



































Tonemic Substitution


 

 

182 Awka Journal of Research in Music and the Arts Vol.15 (2021) 

 
182 

 AFTER-SCHOOL MUSICAL TRAINING FOR STUDENTS IN 

TERTIARY INSTITUTIONS IN NIGERIA: AN EVALUATION OF 

ESM SUMMER CAMP IN MOUNTAIN TOP UNIVERSITY 

 

Oluwatade Joseph Olubukola Ph.D.  

 

Introduction 

fter-school programme is a common phenomenon in every 

societal activity for learning. As official training is paramount 

in every developmental and educational sector, so also After-

school engagement is complementary. The programmes that is fixed 

for students outside the official academic period is conceived from 

different perspectives of training which are given different names 

such as ASP-After School Programme, OST-Out of School Time 

Programme, Catch-up programme etcetera. Stanley, (2011) discusses 

Meta-analysis of the impact of after-school programs on students 

reading and mathematics performance. while Durlak.et.al (2010) 

analyses After-school activities that seek to promote personal and 

social skills in children and adolescents. After-school straddles so many 

facets of learning and disciplines, musical practice is not an exemption. 

 

The history of After-school is dated to late 1800s when activities in 

United States first appear as boys’ clubs (Halpern, 2002). Girls were 

invited to join, thereafter the clubs gave way to hosting centres where 

people could learn carpentry, art works other centres were playground 

for other activities. This After-school was later adopted in Nigerian 

educational system. Today, After-school activities have been 

A 

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Olubukola, O. J.: After-School Musical Training for Students in Tertiary Institutions... 

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conceptualized for different arm of learning for societal development 

home and abroad.  

 

Research has found that those students who participate in after-

school programs the longest (both in terms of frequencies and 

durations) make the biggest gains (Goldschmidt et, al. 2007). The need 

for After-school training in many tertiary institutions in Nigeria is 

geared by various situations that are rather beyond the control of 

students, parents and school management. Some of the challenges are; 

insufficient resources or instruments for all students in category of 

skill acquisition. Sometimes, lack of funds to pay students school fee 

causes late resumption whereby the student(s) have a lot to catch up 

for successful completion of the training for the session. There are 

several other factors that warrant school to embark on After-school 

trainings. There are unpredicted omen causing distraction in the 

society: strike and curfew due to riots or communal clashes interrupt 

the official academic calendar of schools and schedules of the periods 

of training becomes shortened. Instructors and lecturers hardly 

complete the course outline for that session or semester. Other than 

the above basic factors, some schools enrol their candidates for 

external assessment and consider After-school as a viable option to 

complement the knowledge acquired by the students during official 

hour. 

 

Durlak et.al (2007) opine that ‘programmes that used evidence-based 

skill training approaches were consistently successful in producing 

multiple benefits for youth, while those that did not use such 

procedures were not successful in any outcome area… feelings and 

attitudes, indicators of behavioural adjustment, and school 

performance’. From this analogy, it would be observed that most of the 

practical course in music are evident based because of the practical 

reflection. This corroborates the opinion that After-school music 



Olubukola, O. J.: After-School Musical Training for Students in Tertiary Institutions... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 184 

practices could adopt evident based skills. In the system of adopting 

After-school programmes in tertiary institutions, while some school 

earmark on programme as ‘catch-up’ training for their disadvantaged 

students to recover their lost grounds, other schools create a separate 

academic programme to run concurrently with the same time frame of 

after school hours. Amongst other courses in tertiary institutions, 

music training is one of those that resume After-school classes 

because of its practicality. The pedagogical aspect of music training 

helps the cognitive and the psychomotor of the student at various level 

of development. Music training after school hence, helps to further 

develop these various aspects of reasoning and retentiveness of skills.  

 

Consequently, Summer Camp becomes a brand of After-school training 

at the end of the semester. Some of the factors highlighted above 

affect many departments in school especially students who study music 

as their core course or play musical instruments as a general study; 

they would always need more time for practice and mastery. 

 

The Mountain Top University established an initiative for all its 

students to learn musical instruments. The initiative is captioned Every 

Student a Musician (ESM) as part of the extension of the Department 

of Music in Mountain Top University, the initiative (ESM) as had 

tremendous impact on the students and the university. The ESM 

organises Summer Camp as part of the After-school programmes that 

runs concurrently with other catch-up programmes of the University. 

This study hereby focuses on ESM Summer Camp in Mountain Top 

University as a case study of an After-school musical training in 

tertiary institution. 

 

The Problem  

Huang (2008) states that ‘One mechanism in which After-school 

programs influence students’ academic achievement is through the 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 185 

provision of homework assistance’ (p.2). In musical practices however, 

homework assistance might not be effective where the student is 

disadvantaged with lack of resources such as musical instrument for 

effective learning after school. This paper considers that music 

training in tertiary institution goes beyond the limited period provided 

for learning in class as more time is required for a better 

understanding of skills taught in class. This lack of continuity either in 

practice or further study by the students dwindles the expected 

result in the performance of the student at the end of the session or 

at the final year.  

 

This is more disadvantageous to students who resume late for lectures 

at the beginning of academic session. It is also applicable to those who 

cannot gain access to instrument for practice while at home. This 

challenge becomes a lacuna to achieving an excellent accomplishment 

of music studies in schools; consequently, affected students could not 

really graduate with the best of their ability. After-school musical 

training such as Summer Camp by ESM in Mountain Top University is 

considered as a plausible idea to proffer solution. 

 

Purpose of the Study  

The purpose of this study is to: 

1. provide a retrospective account of ESM Summer Camp in 

Mountain Top University. 

2. assess the impact of ESM Summer Camp training and how it 

complements the knowledge acquired during periods of 

instruction in official academic sessions of Mountain Top 

University. 

3. investigate the effectiveness of on-sight and online musical 

training of ESM in Mountain Top University. 

4. propose a model on the effectiveness of online and on-sight 

music training after school for students. 



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Significance of The Study 

This study will provide opportunities for students to maximize After-

school period to recover their lost ground or acquire more skills in 

music practices. The paper will serve as a resource material for 

scholars and music students. This study will yield a greater impact in 

the performance of student before and after graduation as the 

product of their institutions. 

 

Research Questions 

1. What are the retrospective accounts of ESM Summer Camp in 

Mountain Top University? 

2. How does ESM Summer Camp training complement knowledge 

acquired during period of instruction in official academic sessions 

of Mountain Top University? 

3. How effective are on-sight and online musical training of ESM in 

Mountain Top University? 

4. What mode could describe the effectiveness of online and on-sight 

music training after school for students? 

 

Theoretical Framework 

This study hinges on Huang (2008) theoretical logic model. It was 

propounded as findings from literatures to form basis for the 

establishment of 13 indicators of success in delivering quality content 

and maintaining effective functionality in an After-school setting. 

The indicators include: 

1. Setting of clear goals for content area practice (i.e., literacy, 

math, science, arts, technology, and homework help). 

2. Alignment of research-based activities to achieve goals. 

3. Alignment of practice content materials with state standards. 

4. Links between practice content activities and day-school activities 

5. Use of research-based curriculum and teaching strategies  

6. Provision of a positive programme environment. 



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7. Employment of motivational strategies to engage students in 

learning 

8. Promotion of student engagement (e.g., encouraging meaningful 

experiences). 

9. Effective program management/support/resources (e.g., 

staff/student ratio, staff educational experience, ongoing 

evaluation). 

10. Provision of opportunities for student practice. 

11. Periodic evaluation to check program effectiveness. 

12. Periodic assessment to review student progress. 

13.  Resetting goals according to assessment results. 

These 13 indicators were built into a logic model below to guide the 

validation process of identifying promising and exemplary practices. 

 

 

 

Relevance to the Study 

The indicators expressed in the above model are relevant to this 

theory because of they constitute factors that necessitate quality 

establishment of a standard After-school programme. Setting of clear 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 188 

goals for content area practice is the first to consider while setting up 

After-school program such as Summer Camp for music students. There 

is also the need to align new musical ideas researched with after-school 

activities to achieve the set goals. This becomes well defined in 

alignment of practice content materials with stated for the After-

school training. As stated by Huang (2008), there must be a link 

between practice content activities and day-school activities which 

would reflect the point of intersection. This also reflects in the 

purpose of this study.  

 

The use of research-based curriculum and teaching strategies deals 

with the quality of content that are being taught in musical practices. 

It is expected to be in synergy with the course outline of the school 

academic programme. Provision of a positive programme environment. 

Relates to availability of conducive environment for learning in After-

school programmes. There is also the need to employ motivational 

strategies to engage students in learning; thi, couples with 

performance opportunities within and outside school help to promote 

students’ achievements as they are constantly engaged meaningful 

experiences. For a successful After-school training, effective program 

management/support/resources are important. This includes provision 

of instruments for training in after-school programme and availability 

of instructors to engage the students with their educational 

experience. Periodic evaluation and assessment determine the outcome 

of After-school training and in turn Provides more opportunities for 

student practice within and outside school. 

 

Music Training in Tertiary Institutions: A Pedagogical Approach 

Music training goes along with its pedagogical approaches; in its 

broader sense, it is combination of all practical, application oriented as 

well as scholarly efforts aimed at teaching or giving instructions. Ugo-

Okonkwo (2013) expresses the importance of having a teacher in music 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 189 

training and any other art related skills, according to him: ‘Music, the 

arts and languages cannot be acquired without a teacher, and the role 

of the teacher is not only to import information and correct errors but 

also to record progress, to create enthusiasm and lead the way to the 

mountain tops (p.32) In this light, Omuku (2017) raises issues on 

teaching and learning music:  

Issues pertaining to teaching and learning of music cannot be 
concluded in a day. One needs to continuously reflect on what 
has been achieved so far by analysing what is really taking place 
inside and outside of the classroom. (131). 

 

From the opinion above, music pedagogy has important tasks which 

include ability, experience, understanding and interpretation of musical 

knowledge concerned in areas related to a particular field. It is an 

aspect of music education, teaching, didactics and instruction in music.  

 

From another perspective, music pedagogy is a scholarly reflection and 

theory formation as applicable to various field. In other words, it is a 

form of teaching that systematically provides instruction in practical 

skills with theoretical basis on its application which skills eventually 

reflects aesthetics. Hence, the aspect of competence of the teacher 

is paramount in music pedagogy.  Onyiuke (2003) expresses opinion 

about the competence of the music teacher that ‘within the music class 

the teacher should make adequate effort to establish a favourable 

musical knowledge, understanding, and responsiveness’ (p.69). He 

explains further that the teacher The teacher should provide both 

stimulating and challenging environment where the student or the 

learner can explore to achieve his/her objectives.  

 

In the sane line of thought, Omuku (2017) expresses further that the 

perception of the appropriate music literacy pedagogy is guided by 

representative views from both sampled African and Western 



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scholars. This connotes that the literary knowledge of the music 

instructor or teachers must have been acquired through scholars both 

Western and African. Instructions and training in music over the years 

had pluralised to various method and approaches to pedagogy. Its role 

in music training is indelible either during the school period or After-

school training. 

 

Methodology 

This research design reflects more of qualitative than quantitative 

elements. The study adopts the qualitative approach that involves data 

collection process. It also involved assessment of ESM Summer Camp 

in retrospect. An introspective view about online and on-sight musical 

trainings was also carried out via qualitative studies through 

interviews, observations and rationalisation of the opinion of 

respondents. The researcher used primary data that were accessible 

from reliable sources.  

 

Sample and Sampling Techniques 

A purposive sampling technique was adopted for the study based on 40 

students and 8 instructors and 7 other members of the that came 

purposefully for the Summer Camp After-school training. 

 

Instrument of Data Collection 

interview and questionnaire were developed for unit coordinators and 

instructors to specifically address questions that were most pertinent 

to Summer Camp of Every Student a Musician (ESM) in Mountain Top 

University. 

 

Method of Data Collection 

The primary source of data collection for the study are video interview 

with the students’ comments on the impact of the training after the 

Summer Camp concert. The secondary data included literary materials 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 191 

that proved relevant to the subject of study such as books, journals, 

publications, etc.  The researcher engaged in observation of the 

performance of students on both specific and general instruction. 

 

Method of Data Analysis 

A statistical representation of the overall information from the 

interviews and questionnaire was used as a model for effectiveness of 

After-school musical training to reveal the possible percentage of 

effectiveness depending on the category of After-school musical 

training adopted. 

  

Every Student a Musician (ESM), Mountain Top University 

The Mountain Top University is situated at Makogi, by MFM Prayer 

City, Ibafo, Ogun State, Nigeria. The university has established an 

initiative of musical training captioned ‘Every Student a Musician’ 

(ESM). The initiative was established and funded by the chancellor of 

the University Dr. D.K. Olukoya who is also on the General Overseer of 

Mountain of Fire and Miracles Ministries worldwide. The ‘Every 

Student a Musician’ (ESM) provides ample opportunities for students 

of the institution to acquire and explore skills on musical instruments. 

Musical Instruments taught in ESM-Mountain Top University are 

divided to four (4) instrumental units namely:  

 

SAXOPHONE: Soprano, Alto, Tenor and Baritone Saxophone  

GUITAR: Lead and Bass Guitar 

PIANO: Clavichords/Piano, Organ and Accordion 

ORCHESTRA: 

Strings: Violin, Viola, Cello, Double bass 

Woodwind: Flute and Clarinet 

Brass: Trumpet, Trombone, French Horn, Euphonium 

 



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The above instruments do not include traditional African instrument of 

the music department used for African instrumental ensemble. The 

rationale for choosing the above instrument in ESM training was based 

on the choices of students at the inception of the training. Besides, 

each instrument listed above constitutes the most significant 

instruments in their categories .and they are common in various 

churches and bands.  

 
 

The ESM course outline cuts across training on various musical 

instruments at introductory, intermediate and advanced level; indoor 

and public performance alongside with music entrepreneurial skills are 

introduced after 300 level. The ESM is an initiative that enables 

students secure additional source of income through playing of musical 

instruments outside their major career. The point of dichotomy 

between this initiative and the department of music is that ESM 

adopts more of a practical training session with rudimentary knowledge 

of music theory and general musicianship. These are necessary for 

every student of the University to master their musical instruments. 

The department of music however leverages on core courses in music 

like other departments of music across tertiary institutions in Nigeria. 

The department of music provides in-depth knowledge in the study of 



Olubukola, O. J.: After-School Musical Training for Students in Tertiary Institutions... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 193 

music for students who choose music as their main course. Other 

students of the University, from various departments graduate with 

degree in their various courses and still retain the knowledge of musical 

instrument acquired from ESM. 

 

 
 

ESM Summer Camp 

The ESM Summer Camp is an After-school programme for the students 

of Mountain Top University who wish to acquire and explore more 

musical skills on their instruments beyond classroom experience. It 

exists concurrently with other catch-up programmes of the University 

after second semester during the long period holiday. The Summer 

Camp becomes helpful to disadvantaged students who resumes the 

school session late, probably due to lack of fund to pay school fees. 

Some students who got admission late also enjoy the opportunity to 

catch up the lost grounds in the instrumental training. There are other 

students who participate not to catch -up their missed classes but to 

acquire more skills to what they already know. 

 

 

 



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ESM Summer Camp 2018 in Retrospect 

In 2018, the ESM Summer Camp was an intensive musical training which 

lasted for 3 weeks from 3rd to 22nd September, 2018. This was during 

the long vacation after the second semester examination. The students 

were allowed to go home for two weeks after which interested 

students came back for After-school Summer Camp. The return of 

students to school for Summer Camp yielded a tremendous result in 

the end. However, some students were willing and were not able to 

attend due to proximity as they could not return because of the cost 

to ‘fly in’ for the training and ‘fly’ back home later to prepare for 

resumption. The training was scheduled for Monday to Fridays as days 

of instruction while Saturdays were earmarked for personal and 

private practices amongst individual students and their colleagues. 

During the ESM Summer Camp, the students have access to musical 

instruments amidst of varieties in the custody of the University. 

 

Analysis of Reports 

There were 40 students and other unit coordinators and administrative 

workforce that ensured the smooth running of the training. The 

instructors on training and the unit coordinator carried out pilot study 

using this edition of the ESM Summer Camp. The ESM Summer Camp 

After-school training 2018 was structured as revision to some 

categories of students who have not mastered what was taught in class 

during official school hour. Meanwhile, there was another category who 

did not resume early was a catch-up training. The third category of 

participants were student who wanted to acquire more knowledge and 

explore beyond what they know already. In this wise, the classes were 

sectionalized. 

 

First week of training 

The first week of the training was generally revision of the 

instructions taught in the class during official academic session. In this 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 195 

first week the revision classes were based on the course outline of 

each level. This first week of the training was a bedrock for 

subsequent classes.  

 

Second week of training  

In the second week of training, some students continued revision as 

they could not assimilate at the same level with the others, meanwhile 

other students proceeded to learning new skills. It was noted that few 

of the students that had prior knowledge of musical instrument 

performed better and assimilated faster. However, certain students 

across instrumental classes also performed and responded excellently 

in class despite their fresh encounter with musical instruments for the 

first time on campus. 

 

Third week of training 

This was the week where participants were tutored to attempt pieces 

and songs to perform at the end of the Summer Camp training for the 

year. The third week training occasionally required that the students 

converge to perform certain pieces together which are arranged to 

accommodate most of the instruments in ESM. There were also solo 

performances and duets assigned to individuals and colleagues 

according to their abilities. 

 

Summer Camp 2018 Mini Concert  

This marked the last day of the After-school training for the year. 

The concert held to showcase individuals and groups of students 

performing together. Participating students express their happiness 

for the competition. The former HOD Music Department Dr. Ayo 

Oluranti chaired the occasion and expressed his satisfaction about the 

students’ performance and the uniqueness of the initiative ESM to 

Mountain Top University. Instructors contributed their opinion on the 



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need for continuity of summer camp as a lee way to help out students 

that are disadvantages in ESM practices.  

 

Evaluation 

It was confirmed that the ESM Summer Camp training 2018 held 

approximately 5 hours training with 1hour break intercepting as relief, 

rest or lunch period for students and instructors. This period of 

instruction is calculated for 15 working days in 3 weeks which resulted 

in 5 x 15 = 75hours in approximation. If 75 hours is spent in After-

school Summer Camp, there is the need to find out how many hours of 

training do the students have to train in the semester. If semester 

activities run for about 14 weeks with or without assessment period, it 

means ESM has instructed students for 28hours in a semester. This 

estimation excludes the time allotted for students to sign in and out 

their musical instrument from the store. If 28 hours of training holds 

in a semester, in two semesters 56 hours of training holds in official 

academic section of ESM in order to compare and contrast the period 

of training. The Summer Camp spends more time equivalent to 19hrs of 

practice compared to the original calendar of school.    

 

The complementarity of ESM Summer Camp After-school with regular 

academic programme is revealed as the Summer Camp bridges the gap 

providing knowledge to those who were not updated in ESM training 

activities. The ESM Summer Camp also complements the performance 

of students by providing more time to practice and master what has 

been taught previously during official academic session. It is worthy of 

note that most of the best student in ESM training at the final year 

level are students who have participated in Summer Camp. The reports 

from focus group and dialogue with students affirmed that long-term 

holiday is considered better than short time holiday after first 

semester because of the time of entry and departure to destinations 

before official resumption is short. Daily after school training is 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 197 

considered an individualistic activity after school. However, certain 

population of students on campus do not have their personal instrument 

for daily practices after school but depend on the instrument provided 

by the school which could only be available during school hours.  

 

ESM On-Sight and Online Musical Training: A Comparison  

Every Student a Musician (ESM) carried out on-sight musical training 

with the students of Mountain Top University from inception until the 

pandemic lockdown when many institutions were subjected to online 

training. The online training approach to teaching musical instruments 

reveal disjointedness of students and instructors on the virtual ground 

although it gives impression in individuals’ imagination that the class is 

together. The on-sight training provides the following to the system of 

training in ESM. 

1. Instructions in on-sight training are easily communicated with 

physical demonstration where necessary. 

2. On-sight training helps the ESM to properly monitor the 

assessment of students physically during examination without 

depending on network,  

3. On-sight training helps to monitor authenticity of performance 

of students unlike virtual. 

4. On-sight training also allows instructors to carry out jury 

performance assessment instead of asking students to send the 

recordings of their works for assessments. 

5. On-sight training allows connectivity, togetherness and direct 

impact amongst students during demonstration in class 

activities. 

 

ESM Online Training -Merits  

1. It helps to navigate through various media files which can 

explain instruction with different approaches. 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 198 

2. It helps collation of information and data files for students’ 

personal practices. 

3. It allows instructor to teach anywhere in the world with no 

regard to proximity. 

4. ESM online training reduces stress of movement or transit. 

Most times, the amount spent on data is minimal compared to 

moving to campus for training. 

5. Online training gives room to explore many opportunities to 

access more materials for training. 

 

Since the end pandemic lockdown, many tertiary institutions especially 

in Nigeria began to resume their on-sight classes gradually while some 

still practiced both online and on-sight. Some After-school 

programmes, due to logistics have not commenced physically but still 

maintain online training. The resultant effect of online After-school 

training might not have a dwindling effect on some courses, especially 

the theories and histories. In teaching of musical instruments and its 

performance, on-sight training has always been preferable for easy 

impartation of skills which might take less period of time to 

demonstrate and explain to the students unlike training virtual class 

that is unpredictable due to network fluctuations. Teaching practical 

courses online has proven to be effective with high degree of 

technology. However, practice and performance by nature are physical 

and not virtual; this is aspect of physical contact is an attribute of man 

that might keep returning some practical courses, such as music, to 

physical training despite the advancement in technology. 

 

Proposed Model for Effectiveness of AfterSchool Musical Training  

A more content focused model was developed to provide statistical 

evaluation of the effectiveness of After-school online and on-sight 

musical training. This model expresses the chances of possibilities in 

an individual perception and adoption of After-school training. 



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Individuals, class or group of students may be classified into any of the 

categories of After-school musical training depending on: 

 

1. time available for training after-school 

 

2. availability of instrument for training after school 

 

3. online or on-sight training facilities available after school. 

 

4. daily after-school hours, short-term and long-term holiday 

training as the case may be.  

     

 

 

     

 

 
 



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 Awka Journal of Research in Music and the Arts Vol.15 (2021) 200 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

After-School Training: ‘On-sight and Online’ 

In the above statistical model, 1Ai ,1Aii, 1Bi and 1Bii stand for category 

of students in tertiary institution who adopt daily refreshers training 

or exercise on their musical instrument or any music practice. This is 

further divided to On-sight (1Ai,1Aii) and Online (1Bi, 1Bii). In each 

category there are consistent and non-consistent students in their 

mode of training chosen after school. The daily-after-school music 

training that is consistent in on-sight category seems the most 

effective as the improvement remains gradual and progressive because 

the student practices physically and regularly. The ‘online-daily’ for 

after-school training has a level of sustainability but highly dependent 

on factors that control virtual ground such as network and data. This 

determines how effective the training could be but could not be as 

much as effective as the category of on-sight training that is 

consistent as indicated above. There is also a category of short-term 

holiday intensive musical training which may hold within the short break 

between the first and second semester, this also has its level of 

effectiveness. Some of such training after school could be consistent 



Olubukola, O. J.: After-School Musical Training for Students in Tertiary Institutions... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 201 

or not depending on the factors that surround the students, 

instructors or lecturer and the institution. Several factors can also 

determine the consistency. The third category is the long-term after 

school of which the ESM Summer camp is used as a case study. The 

statistics above represents the effectiveness of After -school music 

training which reflects in the performance of the students. 

  

Summary and Conclusion 

Music training requires consistency and time for practice and 

performance. Academic sessions in tertiary institution holds for about 

14 weeks in a semester calendar. The gap between the two semesters 

is a short-term break for students to remain in their home temporarily 

while the school management can collate the result for the semester. 

Among other factors that interrupt academic session is strike, public 

holidays and communal clashes leading to curfew.  Every Student a 

Musician (ESM), an initiative in Mountain Top University embraces 

teaching of every student a musical instrument. The need for further 

training towards mastery and recover lost ground instigated the ESM 

Summer Camp. The maiden edition in 2018 was the focus of this study 

considered from various perspectives, evaluation was drawn from a 

wider scope of After-school music training considering online and on-

sight; daily, short-term and long-term. This model developed for this 

study indicates the effectiveness of the categories of after school 

training to consistent and non-consistent students. The graphical 

representation shows that the consistent daily on-sight after school 

training is gradual and consistent for mastery while long-term on-sight 

training seems good when facilities are available to run such training 

for long time during long period of holidays. The effect of after-school 

training is still lasting till after graduation. However, factors that 

makes this model effective for use is availability of resources or 

instrument and specific period for both online and on-sight for the 

same category. 



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Recommendations 

Department of music in other tertiary institutions should adopt After-

school musical training, if not already adopted, for mastery beyond 

class experience of the official academic session. Individual music 

students have better chances of improvement as they engage in on-

sight After-school training daily for a specific number of minutes or 

hours. Consistency is key in After-school training. It is recommended 

that tertiary institutions should make provision for musical 

instruments to enhance the department of music of the institution; 

this is a viable option to establishing an effective After-school 

programme that will benefit both students, the   institution and the 

society at large. 

 

References  

Afterschool Alliance. (2009). New “Roadmap to Afterschool for All” 
charts course to expand quality afterschool activities. 

Retrieved from http Comer, J. (2001). Schools that develop 

children. Scribbr. http://prospect.org/article/schools-develop-

children 

Afterschool Alliance (2009). America after 3pm.: Scribbr. 

http://www.afterschoolalliance.org/ 

Creswell, J. (2009). Research design: Qualitative, quantitative, and 

mixed methods approach (3rd ed.). Thousand Oaks, CA: Sage 

Publications.: 

//www.afterschoolalliance.org/press_archives/Roadmap_NR_0

42709.pdf. 

Durlak, J., Weissberg, R., & Pachan, M. (2010). A meta-analysis of 

after-school activities that seek to promote personal and social 

skills in children and adolescents. American Journal of 
Community Psychology, 45(3), 

 Durlak, J., Weissberg, R., & Pachan, M. (2010). (2010). A meta-analysis 

of after-school activities that seek to promote personal and 

http://prospect.org/article/schools-develop-children
http://prospect.org/article/schools-develop-children


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social skills in children and adolescents. American Journal of 
Community Psychology, 45(3), 294–309. doi:10.1007/s10464-

010-9300-6 

(Goldschmidt, Huang, & Chinen, 2007; Vandell, Reisner, & Pierce,). 

(2007). The long-term effects of after-school programming on 
educational adjustment and juvenile crime: A study of the LA’s 
BEST after-school program. Los Angeles, CA: UCLA Center for 

the Study of Evaluation 

Kane, T.J. (2003). The impact of after-school programs: Interpreting 

the results of four recent evaluations. Retrieved Jan. 17, 2006 

from www.wtgrant foundation.org/usr_doc/After- META. 

Omuku. F. (2017). Issues and challenges of choral music pedagogy in 

Nigeria: teachers’ perspective: Journal of Nigerian Music 
Education No.9. 

Onyiuke, Y. S. (2003). Motivation as a valuable factor in Nigerian 

primary school music teaching. Awka Journal of Research in 
Music and the Arts (AJRMA), 1, 69-78.  

Stanley T. C. (2011) Meta-analysis of the impact of after-school 
programs on students reading and mathematics performance. 
An unpublished Dissertation Prepared for the Degree of 

University of North Texas. 

Ugo-Okonkwo, I. A. (2013). A case study of teaching choral singing in 

an urban secondary school of Anambra state applying learning 

theories. International Journal of Academic Research in 
Progressive Education and Development. Vol. 2, No. 1. ISSN: 

2226-6348 

 

 

 

 

 

 



Olubukola, O. J.: After-School Musical Training for Students in Tertiary Institutions... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 204 

APPENDIX 

Questionnaire 

. ESM INSTRUCTORS/ WORKFORCE  

Questionnaire On ESM Training  

1. Name (0ptional) 

2. Instrument- ——-(Unit...) 

3. Year of Teaching experience in music  

4. Rate the level of music knowledge of your student in percentage.  

5. Do you think After-school Programme could help improve ESM 

students? 

6. What are the challenges your students face in learning that After-

school program like Summer Camp could help them resolve? 

7. Were you amongst the instructors that taught or coordinated 

students during ESM Summer Camp 2018 at MTU? Yes/ No 

8. If yes, give brief reports.  

9. Can you say ESM Summer camp complements the official training 

during school hours? How do they complement each other? 

10. Compare online and on-sight Training of Student in ESM. effect 

 

Proposing Model that guides rate of effectiveness of After-School 

Music Training.  

Rate the following in percentage according to their rate of 

effectiveness. 

1Ai. Daily After-school, Consistent -On-sight 85% 

1Aii. Daily After-school, Non- consistent -On-sight 65% 

1Bi. Daily After-school, Consistent -Online 68% 

1Bii. Daily After-school, Non- consistent -Online 60% 

2Ai. Short-term holiday, After-school Consistent -On-sigh60%t  

2Aii. Short-term holiday, After-school Non-consistent -On-sight55%  

2Bi. Short-term holiday, After-school Consistent -Online 55% 

2Bi. Short-term holiday, After-school Non- consistent -Online 50% 

3Ai. Long-term holiday, After-school Consistent -On-sight75% 



Olubukola, O. J.: After-School Musical Training for Students in Tertiary Institutions... 

 Awka Journal of Research in Music and the Arts Vol.15 (2021) 205 

3Aii. Long-term holiday, After-school Non- consistent -On-sight70% 

3Bi. Long-term holiday, After-school Consistent -Online 68% 

3Bii. Long-term holiday, After-school Non-consistent -Online 68% 

 


