



































Tonemic Substitution


 
216 

 

 
EFFECTIVE USE OF STAFF NOTATION AS PANACEA FOR 

SIGHT-READING PHOBIA AMONG YOUTH BASED CHOIRS IN 

ABAKALIKI 

 

Olusola Samuel Akintunde & Nnamdi Chiedu Onuora-Oguno Ph.D. 

 

Abstract 

here are two most popular systems of notation in music, 

namely Tonic Solfa notation and Staff Notation. Most 

Nigerian church choirs and secular choral groups adopt Tonic 

Solfa in learning songs. This they believe is relatively easier 

than Staff Notation. However, some choral groups encourage their 

members to learn Sight-reading of Staff while some find this 

acceptable method of learning songs difficult. Most disturbing is the 

fact that many choral groups that face this difficulty are made up of 

young people. Majority of them passed through Basic schools where 

they offered music. It becomes a problem when young people who are 

expected to invest their youthful strength, inquisitive attitude, and 

adventurous character in exploring the benefits and time saving 

advantages of Sight-singing detest it. This study is aimed at 

investigating how effective music teachers use Staff Notation in 

teaching songs in secondary schools. And its attendant effect among 

choral/singing groups made up of young people. The researcher 

employed the survey method of research in this study. Instruments 

used for data collection for this research was questionnaire and 

observation. The questionnaire was distributed to music teachers, 

secondary school students that offer music and some choristers of 

youth based choirs. The study shows that despite the fact that many 

music teachers are familiar and good with Staff Notation as a 

method of teaching and learning songs, they seldom use it. The 

T 

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



 
217 

teachers believe that using Sight-singing method to teach songs 

consumes time. However, whenever it is used, it is introduced to the 

students in a wrong manner which denies the students the pleasure of 

learning songs with it. The study recognizes the need to decondition 

the mind of young choristers from the belief that Staff Notation 

should be for classical music only. The study concludes by advocating 

the gradual introduction of Sight-singing in teaching students. 

Starting from familiar songs like folk songs and rhymes. 

 

Keywords: Staff Notation, Tonic Solfa, Music Education, Phobia 

 

Introduction 

Singing/song rendition is a vital aspect of worship in religions all over 

the world. The Christian religion has so many denominations, each 

denomination with their own preferred type of music. While some 

preferred pure classical music and Negro spirituals, others prefer 

20th century compositions of popular gospel musicians. In all these 

denominations, the choir is in charge of leading the church in song 

renditions be it Hymn, Anthems or special presentations at all 

services. However, the choirmaster/music director is the focal man in 

choosing, teaching/preparing and conducting the choir. The 

choirmaster discharges his/her duties based on his abilities and 

experiences.  

 

The emergence of the choirmaster is dependent on the structure of 

the church. Some churches are lucky to have trained musicologist as 

their choirmaster. In some churches, choirmaster/music director 

emerge based on the trainings received in the church over the years 

while some appoint anyone who has vast knowledge of different 

Christian songs and ability to pass the song across to others by way 

of teaching. To buttress the above, Olorunsogo (n.d), quoting Okafor 

(2001), Omibiyi (1975), Vidal (1977), identified four types of 

musicians in Nigeria:  



 
218 

(a) the traditional master musician who trains his own 
people mainly by apprenticeship, (b) the trained 
musician in the Western education system who knows all 
the rudiments and the rules and who has certain 
objectives he wishes to attain, (c) the untrained  
talented musician and (d) contemporary musicians that 
learn through video and compact disc and television 
programmes.(pg. 18-19) 

The different categories of training the choirmasters/music 

directors had, presented different ways and methods of teaching 

songs. 

 

For those trained in the western form of music, they find it easier to 

adopt and encourage reading of staff as a viable method for teaching 

songs while the untrained find succor in solfeggio as a method of 

teaching songs. However, empirical evidences show that many 

choirmasters who jettison the use of staff reading in their song 

teaching had at one time in their basic schools passed through 

trainings on sight singing/reading. 

 

Education acquired is not only for the present. Knowledge is 

transferable. When we are faced with a situation whereby a 

supposedly acquired knowledge is detested by the learner, then there 

is a problem. It could be said that learning did not take place. The 

ultimate aim of teaching is for the learners to learn. To achieve this, 

there must be a technique/methodology to get the attention and 

interest of the learners, and make them learn. (Esimone, 2015:164). 

To buttress this, Ugwu and Ekezie (2016), submits that:  

an age long battle engaged by educators have been how 
to teach well for the learners to learn hence curriculum 
planners involving every discipline representative are 
working round the clock to enhance teaching 



 
219 

methodology so as to achieve the sole aim of teaching 
(p. 119). 

 

Why the Study? 

This study is carried out to: 

a) Assess the extent at which Staff Notation is used in teaching 

songs in Secondary Schools. 

b) Investigate the reason why young singers develop a phobia for 

Staff Notation. 

c) Suggest pedagogical approach(es) to overcome Sight-singing phobia 

among young singers. 

 

Concept of Staff Notation 

Staff notation is one of the systems of music notation developed for 

the purpose of documenting songs and musical compositions, while the 

other is Tonic Solfa notation. Staff notation was developed by Guido 

d‟Arezzo. The invention of the staff is traditionally ascribed to Guido 

d‟Arezzo in about the year 1000, although there are earlier 

manuscripts in which neumes (signs from which musical notes evolved) 

are arranged around one or two lines in order to orient the singer. 

Guido used three or four lines of different colours. A four-line staff 

is still used to notate plainchant (www.britannica.com/art/staff). 

 

Presently, staff is made up of 5 horizontal lines and four spaces on 

which musical symbols called Notes are written to represent the 

pitch and duration of sounds. 

 

Concept of Music Education 

Encyclopedia Americana (1980), describes education as “any process 

by which an individual gains knowledge or insight or develops 

attitudes” (p. 642). Stemming from the description above, Music 

https://www.britannica.com/biography/Guido-dArezzo-Italian-musician
https://www.britannica.com/biography/Guido-dArezzo-Italian-musician
https://www.britannica.com/art/neume
https://www.britannica.com/art/plainsong-music
http://www.britannica.com/art/staff


 
220 

Education can then be described as any process by which an individual 

gains musical knowledge or insights or develops musical attitudes. 

Note that, this process may be formal or informal. In addition, 

Adeogun (2006) opines that: 

Music education either formal or informal refers to the 
sum total of all skills, knowledge, principle and 
strategies which a music practitioner needs to acquire 
in order to be effective and efficient. Therefore music 
education encompasses the totality of learning 
experiences meant for the all-round development of an 
individual or group of individuals (p. 105). 

 

Furthermore, speaking on education, Nnamani and Odunuga (2005) 

asserts that: 

the function of education is both social and 
individualistic and its social function is to help each 
individual become a more effective member of the 
society by passing along to him the collective 
experience of the past and the present. Its individual 
function is to enable him to lead a more satisfying and 
productive life by preparing him to handle new 
experiences successfully (p. 13)  

 

Music is a well-established medium of instruction which over the 

years has contributed to the growth and development of the child. 

Music develops man‟s emotion, intellect and moral principles. Music as 

part of general education transmits the cultural heritage of the 

people. It aims at developing musical intelligence, aptitudes and skills. 

Esimone, (2015) believes that: 

music is very important; its importance in the day to 
day living of man is unquantifiable. It is a gift from God 
through which we strive to express our joy for the 



 
221 

things that are real to us and our longings for the 
things that might be (p. 169).  

 

Music is a part of the world around us, a part of man‟s physical and 

emotional growth. Man‟s struggle for existence throughout the 

centuries has always been accompanied, communicated and extended 

by music. From the most early, to the most sophisticated cultures, 

music has been a focal point in rituals and significant events in man‟s 

personal life (Bergethon, 1977, p. 3). 

 

The development of music in the history of mankind in general and 

specifically in the African context provides for centuries of recorded 

information of man‟s striving toward a better and richer life. 

Therefore, as an important feature in man‟s life, music serves as a 

social and historical tool preserving the culture of the past, and 

enlightening the future course of music in a contemporary world. 

Ajibulu (1999) submits that “the school, in the modern day setting, 

has become a place where pupils can learn of the past and present, 

and become a vessel for future development in music” (p. 221). 

 

Music in the school curriculum provides learning experiences that will 

promote growth and development in music skills, competencies and 

attitudes; build positive self-concepts; establish high standards and 

quality of music literacy; and develop aesthetic sensitivity to the 

expressive element of music. (Ekwueme, 1982; Omibiyi; 1972). 

 

Concept of Phobia  

Phobia is a type of anxiety disorder that causes an individual to 

experience an extreme irrational and often unreasonable fear or 

aversion for object, situation, concept or person. The word „phobia‟ 

came from the Greek word phobos which means fear 

(www.healthline.com/health/list-of-phobias). In other word, phobia is 

a persistent, excessive and unrealistic fear or aversion for an object 

http://www.healthline.com/health/list-of-phobias


 
222 

or situation. The development of phobia is attributed to a stressful 

situation or a frightening experience. In education, phobias occur as a 

consequence of learning experience. Phobias develop when fear 

responses are reinforced. Lisa Frtscher (2020) in her article titled 

„Theories on How People Develop Phobias‟ submits that factors that 

promotes the development of phobias can be classified into three 

categories, namely Biological, Learning-based and Psychoanalytic 

(www.verywellmond.com/theories-on-the-development-of-phobias-

2671514). Phobias are classified into three different categories 

which are: 

i. Social Phobia – Extreme worry about social situation 

ii. Agoraphobia – Fear of large crowd 

iii. Specific Phobia – Fear of a specified situation. 

 

This study is categorized under specific phobia. It is important to 

state that any object or concept can become an object of aversion to 

anyone at any point in time. This means that the list of types of 

specific phobia can be unexhausted. The names are most times 

formed with the fear object as prefix and the word phobia as suffix. 

In some cases, it could be the Greek word of the fear object that will 

be used as prefix and the word phobia as suffix.   

 

Concept of Choir 

A choir is a group of singers prepared to render singing functions at 

events of worship services. In the western musical tradition, choirs 

are basically of mixed voices in which the music is divided into four 

parts of Soprano, Alto, Tenor and Bass (S. A. T. B). However, there 

are still some other choirs namely: Children Choirs, female voices, 

Male voices. (Ekwueme, 1993: 4). 

 

Significance of the Study 

This study is significant such that it: 

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223 

 Will redirect secondary school teacher‟s usage of Staff 

Notation in song teaching. 

 It will diffuse young people‟s biased mind on the concept of 

Sight-reading and encourages them to effectively use it in 

song learning and teaching. 

 

Research Questions 

1. How effective is the use of Staff Notation in teaching songs among 

secondary schools in Abakaliki? 

2. To what extent are students interested and motivated in learning 

songs using Staff Notation? 

3. To what extent is Staff Notation used in learning songs among 

youth based choir groups in Abakaliki? 

 

Population of the Study 

The population of this study is as follows: 

i. Music teachers in secondary schools in Abakaliki. 

ii. Secondary school students in Abakaliki where music is offered 

and 

iii. Youth based choir groups within Abakaliki town. 

The total sample used for this study stood at one hundred and sixty 

(160) randomly selected respondents – 10 Music Teachers, 100 

Students and 50 young choristers. 

The table below shows the list of secondary schools and choir groups 

used for the study: 
S

/

N 

Name Of 

School 

No Of 

Respondents 

Name Of 

Choir  

No Of 

Respondents 

1 Fountain of 

Knowledge 

International 

School, 

Abakaliki 

2 Teachers 

20 Students 

Living Faith 

Church Choir, 

Abakaliki 

10 Choristers 

2 Blessed Martins 2 Teachers Redeemed 10 Choristers 



 
224 

International 

School, 

Abakaliki 

20 Students Christian 

Church Choir, 

Abakaliki 

3 CSMT, Abakaliki 2 Teachers 

20 Students 

Bethel City 

Choir, 

Abakaliki 

10 Choristers 

4 Hope High 

British 

International 

School, 

Abakaliki 

2 Teachers 

20 Students 

All Saints 

Youth Church 

Choir, 

Abakaliki 

10 Choristers 

5 Redeemers 

International 

School, 

Abakaliki 

2 Teachers 

20 Students 

Christ Embassy 

Choir, 

Abakaliki 

10 Choristers 

   Table 1: List of Schools and Choirs used as sample in the study 
 

Validation of the instrument 

The instruments for data collection was presented to two music 

lecturers for content and face validity. 

 

Methodology 

The study was essentially a survey which sought to find out the 

extent at which Sight-singing as a system of song learning and 

teaching is effectively used in secondary schools in Abakaliki. And 

also its attendant effect on youth based choral groups within 

Abakaliki town. 

 

Instrument for Data Collection 

The instrument used for this study was questionnaire. Three (3) 

questionnaires were prepared, targeting the three categories of the 

respondents; i.e Music Teachers, Secondary School Students and 

Choristers. Data were also collected through direct observation and 

participation. 

 



 
225 

Method of Data Collection 

The questionnaires for teachers and students were physically 

distributed and collected while the questionnaires for choristers 

were electronically administered through Google forms.  

 

Method of Data Analysis 

The data collected were organized in tables and analyzed using Mean 

Deviation of the 4 point scale on Strongly Agree (SA), Agree (A), 

Strongly Disagree (SA) and Disagree (D) with the points in 

descending order of 4, 3, 2, 1. 

 

Decision Scale: 1-2.49 Disagree, and above Agree.  

 

Research Question 1 

How effective is the use of Staff Notation in teaching songs in 

secondary schools in Abakaliki? 

 

Table 2: Effective use of Staff Notation in teaching 
S/

N 

QUESTIONNAIRE 

ITEMS 

SA A SD D MEAN DECISION 

1 I always employ sight-

reading when teaching 

students new songs  

1 2 1 6 1.67 DISAGREED 

2 Students learn new songs 

faster through sight-

singing 

1 1 7 1 2.22 DISAGREED 

3 Sight-singing arouses the 

interest of the students 

during learning  

2 5 1 2 2.7 AGREED 

4 Sight-singing is time 

consuming 

7 2 1 0 3.6 AGREED 

5 Sight-singing is stressful 

for students 

8 1 1 0 3.7 AGREED 

Grand Mean     2.77 AGREED 



 
226 

Table 2, as presented above shows the responses of respondents on 

the effective use of staff notation in the classroom. Also, on the 

table is the mean rating of the responses and the decisions taken. 

The table clearly shows that despite the teachers accepting the fact 

that sight-reading arouses the interest of the students, they seldom 

use it when teaching songs. Their reason is that, it is time consuming.  

 
Fig. 1: Mean Deviation of responses on effective use of Staff 

Notation 
 

Research Question 2 

To what extent are students interested and motivated in learning 

songs using Staff Notation? 

 

Table 3: Level of students’ interest in using Staff Notation 
S

/

N 

QUESTIONNAIRE ITEMS SA A SD D MEAN DECISION 

1 We always learn songs with 

staff notation in my school. 

15 18 58 9 2.39 DISAGREED 

2 Sight-singing is very 

interesting 

21 28 44 7 2.63 AGREED 

3 Learning songs with Staff 

Notation helps me to learn 

faster than other methods 

5 6 76 13 2.03 DISAGREED 

4 I prefer sight-singing 

method to rote learning 

6 5 83 6 2.11 DISAGREED 



 
227 

while learning songs 

5 With the knowledge of 

sight-singing, I can learn 

other songs on my own 

4 2 88 6 2.04 DISAGREED 

Grand Mean     2.24 DISAGREED 

Table 3 above presents the responses of students on how interested 

they are in the use of staff notation in learning songs. The table 

shows that the students find sight-singing very interesting, but they 

have little knowledge of it. They disagreed on having it as a method 

of learning songs. 

 
Fig 2: Mean Deviation of responses on level of students’ interest 

on the use of staff notation 
 

Research Question 3 

To what extent is staff notation used in learning songs among youth 

based choir groups in Abakaliki? 

 
Table 4: Use of Tonic Solfa among youth based choirs 

S

/

N 

QUESTIONNAIRE ITEMS SA A SD D MEAN DECISION 

1 I have been in the choir for 

over five years 

43 4 3 0 3.82 AGREED 

2 I am very much aware of 

staff notation 

37 7 3 3 3.56 AGREED 



 
228 

3 I have learnt songs with 

staff notation in time past 

6 8 17 19 2.02 DISAGREED 

4 We always learn songs with 

staff notation in my choir 

3 8 26 13 2.02 DISAGREED 

5 Learning song with staff 

notation is a very easy 

method of learning songs 

7 4 33 6 2.24 DISAGREED 

6 Learning songs with staff 

notation should be limited 

to classical music alone 

41 5 3 1 3.76 AGREED 

7 Older choristers have 

interest in sight-singing 

more than the young 

choristers 

39 7 2 2 3.60 AGREED 

8 I prefer learning songs with 

staff notation  

4 1 43 2 2.14 DISAGREED 

9 I will accept sight-singing as 

the only method of teaching 

songs in my choir 

3 2 41 4 2.08 DISAGREED 

Grand Mean     2.81 AGREED 

Table 4 above shows the extent at which sight-singing is used among 

youth based choir. From the responses, it can be deduced that the 

choristers have no interest in sight-singing. Although many of them 

have spent over five (5) years in the choir, they believe the use of 

sight-singing should be limited to classical music. 

 

Discussion of Findings 

Empirical evidences presented in this study and observations by the 

researcher show that the teachers believe that sight-singing is time 

consuming. And based on that notion, they jettison the usage. They 

would rather use Rote Learning method. This is the genesis of the 

phobia that is exhibited towards sight-singing by young choristers. 

The researcher observed that, it is not that the teachers do not use 

sight-singing at all. Due to the type of educational organization they 

work (private school), sometimes they are constrained to use the 

Rote Learning method because of time. This happens during the 



 
229 

preparation for end of session party, Christmas party or any special 

occasion.  

 

However, the experience is not palatable for the students at all. The 

reason for this is that the students are not used to solfeggio, their 

sight-reading ability is very slow and the teacher has a task to teach 

them songs within a limited time frame. This makes the process 

cumbersome and the learning experience boring. The students go 

away with the impression that learning songs with staff notation is a 

tedious process. They become aversed to sight-singing/reading 

thereby developing a phobia towards method. The responses from the 

respondents show that they all agreed that sight-singing is a very 

interesting method on one hand. On the other hand they all rejected 

the use of it in song teaching and learning. The question is: how do you 

hate what you like? It only shows that the problem is not staff 

notation, but the individuals‟ impression about sight-singing. 

 

Classical Conditioning Theory as Panacea 

Knowledge is transferable. Knowledge gained during a learning process 

is not limited to the classroom. It rubs off on the individuals‟ future 

endeavors. When the learning process is made interesting the 

students learn and the concept learnt is retained and probably 

advanced. Contiguity is very vital in teaching and learning process. 

From the foregoing, it is evidence that contiguity process has been 

hampered. To correct this, is the application of Ivan Pavlov‟s Classical 

Conditioning theory; an associative learning theory. In his words, 

Ugwu (2005) says „(Ivan) Pavlov, a Russian Psychologist, interested in 

how organs of the body functions, and the reaction of organisms to 

environmental stimuli, propounded the theory of classical conditioning 

in 1909‟(p. 9). Reflex (an unconscious action performed as a response 

to a stimulus) is the fulcrum of Pavlov‟s theory. He categorized 

reflexes into two viz: physiological (unconditioned) and psychic 

(conditioned). Physiological being an innate reaction and psychic which 



 
230 

is as a result of acquired behavior or accumulated experiences (Ugwu, 

2005:10). Pavlov conducted an experiment using a dog, a bell and meat 

powder. All these were placed in a soundproof room to avoid 

distraction. The experiment was in stages with the aim of observing 

different reflex actions: 

 

Stage I: Meat powder was presented to the dog which made the dog 

to salivate. This shows a natural reflex action because it is natural 

for a hungry animal to show its need for food.  
Unconditioned Stimulus (UCS)       Unconditioned Response (UCR) 

(Meat powder)     (Salivation) 

 

Stage II: A bell was sounded and the meat powder was presented 

simultaneously. This elicits salivation from the dog. The sound of the 

bell (Conditioned Stimulus) has now been paired with the meat powder 

(Unconditioned Stimulus), but the result is still as of stage I. This is 

the stage of conditioning.  

 
Conditioned Stimulus (CS) + Unconditioned Stimulus (UCS)            Unconditioned Response (UCR) 

        (Bell)                +         (Meat powder)             (Salivation) 

 

The process in this stage was repeated over and over again. 

 

Stage III: In order to verify if the dog will salivate without the 

presentation of meat powder, Pavlov sounded the bell without the 

meat powder. The dog salivated. This shows that the dog has been 

conditioned to the sound of the bell. 

 
Conditioned Stimulus (CS)            Conditioned Response (CR) 

(Bell)      (Salivation)  

 

This process was repeated a number of time. The dog salivates less at 

every repeated process until it stops. This is called the level of 

extinction. 



 
231 

This theory can be used to extinguish phobia in the use of staff 

notation in learning songs by young choristers. This can be achieved 

by adopting the maxim of teaching from: 

known to unknown 

simple to complex and  

concrete to abstract 

Denis (2007) notes that „extinction of a fear or phobia can sometimes 

be accomplished by pairing the conditioned stimulus with a 

pleasurable stimulus‟(p. 127). The perception of many music teachers 

is that sight-singing should be for „big‟ or western songs. Music 

teachers must be dissuaded from this perception. The usage of staff 

notation should be to learn songs that the students are familiar with. 

Not necessarily western compositions or songs written in foreign 

languages. Folk songs or popular music which they are very well 

familiar with can be notated and taught using the staff notation. The 

will sing it and see that sight-singing can be done with any song. The 

familiarity of songs in this case will bring pleasure in the learning 

process. It will diffuse the mind of the young choristers, and they 

will be exposed to the great benefits inherent in the use of staff 

notation. A singer who is capable of sight-singing pieces of music is 

more universal in performances. The first entry requirement by most 

choral groups that participates in international musical competitions 

is a flawless sight-reading ability. These are opportunities that our 

youths are expected to explore. However, they must be equipped to 

be qualified for such exposure.     

 

Conclusion 

Learning, both formal and informal is progressive. Every learner‟s 

wish is to attain the peak of the learning process. However, when 

there is a disconnection along the line, achieving greatness becomes a 

mirage. Frustration sets in and this leads to irritation. Everyone 

derives pleasure in singing. Religious rites are not complete without 

songs. In a nation like Nigeria where there is proliferation of 



 
232 

churches, the need for choristers cannot be overemphasized. These 

choristers are expected to perform different genres of music at 

different religious worship occasion and gathering; which means, they 

must be ready to learn a great number of repertoires. For a fact, it is 

not all the songs that can be learnt through Rote Learning method. 

Any group of singers that have bias towards other methods of 

learning songs will only have their repertoires on a genre of music. 

Having understood the fact that this problem originates from the 

classroom learning process of the supposed young choristers, there is 

need to relearn the method in order to maximize the benefits 

therein. Correcting the exhibited phobia towards sight-reading is not 

by running away; rather, it is by constant usage of the method in a 

controlled setting. The aim is to decondition the mindset of the young 

singers towards staff notation. 

 

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