourth item has a 

mean score of 3.6111with a standard deviation of .50163 indicating 

that lecturers of voice performance should be involved in mentoring 

the upcoming ones. The fifth item has a mean score of 3.6667with a 

standard deviation of .48507, this shows that majority of the 

respondents agree that adequate time should be allotted for voice 

performance on the timetable. The sixth item has a mean score of 

3.6667 with a standard deviation of .48507, this reveals that the 

curriculum is not specific on how to handle voice performance on the 

time table. The seventh Item has a mean score of 3.4444 with a 

standard deviation of .70479 indicating that most of the respondents 

agree that specialists on voice performance should be brought in 

from time to time to help out. The last item has a mean score of 

3.6111 with a standard deviation of .60768, this shows that majority 

of the respondents agree that voice performance lecturers should 

give master classes at least once in a semester. Below are the 

summary of the findings. 

  

1. In the course of this study, it was discovered that majority of 

the lecturers who supervise voice performance do not specialise on 



 
61 

voice performance. They specialise in other aspects of music other 

than voice performance. This was clearly shown in tables 04 and 05 

above. Some of these lecturers are not even singers yet they are 

saddled with the responsibility of supervising students on voice 

performance. The result of this is that the students are ill prepared 

for their performances and end up not getting the needed guidance 

necessary for a good performance. 

 

2. Lecturers use varying methods in the teaching of voice 

performance as there is no laid down procedure for voice 

performance at the institutions visited during the course of this 

study. This results in the lack of uniformity in the teaching and 

learning outcomes. Most often voice performance students are given 

voice pieces to learn on their own or even told to find their 

performance pieces.  

 

3. There is not much impact on the students as they are mostly 

left to handle voice performance on their own with little or no 

assistance from their lecturers. 

 

4. The curriculum content for voice performance is not adequate 

as it does not stipulate how voice performance is to be handled at the 

various departments visited in the course of this study. Some 

lecturers devise ways of handling the students while some leave the 

students to their devices. Some of these students sometimes seek 

out older students or other lecturers whom they think are 

knowledgeable on voice performances practices to assist them with 

the preparation for their performances. The curriculum only 

describes the course content but does not say how it should be 

handled.  

 

5. The prospects of voice performance will take a positive 

dimension if students are properly prepared by those who specialise 



 
62 

on voice performance rather than rely on lecturers who do not 

specialise on voice performers. Also, voice performance will take a 

very positive turn if lecturers who prepare the students for voice 

performance go for some training on voice performance. This will 

enable them discharge their duties effectively. This will also motivate 

the students to take voice performance more seriously and pursue a 

career in it.  

 

6. The problem of voice performance in the institutions visited 

ranges from the qualification of those who supervise voice 

performance to the lack of uniformity in the teaching methods. This 

results in lack of professionalism amongst the students who specialise 

in voice performance. Also, there are no departmental pianists to help 

with rehearsals and students pianists do not always have time to 

practice with the students who opt for voice performance as they are 

also busy with their own lectures. Most importantly, there is no time 

allotted for voice performance on the time table, this makes it 

difficult for students to factor in their rehearsals with their 

pianists.  

 

Discussions 

Lecturers who supervise voice performance are not voice specialists. 

Some of them are not even singers yet they are saddled with the 

responsibility of grooming and presenting students for their final 

defence on voice performance. It was discovered that apart from the 

fact that some of the lecturers who handle voice performance are 

specialists in other areas other than voice performance they are also 

not recognised soloists (voice) within and outside their institutions. 

They also do not possess the required skills needed to handle voice 

performance.  

 

Voice performance, being a practical skill, requires some 

demonstrations by the teacher but this is sometimes lacking as the 



 
63 

teacher who is not an expert on voice will not be able to function 

effectively in this regard. This leads to poor quality of performances 

by the students and sometimes students are made to re-sit their 

performance exams because of this. This would have been avoided if 

specialists are available in the field of voice performance to handle 

the students. The same way it is disastrous for someone who is not a 

composer to compose a piece of music so also it is in the field of voice 

performance. This brings us to the issue of specialisation. If these 

lecturers do not have the requisite knowledge to pass on to their 

students, how can they give what they do not have? Holcomb (1999) 

advices young students searching for a voice teacher to select the 

teacher whose aim is to take the voice, guide and develop it towards 

total vocal freedom. This can only be achieved in a situation where 

the lecturer is an expert in the area of voice performance. The 

teacher can make or mar a student’s voice if he/she is incompetent.  

 

Christy (1969), states that selection of a teacher should be done as 

carefully as for a Doctor. This is a pointer to the fact that voice 

experts are as crucial to the development of voice performance as a 

doctor is to our health. According to Adedeji and Ajewole (2008), 

“the voice as a practical subject in Nigerian tertiary institutions is 

shortage of voice experts”, they went on to list the number of voice 

teachers (not necessary experts in voice) and voice specialists in 

Nigerian universities (p.102-103) 

 

Lecturers use varying evaluation techniques for their students as 

there seems not to be any laid down specifications as to how voice 

performance education should be handled. Most times students are 

left to their own devices when it comes to the selection of pieces for 

their performances, they sometimes end up choosing inappropriate 

pieces for their voice types. This can lead to strain on the voice and 

even damage.  “Music which imposes strenuous demands at the 



 
64 

extreme of the vocal range is not recommended and, if used, may do 

harm to the voice of individuals” (Sur 1966: 103).  

 

Durrant, 2003 asserts that “the quality of the singing experience in 

school, or anywhere for that matter, is dependent on the skills and 

knowledge of the conductor or teacher who leads it”. (P. 176). In 

agreement to the above, Adeogun (2007) also says that “No nation 

can preserve and transform its musical heritage above the quality of 

its music teachers. This is because the advancement of any musical 

tradition rests in the hands of its teachers”. (p. 4). This is why it is 

very important that only voice specialist should be given the task of 

handling voice performance students.  Adedeji and Ajewole (2008) 

assert that most lecturers teach voice even though they are not voice 

specialists. No one has any business teaching voice performance if 

they cannot guide, advice and teach their students in their chosen 

area of specialisation.  

 

In addition, the curriculum content for voice performance is adequate 

or inexistent in many of the institutions as it does not stipulate how 

voice performance is to be handled in the course of this study. Some 

lecturers devise ways of handling the students while some leave the 

students to their devises. Adedeji et al (Ibid), conclude that 

curriculum on voice pedagogy is not explicit enough thereby leading to 

disparities in the teaching of voice and of course the learning 

outcomes. 

 

Recommendations 

Some of the possible solutions to the problems of the study 

are: Students who intend to do voice performance should begin 

from their 3rd year to prepare for it. Only voice major students 

should be encouraged to do voice performance in their final 

year. This will enable them to have proper understanding of 



 
65 

what they are doing. Voice performance students should be 

encouraged to give bi-weekly recitals. This will help them get 

use to the stage. The curriculum should be specific on how voice 

performance should be handled. This will enable the lecturers 

to tackle voice performance uniformly. Lecturers who supervise 

voice performance should be voice performers themselves so as 

to be able to give the students proper guidelines on how to 

handle voice performance. It is generally observed that voice 

performance will take a positive turn if students are properly 

groomed by those who specialise on voice performance rather 

than rely on lecturers who are not voice experts. The summary 

of the recommendations is as follows: 
 

 Voice specialists should be given the responsibility of handling 

voice performance students in terms of teaching and preparing 

them for their final year performance stress examinations. 

 In the absence of voice specialists, lecturers who supervise voice 

performance should undergo some specialists training on voice 

pedagogy and performance practice in order for them to 

effectively carry out their duties. 

 The curriculum should be reviewed to reflect the aspect of voice 

performance to be taught at certain terms. 

 Adequate literature on voice studies should be acquired to 

enhance the teaching and learning process. 

 Students should be encouraged to begin early to specialise on 

voice performance so as to gain enough knowledge to enable them 

become professionals in their chosen field of study. 

 Institutions who offer voice performance should acquire suitable 

recital halls for both dress rehearsals and performance proper. 

This will ensure that the students get the required exposure 

before graduation. 



 
66 

 Lecturers who supervise voice performance should be involved in 

mentorship to encourage the students. 

 Voice specialists should be brought in from time to time to give 

master classes on voice performance etiquettes. 

 Lecturers who supervise voice performance should also be 

encouraged to give performances and master classes in order to 

motivate their students. 

 

Conclusion 

This article summarises the current state of voice performance 

education in Nigerian universities which reveals weak outcomes at the 

moment in professionalism and performance presence of graduates 

specialising in voice performance. Evidence of the study reveals a 

complex of challenges and issues associated with the qualification of 

voice teachers, methods of study delivery, choice of works 

performed and curriculum stipulations. The study brought to the fore 

the need to professionalize the study programme for enhanced 

output. It also revealed the lack of attention and focus on voice 

performance education as a critical part of music studies in Nigerian 

universities. The article also argued that significant progress would 

be made in the professionalization of voice performance in Nigeria if 

the education process is handled by properly trained voice experts 

who are guided by a well-planned curriculum with the provision of 

required teaching facilities. 

 

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