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IMPLEMENTATION STRATEGIES EMPLOYED BY TEACHERS FOR 

CCA CURRICULUM AND ITS IMPLICATIONS TO MUSIC 

EDUCATION 

 

Ugoo-Okonkwo, Iruoma Amaka (Ph.D.) 

Department of Music 

NnamdiAzikiwe University, Awka 

 

Abstract 

Laudable educational proposals do not necessarily in themselves lead 

to laudable educational achievements. The lumping together of Fine 

Arts, Music and Drama into one subject called Cultural and Creative 

Arts (CCA) comes with a lot of challenges. In the face of these 

challenges, this study examined the implementation strategies 

employed by upper basic education teachers in handling the introduced 

CCAinAnambra State and its implications to music education. The 

major instrument used for the study was a structured questionnaire 

containing test items arranged under competence, material, attitude, 

managerial and methodology factors. The analytical tools applied were 

frequency, percentage and chi-square statistical inference technique 

on the sample of the study. In summary, 20% of the strategies were 

positively affecting music education, 16% were insignificant while a 

whopping 64% were negatively affecting music education. Hence, an 

urgent and comprehensive review of the curriculum is therefore 

solicited. Otherwise, the objectives of redeeming our rich cultural 

heritage, creativity and making or producing self-reliant job creators 

of Nigerian youths through this introduced curriculum will be a 

mirage.  

 

 

 

 Awka Journal of Research in Music and the Arts (ARMA) Vol. 10 2014 

 



 
 

207 

Introduction  

Any society that seeks relevance must make every effort to give its 

citizens the best educational exposure which starts from the basic 

level of education. Basic education gives young people the 

opportunities necessary to acquire the knowledge, skills, values, and 

attitudes which they need to live happy and productive lives as 

individuals who have social duties to discharge for the betterment of 

life in the society. Hence, it is pertinent that the curriculum at this 

level of education should be designed in such a way that it can 

effectively reflect the needs of individuals in the society as well as 

the aspirations of a given society when implemented. 

Nigeria‟s curriculum reforms have witnessed a lot of changes due to 

catalogue of innovations in educational policies and programmes. Some 

of the changes while trying to solve a particular problem will 

inadvertently create even more grievous problems. Similarly, while a 

number of people will accept some changes as desirable, others will 

wonder about the necessity of such changes.  In fact, many of the 

changes in educational policies in Nigeria have been described as the 

product of confusion, Ayeni (2000:5). There is therefore, “a high level 

of uncertainties beclouding meaningful planning in Nigeria‟s 

educational system,”Aluede (2006:97). This can be very dangerous 

particularly as the future of Nigeria and Nigerians is determined by 

the level of education her nationals have acquired. 

In giving the rationale for the review of the curriculum, the Director 

of National Educational Research and Development Council, Obioma 

(2007) stated thus:  

Following the decision of the Federal Government to introduce 

the 9-Year Basic programme and the need to attain the 

Millennium Development Goals (MDGs) by 2015 and the critical 

targets of the National Economic Empowerment and 

Development Strategies (NEEDS), which can be summarized 

as value reorientation, poverty eradication, job creation, 

wealth generation and using education to empower people, it 

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208 

becomes imperative that the existing curricula for primary 

and junior secondary school (JSS) should be reviewed, 

restructured and realigned to fit into a 9-Year Basic 

education programme (p.ii). 

 

In line with the above, the Federal Government decided to merge and 

restructure Visual Arts, Music and Drama subjects into one subject 

referred to as Cultural and Creative Arts (CCA) for Basic Education in 

Nigeria. This restructuring was unlike what used to be practised in 

the past when there were options between Visual Arts, Drama and 

Music, the present curriculum collate all these into a single subject 

CCA which has to be taught as such. The lumping together of three 

different subjects into one, obviously creates problems in the 

teaching and learning process. Music, Fine and Applied Arts, and 

Drama are three different subjects that require three different 

teachers in the upper basic education for the objectives to be 

realized. In institutions of higher learning, music is a full-fledged 

course of study that has different curriculum contents from both 

Fine and Applied Arts and Theatre Arts. It is almost impossible for a 

music teacher to be effective in the teaching of Fine and Applied Arts 

and Drama. On the other hand, a Fine and Applied Arts Teacher 

cannot effectively handle Music and Drama. Besides, students who are 

being bombarded with the integration will then have problem of 

choice, attitude and even confusion of taking up any one of these 

subjects as a profession. Hence, this study tries to examine the 

implementation strategies employed by the teachers considering the 

challenges that the merger creates. Beyond identifying the employed 

strategies, the study discusses its attendant implications as it affects 

music education.  

 

 

 

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Method Research 

A survey research design was chosen for this study. The area of study 

is Anambra State of Nigeria, comprising six educational zones. The 

researcher employed quota sampling for selecting the total number of 

respondents for each of the six educational zones. At the end, the 

sample of the population of this study stood at sixty (60) music CCA 

teachers. The instrument used was a structured questionnaire 

arranged in five clusters consisting of competence, material, Attitude, 

managerial and methodology factors.  
 

Both chi square  2  and simple percentages were applied in the study. 

There were four alternative responses as provided in the 

questionnaire for categorizing the opinion of the teachers‟ responses 

against each item as applicable to their schools. It was against that 

background that 2  test was applied to test whether or not a 

significant difference existed between the observed and expected 

frequencies (number of responses) falling independently into the 

three categories against each test item. Thus, wherever the 

categorical distributions of the responses was found significant, the 

category which pooled the greatest number of responses was used as 

an indicator for predicting the category of randomly sampled opinion 

which could be applied inferentially to the population.  

The formula for applying the 
2  test is as follows: 

∑
e

2

eo2

F

)F-F(
  

Where:     Fo= the observed number of responses in a given category.  

 Fe = the expected number of responses in that category. 

 ∑ = directs to sum this ratio over all the categories. 
 

Having 60 teachers‟ respondents and 4 response categories, Fe in each 

category is 
  

 
     The degree of freedom (df) considering the four 

categories of teachers is 2 while the level of significance (α) is taken 

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210 

to be 0.05. With the above information, the critical value of χ2 shows 

that a value of 5.991 or more is required for significance to occur. 

Thus, where the χ2 of a given distribution of the responses was found 

significant, it was interpreted that the distribution did not occur by 

chance. Besides, there was also a supplementary application of 

percentage analysis of number of responses in each category with a 

view to quantifying and ranking the polled number of responses. Thus, 

because of the directional nature of all the test items, the 

investigator was not only interested in finding out whether the test 

item is significant or not. She was also interested in finding the 

direction in which the significant difference is tilting towards (i.e. 

whether the strategies are positively affecting or negatively 

affecting), by taking percentage bearing of each test item. 

 

Results of Findings 

The results of the respondents to the questionnaire are presented in 

Tables 1 – 5 where SA is Strongly Agreed, A is Agreed, D is disagreed 

and SD is Strongly Disagreed.  

 

Table 1: Results of ‘Competence’ Test Items (Fe = 15,   
  =5.991) 

S/N I  T  E  M 
SA  A D SD 

χ2 Decision  
(%) (%) (%) (%) 

1 

Non music 

teachers teach 

music contents 

of CCA 

17 28 12 3 

21.733 
Significant 

Agreed 
(28.3) (46.7) (20.0) (5.0) 

 

2 

Non music 

teachers dodge 

the teaching of 

music contents 

of CCA because 

of lack of 

competence 

16 23 14 7 

8.667 
Significant 

Agreed 

(26.7) (38.3) (23.3) (11.7) 

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3 

There is 

frequent use 

of read and 

teach basis in 

teaching music 

8 17 22 13 

7.067 
Significant 

Disagreed 

(13.3) (28.3) (36.7) (21.7) 

4 

There is 

inefficient 

supervision of 

CCA by 

supervisors 

14 23 16 7 

8.667 
Significant 

Agreed 

(23.3) (38.3) (26.7) (11.7) 

5 

Non music CCA 

teachers are 

unable to teach 

the practical 

aspects of CCA 

as it affects 

music 

15 26 14 5 

14.800 
Significant 

Agreed 

(25.0) (43.3) (23.3) (8.3) 

 

In Table 1, majority of the respondents agreed with four test items 

(i.e. items 1, 2, 4 and 5) while they disagreed with test item 3.  

 

 

Table 2: Results of ‘Material’ Test Items (Fe = 15,   
  =5.991) 

S/N I   T   E   M 
SA 

(%) 

A   

(%) 

D    

(%) 

SD   

(%) χ2 Decision  

6 

There is the 

use of a 

scheme of 

work 

substantially 

different from 

the curriculum 

to improve its 

effectiveness 

29 24 6 1 

36.933 

Significant 

Strongly  

Agreed 

(48.3) (40.0) (10.0) (1.7) 

  

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7 

There is the 

use of 

substandard 

textbook in 

teaching music 

contents of 

CCA 

15 18 14 13 

0.933 Insignificant 

(25.0) (30.0) (23.3) (21.7) 

8 

There is the 

overloading of 

weekly lesson 

periods with 

topics 

20 23 9 8 

11.600 
Significant  

Agreed 

(33.3) (38.3) (15.0) (13.3) 

9 

Teaching aids 

is 

insufficiently 

used 

30 18 5 7 
26.533 

Significant 

Strongly 

Agreed 
(50.0) (30.0) (8.3) (11.7) 

10 

There is lack 

of the use of 

computer in 

teaching music 

19 22 14 5 

11.067 
Significant  

Agreed 
(31.7) (36.7) (23.3) (8.3) 

 

 

From Table 2, majority of the respondents strongly agreed with test 

items 6 and 9, agreed with test items 8 and 10 but was insignificant in 

test item 7.  

 

 

  

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Table 3: Results of ‘Attitude’ Test Items (Fe = 15,   
  = 5.991) 

S/N 
I    T    E    

M 

SA 

(%) 

A   

(%) 

D    

(%) 

SD   

(%) χ2 Decision  

11 

Attitudes 

and practices 

towards 

music 

integration 

with other 

subjects 

vary from 

school to 

school 

19 22 14 5 

11.067 
Significant  

Agreed 

(31.7) (36.7) (23.3) (8.3) 

12 

The efforts 

of the 

teacher 

seems to be 

random, 

unfocused 

and 

inconsistent 

in using the 

introduced 

CCA 

curriculum  

12 17 14 17 

1.200 Insignificant 

(20.0) (28.3) (23.3) (28.3) 

13 

The issue of 

integration 

is still a 

controversy 

23 20 9 8 

11.600 

Significant 

Strongly 

Agreed 

(38.3) (33.3) (15.0) (13.3) 

14 

Parents‟ 

negative 

attitude to 

music 

hinders 

their 

children‟s 

performance 

18 30 5 7 

26.533 

Significant 

Strongly 

Agreed 

(30.0) (50.0) (8.3) (11.7) 

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From attitude viewpoint as shown in Table 3, majority of the 

respondents strongly agreed in test items 13 and 14; and agreed in 

test item 11. Test item 12 is insignificant. 

 

Table 4 points out the test items under managerial factor that deals 

on the implementation strategies that was employed by the teachers.  

Table 4: Results of ‘Managerial’ Test Items (Fe = 15,   
  =5.991) 

S

/

N 

I    T    E    

M 

SA 

(%) 

A   

(%) 

D    

(%) 

SD   

(%) χ2 Decision  

15 

Music teachers 

are hired from 

outside the 

school to teach 

music aspect of 

CCA 

5 13 17 25 

13.86

7 

Significant 

Strongly  

Disagreed 

(8.3) (21.7) (28.3) (41.7) 

16 

Music class time 

is reduced in the 

CCA curriculum 

21 24 10 5 16.13

3 

Significant 

Agreed (35.0) (40.0) (16.7) (8.3) 

17 

There is 

inequitable 

distribution of 

time for the 

amalgamated 

subjects 

23 18 14 5 

11.60

0 

Significant 

Strongly 

Agreed 

(38.3) (30.0) (23.3) (8.3) 

18 

Inadequate 

coordination is 

witnessed in 

teaching CCA 

where different 

teachers are 

involved 

18 17 16 9 

3.333 
Insignifican

t 

(30.0) (28.3) (26.7) (15.0) 

19 

More fund is 

made available 

for CCA subjects 

because of the 

amalgamation 

15 14 26 15 

14.80

0 

Significant 

Disagreed 

(25.0) (23.3) (43.3) (25.0) 

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In Table 4, majority of the respondents strongly disagreed with test 

item 15, agreed with test items 16 and 17, disagreed with test item 

19, while test item 18 was insignificant.   

 

The result of the methodology test items is shown in Table 5.   
Table 5: Results of ‘Methodology’ Test Items (Fe = 15,   

  =5.991) 

S/N I    T    E    M 
SA 

(%) 

A   

(%) 

D    

(%) 

SD   

(%) χ2 Decision  

20 

Instructional 

materials are used 

in teaching music 

13 27 14 10 
11.600 

Significant   

Agreed (20.3) (42.2) (21.9) (15.6) 

21 

There is adequate 

application/utilizatio

n of audio visual 

materials as 

instructional 

materials 

9 12 21 24 

10.800 

Significant 

Strongly 

Disagreed 

(13.6) (18.2) (31.8) (36.4) 

22 

There is 

improvisation of 

materials in order to 

provide effective 

learning 

18 13 14 15 

0.933 Insignificant 
(30.0) (21.7) (23.3) (25.0) 

23 

The teachers make 

effective utilization 

of cumulative test 

result in the 

students' final 

evaluation 

22 17 16 5 

10.267 

Significant 

Strongly 

Agreed 

(36.7) (28.3) (26.7) (8.3) 

24 

Effective report of 

students' music 

learning progress to 

school 

administrators is 

carried out 

5 14 26 15 

14.800 
Significant 

Disagreed 

(8.3) (23.3) (43.3) (25.0) 

25 

The music teaching 

is more student-

centred than 

teacher-centred 

9 12 25 14 

9.733 
Significant 

Disagreed 
(15.0) (20.0) (41.7) (23.3) 

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The majority poll in the four-categorical opinions expressed by the 

respondents strongly agreed with test item 23; agreed with test item 

20; disagreed with test item 24 and 35; and strongly disagreed with 

test item 21. In retrospect, the given five competence test items, five 

material test items, four attitude test items, five managerial test 

items and six methodology test items identified in Tables 1 - 5, 

respectively, are summarized in Table 6. The table went a step 

further to classify whether the test items were significant in the 

negative or positive direction and whether it was insignificant.  

 

Table 6: Summary Results of the Findings of Hypothesis Four 

Decision 
Compete

nce 

Mater

ial 

Atti

tude 

Manag

erial 

Metho

dology 

Total 

Test 

Items 

Percen

tage 

Significant 

Negatively 

Affecting 4 3 3 3 3 

16 64 

Significant 

Positively 

Affecting 1 1 0 1 2 

5 20 

Insignificant 0 1 1 1 1 4 16 

Total 5 5 4 5 6 25 100 

 

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Fig 1: Number of Test Items Significance 

 

 
Fig 2: Percentage of the Test Items Significance 

0

1

2

3

4
4 

3 3 3 3 

1 1 

0 

1 

2 

0 

1 1 1 1 

N
u

m
b

e
r 

o
f 

Te
st

 It
e

m
s 

Factors 

Significant Negatively Affecting Significant Positively Affecting Insignificant

0

10

20

30

40

50

60

70

Significant
Negatively Affecting

Significant Positively
Affecting

Insignificant

64 

20 

16 

P
e

rc
e

n
ta

ge
 

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In the final analysis, Fig 2 shows that the number of test items that 

is negatively affecting hypothesis four polled the highest percentage 

of 64%. Hence, the established significance difference of the 

alternate hypothesis is tilting in the negative direction. 

 

 

Discussion of Findings 

Competence Factor 
It was discovered from the analysis of findings that non music 

teachers teach the music contents of CCA. The major practical 

implication of this finding is that when non music teachers teach it, 

they will not be able to satisfactorily and effectively achieve the 

desired outcomes of instructions.On a study of competencies needed 

for effective teaching of music in the secondary schools, Nwokenna 

(2006) submitted that “music teaching in schools cannot be effective 

if the teachers do not show remarkable competence on the various 

aspects of general music programme” (p. 49). In a similar study on the 

cultural and creative arts curriculum in secondary schools, Irivwieri 

(2009) stated that: 

There is at present a dearth of qualified art and music 

teachers in secondary schools. Most of the schools lack the 

professionally trained graduate art and music teachers, who 

are much more exposed both academically and professionally 

to handle the programme well at the secondary school level” 

(p. 351).  

 

There is the tendency that these incompetent teachers may start 

using the „read and teach‟ method of teaching. Another grievous 

implication is that they may start dodging the teaching of music 

contents of CCA that they find difficult to understand. This was 

substantiated by the respondents in test item 3 of Table 1. This issue 

of dodging was also confirmed by the CCA supervisors and music 

specialists that were interviewed in the course of this study. One of 

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219 

the interviewee submitted that “some schools have only one teacher 

who is a specialist in one discipline to handle CCA. In this case, the 

teacher concentrates more in his/her own discipline teaching mainly 

and well his aspect of discipline and little of the other aspects 

because he/she doesn‟t know it. A subject like music cannot be taught 

on the basis of „read and teach‟ as there are more to music than paper 

can show”. The study also agreed that non music CCA teachers are 

unable to teach the practical aspect of CCA as it affects music. The 

use of unqualified teachers in teaching music aspect of CCA and 

perhaps CCA as a subject is very detrimental to the achievement of 

the objectives of CCA.  An unqualified teacher who has obvious 

limitations cannot effectively teach with practical examples. Music 

and other disciplines of CCA require practical examples while teaching. 

Therefore, when there are teachers who teach without practical 

examples, it does no good to the subject.  

 

 

 

Material Factor 

The study observed that there is the use of a scheme of work 

substantially different from the curriculum to improve its 

effectiveness as submitted in test item 6, Table 2. In this regard, 

attention is hereby drawn to the inclusion of music in JSS 3, in the 

current CCA scheme of work in use in upper basic classes in schools in 

Anambra state. It should be noted that the topics so included are 

definitely not covered in the CCA curriculum drawn by Nigerian 

Educational Research and Development Council (NERDC) and the 

National Examination Council (NECO) syllabus for CCA Basic Education 

Certificate Examination (BECE). NECO Basic Examination question 

papers for 2011/2012 and 2012/2013 academic sessions show that the 

included topics did not appear in the examination question papers. If 

the students should learn about this, one of the motivations for 

studying those topics which is to see it in their question papers will be 

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killed.This study agreed that there is the issue of overloading of 

weekly lesson periods with topics. Lesson topics are so jam-packed in 

the new scheme of work. For the topics to be covered by the teacher, 

he/she must have to superficially teach them that even the students 

will not comprehend what is being taught. Consider for instance the 

following topics to be covered in three different weeks in JSS 1. (1) 

Rudiments and theory of music: (a) notation–staff and sol-fa: musical 

alphabet              (b) staff/stave, clefs and letter names of the stave 

(c) types of stave/treble, bass, great stave (d) lines and spaces, 

ledger lines and spaces.  (2) Scale (a) Definition of scale; major scale 

of C natural and G. Tones and semitones (b) Technical names of degree 

of the scale (c) keyboard setting.  (3) Rudiments and theory of music: 

(a) Time signature; Definition and spelling of time signature (b) Kinds 

of time (Simple and Compound) i. duple ii. Triple   iii. Quadruple,(c) 

musical terms, signs and abbreviation; Accidental. In the old music 

scheme, these topics are well covered in ten (10) different weeks. 

How possible is it for a student of JSS 1 expected to know, learn, 

define, name, write or even identify notation-staff and solfa, musical 

alphabet, staff/stave, clefs and letter names of the stave, types of 

stave (treble, bass), great stave, lines and spaces, ledger lines and 

spaces in just one week? The implication of this finding is that the 

scheme is rarely covered and is superficially taught too. 

Also, in the analysis of this study, it was strongly agreed that 

teaching aids was insufficiently used in schools for teaching music 

aspect of CCA. When the appropriate instructional materials are used, 

it enhances the students‟ ability to learn. Buttressing this point, Ikibe 

(2009) stated that “learning music is better done by handling musical 

instruments, listening to musical items and by singing” (p. 99). Yet the 

instructional materials and facilities are grossly inadequate in our 

schools for effective music teaching and learning. In this regard 

Mbanugo (1999) pointed out that “lack of adequate resource 

mobilization in form of equipment, textbook and instructional 

materials militate against effective implementation of music 

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education” (p. 235). In the same vain Okafor (2009) noted that “the 

apparatus is either in short supply or decrepit” (p. 18).  By the same 

token, Leonhard and House (1972) assert that “the learning and 

thinking of young children are linked to the concrete, seeable and the 

touchable” (p. 287).  

The use of computer in teaching music is also found to be 

lacking. It is important to note that we are in computer age and the 

students‟ interest will be aroused to a high level if computer and its 

peripheral devices are somehow integrated into the teaching of music. 

There was an agreement by the teachers that the issue of parents 

having negative attitudes towards music hinders their children‟s 

performance. Positive disposition to the study of music by parents will 

help in a lot of things. For instance, with regard to the problems 

facing the implementation of creative arts curriculum, Irivwieri 

(2009) stated thus: 

This situation becomes evident from students inability to 

procure basic Art materials, as a result of some parents 

nonchalant attitude to providing the basic Music and Art 

materials for their children/wards. The situation is even 

worse where parents prevent their children/wards from doing 

Art in preference for science-oriented subjects. (p. 350) 

 

 

Attitude Factor 

The results of the findings show that attitudes and practices towards 

music integration with other subjects vary from school to school (test 

item 11, Table 3). In some schools they give three periods per week 

for CCA subject, in other schools they give two periods. Similarly, in 

some schools one teacher teaches it while in other schools two 

teachers teach it. Some teachers proportionally divide the periods 

weekly while in some others it was proportionally divided period by 

period. In fact, in some of the school I visited, there was total 

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separation of periods between Music/Drama and Visual Arts. The 

same way it varies from school to school, it also varies from teacher 

to teacher. Some teachers‟ approach seem to be random, unfocused 

and inconsistent in using the introduced CCA curriculum. Indeed, the 

issue of the integration of Music, Visual Arts and Drama is still a 

controversy because many schools and teachers are yet to be at home 

with the new development. 

 

Managerial Factors 

The findings from the study strongly disagreed that music teachers 

are hired from outside the school to teach music aspect of CCA. This 

item was put to test considering the fact that since the time 

allocation of music is very small, some school may hire teachers from 

outside. It is also a known fact that music class time is reduced in the 

CCA curriculum. To add salt to injury, there is also inequitable 

distribution of time as well as sharing of the amalgamated subjects to 

the detriment of music. Ugoo-Okonkwo (2013) captured it succinctly 

when she observed that “Music was swallowed up completely, not even 

up to half (½) of Drama and is one fifth    ⁄  of Visual Art”(p. 8). If 

three different subjects are to be amalgamated as one, there should 

be even distribution of those subjects. 

The study noted that the issue of injecting more fund into CCA 

subjects because of the amalgamation, was not true. In fact, one may 

be lucky if CCA should receive equal fund with other science subjects, 

considering the Government‟s undue emphasis on its educational policy 

on science and technology to the detriment of the arts which is often 

made visible in the allocation of funds. Apart from the time issue, the 

study found out that proper coordination in teaching CCA where 

different teachers teach it is lacking (item 19, Table 4). This 

coordination can be in the area of setting questions for quiz and 

examinations, marking of students answer scripts, sharing of periods, 

registering of students‟ scores, etc. Proper guideline should be given 

in this area.  

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Methodology Factor 

Instructional materials are used in teaching music no doubt, but what 

is doubtful is the adequacy and efficiency. Also, the study strongly 

disagreed on the issue of adequate application/utilization of audio 

visual materials as instructional materials. When one is talking of 

adequate utilization of instructional materials, the person is talking of 

using a tool that will enable learning without tears, understanding 

without being a genius and remembering without much repetition. In 

this line, a Chinese proverb states “Tell me, I will forget, show me I 

might remember, involve me and I will learn”. No wonder Nye and Nye 

(1970) in Onwuekwe 2007 said:  

Learning takes place best when children are actively involved 

in the teaching-learning process for the young learner, music 

should be the discovery of musical sound – what it is like, what 

produces it, how he might respond to it, how it is organized, 

and how he might manipulate it. (p. 29) 

 

The study strongly agreed that teachers make effective utilization of 

cumulative test result of the students final evaluations. That 

notwithstanding, it is usually difficult to determine the particular sub-

division of CCA that the students individually are doing well in, since 

they are treated together as one subject. The scores for evaluation 

are not separated. For instance, Music __, Visual Art __ and Drama 

__ but bears CCA __. This obvious limitation of CCA evaluation can be 

a bottleneck in making intelligent judgement in music pedagogy as 

observed by Onuora-Oguno (2007) thus:  

Evaluation, even with all of its frailties is the best way for 

unearthing objective truth. Intuition and personal opinion have 

their place in life, but they do not provide objective 

information. Evaluation is therefore the most appropriate way 

to make intelligent judgements in music pedagogy. (p. 77) 

 

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Similarly, the study did not agree that there is effective report of 

students‟ music learning progress to school administrators. 

Considering the challenges that CCA amalgamation faces, to give 

progress report seems practically impossible. What the teachers 

strive to do is to coordinate properly and to give final report at the 

end of the term. Ideally, music teaching should be more student-

centred than teacher-centred but the respondents disagreed that 

this is not obtainable at present. This may be attributable to many 

factors like the use of „read and teach‟ method, insufficiency of time, 

lack of instructional materials and how to use it, etc. Hence, a music 

teacher must be conscious of things that will make his/her teaching 

effective. Buttressing this further, Onwuekwe (2007) observed that:   

music educators or teachers of school music have always been 

interested in improving the quality of music instruction. To 

achieve the above objective, the music educator must be vast 

in child psychology; methodology and knowledge of subject 

matter to enable him realize his noble objective of educating 

the child. (p. 29) 

 

 

Conclusion 

In this study, the implementation strategies of the CCA curriculum 

employed by the teachers in Anambra State for upper basic education 

and its implications to music education has been carried out. From the 

analysis of the results obtained, it was observed that 20% were 

positively affecting the merger, 16% where insignificant while a 

whopping 64% were negatively affecting. The import of these results 

is that there is a need to review the curriculum in line with the 

challenges being currently faced. The required personnel should be 

adequately involved in the negotiation to enable the modifications of 

the grey areas so as to come out with a curriculum that will enable 

effective implementation and objectives actualization.  

 

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