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Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

ACQUIRING MUSICAL SKILLS THROUGH PRACTICAL MUSIC     EDUCATION: A STUDY OF 

SELECTED PRIMARY SCHOOLS IN AWKA 

 

Joy Ogochukwu Nwobu 

Postgraduate Student, Department of Music, Nnamdi Azikiwe University, Awka 

Email:ogochukwujoy157@gmail.com 

& 

Ikedimma Okeke (Phd) 

Department of Music, Nnamdi Azikiwe University, Awka 

Email: in.okeke@unizik.edu.ng 

 

 

Abstract 

This study examined how practical music education could engender skill acquisition in children. The 

idea was borne out of the need to make music more engaging, interesting, and fulfilling to pupils 

against the backdrop of prevalent disinterest in music in schools occasioned by dysfunctional music 

education. Eight primary schools in Awka metropolis were studied which included forty pupils and 

eight music teachers. Primary data for the research were sourced through Questionnaires and 

interviews. Pertinent issues examined included, the status of music education in some primary schools 

of Anambra state, and how practical music education could foster musical skills in children. Findings 

show that music studies as encapsulated in Cultural & Creative Arts(CCA) curriculum for primary 

schools is deficient, there are not enough music teachers in the primary schools, skills acquired 

through music can easily be transferred to other beneficial skills later in life. It is recommended 

that music be extricated from the shackles of CCA in order to place it in proper perspective to foster 

a fulfilling music experience for children.  More music teachers should be employed to curb the threat 

of extinction of music in primary schools, and finally the curriculum of music studies of primary 

schools should be restructured to integrate more practical music in order to yield more skill 

acquisition for children. 

 

Introduction 

The concept of skills arises from many disciplines or sub-disciplines. Skill is the distinguishing factor 

between peers or allies in the same field of endeavor, be it in music, theatre arts, medicine, etc. 

What separates practitioners in any field is the degree of skills anyone of them has acquired in that 

specific profession. Skill cannot be harnessed without education. According to Okafor (2005) 

“Education is designed to equip the individual not only to earn a living but also for life itself, through 

the encouragement of socially desirable knowledge, attitude and skills”. Skill cannot be separated 

from education as education is the vehicle that propels skill. It cannot be overstated that without 

skillfulness, no meaningful advancement would have been attained in the world today. Every single 

invention, every scientific, artistic, sociological and technological breakthrough that has been seen is 

the product of some level of skill on the part of the individual or individuals involved in its realization. 

These individuals needed to be educated whether formally or informally to be able to apply this skill. 

The development of any nation cannot be separated from its educational system. Ibekwe (2009) 

supported this thus “education is regarded as the key to nation building (p.13). 

 



 

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Skill is a pattern to grasp as far as life and work is concerned. Every human endeavour requires skill. 

Skill is required for any kind of profession or occupation that exists in our world. A country without 

a skilled workforce would barely attain its developmental goals and aspirations. No matter how well 

articulated and well planned a country’s policy may be, without an articulate and skilled manpower to 

realize its objectives, the country is headed for doom. One of the major challenges facing Nigeria as 

observed by many researchers is the lack of skilled graduates. 

 

From the foregoing, we cannot disconnect skill acquisition as the basis of social, political and economic 

development of any country. The educational sector is the primary place where skills can be acquired 

and where there is a failure in this respect, the country’s capacity to turn around its socio-economic 

will be almost impossible. Skill is so obvious that it distinguishes individuals, states, nations from 

among their contemporaries.  Countries that have enjoyed growth and development are countries that 

have developed the skills and competences of its people. It is on this premise that this paper sought 

out various ways on how children can acquire musical skills through practical music education. The 

acquisition of musical skills by children such as singing, composing music, dancing, or playing musical 

instruments can transform the lives of the young learners and become formidable tools in their hands 

in transforming the society at large. 

 

Statement of the Problem 

It was observed by the researcher that the music curriculum of Nigerian primary schools lacks the 

element of skill acquisition; i.e. it has no provision for the learning of musical skills. The curricula are 

mostly based on the theoretical aspect of music and have little or no plan in helping pupils in the 

acquisition of musical skills. Moreover, the little plan in the curricula for pupils to acquire musical 

skills is attacked by the problem of teaching strategies. There is little or no understanding about how 

individual pupils are and how differently they can learn. Teaching of musical skills is done in a 

particular method which favors pupils that understand the method and leaving pupils that do not 

understand the method behind. More so, very few primary schools offer music; most of the primary 

schools that offer music have no musical instrument; and most of the primary schools have Cultural 

and Creative Arts teachers instead of music teachers. 

 

Purpose of the Study 

The general aim of this study is to explore the relevance of music education in skill acquisition for 

children. To achieve this, the researcher intends to explore the following objectives:  

1. Unveil the status of music education in primary schools of Anambra state 

2. Reveal the competence of the available music teachers in handling the subject. 

3. The scope of the music curriculum in fostering musical skills. 

4. Find out ways of sustaining creativity in music education and fostering skill acquisition in 

children.  

  

The Significance of the Study 

It is hoped that this research will impact positively on the primary school music teachers whose 

responsibility is to teach the pupils practical music, the pupils themselves, educational policy makers, 

and curriculum planners. 

 The pupils should through this study realize the need for them to acquire musical skills that 

will foster self-expression, self-reliance and creativity. 



 

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 This study will create awareness in music teachers on the importance of a child having a 

musical skill. 

 Curriculum planners will gain insight on the various factors involved in curriculum 

implementation, especially when it involves acquiring musical skills. 

 The educational policy makers will see the need for consultation before adopting any 

educational policy. 

 

Research Questions 

These questions guided the research: 

1. What is the status of music education in primary schools of Anambra state? 

2. How competent are the music teachers in schools? 

3. To what extent can music curriculum help to instill creativity in primary schools?  

4. In what ways can music education instill creativity and enable skill acquisition in the primary 

schools?  

5. What suggestions can bring solutions to the problems?      

 

The Scope of the Study 

This study examined the situation of music education, particularly practical music, in eight (8) primary 

schools that are offering music in Awka, Awka South Local Government Area at the time of study. 

The schools that will be covered will include; Grace Court International School Awka, Unizik 

Nursery/Primary School Awka, Blossom Fount Nursery/Primary School Awka, Ridge Valley 

Nursery/Primary School Awka, Grand Hermano Nursery/Primary School Awka, Police Children School 

Awka, Assured Tender Nursery/Primary School Awka, and Handmaids Infant Jesus Nursery/Primary 

School Awka.                                

  

Review of Relevant Literature 

Conceptual Framework 

Relevant concepts appertaining to this study are outlined and explained in detail in this section. 

 Skill  

Skill is the ability to do something well, usually gained through training or experience (Encarta 

Dictionaries, 2009). The skill referred to in this study is music skill such as the skill to play musical 

instruments like piano-keyboard, harmonica, recorder, guitar, oja, etc. 

Skill Acquisition 

 Since skill is the ability in engaging well in an endeavor seen across disciplines and human endeavors, 

it is therefore, acquirable. Skill acquisition is the “the art of learning to do something in order to 

earn a living and or to survive” (Wikipedia,2023). Skill acquisition is not limited to the technical 

careers and professions; music has a place in skill acquisition also. Skill acquisition in music is the 

mastery of music related activities. This can be the mastery of playing a musical instrument, singing, 

performing or dancing. In this study, skill acquisition for children through the learning of musical 

instruments was pursued. 

Skill and Content Learning Sequence in Music 

Gordon (1980) expatiates on this double concept thus: 

Though each functions according to separate guidelines, skill learning sequence and content 

learning sequence are combined and are more mutually dependent in the learning process. One 



 

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cannot learn a given skill without a given music content, and one cannot learn a given music 

content without the use of a given skill (Pg.130). 

The point here is that the pursuit of musical instrument playing skill is inseparable from the general 

learning content such as tone, pitch, or rhythm associated with the entire lesson. For example, one 

does not learn to play the recorder and avoid learning also about tone, pitch, or rhythm associated 

with the instrument. 

 

Skills in Productive Thinking 

The relevance of skill goes beyond mere accumulation of virtue but for productive thinking. Kirk & 

Gallagher (1983) captured this idea succinctly: 

It is not just the accumulation of knowledge that is important but also how that knowledge is 

used to generate new ideas and solutions. The ability to generate new information through 

the internal processing of available information is one of the most impressive and valuable 

skills of mankind…. It is the ability to recombine the bits of this information into new meanings 

that sets mankind apart from the animals. It is the ability to perform these thinking 

processes well that sets the gifted student apart from the student with average 

ability(Pg.97). 

 

Education  

Education is a process of human growth by which an individual gains greater understanding and control 

over himself and this world. According to Nwadiani (1997) “Education is a catholic social service, its 

meaning varies from time to time, from people to people and from place to place” (p.5). Mbanugo 

(1999) also defines education as “A multi-faceted concept which simply refers to learning or 

intellectual attainment” (P.236). This means that education is diverse as so many things can be 

involved when it comes to learning. Education is also a way to navigate our intellectual ability to its 

next level. Education involves our minds, our bodies and our relationship with the people; and the world 

around us. Onyeji (2008) writes that “education is generally perceived to be the process of discipline 

through training and studying in the acquisition of skills and knowledge” (p.150). Nothing is known and 

no skill is acquired without education. Education is at the root of everything that is known and every 

skill that is acquired. Without education the world will never grow and innovations would be at a 

standstill.  According to Okafor (2005) “Education is designed to equip the individual not only to earn 

a living but also for life itself, through the encouragement of socially desirable knowledge, attitude 

and skills” (p.190). Education is not only geared towards making daily ends meet but also structured 

for the improvement of our lives. This is achieved through principles, values and morals that are 

passed to us through the society we live in. These principles, values and morals include; discipline, 

patience, love, kindness et cetera.  

 

Nosiri (2010) defines education as “A process of harmonizing the individual within a given environment 

in such a manner as to enable him develops all his capacities for the overall interest and welfare of 

all (p.72). In other words, education means the modification of human behavioral patterns to complete 

themselves into the existing code of conduct as integral part of the total system of ideas, knowledge, 

law, and philosophy values, moral and belief that constitute the cultural content of the society they 

belong to. According to Nnamani in Yekini-Ajenifuja (2009) “Education is a process of transformation 

through which the individual is helped to attain the development of his or her potentialities and their 

maximum activation and when necessary according to right reason and to achieve thereby his perfect 



 

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self-fulfillment” (p.65). The development of any nation cannot be separated from its educational 

system. Ibekwe (2009) supports this thus “Education is regarded as the key to nation building (p.13). 

To build a nation, the human components must be built. There is a popular adage; ‘build a man and the 

nation is built’. This is where music teacher’s education has a role to play in the process of building 

the nation. Teacher’s education must continue to be given a major emphasis in all educational planning 

because teachers are to implement what has been built into the programme. Opadokun in Ajewole 

(2010) states that “There is the need for majority, if not all citizens to be educated at least to a 

certain level”. For a nation to move forward, she must equip her citizens with education, which is the 

key to development. Adande in Ajewole (2010) states that education is the cornerstone to 

development. Agu (2006) states that “Education in Nigeria is no more a private enterprise but a huge 

government venture that has witnessed a progressive evolution of government’s complete and dynamic 

intervention and active participation”. The Nigeria government has adopted education as an 

instrument of excellence for effecting national development. 

Education remains a potent and salient factor that enhances the change of the individual to contribute 

maximally to his/her society. 

 

Bloom’s Taxonomy of Learning in Perspective 

Blooms’ taxonomy of teaching/learning models have given insight into the dimensions of learning which 

have serious implications for teaching. The strategies involved are geared towards the influence of 

three basic human domains which he labelled, cognitive – the intellect, psychomotor- physical, and 

affective- emotions. 

Child (2004) captures this clearly: “One outcome of developments in cognitive psychology has been 

the elaboration of ‘models’ of instruction or teaching. Of these, the most useful has been Bloom’s 

(1976)” (Pg.395).  

Engaging children in learning musical instruments invariably influences these three domains of learning 

in them for example, in playing the guitar; notes are learnt (cognitive development); they move their 

fingers in playing notes on the strings of the instrument (psychomotor development); they also enjoy 

the music they make with the instrument (affective development). 

 

 Exceptional Children 

Hallahan and Kauffman in Campbell and Scott-Kassner Campbel (2010) define exceptional children as 

“those who require special education and related services if they are to realize their full human 

potential. The challenge has been to determine the nature of programs to support the varied and 

unique needs of these children and to fund such programs”. Although the focus of this paper is not 

the education of exceptional children but it is necessary at his point of the paper to understand that 

an experimental research of this nature would surely encounter exceptional learners in the field.  

 

Rote learning versus Meaningful (Practical learning) 

Rote learning is learning by memorization. The learner memorizes numbers, symbols, and patterns 

that will form the basis of meaningful leaneing later.  Child (2004) explains that “Some of the demands 

we make of children require rote learning. Any symbolic form new to the child will require rote 

memorization. For example, the letters of the alphabet, numbers, musical notation and chemical 

symbols have to be learned ‘by heart’.” (p.135). 

Rote learning is relevant in learning musical instruments because the basics of notes and their values, 

for example, need to be memorized first before the actual interpretation on the instrument. 



 

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Meaningful learning takes place when the ideas that have been memorized come into play in practical 

demonstration or realization, for example, playing memorized notes accurately on the instrument 

makes meaning to the learner and also gives meaning to the abstract notes already memorized. 

 

Schematic Learning 

Schematic learning has been defined as using organizations of past actions which become the seed-

bed for interpretation and development in future learning (Child, 2004). This type of learning was 

explored in this study as it affected skill acquisition in children. 

 

Music Education 

Music education has been defined by many musicologist and scholars. For Okafor (1988) ‘Music 

education is universal, touching all domains of learning; it is a fundamental component of human 

culture’. To buttress the above, Yudkin (2008) writes that: 

music education is a field of study associated with the teaching and learning of music. It 

touches all domains of learning, including the psychomotor domain (the development of skill); 

the cognitive domain (acquisition of knowledge) and in particular and significant ways, the 

effective domain, including music appreciation and sensitivity. The incorporation of music 

training from pre-school to post school education is common in most nations because 

involvement in music is considered a fundamental component of human culture and behaviour. 

Music and language are accomplishments that distinguish us as humans (p.4). 

 

While music education will normally reflect the place of music in a society, it must above all be the 

education of the human being. Onyeji (2001) defines music education as a systematic instruction given 

to an individual or group on the usefulness of music and technical know-how on music making and 

individual relevance in the society (p.5). Similarly, Joel (2001) portrays music education as the: 

Various ways of teaching and learning of various aspects of music with the aim of developing 

the learners vocationally, intellectually, emotionally, physically, and socially, a vibrant tool that 

leads to socialization, enculturation and transmission of what is worthwhile to those 

committed to it (p.5).  

In other words, Adeogun (2006) declares that “Music education is a discipline that helps prepare 

personnel that are technically competent in music making and capable of managing and mediating 

interaction between man, music, and society (p.105). Concurring, Anya-Njoku (2007) describes music 

education as one educational process that entails the acquisition of knowledge skill and attitude in 

music that will foster the interest and ability of the learner to be useful to himself and his society 

musically (p.56).  

 

From the above definitions, we can deduce that music education is the programme through which a 

learner is equipped through carefully planned principles, processes and practices to recognize and 

develop his or her musical potentials to the highest possible level. A system that prepares citizen 

who could make music a relevant part of man’s experience as it relates to the society in which he or 

she lives. Anya-Njoku (2007), states that “A  programme and its potentials and success can only 

blossom when the profession accepts its societal responsibility and assists the musical growth of all 

people in the society” (p.57). The need for music education in schools and most especially at the 

primary school level is correctly captured in this submission by Regelski (1981: 



 

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Music education does not necessarily seek to prepare professional musicians or critics or even 

dilettantes. Music education seeks to discover and nurture potential musical talents but above 

all, seeks to bring music to all people as an engaging and rewarding activity worthwhile for its 

own sake. In a sense, music education seeks to make a rewarding, lifelong “hobby” for everyone 

(p.32).  

The purpose of primary music education programme in Nigeria is to develop cultural arts embedded 

in performance experiences such as music, drama and dance of a child to its highest possible level. 

The reality of life in most countries, especially Nigeria, is that this must be seen in the context of 

the development of the society. The development and changes required in human habits through music 

education can be harnessed with a realistic musical instruction. This realistic musical instruction 

should give children opportunities to listen to know or learn how to attain a value – enriched life 

through musical practices.  

 

The major aim of music education therefore is to provide a varied, significant and cumulative musical 

experience for every child. In other words, the purpose of the programme should be to recognize, 

groom, and release to the society trained musicians who would release music from the confines of the 

school and colonialism and make it relevant part of man’s experience as it relates to the society in 

which he/she must live. The aim of music education is to inculcate in the learner musical skills, 

understanding and attitudes that will enable him/her gain full grip on the total art and its societal 

functions. Some of the benefits of music education in primary schools include: the promotion of music 

experience in the classroom, the emotional, intellectual, and physical development of the child. It also 

has been noted that music can help to enliven other subjects, and it can help the child to understand 

different aspects of his or her own culture and to appreciate aspects of other cultures. With all 

these aims and benefits, the outcome should be to produce pupils who will with enthusiasm carry the 

joy of music from the classroom to the society and earn a living through music. 

 

Practical Music Education 

Practical music education is preoccupied with engaging learners with various musical activities geared 

towards developing their innate abilities and skills such as singing, dancing, or playing musical 

instruments. Campbell and Scott-Kassner(2010) explained this concept in detail using musical 

instruments pedagogy as example: 

For some children, making music is equivalent to playing musical instruments. The appeal of 

tapping, striking, shaking, blowing, and strumming musical instruments is one of the great joys 

in their lives. Because musical instruments are extensions of the musical self, when children 

play they are often demonstrating what they know and express musically. To play a musical 

instrument is to deliver to others ideas that are not easily expressed verbally(Pg.218). 

 

Music appreciation versus Music understanding 

Music apprecia 

tion and music understanding are two musical concepts that have been confused amongst music 

educators for quite a long time and it is imperative that they are clarified here because of their 

relevance to the present study. Gordon (1980) argues that: 

Appreciation and understanding are concepts which have particular relevance to the 

psychology of music learning. The former has been largely associated with music education in 

the past, whereas the latter, because of enlightened educational theory, commands current 



 

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attention…. The purpose of music education is to provide one with the understanding so that 

he can express himself aesthetically to the extent his attitudes will allow, with both his body 

and abstractions…. Music understanding as the primary goal of music education is gaining 

acceptance, and music appreciation is being placed in its proper perspective…. Through music 

understanding, one learns music; through music appreciation, one learns about music (Pg. 1-2). 

The whole point of Gordon’s argument is that, even though both concepts have their respective places 

in music education, but it is necessary to guide learners towards basic understanding of music and not 

just appreciation. For instance, a child can dance happily to a folk tune without understanding the 

meaning and the musical idioms of the music. The music teacher should move from the level of 

appreciation to understanding by employing the same appreciated folk music to teach some musical 

elements embedded in the song. The same way should children be guided towards practical music 

understanding and performance using familiar tunes hence the point of this study research: “Skill 

Acquisition through practical music”. 

 

Transfer of Learning 

Transfer of learning is simply the extension of learned behavior in solving other problems. Kirk and 

Gallagher (1983) reveal this: 

Thus, another major instructional goal for the educator of the gifted is to enhance those 

thinking skills that allow the child to be creative; that is, to produce a unique product (from 

the child’s point of view) from the available data or information. One manifest special 

education goal is to help gifted children develop those skills that will eventually make them 

autonomous thinkers, not dependent on adults or teachers, but possessing the tools and ability 

to seek knowledge on their own (p.97). 

This idea is pertinent to this study because the skill a child acquires through learning a given musical 

instrument, for example, the recorder, is transferrable in learning and playing the saxophone.  

 

Music Curriculum 

According to Nwankpa (1999), “Curriculum is derived from a Latin word, “currere” which may be 

interpreted as running a course (p.28). Curriculum refers to the course or programme which pupils 

have to run in a school or an institution. The three components of the curriculum are the programme 

of studies, the programme of activities and the programme of guidance. In Onyiuke (2006). Tyler 

defines curriculum as: 

 concerned with all the learning of students, which is planned and directed by the school to 

attain its educational goals. It embraces educational objectives, all planned learning 

experiences including extra – class and learning activities at home in so far as they are planned 

and directed by the school and finally the appraisal of students learning (p.33). 

 According to Olisaeke (2019), curriculum can be broadly defined as sum total of all the experiences 

a learner undergoes under the guidance of the school or institution. According to Adeyinka (1988), it 

can be concluded from the various definitions that the purpose of all curriculum planning is to provide 

opportunities to the learners to benefit maximally from participation in selected learning activities 

and appraisal of learner’s learning. This participation of learners and teachers is known as instruction. 

Instruction is thus the implementation of curriculum plan. The curriculum plan suggests or specifies 

activities to be carried out by learners as well as materials to be used. The teacher who implements 

such plan also carries out pre-instructional plan, which includes selection of teaching materials and 

activities. 



 

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The term “curriculum” is often used to describe only the goals, objectives or plans, something distinct 

from the methods, materials and assessment. Yet, since each of these components are essential for 

effective learning and since and since each includes hidden barriers that master learner’s curriculum 

design should consider each of them. The guideline which is the curriculum when applied to the general 

education, should meet the educational needs of most students including those with disabilities. The 

curriculum can help to guide the design of expectations, contents, methods and outcomes across 

differing classrooms in each school system. Curriculum is a planning course or subject by the 

curriculum designer in education sector for all school levels to achieve their educational goals and can 

be developed and interpreted by each school curriculum team. Curriculum is the outline of the skills, 

attitudes, performances and values, pupils are expected to learn from schools, it includes statements 

of desired pupil’s outcomes, descriptions of materials and planned sequence that will be used to help 

pupils attain outcome. The curriculum planners should consider the numerous and unresolved problems 

to be included in the school curriculum. In other words, curriculum should be able to meet the 

objectives of the educational policy in all angles. 

 

Theoretical Framework 

The theories that form the backbone of this research shall be reviewed in this section with the view 

of assaying their ramifications that affect the study. 

The bulk of theories and methodologies on music education are inexhaustible ranging from the works 

of Thorndike, Skinner, Vygotsky, Piaget, Bandura, Asubel, Bruner, Gagne, Gordon, Kodaly, Orff, 

Suzuki, etc. Campbell, P. S. and Scott-Kassner, C. (2010) explain that: 

Theories of learning, teaching, and instruction are embedded in nearly every musical 

experience. Jeremy and Bryan playfully explore the music making possibilities of spoons, cups, 

and pans: Bruner (1966), Vygotsky (1978), and Jonassen (1991) have developed theories to 

explain this behavior…. Theories about how children learn and how teachers can help maximize 

this learning are at the heart of every practical musical experience that teachers provide for 

children(Pg.16). 

For the present study, two theories have been drawn as the theoretical framework owing to their 

relevance to the research. They are Adedeji’s theory of ‘Transformative Musicology’ (Adedeji, 2010) 

and Okeke’s theory of ‘Adaptive Musicology’(Okeke, 2020). 

 

Transformative Musicology 

The theory of Transformative Musicology proposed by Prof. Femi Adedeji posits that “musicology 

should be geared towards the transformation of the individual and the society. It encompasses all 

musical activities that focus on transformative purposes. Transformative musicology is the musicology 

that aims at the transformation of our environment and our world at large” (Adedeji, 2010). 

 Pupils and young learners should be made to understand that music is not just for entertainment but 

also a tool for positive change or transformation. Problems and challenges invading the society can 

actually be addressed and tackled through music. The fact that music reaches more people proves 

that it can effect more change to the ills and challenges of the society. Pupils should be taught and 

encouraged to write and compose songs that address and offer solutions to societal challenges and 

shortcomings. This way, transforming them into change agents for knowledge, truth, integrity, justice 

and equity, etc. 

 



 

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The import of this theory to this study is so remarkable for the fact that engaging children in 

practical music education engenders not only skill acquisition but transforms them into artists, 

aestheticians, music makers, peacemakers, educators, etc. 

Children become transformed also into problem solvers in society because mastering musical 

instruments is akin to problem solving. 

This theory also is a push for the transformation of the inert curriculum of music studies in the 

primary schools into a practical, demonstrative, and transformative one. The state of the curriculum 

will take music in the primary tiers of learning into extinction if it is not revamped to capture the 

necessities and imperatives of skill acquisition through practical music education which is the thrust 

of this paper. 

All that have been pursued in this research: experimentations with musical instruments, field work, 

educational methodologies, and classroom engagement with the pupils have all gained the support of 

this theory. 

 

The Theory of ‘Adaptive Musicology’  

The theory of ‘Adaptive Musicology’ by Okeke (2020) posits that: 

the potentiality to excel in a given musical instrument is traceable to the individual’s adaptive 

features. That is, the capability to adapt successfully to the learning and mastery of a given 

musical instrument is native to the individual. Because every musical instrument poses peculiar 

challenges in learning, it becomes necessary for the learner to be prepared for such peculiar 

demands and to choose the musical instrument/s that he or she can naturally adapt to. The 

piano demands long, thin, and strong fingers and learners with shallow and short breaths, 

under-bite, and cleft tongue should be guided away from the brasses and woodwinds because 

of their demands for good breathing, tonguing, and embouchure(pg.86). 

 

This theory provides another formidable framework on which this study rests. The import of the 

theory is that in learning music generally, or in teaching musical instruments specifically, care should 

be taken not to foist musical instruments on learners by rule of thumb. Adaptability tests should be 

administered on each learner to ascertain their adaptability for several instruments to be learned. 

Children for instance should be examined to find out their capabilities, possible health challenges, 

physical defects and dispositions before engaging them in learning any musical instrument. If this 

procedure is not brought into focus before the actual learning, the whole musical exercise would be 

futile. 

 

For pupils to acquire musical skills, this theory should be brought into perspective ‘By the virtue of 

our varied giftedness and build (adaptive features) some people excel in certain areas of musicology 

while others prevail in another’ Okeke (2020). This encourages ease in skill acquisition in music 

because pupils acquire music related skill based on musical activities/instruments their biological 

builds naturally flow with. 

  

Some methods of teaching music portray some traits of adaptive musicology. When pupils are 

encouraged to dance to music, clap to rhythm, or swing their arms to tunes, they are actually engaging 

in the tuning of their body parts to adapt to complex musical engagement awaiting them in the future 

such as singing or playing of musical instruments. Some of these methods like Dalcroze’s Eurythmics 

which emphasizes early activation and sensitization of the body parts is quite relevant to this present 



 

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discussion. This argument is based on the premise that weak limbs and muscle control are usually 

induced by muscular inactivity in childhood as vividly portrayed by Campbell and Scott-Kassner (2010), 

‘as his eurhythmics approach evolved, students develop the muscular rhythm and nervous sensibility 

that would allow them to discriminate among even the slight graduations of duration, time, intensity 

and phrasing’ (p.45). When pupils are taught from early ages how to move in time to the tune of music, 

it makes it easier for them to engage in dance activities, playing of musical instruments, and even 

singing as they advance in age. This is because their bodies have ‘adapted’ to such activities owing to 

their engagements in them while they were younger. 

Empirical Review 

Findings by several scholars relevant to this work were reviewed and presented here 

Pragmatism in Music Education. 

Music educators have increasingly discovered that it is not every theory or procedure works in the 

field of music teaching. Even the principles and methodologies that are functional in a particular 

setting may not be feasible and relevant in another environment. Okeke (2013) found out that the 

reactivation of recorder playing in primary school education helped revive music in the schools: 

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(Pg.115). 

 

Okeke’s push above is to engage pupils with the recorder for music learning which is affordable, 

durable, and easy to learn instead of waiting in futility for the government to provide state-of –the-

art musical instrument for learning. This study, drawing from the finding above, employed recorders 

also in the research with commendable results. 

Aninwene (2009) discovered that the state and future of music education in primary schools in 

Nigeria was bleak and suggested therefore that:  

To achieve the future, grounds should be prepared for the teachers and students in terms of 

adequate facilities, instructional materials and relevant curriculum. Music in the primary 

schools should not be passive, but rather involving. These are the ideals for a better future 

for music education (pg.48). 

 

Aninwene’s regret that music has become passive in the primary schools is also one of the problems 

this study pursued to solve. 

The problem of Cultural and Creative arts (CCA) and music teacher–incompetency in the primary 

schools was aptly captured by Ekwueme (2009): 

Implementation of Music as part of Cultural and Creative Arts, as a subject in the school 

system has been a problem. The role of music teachers and the attitudes of administrators 

toward the subject have not been encouraging…. An essential feature that can guarantee a 

successful music education programme is the supply of good quality teachers to support the 

scheme (Pg33). 

 



 

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It is worrisome that after over a decade of Ekwueme’s plea, that government has refused to heed 

the call as CCA is still constricting and suffocating music education in primary schools. This study 

shall find a way around the problem by engaging pupils actively in practical music within the umbrella 

of music. 

In another interesting study regarding the curriculum of music studies in primary school, Okeke 

(2015) found out that:  

There exists a disparity between what pupils are programmed to learn as stipulated in the 

curriculum and what is obtainable in actual classroom situation as regards music…. The current 

curriculum was found to be insensitive to the learning behavior of children, as it does not 

create room for a playful learning atmosphere; it is Western oriented, neglecting traditional, 

folk, and recreational songs that would be more meaningful to pupils. It also gave music an 

imprisoned status by embedding it into other subjects as Cultural and Creative Arts (CCA) 

which was handled by every other teacher(Pg.202). 

Unfortunately, the recommendations of the research above have not been implemented despite the 

imperatives raised.  

Part of the focus of the present paper shall be towards the review of the music curriculum to 

reposition it for adequacy. 

 

Teaching Strategies of Music Teachers  

The rainbow is beautiful because of its diverse colours and teaching will be interesting if it has 

diverse methods. “The music teacher must provide alternative learning strategies, that is, more than 

one way to attain a goal. Children should be allowed to explore different path ways and if necessary 

pause along the way if they find a more relevant goal”, Oguoma (2009). Diversity in teaching creates 

room for effective learning and pupils should not be tied to attaining mastery in any musical skill 

without them exploring other skills. Exploration can lead them to a skill they flow naturally with and 

this will enliven their spirits and quicken the joy and passion they have for learning a musical skill. 

The music teacher is expected to be diversified in his or her method of teaching. This would make 

the learner have more interest in the teaching. This diversity should not be random but systematic. 

It should be formed in such a way that it is geared toward the growth and development of pupils. 

“Instruction in music must be systematically arranged to elicit specific development and growth in 

the behaviour of learners” Ikediashi (2009). The music teacher should equally seek self-improvement 

as growth will never cease especially in learning regardless of age this is because “the music teacher 

is the key resource person in the teaching and learning of music. He or she is a vital factor in 

motivating and maintaining student’s interest in the classroom” Ugochukwu (2010). Qualities such as 

patience for pupils who are slow in the comprehension of what is taught, orderliness in teaching, care 

for challenged pupils (mentally or physically), and mastery of the subject matter should be coveted 

by a music teacher. “A good music teacher must possess and exhibit important qualities, mastery of 

the subject matter, orderliness, care and patience” Egereonu (2011). Such good qualities of the 

teacher according to Egereonu, would usually yield the attitude of “being interested, enthusiastic and 

responsive to the teaching – learning process” (p.228) from the pupils. 

 

Collaborative Teaching and Learning Style 

Collaborative teaching and learning style allows for the contribution of pupils during learning. A 

teacher whose mind is open to the pupils can learn how to teach the pupils better from the pupils. 

Collaborative teaching and learning also involves the use of evaluation and assessment to get feedback 



 

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from pupils. These feedbacks narrow the teacher’s teaching techniques to his/her present pupils. In 

musical studies, particularly in practical music studies evaluation is often accused of being too harsh 

and too biased, but if it is well done, it is “the most appropriate way to make intelligent judgment in 

music pedagogy” (Onuora – Oguno, 2007). 

 

Schematic Learning 

Schematic learning has been defined as using organizations of past actions which become the seed-

bed for interpretation and development in future learning (Child, 2004). 

In an interesting study, Skemp (1962, and 1986) in Child(2004) found out that: 

The importance of schematic learning was underrated. In an intriguing experiment using a set 

of symbols he had invented to represent attributes capable of being combined to give more 

complex forms …, he showed that schemata were absolutely essential, even in relatively 

straightforward learning tasks, because of the meaning they gave to the learning in hand. In 

any new field the schemata first formulated have a lasting consequence on future learning in 

that field. Therefore, the first and most important task for any teacher is to discover and 

carefully define the elementary schemata required to enable the most productive 

assimilation. He or she should proceed from a familiar framework to unfamiliar knowledge 

(Pp.134-135). 

The import of this finding to the present study is that practical music teachers should draw from 

practical musical experiences of children and connect them to the present for a fulfilling learning. 

For instance, pupils who have had some experience practicing with the recorder should be encouraged 

and engaged in more practice for advancement on the instrument or other instruments. The schemata 

here being experience in learning through practicing on a musical instrument. 

 

Music as a Career Education 

Music is also a career education in the primary and post primary education. According to 

Nnamani(2007), career education has been conceived as a way of reducing high rate of unemployment 

particularly among the youth. It further stresses the need to prevent pupils from leaving school 

without marketable skills or clear personal goals and helps them to examine the range of post-

secondary options including those of technical and vocational jobs. 

 

Summary of Review 

Skill acquisition in music for primary school learners is important and possible. It can be achieved 

through understanding that as animals have adaptive features, pupils also have inborn abilities that 

can cause them to excel without much difficulty in learning a particular musical skill. These inborn 

abilities can be sharpened by music education which is geared at understanding these innate abilities 

through organized and goal-oriented teaching. 

Skill acquisition in music cannot be achieved if the curriculum does not aim at equipping pupils with 

musical skills. The curriculum should be structured in such a way that it promises at least a musical 

skill to a pupil who sits for music classes. 

Music teachers should also understand that humans vary and so how they learn. This calls for diversity 

in teaching as the music teacher must provide alternative learning strategies, that is, more than one 

way to attain a goal. The music teacher should also allow children to explore different path ways and 

if necessary pause along the way if they find a more relevant goal. 



 

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Assessment and evaluation should also be put in place as they serve as effective feedback after pupils 

are taught. For sometimes teachers think that pupils have a perfect comprehension of what has been 

taught till assessments and evaluations are given. Musical skill acquisition is important and should be 

the goal of every primary school.  

The literature reviewed so far has helped in revealing the bulk of scholarly works and energy 

expended by scholars in reinvigorating music education in the primary schools. These scholarly works 

and empirical studies have also given a robust and solid support to this research but the research has 

delved deeper into the domain of musical skills that are acquirable by children through music. 

 

Methodology 

Research Design 

The research design employed is the survey research design. “Survey research is a specific type of 

field study that involves the collection of data from a sample of element drawn from a well-defined 

population through the use of questionnaire. Survey research design seeks to gather information 

through the use of questionnaires, interviews, et cetera. The researcher made use of questionnaires 

and interviews for data collection.  

 

Area of Study  

This research was carried out in Awka, town of Anambra State. The academic area of study is 

domiciled in the field of music pedagogy. 

Population of the study 

The population of this research study is made up of both the teachers and the pupils of all the primary 

schools in Awka metropolis, Anambra State. 

Sample and sampling technique 

The sample of this study was drawn from all the teachers and pupils in Awka metropolis that offer 

music as a single subject. In Awka town which is the study area of this research work, all the public 

primary schools and some private schools offer cultural and creative arts, music being part of it. The 

researcher selected eight non-government primary schools which offer music as a subject for data 

collection. The eight schools are; Grand Hermano Nursery/Primary School Awka, Grace Court 

International School, Awka, Unizik Nursery/Primary School Awka, Blossom Fount Nursery/Primary 

School, Awka, Ridge Valley Nursery/Primary School, Awka, Police Children School, Awka, Assured 

Tender Nursery/Primary School, Awka, and Handmaids Infant Jesus Nursery/Primary School, Awka. 

Since the population is small, the researcher made use of all the schools. In the schools, the whole 

music teachers from every school were included in the sample but five (5) pupils were selected from 

each of the schools. The researcher made use of random sampling to select from each of the schools 

two (2) male pupils and three (3) female pupils, totaling five (5) pupils for each school, making the 

total number of pupils forty (40) respondents. Each of the school has only one (1) music teacher and 

so all the music teachers from the eight (8) schools were used for the study, giving a total number 

of eight (8) music teachers. In other words, the total number of respondents for the study were 

forty-eight (48). 

 

Instrument for Data collection: 

The researcher employed both questionnaire and oral interview in collecting the data. In the eight 

selected primary schools, questionnaires were distributed to the respondents and they were allowed 

to fill it. 



 

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Method of Data Analysis 

Simple percentage and item analysis in analyzing the data. 

The bar chart was also employed in sequencing and analyzing the data.                                 

 

Discussion of the findings 

Primary school Music has helped pupils to know about musical instruments 

One of the purposes for introducing music in the primary school was to help pupils to know about 

music and musical instruments. This present research shows that 62.5% of the music teachers 

strongly agreed that learning music from primary school helps the pupils to know about musical 

instruments, while 37.5% agreed. No teacher disagreed. The implication is that early music education 

fosters the knowledge of musical instruments. 

Music in primary school education fosters skill acquisition 

Most of the music teachers in primary schools saw music as a skill acquisition in primary schools as a 

good idea. 50% of the teachers strongly agreed that music should be made one of the subject in 

primary curriculum for the future of the pupils. 37.5% agreed while 12.5% disagreed. The import of 

this is that music education in primary schools enhances skill acquisition. 

Teaching music in primary schools have helped the children to have positive values for the 

development of their country 

50% of the music teachers strongly agreed that teaching music in primary schools will help the 

children to have positive value for development of their country and while 50% of the teachers agreed 

with the fact that when the pupils learn music especially instrumental part of it, they do better in 

future, they are helping to add value not causing problem to the country. 

 

Summary of the Study 

Despite the effort of Nigerian education commission to make educational system favorable 

everybody, both the young and the old. There were some challenges that were still drawing using 

music as skills acquisition in primary schools back. Regarding the pupils’ questionnaire almost 50 

percent of the pupils confided in the researcher about not having music laboratory where musical 

instruments are kept. All the schools the researchers visited around Awka and its environs they 

discovered that, most of the primary schools both private and public schools do not offer music as a 

subject. Some offer cultural and creative arts while some do not offer at all. That was the reason 

the researchers chose only eight primary school mostly private for the research work. The 

researchers observed that there is insufficient music teacher in primary school education. Some 

pupils do not have access to the musical instruments in their schools, because 85 percent strongly 

agreed that they participate in learning musical instruments while 15 percent do not participate. 

 

Conclusion Drawn from the findings 

The researchers observed that the music teachers are comfortable with making music compulsory in 

primary school education. If that is the case, government should work on the primary school 

curriculum to add music as a compulsory subject in the curriculum. Primary school should build music 

laboratory where musical instrument will be keeping and also that they should post music teachers to 

primary school to teach the pupils both theoretical and practical aspect of music. With this, the 

researchers are of the opinion that the government should bring back music as a subject in primary 

schools to be used as skill acquisition and through practical music it can be achieved. 



 

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Recommendations 

 There is serious need for curriculum of the primary school education to be reform and give 

way for music in it. 

 Provision of opportunities for music teachers to be posted to primary school to teach the 

pupils the real music with practical demonstrations. 

 Government should fund primary school and also help them to build music labs for better 

performance of the pupils. 

 The music teachers should allow all the pupils to participate during music practical so as to 

enable them learn the instruments well. 

 Schools should make provision of period for practical music. 

 School should show enough interests in music as in other subject of the school curriculum. 

 Schools should provide all the necessary facilities for the subject. 

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https://nigerianjournalsonline.com/index.php/NJAS/article/view/1348
http://doi.org/10.5281/zenodo.3976099

