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INTRODUCING RECORDER PLAYING FOR EFFECTIVE MUSIC 

TEACHING/LEARNING IN PRIMARY SHOOLS OF ANAMBRA STATE 

Ikedimma N. Okeke 

Department of Music, 

Nnamdi Azikiwe University, Awka. 

 

ABSTRACT 

The state of formal music education in Anambra state primary schools calls for attention. The 

situation is such that most of the pupils are deprived proper mental, physical, and emotional 

development gained through participation in formal music instruction. Five schools within Onitsha 

metropolis were studied and the problem was traced to the dearth of competent music teachers and 

basic instructional/learning materials such as piano keyboard and basic traditional musical 

instruments (ekwe, ọja, udu, etc.) and all these have led to the gradual demise of music education 

at the grassroots. This paper therefore has called for the resuscitation of music education in our 

primary schools using the recorder because of its availability, affordability, portability, durability, 

attractiveness to children, simplicity and applicability in teaching rudimentary music. 

 

INTRODUCTION 

Numerous are the gains of  childhood music education (Nye & Nye, 1970; Leonhard & House, 

1972; Swanson, 1981; Onwuekwe, 1998; Mbanugo, 2005; Obiecheta, 2007; Onuora-Oguno, 2009; 

Aninwene, 2009). Among such gains are mental, physical and emotional development, auditory 

perception and sound discrimination useful in language acquisition, acculturation, self-worth 

among peers and skill acquisition for the future. These goals are still evasive in our primary 

schools due to the lack of and  inadequacy of basic instructional materials for music such as 

keyboards, recorders, traditional instruments, music text books, charts, music recordings and 

playback gadgets as recommended in the National  Policy on Education (Agu 2006: 2), and the 

curriculum for cultural and creative Arts for primary schools (2007). Waiting for the provision of 

these materials by the government or whoever could be waiting in futility and could endanger 

music instruction in our primary schools the more. The writer`s experience in teaching with the 

recorder has yielded remarkable results. 

A piece of recorder costs about ₦150.00. In fact, at this rate, it is more affordable than most 

musical instruments for primary schools. A 5-octave piano-keyboard costs between ₦20,000.00 to 

₦200,000.00. A set of school assembly band sells at about ₦45,000.00. At this rate, it is doubtful 

how many schools that can afford these items owing to what Mbanugo (1991: 1) referred to as 

Rising costs and Diminishing Educational Funding in Nigeria. Comparing these with the price of 

the recorder strengthens the rationale behind the advocacy for recorder playing. The recorder 

comes in various colors (red, blue, milk, pink, green, yellow, brown, etc) and this feature 

contributes to its attractiveness and acceptability to children. 

The instrument is now moulded in hard plastic (originally, it was wood hence its classification as a 

woodwind instrument). The advantage of this feature is that it reduces the risk of damaging easily, 

electric shock and the problem of maintenance peculiar to the piano keyboard and most musical 

instruments. It`s portability makes it a more handy instrument. Children appreciate learning 

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 9 2013 



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materials they can personalize, label, toy with, pamper, display at will, and practice at leisure, and 

the recorder suits! 

Historical Perspective 

The history of the recorder dates back to the Renaissance era from about (1450-1600 AD). The 

Renaissance was characterized by a `rebirth` or `awakening` of creativity. Renaissance 

instruments produced softer, less brilliant sounds than the instruments we hear today. Most of 

them came in families of three (3) to eight (8), ranging from soprano to bass. Recorders were 

among the most important, and often several members of a family were played together 

(sopranino, soprano, alto, tenor, and bass) (Kamien1994: 73). The recorder`s popularity fell into 

decline around 1750 because it could not compete with some of the newer instruments that came 

in vogue in the 18
th

 century( Lowe, 2003: 73). However in 1919, Arnold Dokmetsch (1858-1940) 

revived production of the instrument and as a result of  this revival, recorders became popular 

again as a means of teaching  recreating music of the past, for teaching beginning music lesson, 

and as serious instrument for contemporary music (Harvard Dictionary of Music, 1986: 684). 

 

In recent years, the soprano recorder has emerged as one of the most popular means of introducing 

music in elementary education. Its simplicity enables even the very young student to play with 

ease and confidence from the start, and to enjoy the thrill of instant success in performance. The 

instrument also provides the teacher with a vehicle of instruction for the many aspects of musical 

training which the pupils will use later on in band orchestra, and most importantly, the relatively 

low cost of the recorder makes it the one melodic instrument that is accessible to nearly every 

pupil. 

Fig.1. The Recorder 

 

Fig.2  Structural Description of the Recorder 

 



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The modern soprano recorder has a long cylindrical shape which embodies the mouth piece, sound 

chamber, tone holes, and the bell. Some models have two or three separable joints and this feature 

is useful while cleaning the recorder. This feature is also an aspect of the portability of the 

instrument mentioned earlier: children find it easy to disengage and reassemble the instrument for 

easy carriage and safety. The recorder also is usually provided with ten holes: a thumb hole on the 

back, five single holes and two double holes in front. The instrument is wider at the top and 

bottom than at the centre, akin to the tibia bone of the leg (from which very early instruments were 

made) (The new Harvard Dictionary of Music 2001: 684). The instrument is now provided with a 

plastic stick which basically serves for cleaning the instrument even though it can serve as 

conducting stick as well. In fact, this added feature has made the recorder experience thrilling and 

rewarding to children, as they never forget taking the stick along with the recorder to music 

classes in order to conduct! 

Fig. 3. How to Play the Recorder (Preliminary Steps) 

 

 

It is usually a little bit difficult getting children to concentrate to learn the preliminary procedures 

before the actual playing. The preliminary steps are necessary before a child begins playing. 

Tonguing 
Perhaps it is more appropriate to learn how to tongue before fingering. Tonguing is usually not as 

easy as most pupils presume. Most children whistle and some blow on the recorder mistaking it 

for tonguing and some entirely abandon their recorders because of their inability to articulate 

properly. Tonguing means setting the tongue in contact with the upper teeth and sounding `too’ or 

`tuh’ or` taa’ which ever, provided the `t’ starts the tone and `oo’, `uh`, or `ah’ follows it.   

   

Fingering   Techniques 

Two systems of recorder playing have evolved as a result of controversies over the best fingering 

technique to use. These systems are the Baroque (or English) and the German system. One of the 

differences between the two systems is the fingering for certain notes (e.g. first space F). 

 

 



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Fig. 4.  German and Baroque Fingering Systems 

 

Although the controversy still lingers, the baroque system is usually preferred by professional 

players because it gives a clearer and more precise pitch; but the German system is similar to the 

fingering system of the flute, clarinet, and saxophone, and which pupils could graduate into later 

in life (Sueta, 1992a; Sueta, 1992b). 

 

 Fig. 5.  Recorder   Fingering   Chart (German System)  

 

 

 

 

 

 

 

 

 

 

Fig. 6.  Playing the first few notes 



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Playing the first few tunes 

Having learnt the first few notes on the recorder, children can happily proceed in playing simple 

tunes such as merrily we roll along on their instruments using notes B, A, and G. This is called the 

` BAG’ concept in recorder teaching/playing. They can also enjoy some folk tunes like Urioma on 

their instruments. 

     

 

 



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Fig. 7. (Merrily we roll along) 

 

     

Fig. 8 .(Urioma) (Excerpt from Soloist’s Companion I by Alvan-Ikoku Nwamara)  

 

 

Care of the Recorder 

Children are naturally careless and they tend to extend this behavior to virtually everything around 

them. Most pupils lose their recorders each term due to carelessness. Some also share their 

instruments with friends and thereby getting it damaged very easily. These measures are usually 

taken and inculcated in children to ensure the safety and durability of their instruments: 

1. The recorder is not a toy and therefore should not be kept carelessly or used to hit on 

objects.  

2. It should be carefully kept in its packet after playing and when not in use. 

3. It should not be kept close to fire or under hot temperatures to avoid melting. 

4. The instrument is washed in warm soapy water, rinsed and cleaned periodically. 

5. The instrument should be kept out of reach of young children to avoid breaking it to pieces 

or even swallowing the parts. 

6. Care should be taken not to chew the instrument to avoid damaging the mouth piece 

because this creates air leakages and distorted tunes on the instrument. 

7. It should not be shared with friends and peers to avoid contracting disease. 

 

 



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Conclusion 

The call for resuscitating recorder playing in our primary schools for effective music 

teaching/learning was informed by the instrument`s affordability, availability, portability, 

durability, attractiveness to children, ease in learning, simplicity and applicability in teaching 

rudimentary music. Reactivating recorder playing in schools would foster the development of 

aural sensitivity, pitch awareness, and general musicianship among the learners. Teaching children 

to play recorder would also guide them into a successful instrumental experience, which they 

really enjoy, and this offers them a means for self-expression and self-worth. Also giving children 

a foundation in recorder playing enhances basic fingering techniques which relate directly to the 

techniques of wind instruments and which can prove very vital in playing such instruments later in 

life. 

References 

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programme and delivery in Nigeria. Awka Journal of Research in  Music and the Arts 

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Aninwene, E.  O. (2009). The state and future of music education in primary schools in  Nigeria: 

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Abuja: NERDC. 

Kamien, R. (1994). Music: An Appreciation. New York: McGraw – Hill Inc. 

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Lowe, P. (2000). How to Play the Recorder. UK. : Paragon. 

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