MUSIC INSTRUCTIONAL METHODS AND THEIR IMPACT ON
CURRICULUM IMPLEMENTATION: A CASE OF SELECTED
SECONDARY SCHOOLS IN NAIROBI COUNTY (KENYA)
A RESEARCH PROJECT SUBMITTED TO THE SCHOOL OF VISUAL AND
PERFORMING ARTS IN FULFILMENT OF THE REQUIREMENTS FOR THE
AWARD OF THE DEGREE OF MASTER OF MUSIC EDUCATION OF KENYA TTA
UNIVERSITY
BY
JOYCE M. MOCHERE (B. Ed, Music)
Reg. No.M66/21100/010
MARCH, 2014
DECLARATION
This project is my original work and has not been presented for a degree in
any other University.
Name: Joyce M. Mochere, M66/211001010
Signature: ..::r~n-"..e...
Date: .;ty I ":l-:i I Lf
This Project has been submitted for review with our approval as
University Supervisors.
Dr. Beatrice Digolo,
Senior Lecturer
Department ofM~rallr-
Signature: -Q~~"""'~--'----;'I"t:f~'1--
Date: ----~~~~~~-------
Dr. Timothy K. Njoora,
Senior Lecturer
Department of~~~
Signature: ~!::::~~~----J'-----'----'-
Date: ------~~~~~~~~_F
11
DEDICATION
This research project is dedicated, mostly to my God the supreme giver of wisdom,
knowledge, and understanding for giving me sufficient grace and resource to complete
this project. Secondly it is dedicated, to my dear husband, James Mochere Ondieki whose
prayers, moral and financial support, enabled me to continue with the journey and to my
precious daughters Shalline Nyaboke Mochere and Cindy Bosibori Mochere for their
sacrifices, prayers and encouragement to keep on keeping on to the finish. Last but not
least, to my late son, Dennis Matunda Mochere whose memories and inspiration to think
big will never leave me.
111
ACKNOWLEDGEMENT
This project report is a result of a number of inputs. To begin with, I bless the Name of
the Sovereign God for the resource and capacity He has deposited in me that enabled me
to press on to the finish.
Secondly, my sincere gratitude goes to my two supervisors: Dr. Beatrice Digolo and Dr.
Timothy K. Njoora, for their continual and invaluable guidance they accorded me. Their
thorough reading of the work, insightful comments, corrections and suggestions widened
my scope of understanding and motivated me to complete the task. My gratitude also
goes to all the lectures who instructed me in my course work in the School of Visual and
Performing Arts at Kenyatta University and those who read this work and gave me
constructive advice and inspiration to work harder.
Thirdly, I sincerely acknowledge the support of the Nairobi County Director of Education
office, school principals, teachers of music, and music students in cooperating with me to
collect data for this project. The success of this project is as a result of their insightful
information.
Moreover, my deep appreciation goes to my husband James Mochere Ondieki, my
children Shalline Nyaboke Mochere and Cindy Bosibori Mochere for their special
prayers and unwavering moral support that quickened me to complete this task
accurately.
My special thanks to my pastor Luke Wanjohi of Grace Community Center and his wife
professor Waceke Wanjohi for their many prayers and encouragement that spurred me
on. Last but not least I wish to thank my friend Martha Masinde for continually praying
for me and with me throughout, thank God our prayers have been answered. Finally to all
relatives and friends, who encouraged me to carryon, receive God's blessings.
IV
TABLE OF CONTENT
DE CLARA. TION PAGE ii
DEDICATION iii
ACKN"OWLEDGEMENT iv
TABLE OF CONTENT v
ABBREVIATIONS AND ACRONYMS xii
OPERA. TIONAL DEFINITION OF TERMS xiii
ABSTRA.CT xv
CHAPTER ONE 1
1.0 Introduction 1
1.1 Background to the Study 1
1.2 Statement of the Problem 5
1.3 Objectives of the Study 6
1.4 Research Questions 6
1.5 Research Assumptions 6
1.6 Rationale and Significance of the Study 7
1.7 Scope of the Study 8
1.8 Limitations of the Study 8
CHAPTER TWO: REVIEW OF RELATED LITERATURE 10
2.0 Introduction 10
2.1.0 Curriculum Implementation 10
2.1.1 Music Curriculum Implementation Globally 11
2.1.2 Music Curriculum Implementation in Kenya '" 12
2.3 Issues Faced by Music Teachers in Implementating Music Curriculum 12
2.4 Strategies Undertaken by Music Teachers in Implementing Music Curriculum 13
2.5 Contributing Factors Towards Music Students' Performance in Examinations 14 .
2.6 Proposed Teaching Activities 15
2~7 Review of Local Literature 16
v
2.8 Summary of Literature Review 17
2.9.0 Theoretical Framework 17
2.9.1 Carmbourne's Natural Learning Theory (1988) 17
2.10 Conceptual Framework and Measurement ofInstructional- RelatedV ariables 20
CHAPTER THREE: METHODOLOGY 22
3.0 Introduction : 22
3.1 Research Design 22
3.2 Locale of the Study .1••••••• 22
3.3 Target Population 22
3.4.0 Sampling Techniques 23
3.4.1 Sample Size 24
3.5.0 Research Instruments 24
3.5.1 Questionnaire 24
3.5.2 Focus Group Discussions 24
3.5.3 Classroom Lesson Observation Schedule 25
3.6 Pilot Study 25
3.7 Validity and Reliability ; 25
3.7.1 Validity 25
3.7.2 Reliability 26
3.8 Data Collection Techniques 26
3.9 Data Presentation and Analysis .27
3.10 Logistical and Ethical Considerations 28
CHAPTER FOUR: DATA PRESENTATION AND ANALYSIS 29
4.0 Introduction 29
4.1.0 Preliminary Details r ••••••••••••• 30
4.1.1 Demographic Characteristics of Teachers 30
4.1.2 Distribution of Respondents by Gender.. 31
4.1.3 Distribution of Respondents by Age 31
4.1.4 Teaching Experience of Respondents 32
4.1.5 Professional Qualifications 32
VI
4.2.0 Pedagogical Issues that Music Teachers Face in the Implementation of Music
Curriculum Content. 33
4.2.1 Content and Objectives 33
4.2.2 Music Skills Development. 34
4.2.3 Types of Resources Used in Teaching Music 38
4.2.4 Teaching Strategies 40
4.2.5 Teaching Activities .41
4.2.6 The Frequency of Evaluating Music Units in a Term .42
4.2.7 Music Skills Found Challenging to Teach 43
4.2.8 Reasons Given for Challenging Units .43
4.2.9 Strategies Used to Overcome Challenges .44
4.2.10 Performance of Form Threes in Music over the Last Three Years (2010-2012) 44
4.3.0 Students' Questionnaire 45
4.3.1 Learners' Entry Behavior " 46
4.3.2 Introduction of Music Subject in Form One .46
4.3.3 Music Skills Development. 46
4.3.4 Types of Resources Used in Teaching Music 50
4.3.5 Teaching Strategies 52
4.3.6 Music Activities in the Classroom 53
4.3.7 The Frequency of Evaluating Given Music Units in a Term 54
4.3.8 Challenging Music Concepts 55
4.3.9 Reasons Why the Music Concepts are Challenging 56
4.3.10 Suggested Strategies to Overcome the Challenges 58
4.4.0 Classroom Lesson Observation Schedule 60
4.4.1 Teacher's Preparation 60
4.4.2 Lesson Introduction and Presentation 61
4.4.3 Teaching Strategies Used during the Lesson 62
4.4.4 Learning Activities during the Lesson 63
4.4.5 Teaching/Learning Resources Used 63
4.5.0 Focus Group Discussion 64
4.5.1 Pedagogical Issues Faced in Implementing the Music Curriculum 65
Vll
4.5.2 Time to Introduce Given Music Concepts 65
4.5.3 Content Coverage 65
4.5.4 Challenging Music Concepts 66
4.5.5 Other Issues Faced in Implementing the Music Curriculum in the Classroom 66
4.5.6 Recommendations on Solving Pedagogical Issues Faced by Teachers in
Implementing the Music Curriculum 68
4.5.7 Instructional Methods Employed in Implementing the Music Curriculum 69
4.5.8 Evaluation Strategies 69
CHAPTER FIVE: DISCUSSION OF FINDINGS 71
5.0 Introduction 71
5.1.0 Pedagogical Issues Faced by Music Teachers in the Implementation of Music
Curriculum Content. 71
5.1.2 Demographic Characteristics of the Respondents 71
5.1.3 Distribution of respondents by Gender. 72
5.1.4 Distribution of Respondents by Age 72
5.1.5 Teaching Experience of Respondents 72
5.1.6 Academic and Professional Qualifications 73
5.1.7 Content and Objectives 76
5.1.8 Development of Musical Skills 77
5.1.9 Music Resources 83
5.2.0 Instructional Methods/Strategies Undertaken by Music Teachers to Implement
Music in the Classroom 86
5.2.1 Teaching/Leaming Activities 90
5.2.2 Challenging Music ConceptslUnits 98
5.2.3 Reasons for Challenges in Given Music Concepts 98
5.2.4 Strategies Used to Overcome the Challenges l,01
5.2.5 The Frequency of Evaluating Music Units in a Term 103
5.2.6 Performance of Form Threes in Music over the Last Three Years (2010-2012) .104
5.2.7 Recommendations in Tackling Issues Faced by Teachers in Curriculum
Implementation 105
5.3.0 Contributing Factors towards Music Students' Performance in Examinations 105
Vlll
5.3.1 Learners' Entry Behavior. 106
5.3.2 Introduction of Music Subject in Form One .106
5.3.3 The Frequency of Evaluating Given Music Units in a Term 106
5.4.0 Guided Music Teaching Activities that would Enhance Classroom Teaching in the
Future 110
5.4.1 Meki Nzewi's Method of Teaching African Music l10
5.4.2 Ongati's Strategy of Teaching African Music 112
5.4.3 Leonhard and House Procedures in Music Education l13
5.4.4 Charles Hoffers's Principles of Effective Teaching and Learning Music .l 14
5.4.5 Elliot's Strategies and Activities of Teaching Music 115
5.4.6 Instructional Strategies in Teaching Music by Campbell and Scott-Kassner. 117
5.4.7 Joyce and Weil's Instructional Models as Proposed by McNergey and Herbert .l 18
CHAPTER SIX: SUMMARY CONCLUSIONS AND RECOMMENDATIONS 123
6.0 Summary and Conclusions 123
6.1.0 Pedagogical Issues that Music Teachers Face in the Implementation of Music
Curriculum Content. 123
6.2 Instructional Methods / Strategies Undertaken by Music Teachers to Implement
Music in the Classroom 128
6.3 Guided Music Teaching Activities that would Enhance Classroom Teaching in the
Future 136
6.4 Recommendations 138
6.4.1 Suggestions for Further Research 139
REFEREN CES 140
APPENDICES 149
Appendix I: Form Three Music Teacher's Questionnaire 149
Appendix II: Form Three Music Students' Questionnaire .154
Appendix III: Classroom Observation Schedule 159
Appendix IV: Focus Group Schedule for Teachers 161
Appendix V: Letter to Principals 162
IX
Appendix VI: Work Plan (2012-2013 163
Appendix VII: Budget. 164
Appendix VIII: Research Authorization Letter. 165
Appendix IX: Research Permit. 166
LIST OF TABLES viii
Table 1.1: Performance in KCSE Music 2007 -20 11.. .3
Table 1.2: Nairobi County Performance in KCSE Music 2003-2012 .4
Table 4.1: Music Skills Development 1 35
Table 4.2: Music Skills Development 2 .36
Table 4.3: Music Skills Development 3 .37
Table 4.4: Music Development Skills 4 37
Table 4.5: Types of Resources Used in Teaching Music 39
Table 4.6 Teaching Activities 40
Table 4.7: Music Skills Development 1.. .47
Table 4.8: Music Skills Development 2 .48
Table 4.9: Music Skills Development 3 .49
Table 4.1 0: Music Skills Development 4 50
Table 4.11: Types of Resources Used in Teaching Music 51
Table 4.12: Activities Used during the Music Lesson 53
Table 4.13 Challenging Music Concepts 55
Table 4.14 Teacher Preparation 60
Table 4.15 Lesson Introduction and Presentation 61
Table 4.16 Strategies used during the Music Lesson 62
Table 4.17 Learning Activities 63
Table 4.18 Resources Used during the Lesson 64
LIST OF FIGURES ~ viii
Figure 2.1: Conceptual Framework 21
Figure 4.1: Questionnaire Return Rate as per Category ofRespondents 30
Figure 4.2: Distribution of Music Teachers by Gender. 31
Figure 4.3: Age of Form Three Music Teachers .31
x
Figure 4.4: Teaching Experience of Form Three Teachers 32
Figure 4.5: Form Three Teachers' Professional Qualifications 33
Figure 4.6: Music Curriculum Documents .34
Figure 4.7: Teaching Strategies .40
Figure 4.8: Frequency of Evaluating Music Units .42
Figure 4.9: Challenging Music Skills to Teach .43
Figure 4.10: Performance of Form Threes in Music for Three Years (2010-2012) .45
Figure 4.11: Teaching Strategies 52
Figure 4.12: Frequency of Evaluating Music Units 54
Xl
ABBREVIATIONS AND ACRONYMS
The following abbreviations and acronyms will be used in the study:
K.C.S.E: Kenya Certificate of Secondary Education
K.N.E.C: Kenya National Examinations Council
MOEST: Ministry of Education Science and Technology
K.I.E: Kenya Institute of Education
K.I.C.D: Kenya Institute of Curriculum Development
F.G. D: Focus Group Discussion
XlI
OPERATIONAL DEFINITION OF TERMS
For the purpose of the current study the following terms will be used in the context
ascribed to them below:
8-4-4 system: is the national system of education in Kenya consisting of eight years of
primary school of education, four years of secondary education, and four years of higher
(university) education
Musicianship: is the exhibition of music qualities/knowledge by mUSIC students in
listening to, responding to, performing, and composing music or competent music
making which engages ones entire system of conscious powers: attention, awareness,
cognition, emotion, intention. and memory.
Contemporary Music: refers to the current popular music that is played in the media.
Experiential learning: is that which engages the learner in musical expenences or
activities in the classroom.
Curriculum implementation: is the teaching of music concepts stated in the music
syllabus to achieve the objectives of the music curriculum in the 8-4-4 system of
education in Kenya.
Pedagogy: the art of teaching specific music concepts outlined in the music syllabus
with the aim of achieving the objectives of the music curriculum in the 8-4-4 system of
education in Kenya.
Instructional Methods: are established, systematic practices in the teaching ,and
learning process to achieve objectives 'in the music curriculum of the 8-4-4 system of
Kenya with accuracy and efficiency.
Strategy: is a plan or means that a music teacher adapts in disseminating mUSIC
knowledge to the students to achieve the given objectives in the Kenyan 8-4-4 system of
education.
xiii
Technique: the Way a music teacher handles the different aspects or phases of music
instructional methods.
Repertoire: includes all the skills or capabilities acquired by a music student at the end
of a course in music education and music artifacts (e.g. compositions and recordings).
Structured Course: this is in reference to the music curriculum in Kenya that has
known goals and objectives to be approached systematically.
Access in Music Education: means being able to attain music resources, being exposed
to the inherent properties of music through creating, performing and listening to different
types of music, and the connection to music courses in higher institutions.
Practicals: refers to music performances of African and Western songs or instrumental
music as stipulated in the music curriculum of the 8-4-4 system of education in Kenya.
Traditional Folk Song: is music from the diverse Kenyan ethnic communities.
Set Works: are music set pieces that have been selected by K.N.E.C for performance by
the K.C.S.E candidates.
Cultural Expectation: is in respect to the diverse Kenyan cultural musical practices
that enhance cohesion as portrayed in the goals of the music curriculum.
xiv
Abstract
The study was designed as an assessment of the impact of music instructional methods on
music curriculum implementation in the classroom in Kenyan secondary schools in
Nairobi County. Music instructional methods are perceived to affect the performance of
music content areas at Kenya Certificate of Secondary Education (KCSE) level as
documented by several Kenya National Examination Council (KNEC) national reports
essentially documenting below average music performance (KNEC, 2007-2012). Despite
Ministry of Education Science and Technology's (MOEST) efforts to improve on
instructional material including examination performances through Kenya Institute of
Education (KIE) which is now Kenya Institute of Curriculum Development (KICD) and
(KNEC) to provide comprehensive documents on instructional direction, music
candidates continue to perform below average in KCSE. The purpose of the study was to
assess the impact of instructional methods on music curriculum implementation by
focusing on the teachers' and students' practices and experiences in the classroom. It was
envisioned that this would unveil the drawbacks to quality music education and offer
guidance on high achievement in the dissemination and evaluation of the music
curriculum. In line with this, the study proposed to address the following: (a) investigate
pedagogical issues that music teachers face in the implementation of the music
curriculum content in the classroom, (b) determine strategies undertaken by music
teachers to implement music in the classroom, (c) investigate contributing factors towards
music students' performance in examinations, (d) to propose, with reference to available
literature on instructional methods, guided teaching activities that would enhance
classroom teaching in the future. Target population of the study was Form three music
teachers and students in Nairobi County (Kenya). A descriptive survey was conducted to
both groups (students and teachers) to collect views, facts, and suggestions on
pedagogical issues affecting the teaching and learning of music. Purposive sampling was
used to select 23 schools that offer music and 23 music teachers that teach music in
Nairobi County. Music students were selected using simple random sampling. A total
number of 180 out of 360 Form three music students and 23 teachers participated in the
study. Data was collected using three research instruments: questionnaires, classroom
observation schedule and focus group discussions. For validity in data analysis,
triangulation was used in data collection and presentation. Data was coded considering
the interrelatedness of responses. Emerging patterns were then recorded, classified and
interpreted as per the objectives of the study. Data was then analyzed using descriptive
statistics and presented in tabular form containing the number of responses per item
(frequency) and the percentage of each response via graphs and pie charts. The statistical
package for the social sciences (SPSS) was used to compute the empirical data for data
processing and analysis. Pedagogical issues faced by Music teachers in the
implementation of the music curriculum included: Theoretical instructional methods,
inadequate pre-service training in specific content areas, negative attitude towards music,
students' ineptitude in aurals, 'limited support by administration and parents, limited
xv
resources, wide syllabus, limited time in teaching, and work overload. Recommendations
included: KICD to organize in-service courses to sensitize school heads on the
significance of Music subject, KICD to organize in-service courses for the teachers,
policy makers and curriculum developers to restructure the music curriculum to meet the
learners' needs, school heads to relieve music teachers of a second subject to create time
for concentrating on practical aspects of music, and equipping music departments fully to
facilitate effective learning. The conclusion was that the dismal performance in content
areas (melody writing, harmony, western music analysis, African music, sight reading
and aurals) at KCSE is consistently below average due to poor music instructional
methods, physical and socio-economic factors that impact on the implementation of
music curriculum in Nairobi County.
XVI
CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
The recommendations of Mackay Report in 1981 led to the implementation of the 8-4-4
system of education in 1985. The change ushered in an entirely new structure which is
technically and practically oriented. Music was included and tested in the new end- of
primary examination after which the secondary cycle of the 8-4-4 system of education was
introduced in 1986 (Odwar, 2005). Since then Kenya Institute of Education (KIE), now
Kenya Institute of Curriculum Development (KICD) as from January, 2013 is mandated with
developing, researching, and reviewing the music curriculum. KICD works in close
consultation with other stakeholders, like teachers, in music curriculum matters through
subject panels. The secondary music curriculum has been revised twice; in 1992 and 2002
and the revised edition of 2002, which is operational to date, was introduced in 2003. It
consists of four units namely: Basic Skills, History and Analysis, Practicals and Project. Each
unit is further subdivided into topics and subtopics with specific objectives for each. The
objectives have been clearly defined and the content spelt out more specifically to give
guidance to users. The re-organization of the syllabus has been done in such a way that
mastery of the knowledge, skills and attitudes required at the end of the secondary cycle is
ensured. Most resources can be improvised, obtained locally, or acquired at fairly low costs
(KIE, 2006). It is expected that with consistent and resourceful use of study approaches such
as visits, participation in music activities, projects and use of resource persons the syllabus
should lead to vibrant class discourse (KIE, 2002).
In reference to classroom instruction of the music subject, KIE (2006) has crafted a
'Teacher's Handbook for Secondary Music' which facilitates the interpretation of the
syllabus as well as guidelines on time management. It also presents modes of assessment for
various domains. The handbook provides a guide on concepts to be taught in secondary
schools and guides music teachers in tackling all topics offered in terms of content and
methodology. Suggested methods of approach to various identified topics are clearly
outlined. Teachers are, however, encouraged to use their innovativeness and creativity in
organizing the teaching and learning process, KIE (2002). Apart from the music syllabus
(2002) and the 'Teachers' Handbook for secondary Music' (2006), Kenya National
Examinations Council (KNEC) provides an 'Examination, .Regulations, and Syllabuses for
the Kenya Certificate of Secondary Examination (KCSE) examination' on a yearly basis
which is prepared by the department of Test Development in KNEe. The KNEC syllabus
captures the council mission, 'To objectively evaluate learning achievements so as to enhance
and continuously safeguard nationally and internationally acceptable certification standards'
(KNEC, 2011, p.l).
Given the detailed account in the 'Teacher's Handbook for Secondary Music (2006)', KIE
Syllabus (2002) and the KNEC yearly reports and syllabi, it is not clear why most of the
music candidates in Kenyan secondary schools exhibit diverse inadequacies in most aspects
of musicianship at the end of the four year program as reflected in KCSE. Akuno (1997),
reports that most music candidates are unable to behave musically be it in the area of
performing, listening or composing. This is in sharp contrast with the ultimate goals of music
education, which can be summarized from the music general objectives as being able to: read
and write music, create or compose music, listen to /appreciate music, and perform music
vocally and instrumentally. Curriculum is based on the premise that effective teaching is
supported by an aligned curriculum. An aligned curriculum requires: clear iearning outcomes,
learning experiences designed to assist student achievement of those outcomes and carefully
designed assessment tasks that allow students to demonstrate achievement of those outcomes
(Biggs, 1999). This is exactly what KIE has endeavored to do to enable both the teacher and
the leaner to succeed in music curriculum implementation, yet according to the KCSE reports
over the years; music has perennially performed below average (KNEC, 2005).
A study of KNEC reports on music performance since 2007 to 2011, however, depict that
both papers 1 and 2 and in general the whole paper consistently recorded a decline in
performance. Slight improvements, though, are noted in 2009 and 2011 but the 2010
performance was the lowest in five years. Table 1.1 on the next page presents data from
KNEC showing the average mark achieved in each paper in KCSE in the years 2007-2011:
2
Table 1.1: Performance in KCSE Music, 2007-2012
Year Paper Candidature Maximum Mark Mean Score Standard Deviation
2007 1 100 55.54 13.87
2 100 50.57 13.33
Overall 1301 200 106.12 24.00
2008 1 100 46.06 10.80
2 100 47.39 16.55
Overall 1452 200 93.70 24.77
2009 1 100 46.82 11.05
2 100 47.04 14.85
Overall 1487 200 93.83 23.38
2010 1 100 45.70 11.07
2 100 39.41 14.00-
Overall 200 84.97 23.07
2011 1 1251 100 58.77 15.92
2 100 50.32 13.09
Combined 200 109.08 26.51
2012 1 1242 50 35.44 07.33
2 50 22.95 11.64
3 100 43.52 11.96
Combined 200 101.59 27.29
Source: The Kenya National Examination Council Music Reports for 2007-2012
Table 1.1 is a summary by KNEC of the candidates' general performance in KCSE music
(511) examination for the past six years (2007-2012). Practical performance (51111) and
Aural Skills (511/2) have been combined as paper I (Practical Paper) while paper 2 remains
the theory paper consisting of Basic Skills, History, Analysis and General Music Knowledge.
However in 2012, each paper was treated and awarded independently. The KNEC reports
generally reveal that music students lacked proper guidance in developing their musical skills
(KNEC Report, 2008). Music students have perennially performed below average in concept
areas like Aurals, Melody Writing, Harmony and Analysis of Western music and some
sections of African music in paper 2. "These areas seem difficult to a number of candidates"
(KNEC Report, 20 II, p.230). Although the general performance in music posted a fairly
good mean 'some areas of the examination posed challenges to candidates' (KNEC Report
2012). A close study of the reports reveals that the challenges could be attributed to the
methods undertaken by music teachers in music instruction.
3
According to the Nairobi County KCSE Music results analysis, a scrutiny of individual
school performances expose significant weaknesses in the performance of specific subjects
like Music. The following table 1.2 presents KCSE Music results analysis data from the
Nairobi provincial director of education in conjunction with Kenya Secondary Schools Heads
Association, Nairobi branch, showing the mean mark achieved in KCSE in the years 2003-
2012:
Table 1.2: Nairobi County Performance in KCSE music, 2003-2012
Year No. of Schools Maximum Mean Mean Score
Score
2003 20 12 8.146
2004 19 12 7.860
2005 19 12 8.453
2006 19 12 8.710
2007 19 12 9.100
2008 19 12 6.670
2009 20 12 7.603
2010 19 12 8.954
2011 20 12 9.803
2012 19 12 8.556
Source: Nairobi County Results Analysis Booklets for 2003-2012
The statistics given in table 1.2 above show that the performance of music in Nairobi County
has been fluctuating over the last ten years, the lowest decline being in the year 2008.
Considering the small number of students that are handled by music teachers, it is expected
that the performance would be excellent. Nacino-Brown, Oke and Brown (1982) hold the
belief that a high failure rate in a course is more often due to poor teaching than to the lack of
intelligence of the students. They propose that:
The way one teaches is very important. With the right methods and techniques
students can grasp concepts and ideas they never believed possible. Poor methodology
resulting in bad teaching not only frustrates students but minimizes their chances of
success in the future (Nacino-Brown et al, 1982, p. 11).
In this regard, the music teacher is expected to be creative In bringing about desirable
changes, some skill, attitude, knowledge, appreciation in his/ her students. It is believed that
the teacher is the kingpin of the educational situation and can make or break a program.
Campbell (1991) states that the making of a performing musician in the West is the result of
events that transpire between a student and teacher in the privacy of the studio lesson. In this
sense, teachers are the musical agents, the models, and the motivating forces for their
4
students. Their instructional methods and techniques will determine the achievement of music
curriculum objectives. Moreover, from a global perspective, Wiggins and Wiggins (2008)
note that there have been exceedingly few studies in Australia reporting on what is actually
happening at a classroom level in music education. The study seems to wonder what teachers
in classrooms actually do in relation to teaching music or what the nature of classroom
practice of music education is because it is understood that the heart of curriculum transfer
and transformation is in the classroom.
In Kenya the music education curriculum prepared by K.I.C.D identifies grounded aims and
objectives of the national music curriculum with the aim of ensuring that teachers are clear
about what is expected of them, and in turn teachers should do their best to effect good
practice in teaching and follow the stated aims and objectives. If the goals of music education
are not fully realized then the music students will either be denied the chance of pursuing
music education at higher levels or lack of music proficiency would limit their pursuance of
music careers.
1.2 Statement of the Problem
For a number of years, reports from KNEC have indicated that the results of music at national
level have consistently been lower than average (KNEC, 2005) with the worst performance
recorded in 2010 (KNEC, 2011). The KNEC reports reveal that students lacked proper
guidance in developing their musical skills (KNEC Report, 2008). Digolo (1997) observes
that teachers generally focus upon examinations and in the process compromise deeper
understanding of concepts.
Despite the perennial dismal performance in music at KCSE and the continual admission by
KNEC that the major contributor to the below average performance may be methodology,
little has been done to analyze the impact of music instructional methods on music
curriculum implementation. Akuno (2005) reports that in secondary schools, efficient
teaching and learning remain elusive due to challenges that include relevance, choice of
learning materials, and teacher preparation among others.
Trained music teachers should be able to effect good practice in teaching, considering the
evidence that the Kenyan music curriculum contains sufficient instructional information.
However it is not clear why music performance in content areas (melody writing, harmony,
5
western music analysis, African music, sight reading and aurals) at KCSE is consistently
below average. It is in the view of the consistent dismal performance of music candidates in
KCSE as alluded to in the preceding paragraphs that the study sought to investigate the
impact of music instructional methods on the implementation of music curriculum in Nairobi
County.
1.3 Objectives of the Study
The study addressed the following objectives:
i. To investigate pedagogical issues that music teachers face in the implementation of
music curriculum content.
11. To determine the strategies undertaken by music teachers in implementing music in
the classroom.
Ill. To investigate any contributing factors towards music students' performance III
examinations.
IV. To propose, with reference to available literature on instructional methods, guided
teaching activities that would enhance classroom teaching in the future.
1.4 Research Questions
The study sought to answer the following questions:
i. What were the pedagogical issues that teachers faced in the implementation of the
music curriculum content?
ii. What were the strategies undertaken by music teachers to implement music in the
classroom?
iii. What were the contributing factors towards music students' performance In
examinations?
IV. Considering future approaches, what were proposed teaching activities that would
enhance classroom teaching?
1.5 Research Assumptions
The study was guided by the assumptions that:
i. Most secondary schools in Kenya that offer music as a subject in the 8-4-4 curriculum
use both the KIE and KNEC music curriculum.
11. Instructional methods are paramount in achieving the objectives of the music
curriculum.
6
111. Appropriate implementation of the music curriculum improves music students'
overall musicianship/ achievement.
IV. The selected class sample has had a considerable learning experience in terms of
subject content and will reflect relatively accurate research findings.
1.6 Rationale and Significance of the Study
KNEC reports (2005-2012) have cited instructional methods as one of the possible drawbacks
to the performance of music in KCSE while classroom implementation has been cited as the
most crucial stage in determining the desired outcome in music education (Wiggins and
Wiggins, 2008). In response to the given concern, therefore, this study seeks to dissect the
classroom implementation process and identify the impact of music instructional methods on
music curriculum implementation. The study is based on the understanding that instructional
methods are key in all educational programs. In this regard, this study is pertinent in
unveiling the drawbacks to quality music education and offering guidance on high
achievement. Currently, Kenya exists in a very competitive global environment that offers a
wide range of opportunities which include greater employment opportunities for music
graduates. High quality education as recommended by UNESCO (2000) is necessary to
produce requisite skills, competencies and attitudes to realize the Kenya Vision 2030's great
emphasis on the link between education and the labor market. The study therefore is crucial
in the contemporary Kenyan society as there is a clamor for music and technology, creative
and cultural products in all spheres of life. 'Music is increasingly being appreciated more on
the basis of its functional, aesthetic as well as economic worth, rather than on a purely
scholastic perspective', (Wanjala 2004, p. 105).
Given that the heart of curriculum transfer and transformation is in the classroom, the study
will be relevant to the stakeholders of music education. It is envisioned that the findings will
serve as a basis for assisting the stakeholders in a number of ways. Firstly, the findings will
enlighten curriculum designers and policy makers on the achievement of music education
goals, give feedback to the curriculum developers and provide a rationale for reviewing the
scope and content and instructional methods of the music curriculum in the Kenyan 8-4-4
system of education. Secondly, K.I.C.D and MOEST will be prompted to in-service music
teachers in Kenyan secondary schools that undertake the 8-4-4 music curriculum, for
effective implementation. Thirdly, music teachers will get insight on proposed strategies that
would enhance effective implementation of the music curriculum and the development of
7
music as a subject in general. The findings will also sensitize music teachers on the need to
explore the methods and techniques advocated in the 'K.I.E Music Syllabus, 2002' and the
'Teacher's Handbook for Secondary Music'. It is also hoped that this study will add to the
existing knowledge in this area and will form a bank of information for other music scholars
who may want to conduct similar studies in different environments.
1.7 Scope of the Study
The study concentrated on the implementation of the music curriculum in the classroom as it
assumed it is the most crucial level that determines the achievement of the music curriculum
objectives. Specifically, the study closely investigated pedagogical issues affecting the
teaching and learning of the four units (Basic skills, History and analysis, Aurals and Project)
of music outlined in the syllabus of the Kenyan 8-4-4 system of education.
Nairobi County was selected for study since it is diversified in terms of the categories of
schools that cut across the whole nation of Kenya and offer music curriculum in the 8-4-4
system of education. These include: district, provincial, national, and private schools that
provided a rich background for conducting the study. The respondents included Form three
teachers and students who were expected to have covered a considerable area of the music
syllabus. The form four students did not participate in the study because it was a candidate
class and the school administration was likely to be hesitant to allow their participation in the
research since this would have put much pressure on the candidates.
1.8 Limitation of the Study
The study was anticipated to have several limitations. Firstly, the study was conducted in
selected schools in Nairobi County and the data was from Form three music classes excluding
the Form one, two and four classes. However, considering Nairobi County is diversified in
school categories that cut across Kenya and that Form three music students were considered
to have covered a considerable amount of the music syllabus, the findings of the study could
be generalized to other parts of the country and music students in other forms. Secondly, it
was not possible to cover the opinions of all the stakeholders that affect the implementation
of the music curriculum because involving them would require considerable time, resources
and other logistics which could have not been achieved within the limited time frame of the
8
project. Moreover the study was focused on classroom interactions that directly involved
teachers and students.
9
CHAPTER TWO
REVIEW OF RELATED LITERATURE
2.0Introduction
The literature was drawn from empirical and theoretical literature: government publications
(government reports, sessional papers, and culture policy), refereed journals, master and PhD
thesis, conference abstracts/papers, encyclopedias, academic books, and the internet. This
chapter reviews literature related to music instructional methods and curriculum
implementation as follows: curriculum implementation, global view of music curriculum
implementation, music curriculum implementation in Kenya, pedagogical problems faced by
music teachers in implementing music curriculum, strategies undertaken by music teachers
in implementing music curriculum, contributing factors toward music students' performance
in examinations, proposed teaching activities, review of local literature, summary of
reviewed literature, theoretical framework and conceptual framework.
2.1.0Curriculum Implementation
The process of curriculum implementation involves helping the leamer, who is central in
curriculum implementation, acquire knowledge or experience. Implementation takes place as
the learner acquires the planned experiences, knowledge, skills, ideas and attitudes that are
aimed at enabling the same learner to function effectively in a society (Delport &Dhlomo,
2010). However, the KNEe reports (2005-2012) reveal that a number of the music candidates
perform dismally and it may be inferred that they cannot function effectively in the music
career. In producing proficient musicians that can be absorbed in the labor market, teachers
are identified as agents in curriculum implementation process. According to Abeles, Hoffer,
and Klotman (1995) attitudes of teachers, curriculum specialists, administrators, and the
public as well as facilitators and obstacles will have an impact on the quality of a program
being offered. The proposed study investigated the impact of instructional methods on the
implementation of music curriculum and pedagogical problems that music teachers faced in
the implementation of music curriculum content.
The University of Zimbabwe (1995) explains that, implementation takes place when the
teacher constructed syllabus, the teacher personality, the teaching materials, and the teaching
environment interact with the learner. However, without subsequent progress monitoring
goals will be difficult to achieve. Walker (1998) contends that far too often, worthwhile and
well thought out objectives fail because no monitoring process was used and that a means of
10
XEtlYAITA U_NIVER_Sil_I~_~_B
progress needs to be established. Assessment monitors goals and one of the purposes of
assessment is to provide feedback of effectiveness of teaching. The objective of this study
was to investigate the impact of music instructional methods on music curriculum
implementation with a view of enhancing the instruction and evaluation of the music
curriculum.
2.1.1 Music Curriculum Implementation Globally
Developing standards in education and maintaining the desired quality rernams a major
challenge across education systems throughout the world. Quality in Education is the degree
to which education can be said to be of high standard, satisfies basic learning needs, and
enriches the lives of learners and their overall experience of living (UNESCO, 2000). It is in
this light that the study sought to examine the impact of instructional methods on the quality
of music education in Nairobi County.
Despite the importance of music in Australia, Klopper and Power (2011) bemoan the fact that
compulsory subjects are given a longer period of study than music, among other arts subjects.
This translates into prospective student's experiences in arts education being distant and in
many cases sporadic. In agreement, Wiggins & Wiggins (2008) observe that, when
prospective teachers enter pre-service education in the United States they have had
approximately twelve years of comprehensive and sequential instruction in Mathematics,
English, and Science, while their last formal music instruction in schools may have occurred
at the age of twelve or earlier. As reported by Dhlomo & Delport (ibid) on the status of
music curriculum implementation in South Africa, very few schools today hold general music
classes in elementary schools. There is a constant struggle for the survival of music education
in the schools because music has not been considered to be part of the core of education. The
scenario of music curriculum implementation presented globally is a replica of the Kenyan
situation and portrays the status of music curriculum implementation in secondary schools.
One of the objectives of the study was to investigate pedagogical problems that music
teachers faced in the implementation of the music curriculum content and therefore the
studies reviewed under this section will help to understand why there seems to exist
pedagogical problems in the implementation of the music curriculum in Kenyan secondary
schools.
11
2.1.2Music Curriculum Implementation in Kenya
In Kenya, music education is disseminated in a clearly structured context of the 8-4-4
education system. A detailed analysis of the Kenyan 8-4-4 music curriculum objectives
depicts that at the end of the four year course a learner should exhibit change in the three
domains of knowledge namely: cognitive, affective, and psychomotor. The objectives of the
Kenyan music curriculum are geared toward developing proficient musicians who appreciate
and value music as life enhancing art. Yet this does not appear to be the case as most music
candidates are unable to behave musically, be it in the area of performing, listening or
composing (Akuno, 1997). Among other factors, the current practices in the teaching of
music in Kenyan schools can be traced back to factors arising from cultural, missionary and
colonial influences (Akuno, 2005). With the launching of the 8-4-4 system of education in
1985, music became a career subject at primary level, but from 1999 with the
recommendations of the Koech report in regard to music education, primary level teachers
did not find it necessary to teach music as a subject. Shitandi (2005) adds that the emphasis
shifted to basically singing during pastoral programs and on other occasions.
In regard to teaching music in secondary school, Digolo (1997) indicates that teachers teach
with a focus upon examinations and in the process compromise the understanding of the
concept. In regard to this, the study undertook to determine the strategies undertaken by
music teachers to implement music in the classroom. At the same time contributing factors
towards music students' performance in examinations were investigated. Other than
preparing pupils for the national examination, the objectives of the music syllabus are to
ensure that pupils are exposed to a variety of musical activities including sight singing,
participation in music festivals, making and playing musical instruments, dancing, making
costumes as well as music appreciation (Wanjala, 1991). This study was intended to dissect
the teaching and learning process in the classroom that entails methodology and learning
activities in secondary schools. As a result a proposal of guided teaching activities that would
enhance classroom teaching in the future was made.
2.3 Issues Faced by Music Teachers in Implementing Music Curriculum
Teachers, their commitment and attitudes, competences, and interaction patterns make up
crucial factors for implementation. Akuno (2012) observes that in Kenya the music teacher is
an undefined entity. In classroom instruction the teacher is expected to be well-trained and
12
competent, supported by academic certificates and validated by students' examination results
but when it comes to choir training qualifications in music appear not to matter. This is
witnessed in the hiring of non-music teachers, most of them being untrained in music, to train
choir. Yet to impart knowledge and skills to learners through music, teachers need an
understanding of how music works and the nature and concept of music. Music teaching
requires the ability to communicate these attributes of music, and to employ music in diverse
circumstances to facilitate learning. The study investigated the teachers' music qualifications
and determined the strategies undertaken by music teachers to implement music in the
classroom.
A music teacher requlres ample time to disseminate knowledge. This is evidenced in
Campbell's and Scott-kassner's, (2010, p. 321) statement that often music teachers feel
pressured to 'try to do everything' or to 'cover curriculum'. The result of trying to do a little
bit of everything can be that learners receive a superficial experience, rather than an in-depth
experience. The length of instructional time is a matter of considerable significance and a
strong indicator of students' access to learning opportunities. Consequently the study
assessed the time available for the study of music and the approaches adopted to utilize the
given time during class instruction. Shitandi (2005) opines that apart from the shortage of
staff at the African academy, the lecturers are unable to demonstrate practical musicianship in
teaching African music. After conducting an investigation into the teaching and learning
approaches used in Kenyan universities, he reports that lecture delivery method is employed
in the theory of African music while the practical aspect is left to instrumentalist/vocalists
who are recruited from various Kenyan ethnic communities. These instructors lack proper
communication skills and have lim ited course content. Adedej i (2011) asserts that, would be
teachers and practitioners of school music in Africa are to be thoroughly taught and ski llful in
creative process to be active practicing musicians adequately groomed in African culture.
The question, therefore, is: are these pre-service teachers fully equipped to teach the practical
bit of African music? On this basis the study investigated pedagogical problems facing music
teachers in implementing the music curriculum in secondary schools.
2.4 Strategies Undertaken by Music Teachers in Implementing Music Curriculum
The teacher's methodology in teaching music is central in disseminating music knowledge
effectively. The selection of a method of instruction is, in most cases, influenced by personal
and environmental factors such as objectives of a particular lesson, group sizes, and
13
availability of resources, entering behavior of learners, teacher preferences and dislikes
among others (Quist, 2000). The task of developing effective music teacher traits usually
begins with the undergraduate teacher training program. Among the responsibilities music
education programs have is to ensure pre-service students develop sufficient subject matter,
expertise, appropriate instructional techniques and adequate classroom management (Kelly,
2008).
In quoting Soler and Miller (2008), Andang'o (2009), agrees that progressive curriculum
advocates for de-centering of the power of the teacher, so that the teacher is often seen as a
facilitator rather than controller of curriculum activities. Mbeche (2000) on the other hand,
observes that some music teachers are uncertain about which methodology to use in aural
training. The study will endeavor to propose guided teaching activities that would enhance
classroom teaching in the future. To be effective in the classroom, Delany (2011) maintains
that, music educators must develop artistry, not only in music but also in teaching. Music
teachers may describe effective teaching as more art or craft than science. This study
determined the strategies undertaken by music teachers to implement music in the classroom.
In conclusion, methods in teaching music depend on the nature of the subject matter, the
objectives of instruction, the nature of the learning process, the maturational level,
experiential background and present needs of students, teacher competencies, and such
physical conditions as: material available, time available, and class size. The practice of each
teacher is oriented by their own principles; adapted to the situations they face and permeated
by their own conceptions, particular beliefs and social determinants that guide their
professional actions (Lehmann, Sloboda, & Woody, 2007). The study intends to investigate
the impact of instructional methods on music curriculum implementation in regard to the
given issues.
2.5 Contributing Factors towards Music Students' Performance in Examinations
Students playa crucial role in the successful implementation of the music curriculum.
Fatuma, (1990) contends that students are limited in the areas of composition as they are
obliged to compose in specific styles of western music. This implies that they cannot freely
express their own experiences as reflected in the changing trends of the music world. Ongati
(2011) adds that, at KCSE level learners are supposed to either perform a traditional dance,
folksong or play an instrument. Yet the students are not taught techniques of manipulating the
14
instrument to achieve some level of adeptness and virtuosity In the performance of the
instrument. This beats the intentionality of playing an instrument which is to accompany an
African song on the instrument. The education system in Kenya is dominated by exam-
oriented teaching where passing examinations is the only benchmark of performance (Digolo,
1997). In practice teachers tend to disregard aspects that are not examined despite their
importance for learners' holistic development. This kind of approach disadvantages learners
in that they do not fully comprehend the pertinent concepts of music. The study intended to
unearth the pedagogical issues that music teachers faced in implementing music and answer
the question on what strategies are employed in teaching music in the classroom.
In teaching music, the teachers ought to strive to transform the students in terms of the
cognitive, psychomotor and affective domains. Nacino-Brown, Oke &Brown (1982) define
teaching as an attempt to help someone acquire or change: some skill, attitude, knowledge,
ideal or appreciation. Therefore the teacher's task is to create or influence desirable changes
in behavior or tendencies towards behavior in his or her student. The aim of the study was to
evaluate the impact of instructional methods on music curriculum classroom implementation.
2.6 Proposed Teaching Activities
Teaching activities or classroom activities include: review, drill, practice, assignment and
questioning, (Nacino-Brown et aI., ibid). The success of the teaching-learning process
depends, to a considerable extent, on how well these activities are performed. Nzewi's (2001)
philosophy regarding African music education in modem music education discourse is that
formal system of music education should be based on indigenous African model and
resources in generating the content and the pedagogy. This will bring about a method that
reflects the pragmatic approach which helps the young people to understand their immediate
environment with a great view of their social-cultural base. In support of this view Ongati
(2011) describes two pedagogical methods that have been used for learning African music in
formal institutions namely: imitation which promotes creativity and learning by and through
performance which enhances learning by doing. In addition, Leonhard and House (1959)
advance basic patterns for teaching procedures in music education which are still applicable
in the teaching of music in secondary schools today. These include teaching procedures
useful in teaching performance skills, appreciation, knowledge and understanding and
15
attitudes. The study investigated and proposed such guided teaching activities that would
enhanceclassroom teaching in future.
2.7Review of Local Literature
Monte (2009) investigated how resourceful the secondary music teacher is in instructional
delivery in central province of Kenya. Findings of the study revealed that resources were
inadequately used, shortage of teachers and instructional methods employed by music
teachers were 'irrelevant' for resourceful instruction in music. It is in this light that the
current research sought to investigate if the same problems were faced by music teachers in
Nairobi County. In similar vein Nambafu (2011) investigated the impact of instructional
materials on performance in music in secondary schools in Bungoma County and found out
that inadequate resource and professional issues were causes of poor performance in music.
The current study found out pedagogical issues experienced by music teachers in the music
curriculum implementation that result in consistently below average examination
performances at KCSE level.
Mushira (2000) investigated factors affecting the teaching of indigenous Kenyan music in
Nairobi secondary schools. The findings of the study showed, among others, that inadequate
time is allocated for the teaching of Kenyan indigenous music and that teaching and learning
activities are predominantly theoretical hence experiential learning found to be lacking.
Mushira's study was predominantly on indigenous Kenyan music in Nairobi secondary
schools while this study focused on the teaching of music as a whole, and proposed guided
teaching activities that could enhance classroom teaching in the future, in Nairobi County.
Andang'o (2000) investigated on voice tuition in regard to students' learning experiences,
expectations and performance at Kenyatta University. The conclusion made was that there is
some apathy towards voice due to lack of exposure and guidance. The implication of the
given study is that voice tuition which is part of unit 3 in the secondary school music
curriculum syllabus (2002) is not given due attention and this is translated to higher levels of
music education. This is why the current study sets out to establish issues experienced by
music students in Kenyan secondary schools with a view of providing remedies. Mbeche's
(2000) study on factors affecting music performance of aural skills at KCSE in Nairobi
secondary schools reveals that lack of proper teacher training acted as an impediment to
16
'l ITA UNIVE SITY I
effective teaching of aurals. Consequently the current study concerns itself with pedagogical
issues music teachers face in implementing music curriculum in the classroom.
In his study on the relationship between attitudes toward music and achievement among
standard seven pupils in Kanduyi Division, Bungoma District, Wanjala (1991) concluded
that: pupils most prevalent positive attitudes were centered on the teachers' methodology
adopted in music teaching while pupils' most prevalent negative attitudes touched on the
teacher's self concept as well as his/her attitude toward the pupils, ability to play music
instruments also seemed to be an issue that created negative attitude basically because of lack
of adequate exposure. Wanjala (ibid) recommended further research to establish the existence
of other variables that seemed to contribute to the achievement in music in addition to
attitude. It is in this breath the current study sought to determine the music teaching strategies
adopted by secondary music teachers and their contribution to achievement.
2.8 Summary of Reviewed Literature
The literature reviewed defines parameters of the concept of music curriculum and examines
principles that underlie teaching and learning of music. The review also discusses the
practical nature of music education and the need for experiential learning. Music educators
worldwide advocate for methods that allow for discovery learning and hence nurture
creativity. Findings of other studies reveal a state of apathy toward music in Kenya and
majority of teachers are handicapped in handling music in general. These studies also reveal a
weakness in methodologies of teaching music and under-utilization of available resources in
music teaching. In all cases, it is conceptualized that music is dismally performed due to the
perennial challenges in the curriculum implementation.
2.9 Theoretical Framework
The study was guided by Cambourne's Natural Learning Theory (1988) which is significant
in gauging the instructional and learning process.
2.9.1 Cambourne's Natural Learning Theory (1988)
This theory was formulated as a result of Cambourne's quest for an exemplar of highly
successful complex learning and what made it successful. He developed a model of natural
learning on how children acquire speech. It is based on observing what children do as they
17
learn to talk. Lent (2006) reports that teachers who use this model are able to cater more
effectively for the full range of children's needs because their classrooms encourage every
child to participate and learn in the most holistic ways. Children in the classroom become
independent learners who are motivated to seek out and embrace new learning without fear as
there are no penalties for trying. After research, Cambourne (1988) identified a set of
conditions that always seem to be present when language is learned namely: Immersion,
demonstration, engagement, expectation, responsibility, approximation, use and response.
Four of Cambourne's conditions found to be most relevant for the study are discussed and
related specifically to music education. The development of teaching strategies and learning
experiences which emulate the natural way in which children acquire oral language has had
major impact not only on the ways in which literary skills are taught, but also affected
changes and ways in which learning and teaching are regarded in other curriculum areas
(Berret, 1992).
The first attribute is demonstration. Children in language rich environments receive
demonstrations of language in functional ways. This means that children see language used
by their parents and siblings as well as the actions that go with it, and the results. The
implication in music is that teachers should employ demonstrations in the process of teaching
and learning music in the classroom. After a demonstration the learners should be involved
as participants by being engaged in the task so that they see themselves as musicians just like
the teacher. This condition refers to the ability to observe actions and artifacts (compositions
or recordings). Learners may select, interpret, organize and re-orient their thinking through
engagement with demonstration, e.g. imitating a teacher or peers playing techniques or
compositional styles. The demonstration condition will be used to gauge whether the teachers
involve music students in musical activities and also expose them to audio-visual (non- print)
and print materials.
The second condition is expectations. 'Expectations are essential messages that significant
others communicate to learners. They are also subtle and powerful coercers of behavior'
(Cambourne, 1995, p.185). In music these are messages provided by the teacher and have far-
reaching effects in the development of the leamer's self esteem. The teacher's belief and
confidence in the learner and their communication about the importance of music in the
learner's life encourages the learner to value the music subject. The teacher should have faith
in the natural learning abilities of the learner and expect that every child can learn, identify
18
what the learners can do better and perfect it, expect that learners can improve on their
present condition and eliminate fear in learning situations as it affects instructional strategies.
The condition of expectation will be used to determine music teachers' commitment and
attitudes, competences, strategies and interaction patterns. Both individual and collegial
aspects are important in motivating learners. The effective music teacher serves as the live
model for the music to be learned hence proficiency in performance skills is critical. Model
musicianship can be observed, absorbed, and reinterpreted by music students in their
performance.
The third condition is employment/use. Children learn to speak by using their language skills
continuously. Similarly, in music learners must continuously practice to perfect their musical
skills. Good teaching therefore demands that learners are engaged in real whole learning tasks
with hands-on experience as composers, performers and problem solvers. Within music
education, use may encompass the development of an original composition, the practicing of
a piece of music for sharing, the performance itself or listening to music for a variety of
purposes. Hence learning should be meaningful and purposeful and done within an
atmosphere of trust. An opportunity and time is needed by the learners for presentations of
project works to an audience and feedback. Moreover, music teachers should allow students
to process time to construct new knowledge based on meaningful experiences and
discussions. Ample time is required to implement the newly acquired practices and
knowledge. The condition of use will be appropriate in assessing the time allocated for
learning and practicing music inside and outside classroom.
Finally, response/feedback is very central in the learning process. Feedback is the message
the learner-talkers receive from the significant others in the learners life e.g their parents, as a
consequence of using and developing language knowledge and skills. In this case parents
encourage the child who may not pronounce a word accurately by supplying missing bits of
the child's approximation. The parent, therefore, demonstrates the conventional version of
what he/she thinks was intended and leaves the responsibility for deciding what is salient in
this demonstration to the learner. In music education, the teachers, peers, or other musicians
and composers may provide feedback to the students. Responses provided by the teachers or
the expert should be relevant, appropriately timed, readily available and, above all, non-
threatening. This condition will be critical in examining the extent to which music teachers
evaluate and provide feedback to music students in the four units outlined in the music
19
syllabus namely: Basic Skills, History and Analysis, Practicals, and Project. Evaluations
enable music teachers to understand music students' work hence diagnosing their needs. As a
result, music teachers make more informed decisions about the most suitable help needed by
the students.
2.10 Conceptual Framework and Measurement ofInstructional-Related Variables
The conceptual framework on the next page depicts the impact of music instructional
methods on curriculum implementation. The framework has four levels that include:
methodology (independent variable); teacher factor, student factor, evaluation, available
resources and content (extraneous variables); curriculum implementation (dependent
variable) and achievement (outcome). The methodology employed in music instruction can
be experiential or theoretical. The teacher factor encompasses training which determines
musical competence; music teaching philosophy which refers to a teacher's beliefs about the
subject and how it should be approached; and a teacher's attitude towards music and the
students. The student factor entails the student's entry behavior or his/her musical
background; their perception or attitude towards music; and their ability to comprehend
music. Evaluation refers to the tests and projects given to assess music. Available resources
include infrastructure (music room) and music equipment versus class size and instructional
time. Content is defined by the nature of subject matter and music curriculum goals and
objectives. Curriculum implementation (dependent variable) involves content delivery and
the learning process. The outcome is defined in terms of achievement which refers to
exceptional or below average performance; and the opportunity of the student to access
tertiary education or a music career. The conceptual framework shows that the kind of
instructional methods employed in music instruction (whether experiential or theoretical) can
bring forth exceptional or below average performance in music which will determine whether
the music students will access higher education or music careers. On the other hand,
extraneous variables affect the kind of instructional methods used in curriculum
implementation and vice versa. At the same time methodology and extraneous variables
affect curriculum implementation and the outcome is either positive or negative when the
given factors are favorable or unfavorable respectively.
20
Figure 2.10.1: Conceptual Framework: Impact of music instructional methods on curriculum
implementation
INDEPENDENT
VARIABLE
METHODOLOGY
Experiential
Theoretical
EXTRANEOUS
VARIABLES
TEACHER FACTOR
Training
Philosophy
Attitude
STUDENT FACTOR
Entry behaviour
Perception/Attitude
Ability
EVALUATION
Tests
Projects
AVAILABLE RESOURCES
Infrastructure
Equipment vs class size
Time
CONTENT
Subject matter
Goals
Objectives
Created by Joyce M. Mochere: 2013
21
DEPENDENT
VARIABLE
CURRICULUM
IMPLEMENTA
IIQ!i
Content
Delivery
Learning
Process
OUTCOME
ACHIEVEMENT
Exceptional
Performance
Below
Average
Performance
Tertiary
Education
Career
CHAPTER THREE
METHODOLOGY
3.0Introduction
The given chapter entails research design, locale of the study, target population, sampling
techniques, sample size, research instruments, pilot study, validity and reliability, data
collection techniques, data presentation and analysis, logistical and ethical considerations,
conceptual frame work and measurement of instructional-related variables.
3.1Research Design
The study employed a descriptive survey design which is effective in obtaining both
qualitative and quantitative data. Cohen and Manion (2002) point out that descriptive study is
not restricted to fact findings, but may often result in the formulation of important principles
of knowledge and solution to significant problems. In the given research, policies can be
formulated for improving the present teaching and learning situation making it both effective
and efficient. This design was applicable in the study as it sought to describe the teaching and
learning phenomenon of music in secondary schools. Quantitative approach was applied by
use of questionnaires, classroom lesson observation schedule for the number of music
teachers and students while qualitative approach was applied by the use of focus group
discussion. Views, facts, attitudes, and suggestions on pedagogical issues influencing the
teaching and learning of music were collected. The quantified information summarized the
results and complemented the qualitative data.
3.2 Locale of the Study
The study was carried out in Nairobi County. The area was selected because of its wide
sampling strata that is conveniently available and enabled the researcher to promptly
administer the instruments and receive feedback.
3.3 Target Population
The study's target population included all music teachers and students in form three in public
and private schools offering Music within the 8-4-4 system of education in Nairobi County.
According to the Quality Assurance and Standards Officer (QUASO) Nairobi County, there
22
wasa total of 213 secondary schools in Nairobi County out of which 24 were teaching music
as per the time of the current study. It was confirmed from the Nairobi County KNEC music
examination schedule 2103 that there were 24 music schools and an average of one teacher
per school. The study targeted all the 24 music schools with about 24 music teachers and 400
Form three music students in Nairobi County. Therefore the total population for the study
was 424 respondents. However, one school was set apart for pilot study leaving a balance of
380 students and 23 teachers, hence target population of 403.
3.4Sampling Techniques
Under the positivist paradigm, the subjects are sampled from the accessible population which
is that part of the target population that the researcher can practically reach (Mugenda, 2008).
Purposive sampling technique which involves selecting a sample that is believed to be
representative of a given population, using expert judgment (Gay, 1992) was utilized. It
allows for the usage of cases that have the required information with respect to objectives of a
study. In this regard music teachers, students and schools were purposively sampled. From
the Quality Assurance and Standards Officer (QUASO) report there are few music schools
and teachers in Nairobi County; 24 schools and an average of one music teacher in each
school, hence the whole population of teachers except for one teacher who participated in the
pilot study was considered for the study.
To obtain the accessible number of students, simple random sampling was done. The method
of proportional allocation was used to decide what number of students was to be selected
from each school, and was to be represented in the sample in proportion to their numbers in
the population itself. A sampling fraction was calculated from the population size of Form
three music students which was 380 and the desired sample size was 180 students. That is
180/380. Therefore, sampling fraction (f) =0.5 which is equal to the probability of any
member of the population being selected for the sample. Each number of students in a school
was multiplied by this fraction to obtain the sample. The names of students in each school
were written on pieces of paper (of equal size colour and texture) folded into equal size and
shape, placed in a container, and mixed well. After thoroughly shuffling the folded pieces of
paper in the container, each name was blindly picked up, one at a time, until the required
number of students was obtained. According to Gray (1992), a large sample minimizes the
sampling error although a minimum sample of 20% is adequate for educational research. In
23
the study 180 students were adequate since they formed 50% of 380 which is more than the
minimum number.
3.4.1 Sample Size
Nairobi County had a total of213 secondary schools. Out of these schools, 24 schools which
included district, provincial, private, and national schools were offering music under the 8-4-
4 system of education in Nairobi County. Since the music schools were few, the study
selected the 24 schools which was a 100% of the sample. However, one school was set apart
for pilot study leaving a total of 23 schools. In each of the 23 schools, there was one music
teacher hence a total of23 teachers was picked for the study. There were a total of380 Form
three music students in Nairobi County out of which 180 (50%) music students were selected
for the study; hence the total sample size ofthe teachers and students was 203.
3.5 Research Instruments
The study used three instruments namely: Questionnaire, classroom observation and focus
group discussion.
3.5.1 Questionnaire
A questionnaire for music teachers and students was prepared in reference to the research
objectives (See Appendices I &II). Both open and closed-ended items were utilized. The
instrument is advantageous because it avoids bias and only the views of the respondents are
recorded. It also gives respondents ample time for reflection before answering questions
hence avoiding hasty answers and assists in gathering much information in the shortest time
possible. The questionnaires were divided into different sections, whereby each section
addressed questions to achieve each of the specific objectives of the study.
3.5.2 Focus Group Discussion
The purpose of focus groups was to direct discussion on a particular issue. In this case the
focus groups were music teachers from Nairobi County who share the same professional
concern about (and the knowledge of) instructional methods in the implementation of the
music curriculum. A structured focus group discussion was employed whereby prepared
24
questions were used (See Appendix IV). The instrument is appropriate as it provides in-depth
information about how teachers think about music curriculum implementation, their
reasoning of how things are the way they are and why they hold such views (Bell, 2005). It is
also advantageous because it is low-cost and chances of non-response are reduced to about
zero. However, it requires a considerable amount of cooperation and enthusiasm from
participants (Gray, 2009)
3.5.3Classroom Lesson Observation Schedule
The researcher observed lessons in progress to find out the teaching and learning strategies,
activities and resources used during the delivery of content. The given instrument is central in
obtaining first hand information on teaching and learning activities during the lesson. In
developing the observation schedule, the study defined specific terms that would be observed.
Notes taken were utilized to analyze teaching techniques and their impact on the
implementation of the music curriculum in secondary schools (See Appendix III).
3.6Pilot Study
Pilot study was conducted in one secondary school in Nairobi County with similar
characteristics but outside the actual schools that participated in the study. The essence of
piloting was to establish the validity and reliability of the instruments. The significance of
pre-testing the instruments was to identify the vague questions and rephrase them.
Corrections were made to deficiencies like clustered questions, under-directions, insufficient
spacing for writing responses and wrong phrasing (Orodho, 2008). Constant consultation
with the supervisors and other professionals assisted the researcher to refine the instruments
prior to the administration during the main phase of data collection.
3.7.0 Validity and Reliability
Validity aims at ascertaining the extent to which the research instruments collect the
necessary information while reliability aims at ascertaining consistency of responses
collected by the instruments.
3.7.1 Validity
All data gathering instruments were piloted to establish the recipients' duration to complete
them, to check that all questions and instructions were clear and to enable the researcher to
25
remove any items which did not yield usable data. To determine whether the items in the
questionnaires were representative of the full content of what was to be measured, content
validity was adopted. A table of specification which systematically specified the content and
objectives was constructed. This ensured the possibility of obtaining an adequate sample of
test items. Thereafter the expertise of supervisors was sought in assessing the relevance of the
content used in the instruments. This helped to ascertain whether the whole content area was
well covered by the items and to avoid the likelihood of over-testing or under-testing one
content area. Construct validity was used to relate the instruments for data collection to the
theoretical framework. This was done to determine whether or not the particular instrument
or tool did correlate with all with all the concepts that comprised the theory.
3.7.2 Reliability
The study used Test-retest reliability to assess the reliability of the instruments. In this case
the developed questionnaires were administered to the pilot school twice at an interval of one
week. Using Spearman rank order correlation, a correlation coefficient was computed to
establish whether the questionnaires were reliable and this is when similar responses are
obtained in the two instances.
r=N L XY-LXLv
~[NIX2 -(Lxi [NIy2 _(Iy)2]
Where: r = Pearson's Coefficient or correlation coefficient
N= the no. of respondents completing the questionnaire
x= the scores ofthe first administration
y= the scores of the second administration after one week
A correlation of 0.8 was arrived at indicating that the instruments were reliable. A correlation
coefficient (r) of 0.75 onwards is considered high enough to judge the reliability of an
instrument (Orodho, 2009).
3.8 Data Collection Techniques
Both primary and secondary data was collected. Secondary data was gathered from: Kenyatta
University Postmodern Library, lomo Kenyatta Memorial Library at ,the University of
Nairobi, United States International University Library and Kenya National Archives.
Triangulation was used as the main data collection procedure. According to Mugenda &
Mugenda (2012), triangulation is a systematic collection analysis and comparison of data
26
from the same group of participants using multiple techniques, tools and procedures. It is
commonlyused in qualitative studies where data from multiple techniques is used to validate
each other. The exercise was carried out using already prepared questionnaires, classroom
lessonobservation schedule and focus group discussion to gather primary data. Specific data
wascollected for each objective.
A Semi-structured interview (See Appendix IV) where 8 music teachers were interviewed at
a time using a predetermined list of open-ended questions arranged in a natural logical
sequence. With the consent of interviewees, the responses were recorded on an audiocassette
recorder and then transcribed later. These transcripts were significant in content analysis of
the responses of the teachers' views and opinions. The data collected enabled the researcher
to corroborate the information given in questionnaires and classroom observation. Music
teachers were interviewed based on their experiences in music curriculum implementation in
regard to issues faced and the teaching strategies.
A Structured questionnaire for music teachers (See Appendix I) and students (See Appendix
II) utilizing open and closed-ended items was prepared. Questionnaires were personally
administered to both Form three music teachers and students. Structured-observation (See
Appendix III) was utilized to observe lessons in progress to find out the teaching and learning
strategies, activities and resources used during the delivery of content. It served as a method
of triangulating the responses made by the teachers in the questionnaires.
3.9 Data Presentation and Analysis
Data analysis involves working with data, organizing them, breaking them into manageable
units, synthesizing them, and searching for patterns (Orodho, 2009). The main analysis
started with checking the raw data for completeness of the research instruments, accuracy of
answers and usefulness and uniformity in interpretation of questions. Responses from the
three instruments were coded, stored and analyzed both quantitatively and qualitatively using
Statistical Package for Social Sciences (SPSS) Software. This is efficient as it handles a great
deal of data, and has a wide spectrum of statistical procedures purposively designed for social
sciences,
Quantitative data was analyzed using descriptive statistics which include measures of central
tendency, measures of dispersion and measures of association. Questionnaire and classroom
27
observation data was examined for mean, frequency counts and percentages of reported
issues in music curriculum implementation and strategies used by music teachers. The results
of data analysis were presented using frequency tables, pie charts and bar graphs. Qualitative
data obtained from open-ended questions and interview schedule were analyzed by
employing systematical content analysis based on meanings and implications from the
response. This technique improves the reliability of observations and interpretations as it
examines the intensity with which certain words, points of view, and emotionally laden
words are used. The focus group discussion data was subjected to content analysis to
investigate any useful insights relating to strategies used in teaching and issues faced by
music teachers. The depth interview data was coded for emerging themes, and points of
similarity and differences were noted. Descriptive statistics relating to the themes emerging
from the qualitative analysis were produced using SPSS.
3.10 Logistical and Ethical Considerations
An authorization letter from Kenyatta University graduate school was obtained which
facilitated the issuance of a research permit from the National Commission for Science,
Technology and Innovation (NACOSTI) authorizing the conducting of the research in
Nairobi County. The researcher sought the consent of the County Commissioner and the
County Director of Education in Nairobi County before embarking on the research project.
The rights of the music teachers and students participating were put in to consideration. It
was ensured that all respondents participated voluntarily by obtaining their consent and an
explanation was given on the need for data collection and the purpose of carrying out the
research. Letters requesting for permission to conduct the study were also sent to the heads of
the sampled schools, with whose permission this study was conducted. Convincing answers
to questions that were likely to arise from head teachers were prepared. Written, informed
consent to use the data for analysis and public dissemination was sought from each
participant. Potential risks and benefits of participating in the research were discussed and
strict anonymity of the participants ensured.
28
CHAPTER FOUR
DATA PRESENTATION AND ANALYSIS
4.0 Introduction
This chapter analyzes the results of the data collected for the descriptive survey that
investigated the impact of instructional methods on music curriculum implementation in
selected secondary schools in Nairobi County (Kenya). Questionnaires, classroom lesson
observation schedule and a focus group discussion schedule were used as the primary tools
for data collection. To facilitate presentation and analysis of data, tabular layouts, graphs and
pie charts were used. The Statistical Package for Social Sciences (SPSS) computer program
version 20.0 was used to analyze quantitative data. Some analysis was presented in form of
descriptive notes and for comparisons, frequencies and percentages were used. The objectives
of the study were:
I. To investigate pedagogical issues that music teachers face in the implementation of
music curriculum content.
II. To determine the strategies undertaken by music teachers in implementing music in
the classroom.
iii. To investigate any contributing factors towards rnusic students' performance in
examinations.
IV. To propose, with reference to available literature on instructional methods, guided
teaching activities that would enhance classroom teaching in the future.
The chapter presents the findings of the study based on primary data from 23 Form three
music teachers and 180 students. Data analysis is presented in the following format:
(i) Preliminary Details
(ii) Demographic Characteristics of the Teachers
(iii) Form Three Music Teachers' Questionnaires
(iv) Form Three Music Students' Questionnaires
(v) Classroom Lesson Observation Schedule
29
(vi)Information Obtained from Focus Group Discussion
4.1.0Preliminary Details
The preliminary data provides details on the questionnaire return rate. Selected music
teachers and students were served with questionnaires which they filled and returned as
shown in figure 4.1:
Figure 4.1: Questionnaire Return Rate as per Category of Respondents
As it can be observed in the figure 4.1 the return rate was 100% for teachers and 100% for
students. This is above the return rate recommended by Mugenda & Mugenda (2009) as
acceptable for data analysis to be done in educational and social sciences, hence valid.
4.1.1 Demographic Characteristics of Teachers
This section presents the teachers' distribution by gender, age, teaching experience, and
professional qualifications. The demographic characteristics are significant in providing an
in-depth understanding of the respondents which may have influenced the results based on
the objectives of the study. Questionnaires designed to gather information on pedagogical
issues that influence instruction of music content and teaching strategies employed in the
classroom were personally administered to 23 music teachers in selected secondary schools in
Nairobi County (Kenya). In the questionnaire, the teachers' background was sought as
follows:
30
4.1.2Distribution of Music Gender
The following figure 4.2 presents the distribution of Form three music teacher respondents by
gender:
Figure4.2: Distribution of Music Teachers by Gender
From the responses in the given figure 4.2 it is revealed that music teachers teaching Form
three comprised of 56.5% females and 43.5% males obtained from total number of 23
respondents.
4.1.3Distribution of Respondents by Age
The following figure 4.3 presents the distribution of the respondents' age:
Figure 4.3: Age of Form Three Music Teachers
31
The figure above shows that majority music teachers 30.4%, were aged 43 and above; 26.1 %
were aged between 38-42 years; 17.4% were aged between 33-37 years; 17.4% were aged
between 28 and 32 while 8.7% were aged between 23 and 27 years. The results show that
most teachers were hence experienced in regard to age.
4.1.4 Teaching Experience of Respondents
The following figure 4.4 presents Form three music teachers teaching experience:
Figure 4.4: Teaching Experience of Form Three Music Teachers
Teach.i •.•.g Exl~erie•.•.ce
_ 1-5 Years
.6-10Years
_11-15 Years
_ 16 and above Years
According to the findings shown in figure 4.4, 13% teachers had 1-5 years teaching
experience 30% had 6-10 years, 27% had 11-15 years while 30% had 16 and above teaching
experience. The findings reveal that a large percentage of teachers were experienced.
4.1.5 Professional Qualifications
Turn (1996) states that for effective curriculum implementation there is need to consider the
quality of the implementers (teachers) who are charged with the responsibility of interpreting
the new curricular into practical terms. A prospective teacher must have the required
knowledge, skill and methodology for any impressive performance which majorly depends
on one's academic and professional qualifications. (Reimer (1989) points out that a qualified
teacher needs to be functionally literate. In regard to Form three music teachers' professional
qualifications, the findings are presented in figure 4.5 below:
32
Figure4.5: Form Three Music Teachers' Professional Qualifications
It can be noted from figure 4.5 that 18(78.1%) music teachers were B. Ed graduates, 0 (0%)
diploma holders, and (21.7%) M.A degree holders. There were no other qualifications as
shown; 0 (0%) others. The results reveal that the teachers were qualified in teaching music.
'r 4.2.0 Pedagogical Issues that Music Teachers Face in the Implementation of Music
:; Curriculum Content
0(--'•••
~ The items under the given objective sought to investigate a number of issues including:
iil11 content and objectives, music skills development (reading skills, practical skills, history and
analysis, project), types of resources used in teaching music, teaching strategies and activities
of implementing music curriculum in the classroom, evaluation of music units in a term,
challenging music skills to teach, reasons for challenges, methods used to overcome
challenges, Form three music performance over the last three years, other pedagogical issues
faced by teachers in the implementation of the music curriculum, recommendations of
solving pedagogical issues faced by teachers in implementing the music curriculum.
4.2.1Content and Objectives
The research question sought to find out whether Form three music teachers referred to the
three music documents; 'KIE (2002) Republic of Kenya MOEST Syllabus Vol. 4 Subjects:
Art & Design, Computer Studies & Music' and 'Teachers' Handbook for Secondary Music
33
(2006)', and 'Examination, Regulations, and Syllabuses for the Kenya Certificate of
Secondary Examination (KCSE) examination'. The following figure 4.6:
Figure 4.6: Music Curriculum Documents
In regard to the use of'KIE (2002) Republic of Kenya MOEST Syllabus Vol. 4 Subjects: Art
& Design, Computer Studies & Music', table 4.6 shows that 18(78.3%) teachers indicated
that they used it for music curriculum implementation, but 5(21.7%) did not have it.
14(60.9%) indicated that they had no access to 'Teachers' Handbook for Secondary Music
(2006)' and had not heard of it, while 9(39.1 %) used it for music curriculum implementation.
Majority 20(87%)of teachers revealed that they did not use the 'Examination, Regulations,
and Syllabuses for the Kenya Certificate of Secondary Examination (KCSE) examination'
while 3(13%) used it in curriculum implementation. This implies that the percentage of
teachers who did not have or use the given documents were not fully aware of the
requirements of the music curriculum as stipulated in the KIE (2002; 2006) and KNEC yearly
reports.
4.2.2 Music Skills Development
In order to realize its objective on pedagogical issues that music teachers face in the
implementation of the music curriculum content, the study sought to investigate the extent to
which Form three music teachers developed music skills in the students' as stipulated in the
music syllabus. The teachers were asked to indicate how frequently they taught specific
content areas by ticking in the table provided as: Never, Rarely, Occasionally, and
Frequently. The information is contained in the following Table 4.1:
34
,-
Table 4.1: Music Skills Development 1
Music Skills Never Rarely Occasionally Freuuentlv
1.Basic skills/Reading skills F % F % F % F %
Rhythmic dictation in simple time 0 0 0 0 7 30.4 16 69.6
Rhythmic dictation in compound 0 0 4 17.4 5 21.7 14 60.9
time
Melodic dictation in minor keys 0 0 6 26.1 11 47.8 6 26.1
Writing intervals, hearing, 0 0 5 21.7 8 34.8 10 43.5
describing the harmonic intervals
Use of the technical names of the 0 0 4 17.4 5 21.7 14 60.9
scale
Description of chords in major and 0 0 0 0 9 39.1 14 60.9
minor keys (1, II, IV, V,VI)
Naming and describing cadences 0 0 6 26.1 8 34.8 9 39.9
as perfect, imperfect, plagal,
interrupted
Composition of melodies by 0 0 0 0 11 47.8 12 52.1
continuing a given melody up to
16 bars
Composition of a melody to given 11 47.8 7 30.4 2 8.7 3 13.0
words
Transposition of a melody. to 0 0 3 13.0 9 39.1 11 47.8
different keys using different clefs
Ornaments 0 0 6 26.1 14 60.9 3 13.0
Modulation 2 8.7 2 8.7 9 39.1 10 43.5
Interpretation of musical terms and 2 8.7 0 0 11 47.8 10 43.5
signs
In the above table 4.1 it is evident that in developing basic skills/reading skills most teachers
16(69.6%) frequently taught rhythmic dictation in simple time while 7(30.4%) taught it
occasionally; followed by rhythmic dictation in compound time, technical names of the
scale, description of chords in major and minor keys which all constituted 14(60.9); 12(
52.1%) frequently taught composition of a melody by continuing a given melody up to 16
bars while 11(47.8%) taught it occasionally; 10(43.5%) frequently taught interpretation of
musical terms and signs while 11(47.8%) occasionally taught it; 11(47.8%) frequently taught
transposition of a melody to different keys using different clefs while 9(39.1 %) occasionally
taught it; 10(43.5%) frequently taught intervals, hearing and describing harmonic intervals
while 8(34.8%) taught it occasionally; 10(43.5%) frequently taught modulation while
9(39.9%) taught it occasionally; 14(60.9%) occasionally taught ornaments while 6(26.1%)
rarely taughtIt; 11(47.8%) occasionally taught melodic dictation in minor keys while
35
6(26.l%) taught it rarely; 9(39.9%) frequently taught naming and describing cadences
8(34.8%) occasionally taught it while 6(26.1%) taught if rarely; 11(47.8%) never taught
composition of a melody to given words while 7(30.4%) rarely taught it. It can be deduced
fromthe results that topics like melodic dictation in minor keys, ornaments and naming and
describing cadences was given little attention in teaching. Of great concern was the large
percentage of teachers 11(47.8%) who rarely or taught composition of a melody to given
words.
Table 4.2: Music Skills Development2
Music Skills Never Rarely Occasionally Frequently
2.Practical skills F % F % F % F %
Sing/play major and minor scales o 0 0 0 9 39.1 14 60.9
Sing/play arpeggios both major and o 0 3 13 9 39.1 11 47.8
minor scales
Sight singing/playing at sight o 0 0 0 11 47.8 12 52.2
Performing African folksongs and o 0 0 0 16 69.6 7 30.4
dances
Performing African instruments 5 21.7 12 52.2 4 17.4 2 8.7
Singing/playing Western set pieces o 0 2 8.7 8 34.8 13 56.5
In relation to practical skills, as shown in table 4.2 above, majority of teachers 14(60.9%)
frequently taught singing or playing minor scales while 14(39.1 %) occasionally taught it;
11(47.8%) frequently taught singing and playing arpeggios in both major and minor scales
while 9(39.1 %) occasionally taught it; 12(52.2%) rarely taught students to perform on
African instruments while 5(21.7%) never taught it; 12(52.2%) frequently taught sight
singing or playing at sight while 11(47.8%) occasionally taught it; 7(30.4%) frequently taught
students to perform African folksongs and dances while 16(69.6%) occasionally taught it.
The given findings reflect that although some aspects of practical skills were given
prommence in teaching, performance of Afncan instruments and singing/playing arpeggios
both major and minor were hardly taught.
,) 36
Table4.3: Music Skills Development3
Music Skills Never Rarely Occasionally Frequently
3. History and analysis F % F % F % F %
Listening to African recorded music 2 8.7 6 26.1 10 43.5 5 21.7
Observation of live African 3 13 9 39.1 7 30.4 4 17.4
performance
Observation of live Western 12 52.2 3 13 2 8.7 6 26.1
performance
Listening to western recorded music 0 0 3 13 15 65.2 5 21.7
Score reading of Western music- 3 13 3 13 13 56.5 4 17.4
techniques of following a score
Writing music in open/closed score 0 0 4 17.4 14 60.9 5 21.7
Memory ski lls- to identify repeated 5 21.7 8 34.8 8 34.8 2 8.7
sections
In regard to history and analysis skills, table 4.3 indicates that most teachers 15(65.2%)
occasionally involved students in listening to western recorded music followed by 14(60.9%)
who occasionally taught writing music in open and closed score; 13(56.5%) occasionally
taught score reading of western music; 10(43.5%) occasionally engaged students in listening
to recorded African music; 9(39.1 %) rarely exposed students to live African music while
7(30.4%) occasionally did; 12(52.2%) never exposed students to live western performance
while; 8(34.8%) occasionally taught memory skills while 8(34.8%) rarely taught it. The
findings reflect that history and analysis skills were in most cases taught occasionally. A
large percentage of teachers rarely exposed students to live African music and taught memory
skills. Of great concern was the high percentage of teachers that never exposed students to
live Western music.
Table 4.4: Music Development Skills 4
Music Skills Never Rarely Occasionally Frequently
4. Project F % F % F % F %
Listening to various kinds of music 0 0 4 17.4 14 60.9 5 21.7
Composition of topical songs 7 30.4 13 56.5 3 13 0 0
Sight singing music from different 0 0 5 21.7 13 56.5 5 21.7
genres (African and Western)
Performing African traditional dances 3 13 8 34.8 9 39.1 3 13
Analysis of different genres of music 6 26.1 9 39.1 3 13 5 21.7
(African and Western)
Preservation/maintenance of 6 26.1 9 39.1 8 34.8 0 0
traditional African instruments
37
,)
"""---
Table4.4 indicates the frequency at which project skills were developed in the music class. A
great number of teachers, 14(60.9%) occasionally facilitated listening to various kinds of
music while 5(21.7%) frequently did; 13(56.5%) occasionally engaged students in sight
singing music from different genres (African and Western) while 5(21.7%) rarely did;
9(39.1%) occasionally engaged students in performing African traditional dances while
8(34.8%) rarely did; a large number of students 13(56.5%) rarely engaged students in
composition of topical songs while 7(30.4%) never did; 9(39.1 %) rarely engaged students in
analysis of different genres of music (African and Western) while 6(26.1%) never did;
9(39.1%) rarely engaged students in preservation of traditional African instruments while
8(34.8%) and 6(26.1 %) occasionally and never did respectively. It can be observed from the
table that the bulk of the percentage of the frequency with which the teachers engaged the
students in project exercises falls under occasionally, rarely and never. This depicts that
projects were never taken seriously by teachers in music curriculum implementation.
4.2.3 Types of Resources Used in Teaching Music
'Materials and physical facilities are vital for both teachers and pupils in the teaching-
learning situations. Any trace of inadequacy leads directly to frustration and the motivating
factor in terms of comfort of work diminishes. But unequal supply of educational facilities in
Kenya is prevalent,' Turn (1996, p.65).The item sought to find out the resources utilized in
the music classroom as they are likely to affect the choice of teaching and learning strategies.
The study used teachers', students' questionnaires and classroom observation schedule. In the
teachers' questionnaire, the question regarding teaching- learning resources used was asked
and teachers were to indicate whether they never, rarely, occasionally and frequently
utilized the given materials. This was to establish how the availability or lack of resources
influenced choice of strategy as illustrated in table 4.10 below:
38
.--- - ---
Table 4.5: Types of Resources Used in Teaching Music
Materials Never Rarely Occasionally Frequently
I. Print Materials F % F % F % F %
Scores/Song sheets 3 13 14 60.7 3 13 3 13
Textbooks 0 0 0 0 5 21.7 18 78.3
Music extracts 2 8.7 5 21.7 10 43.5 6 26.1
Internet 0 0 14 60.7 4 17.4 5 21.7
Music dictionaries 3 13 7 30.4 6 26.1 7 30.4
II. Non-projected materials
Live performances 0 0 10 43.5 9 39.1 4 17.4
Resource persons 0 0 10 43.5 2 8.7 5 21.7
Music centers 9 39.1 12 52.2 0 0 2 8.7
Recording studios 16 69.6 7 30.4 0 0 0 0
Cultural and music festivals 0 0 4 17.4 13 56.5 6 26.1
Bands 9 39.1 9 39.1 0 0 5 21.7
African music instruments 5 21.7 6 26.1 10 43.5 2 8.7
Western music instruments 0 0 2 8.7 13 56.5 8 34.8
Flash cards 20 87 1 4.3 2 8.7 0 0
Cassette/CDIDVD recording 0 0 0 0 5 21.7 18 78.3
Radio cassette/Computer 0 0 0 0 7 30.4 16 69.6
Diagrams/charts 0 0 8 34.8 10 43.5 5 21.7
Pictures /Photographs 2 8.7 6 26.1 7 30.4 8 34.8
Costumes and decor 0 0 5 21.7 10 43.5 8 34.8
The table 4.5 above gives a summary of frequency and percentage distribution of resources
used in the implementation of the music curriculum. It is observed that 18(78.3%) music
teachers used Course textbooks and cassette/CDIDVD recording frequently followed by
16(69.6%) that used radio cassettes, and 8(34.8%) that used pictures and photographs. On the
other hand, some resources were utilized occasionally the highest being western music
instruments and cultural music festivals 13(56,7%), followed by music extracts, African
music instruments, diagrams and charts and costumes and decor that all constituted
10(43.5%). But on the extreme side, 14(60.7%) rarely and 3(13%) never used scores/song
sheets, 14(60.7%) rarely used internet, 12(52.2%) and 9(39.1%) rarely and never visited
music centers respectively, an equal proportion of teachers 10(43.5%) rarely utilized live
performances and resource persons, 7(30.4%) rarely and 16(69.6%) never visited recording
studios, an equal proportion of teachers 9(39.1%) rarely and never used bands, 6(26.1%)
rarely and 5(21.7%) never used African instruments, 20(87%) rarely used flash cards,
8(34.8%) rarely used diagrams and charts and 5(21.1 %) rarely used costumes and decor in
their presentations. As reflected in the result, non-projected materials like music centers,
39
recording studios, bands, African music instruments, flash cards, pictures/photographs, and
costumes and decor were in most cases rarely or never used. A large percentage of print
material like scores/song sheets, music extracts, and internet and music dictionaries was
hardlyutilized.
4.2.4Teaching Strategies
This section presents findings on strategies used in the teaching of music. The respondents
were expected to tick the frequency of use of the given number of strategies in the
implementation of the music curriculum in the classroom as frequently, occasionally,
rarely, and never. Data regarding the strategies is summarized in the following figure 4.7:
Figure 4.7: Teaching Strategies
Music Strategies
90
80
70
60
50
40
30
20
10
o
,=
i- :=
I- =
i - -=
~.
-- . I =:i =.'-n ,'.-\ [I-ni~"- =
F % F % F % F %
Nevel" Ral"ely Oc;;casionally Frequently ,
- Group \Nork
Discovery
~ Question/Answer
~ Discussion
•. Perionnance
~ Lecture method
I!:J Demonstration::>
From figure 4.7, majority of the respondents 20(87%) reported that lecture method was
frequently used, followed by giving of exercises 19(82.6%), discussion 17(73.9%), question
and answer 16(69.6%), group work 14(60.9%), demonstrations 11(47.8%), and 7(30.4%)
frequently engaged students in performances. However, 16(69.6%) occasionally engaged
them in performances and 4(17.4%) occasionally used demonstrations. On the other hand,
discovery method was not used to a great deal since (56.5%) rarely used it and only (43.5%)
occasionally used it; 8(34.8%) rarely used demonstrations. The findings reveal that quite a
number of teachers used a variety of teaching strategies but lecture method was predominant
while the least used was discovery method and demonstration method.
40IE YATTA HIVE Ii) TV BII"II .•.•ll'Io
4.2.5Teaching Activities
The given question endeavored to establish the frequency with which the given music
activitieswere utilized in the classroom by indicating frequently, occasionally, rarely and
Deverin the table provided. Information on the findings is contained in table 4.6:
Table 4.6: Teaching Activities
Activity Frequency
Never Rarely Occasionally Frequently
F % F % F % F %
Clapping & tapping rhythms 0 0 0 0 14 60.9 9 39.1
Writing rhythms 0 0 4 17.4 15 65.2 4 17.4
Singing scales 0 0 3 13 13 56.5 7 30.4
Writing melodies 0 0 8 34.8 6 26.1 9 39.1
Describing intervals, triads, vocal 0 0 3 13 3 13 17 73.9
techniques
Playing melodies, intervals, triads 2 8.7 6 26.1 5 21.7 10 43.5
Listening & imitating given 7 30.4 7 30.4 7 30.4 2 8.7
melodies
Sight singing/playing 1 4.3 4 17.4 5 21.7 13 56.5
Describing cadences 0 0 0 0 18 78.3 5 21.7
Composing melodies 18 78.3 5 21.7 0 0 0 0
Visiting music centers & 16 69.6 3 13 4 17.4 0 0
participating in music activities
Voice training 4 17.4 2 8.7 7 30.4 10 43.5
Dancing 12 52.2 11 47.8 0 0 0 0
Listening to a variety of African 8 34.8 15 65.2 0 0 0 0
music
Giving explanations on composers, 0 0 0 0 3 13 20 87
works & historical periods
Listening to Western music 0 0 7 30.4 6 26.1 10 43.5
Discussion 0 0 0 0 2 8.7 21 91.3
The information in table 4.6 indicates that the most frequently utilized activity was discussion
21(91.3%) followed by giving explanations on composers, works, and historical periods
20(87%), describing intervals, triads, and vocal techniques 17(73.9%), sight singing or
playing instruments 13(56.5%), voice training, listening to western music and playing
melodies intervals and triads which constituted 10(43.5%). The activities which were
occasionally utilized included; describing cadences 18(78.3%), writing rhythms 15(65.2%),
41
clapping and tapping rhythms 14(60.9%), and singing scales 13(56.5%). It was of great
concern that some activities were never utilized and this included; composing melodies
18(78.3%), visiting music centers and participating in music activities 16(69.6%), dancing
12(52.2%), and listening to a variety of African music which constituted 8(34.8%) but
15(65.2%) was rarely utilized. Generally, it was observed that majority of teachers engaged
Formthree music students in a variety of activities. However, it was noted that a number of
activities were never utilized. These included: composing melodies, visiting music centers
andparticipating in music activities, listening to a variety of African music and dancing.
4.2.6 The Frequency of Evaluating Given Music Units in a Term
The question was geared towards establishing how often the given music units were tested in
a term. Evaluations enable music teachers to understand music students' work hence
diagnosing their needs. As a result, music teachers make more informed decisions about the
most suitable help needed by the students. The respondents were to indicate whether the
given units were evaluated once, twice, thrice, more times or not at all. The findings are
recorded in figure 4.8 below:
Figure 4.8: Frequency of Evaluating Music Units
Results in figure 4.8 showed that the units that were evaluated most times (that is, ranging
from twice to more times) were history of Western music 22(95.7%) and African music
20(87%); those units evaluated least times included music aurals 16(69.6%) and music
practicals 14(60.8%). Of great concern was the high percentage of music projects that were
42
notevaluated at all 18(78.3%). This reveals that teachers did not test the students adequately
inaurals, practicals and projects.
4.2.7Music Skills Found Challenging to Teach
The item sought to find out which skills of music Form three teachers found challenging to
teach.The response was recorded in figure 4.9 as follows:
Figure4.9: Challenging Music Skills to Teach
It is evident from figure 4.9 that the most challenging units to teach were aurals 18(78.3%),
music analysis 16(69.6%), melody writing 15(65.2%), harmony 13(56.5%), playing of
African!Western instruments 12(52.2%), and an equal proportion of teachers 7(30.4%)
indicated that translating from solfa to staff notation and listening to music. On the other
hand, the less challenging skill to teach was history of music 3(13%).
4.2.8Reasons Given for Challenging Units
In the analysis of reasons given for the challenges of teaching the given skills the following
themes were identified: methodology and resources, teacher competence, attitudes.
In line with methodology and resources, there was lack of or inadequate materials e.g
computers, videos! audio visuals in teaching history and analysis. Moreover lack of resources
limited the instructional methods teachers would employ in teaching. Some teachers indicated
43
thatstudents had varying capabilities hence a need to employ a variety of teaching strategies
to attend to individual students but they were forced to employ one type of method like
lecturemethod due to lack of or limited resources.
In regard to issues of competence, a high percentage of teachers indicated that some skills
likeaurals, harmony, solfa notation and playing of African and Western instruments were not
tackled in depth during pre-service training hence limited knowledge in the given areas.
Concerning attitudes, a number of teachers indicated that, students perceived aurals as
difficult and had a fixed mind that harmony was difficult. They reported that students find it
difficult to internalize the concept of rhythm and melody at the same time when required to
write a given melody in aurals. Actualization of sound was viewed as very difficult by most
students hence they lacked confidence in tackling aurals and harmony and melody writing.
The students' attitude to Western classical music was also negative as they lacked interest in
listening to it.
4.2.9Strategies used to overcome the challenges
In the open ended questions the teachers suggested the use of internet in teaching history and
analysis and playing of African and Western instruments and a lot of demonstration should
be employed by significant others. Furthermore the services of resource persons could be
sought and students could be exposed to live performances. In regard to aurals, they
suggested that aurals should be introduced in Form one and systematically taught in small
units for four years. Moreover, melody and rhythm should be taught separately and simple
pieces should be used. At the same time recorded tests should be introduced as early as Form
two. Concerning harmony, frequent practices could be employed by giving a lot of exercises
plus the utilization of group work.
4.2.10 Performance of Form Threes in Music over the Last Three Years (2010-2012)
The question was to determine the performance of Form three music students in end-term
examinations for the last three years. Toward this end, teachers were requested to avail a
44
recordfrom the examination departments on the mean scores for Form three in music end
termexamination for the last three years. The findings were as follows:
Figure4.10: Performance of Form Threes in Music for Three Years (2010-2012)
Source: Schools' examination departments
Figure 4.10 above reflects the Form three students' performance in music for the last three
years in Nairobi County. It is clear as recorded that a big number of schools attained below
grade C+ 12(52.1%) while 11(47.8%) attained C+ and above. The mean grade for the 23
schools was a C+ (7.6). It can be concluded that the mean score was above average. Although
the mean score was above average, individual grades reflect that more than a half of the
schools scored grade C and below. This indicated that music was performed dismally at
school level and this could be what was extended to the national level in KCSE.
4.3 Students' Questionnaire
The students' questionnaire was used to triangulate the teachers' questionnaire and the focus
group discussion. It was geared toward investigating the contributing factors toward music
students' performance in examinations. Questions were asked in regard to the teaching-
learning issues faced by students that would contribute to their performance and proficiency
in music and these included: learners' entry behavior, introduction of the music subject in
Form one, music skills development (reading skills, practical skills, history and analysis,
project), types of resources used in teaching music, teaching strategies, music activities in the
45
classroom, evaluation of music units in a term, challenging music concepts, reasons why
musicconcepts are challenging, and strategies to overcome the challenges.
4.3.1Learners' Entry Behavior
The question was intended to find out what category of primary school the students had gone
through and whether the students had been exposed to music as a subject in primary school.
Majority of the music students 76.9% indicated that they had not been exposed to music at all
while 24.1 % had been taught some basics of music.
4.3.2 Introduction of Music subject in Form One
In this question the students were required to state in which week they started learning music
in Form one. A number of students (87 %) responded that they started in week six of the term
(i.e. week two after reporting to school) while (13%) responded they started in week seven
(i.e. week three after reporting to school). This implies that the music teachers have a backlog
of approximately five to six weeks to cover the music syllabus which is already 'too wide'.
Coupled with this is the students' poor background of music as they have not been taught
music in primary school. This is as a result of the Koech report which advocated for the non-
examination of music in primary school although it was to remain a teaching subject.
However, primary teachers did not find it necessary to teach music as a subject as they
concentrated on examinable subjects. Music in primary school, therefore, has mainly been
considered for co-curricular activities and singing during pastoral programs (Shitandi, 2005).
4.3.3 Music Skills Development
In order to realize its objective on contributing factors toward the music students'
performance in examinations, the study sought to investigate the extent to which the music
skills in each unit were developed. The music students were asked to indicate how frequently
the given topics were taught by ticking in the table provided as: Never, Rarely,
Occasionally, and Frequently. The information is contained in the following Table 4.7:
46
Table 4.7: Music Skills Development 1
Music Skills Never Rarely Occasionally Frequently
1.Basic skills/Reading skills F % F % F % F %
Rhythmic dictation in simple time 10 5.6 120 66.7 20 11.1 30 16.7
Rhythmic dictation in compound 15 8.3 115 63.9 25 13.9 25 13.9
time
Melodic dictation in minor keys 45 25 90 50 11 35 19.4 5.6
Writing intervals, hearing, 14 7.8 66 36.7 50 27.8 50 27.8
describing the harmonic intervals
Use of the technical names of the 0 0 15 8.3 20 11.1 145 80.6
scale
Description of chords in major and 2 1.1 20 11.1 30 16.7 128 71.1
minor keys (1, II, IV, V,VI)
Naming and describing cadences 5 2.8 39 21.7 46 25.6 90 50
as perfect, imperfect, plagal,
interrupted
Composition of melodies by 0 0 46 25.6 54 30 80 44.4
continuing a given melody up to
16bars
Composition of a melody to given 105 58.3 50 27.8 10 5.6 15 8.3
words
Transposition of a melody to 10 5.5 65 36.1 35 19.4 70 38.9
different keys using different clefs
Ornaments 75 41.7 50 27.8 55 30.6 20 11.1
Modulation 25 8.7 87 48.3 34 18.9 58 32.2
Interpretation of musical terms and 0 0 37 20.6 68 37.8 75 41.7
signs
In the above table 4.7 it is evident that in developing basic skills/reading skills most students
120(66.7%) were rarely taught rhythmic dictation in simple time; 115(63.9%) were rarely
taught rhythmic dictation in compound time; 50(50%) were rarely taught melodic dictation
in minor keys; 66(36.7%) were frequently taught intervals, hearing and describing harmonic
intervals; 145(80.6%) were frequently taught technical names of the scale; 128(71.1%) were
frequently taught description of chords in major and minor keys; 90(50%) frequently taught
naming and describing cadences; 80(44.4%) were frequently taught composition of a melody
by continuing a given melody up to 16 bars; 105(58.3%) were never taught composition ofa
melody to given words; 70(38.9%) were frequently taught transposition of a melody to
different keys using different clefs while 65(30.6%) were rarely taught; 75(41.7%) were
never taught ornaments while 55(26.\ % were occasionally taught and 50(27.8%) were rarely
taught; 87(48.3%) were rarely taught modulation while 58(32.2%) were taught frequently;
47
75(41.1%) were frequently taught interpretation of musical terms and signs while 68(37.8%)
wereoccasionally taught. It can, therefore, be concluded that while some Form three students
received frequent tuition in certain concepts some were rarely taught or not taught at all.
Development skills that stand out as receiving the least attention include rhythmic dictation in
simple and compound time, melodic dictation in minor keys, modulation, and transposition of
a melody to different keys. The result also shows that a high percentage of students were
never taught composition of a melody to given words and ornaments. This finding concurs
with the teachers' response in terms of the concepts that were given the least attention or no
attention at all.
Table: 4.8 Music Skills Development2
Music Skills Never Rarely Occasionally Frequently
2.Practical skills F % F % F % F %
Sing/play major and minor scales 0 0 49 27.2 69 38.3 62 34.4
Sing/play arpeggios both major and 0 0 70 38.9 74 41.1 36 20
minor scales
Sight singing/playing at sight 0 0 60 33.3 45 25 75 41.7
Performing African folksongs and 0 0 125 69.4 27 15 28 15.6
dances
Performing African instruments 45 25 135 75 0 0 0 0
Singing/playing Western set pieces 0 0 35 19.5 65 36.1 80 44.4
In relation to practical skills, as shown in table 4.8 above, majority of students 80(44%) were
frequently taught singing or playing western set pieces while 65(36.l %) were occasionally
taught; 75(41.7%) were frequently taught sight singing or playing at sight while 60(33.3)
were rarely taught; 74(41.1%) were frequently taught singing and playing arpeggios in both
major and minor scales while 70(38.9%) were rarely taught; 62(34.4%) were frequently
taught singing or playing minor scales while 69(38.3%) were occasionally taught and
49(27.2%) were rarely taught; 135(75%) were rarely taught to perform on African
instruments; 125(69.4%) were rarely taught to perform African folksongs and dances. It can
be observed that, although practical skills were taught to some extent, performing African
instruments and African folk songs and dances was given the least attention followed by
singing and playing arpeggios both major and minor, sight singing and playing at sight and
singing and playing major and minor scales. The observation was in tandem with the
teachers' response in regard to performance of African music and instruments and singing
and playing arpeggios both major and minor except for the rest.
48
Table4.9: Music Skills Development3
MusicSkills Never Rarely Occasionally Frequently
3. History and analysis F % F % F % F %
Listening to African recorded 70 38.8 46 25.6 45 25 19 10.5
music
Observation of live African 69 38.3 60 33.3 35 19.4 16 8.9
performance
Observation of live Western 100 55.6 40 22.2 15 8.3 25 15.6
performance
Listening to western recorded 0 0 42 23.3 95 52.8 43 23.9
music
Score reading of Western music- 70 38.8 30 16.7 55 30.6 25 15.6
techniques of following a score
Writing music in open/closed score 0 0 43 23.9 100 55.6 37 20.6
Memory skills- to identify repeated 75 41.7 39 21.6 50 27.8 16 8.9
sections
Table 4.9 above reveals findings on the development of history and analysis skills. In regard
to history and analysis skills, most students 100(55.6%) were occasionally taught writing
music in open and closed score; 95(52.8%) were occasionally involved in listening to western
recorded music while 43(23.9%)were frequently involved; 100(55.6%) students were never
exposed to live western music performance while 40(22.2%) were rarely exposed;
75(41.7%) were never taught memory skills while 50(27.8%) were frequently taught;
70(38.8%) indicated that they were never engaged in listening to recorded African music
while 46(25.6%) were rarely engaged; 70(38.8%) were never taught score reading of western
music while 55(30.6%) were occasionally taught; 69(38.3%)were never exposed to live
African music while 60(33.3%) were rarely exposed. The findings reveal that quite a number
of Form three music students were never taught music analysis skills e.g. live Western music
performance, memory skills, listening to recorded African music, score reading of western
music, observation of live African music, and score of Western music. This is in contrast with
the teachers' response which revealed that only history and analysis, live western music
performance and memory skills were least attended to.
49
Table 4.10: Music Development Skills 4
Music Skills Never Rarelv Occasionally Freuuentlv
4.Proiect F % F % F % F %
Listening to various kinds of 0 0 32 17.8 112 62.2 36 20
music
Composition of topical songs 150 83.3 30 16.7 0 0 0 0
Sight singing music from 0 0 23.3 21.7 98 54.4 40 22.2
different genres (African and
Western)
Performing African traditional 90 50 50 27.8 30 16.7 10 5.6
dances
Analysis of different genres of 100 55.6 30 16.7 15 8.3 15 8.3
music (African and Western)
Preservation/maintenance of 160 88.9 20 11.1 0 0 0 0
traditional African instruments
Table 4.10 indicates the frequency at which project skills were developed in the music class.
A great number of students 112(62.2%) indicated that they were occasionally facilitated in
listening to various kinds of music; 98(54.4%) were occasionally engaged in sight singing
music from different genres (African and Western) while 40(22.2%) were frequently
engaged; 160(88.9%) were never engaged in preservation of traditional African instruments;
150(83.3%) were never engaged in composition of topical songs; 100(55.6%) were never
taught analysis of different genres of music (African and Western); 90(50%) were never
engaged in performing African traditional dances while 50(27.8%) were rarely engaged. The
results reveal that generally projects were not taken seriously because a high percentage of
students were never engaged in it. This is in agreement with the teachers' response that
projects were hardly considered.
4.3.4 Types of Resources Used in Teaching Music
The item sought to find out how often the given resources were utilized in the classroom. The
study used the students' questionnaire to corroborate the teachers' questionnaire and focus
group discussion. In the students' questionnaire, the question regarding teaching- learning
resources used was asked and students were to indicate whether they Never, Rarely,
Occasionally or Frequently utilized the given materials. The findings are illustrated in table
4.11 below:
50
ITable:4.11 Types of Resources Used in Teaching Music
Materials Never Rarely Occasionally Frequently
I.Print Materials F % F % F % F %
Scores/Song sheets 95 52.8 30 16.7 30 16.7 25 13.9
Textbooks 0 0 5 2.8 50 27.8 125 69.4
Musicextracts 15 8.3 58 32.2 67 37.2 40 22.2
Internet 146 81.1 14 7.8 20 11.1 0 0
Musicdictionaries 3 1.7 55 30.6 52 28.9 70 38.9
II.Non-projected materials
Liveperformances 115 63.9 45 25 20 11.1 0 0
Resource persons 72 40 10 5.6 68 37.8 30 16.7
Music centers 100 55.5 35 19.4 25 13.9 20 11.1
Recording studios 155 86.1 25 13.1 0 0 0 0
Kenya music festivals 0 0 20 11.1 30 16.7 130 72.2
Bands 100 55.5 0 0 30 16.7 50 27.8
African music instruments 81 45 40 22.2 24 13.3 35 19.4
Western music instruments 47 26.1 100 55.5 60 33.3 87 48.3
Flash cards 177 98.3 3 1.7 0 0 0 0
Cassette/CDIDVD recording 0 0 16 8.9 85 47.2 79 43.9
Radio cassette/Computer 21 11.7 36 20 95 52.8 28 15.6
Diagrams/charts 0 0 70 38.9 80 44.4 30 16.7
Pictures/photographs 13 7.2 116 64.4 51 28.3 0 0
Costumes and decor 0 0 22 12.2 83 46.1 75 41.7
The table 4.11 above gives a summary of frequency and percentage distribution of resources
used in the implementation of the music curriculum. Majority of Form three music students
130(72.2%) indicated that they participated in Kenya music festivals frequently; 125(69.4%)
music students used Course textbooks frequently and 70(38.9%) frequently used music
dictionaries. On the other hand, majority of the music students 95(52.8%) occasionally used
radio cassette or computer; 85(47.2%) used cassette/CD/DVD recording occasionally;
83(46.1%) occasionaIIy used costumes and decor; 80(44.4%) occasionaIIy used diagrams and
charts and 67(37.2%) used music extracts occasionally. A great deal of music students
116(64.4%) rarely used pictures or photographs and 100(55.5%) rarely used western music
instruments. On the extreme side, Form three music students indicated that a number music
of resources were never utilized. A great number of them 177(98.3%) indicated that their
teachers never utilized flash cards in teaching; 155(86.1 %) never visited recording studios;
146(81.1%) never used the internet; 115(63.9%) were never exposed to live performance of
music; 100(55.5%) were never engaged in group bands and never visited music centers;
95(52.8%) never utilized music scores or song sheets; 81(45%) never utilized African
51
musical instruments and 72(40%) never utilized resource persons. As reflected in the result,
non-projected materials like music centers, recording studios, bands, African music
instruments, flash cards, pictures/photographs, and costumes and decor were in most cases
rarely or never used. A large percentage of print material like scores/song sheets, music
extracts, and internet and music dictionaries was hardly utilized. This is in agreement with the
teachers' response.
4.3.5Teaching Strategies
This section presents fmdings on strategies used in the teaching-learning of music. The
respondents were expected to tick the frequency of use of the given number of techniques in
the implementation of the music curriculum in the classroom. Data regarding the strategies is
summarized in the following figure 4.11:
Figure 4.11: Teaching Strategies
The information contained in figure 4.11 indicates that the most frequently utilized strategy
was lecture 175(97.2%) followed by discussion 115(63.9%), and group work 95(52.8%). The
strategy which was occasionally utilized to a high extent was question and answer. A number
of music students 85(47.2%) were rarely engaged in music performance and 55(30.6%)
indicated music teachers rarely demonstrated practical concepts. The strategy of discovery
110(61.1 %) was never utilized. The results show that a variety of teaching strategies were
utilized but the least utilized strategies were discovery and demonstrations while the most
52
utilized was lecture method. This is in line with the teachers' response except for the use of
demonstrations.
4.3.6Music Activities in the Classroom
The given question endeavored to establish the frequency with which the given musrc
activities were utilized in the classroom. Information on the findings is contained in table
4.12:
Table 4.12 Activities Used during the Music Lesson
Activity Frequency
Never Rarely Occasionally Frequently
F % F % F % F %
Clapping & tapping rhythms 0 0 25 13.9 98 54.4 57 31.7
Writing rhythms 5 2.8 60 33.3 69 38.3 46 25.6
Singing scales 0 0 42 23.3 88 48.9 50 27.8
Writing melodies 38 21.1 82 45.6 20 11.1 40 22.2
Describing intervals, triads, vocal 0 0 41 22.8 48 26.7 III 61.7
techniques
Playing melodies, intervals, triads 13 7.2 24 13.3 65 36.1 78 43.3
Listening & imitating given 40 22.2 55 30.6 50 27.8 35 19.4
melodies
Visiting mustc centers & 100 55.6 20 11.1 60 33.3 0 0
participating in music activities
Describing cadences 10 5.6 20 11.1 84 46.7 66 36.7
Composing melodies 160 88.9 10 5.6 10 5.6 0 0
Voice training 65 36.1 55 30.6 20 11.1 40 22.2
Dancing 120 66.7 60 33.3 0 0 0 0
Listening to a variety of African 115 63.9 65 36.1 0 0 0 0
music
Giving explanations on 0 0 6 3.3 35 19.4 139 77.2
composers, works & historical
periods
Listening to Western music 12 6.7 30 16.7 70 38.9 68 37.8
The information in table 4.12 indicates that 139(77.2%) frequently engaged in giving
explanation on composers, works and historical periods, 111(61.7%) engaged in describing
intervals, triads and vocal techniques and 78(43.3%) were engaged in playing melodies,
intervals and triads. In regard to activities that the music students were occasionally engaged
53
in,clapping and tapping rhythms ranked first 98(54.4%) followed by singing scales 88(48.9),
sight singing or playing music 85(47.2%), describing cadences 84(47.7%), and listening to
western music 70(38.9%). In relation to activities that were rarely put in practice, writing
melodies ranked first, and listening and imitating given melodies ranked second. It was
indicated that some activities were never practiced in class. These included: composing
melodies 160(88.9%), dancing 120(66.7%), listening to a variety of African music
115(63.9%), Visiting music centers & participating in music activities 100(55.6%) and voice
training 65(36.1%). Generally, it was observed that majority of Form three music students
were engaged in a variety of activities. However, it was noted that a number of activities were
never utilized. These included: composing melodies, visiting music centers and participating
in music activities, listening to a variety of African music, dancing, writing melodies,
listening and imitating given melodies and voice training. These were in tandem with the
teachers' response except for the last three.
4.3.7 The Frequency of Evaluating Given Music Units in a Term
The question was geared towards establishing how often the given music units were tested in
a term. Evaluations enable music teachers to understand music students' work hence
diagnosing their needs. As a result, music teachers make more informed decisions about the
most suitable help needed by the students. Figure 4.12 reflects the findings:
Figure 4.12: Frequency of Evaluating Music Units
54
JResults as reflected in figure 4.12 shows that majority of Form three music students
130(72.2%) indicated African music was mainly assessed twice in a term while 50(27.8%
indicated it was assessed thrice; as for history of western music and analysis, 120( 66.7% )
indicated it was assessed twice while 60(33.3%) indicated it was assessed thrice; some
students indicated that there were units that were assessed once or not at all in a term and
these included: music aurals which 90(50%) students indicated was assessed once a term
while 80(44.4%) indicated it was not assessed at all; music practicals, which 77(42.8%)
students indicated was it was assessed once a term while 88(48.9%) indicated it was not
assessed at all; 39(21.7%) students indicated that music projects were assessed once a term
while 141(78.3%) indicated they were not assessed at all. As revealed in the findings, a
number of Form three students were assessed in music aurals and practicals once indicating
they were not exposed to adequate testing. On the other hand projects were never assessed.
This was a replica of the teachers' responses.
4.3.8 Challenging Music Concepts
The question sought to find out challenging topics in learning music and the reasons why
they were challenging. The following table 4.13 indicates responses given on the music
topics found most challenging:
Table 4.13: Challenging Music Concepts
Challenging music concepts Frequency Percentage
Continuation of melodies in simple and compound time 135 75
Composition of melodies to given words 162 90
Analysis of Western music aurally and visually 156 86.7
Harmonizing a melody in S.A.T.B 140 77.8
Aural skills 174 96.7
Ornaments 113 62.8
Transposition 84 46.7
Sight singing/playing 99 55
Playing African instruments 120 66.7
Playing Western instruments 57 31.7
Singing minor keys 123 68
Singing in major keys 35 19
55
Thetable 4.13 above gives a summary of the frequency and percentage the distribution of
musictopics learners found to be challenging. Students were asked which music skills they
found challenging. The above table shows that the most challenging topic was aurals
174(96.7%), followed by composition of melodies to given words 162(90%), analysis of
Western music aurally and visually 156(86.7%), harmonizing a melody in S.A.T.B
140(77.8),continuation of melodies in simple and compound time 135(75%), singing minor
keys 123(68%), playing African instruments 120(66.7%), ornaments 113(62.8%), sight
singing/playing 99(55%), transposition 84(46.7%), playing Western instruments 57(31.7%),
andsinging in major keys 35(19%).
4.3.9Reasons Why the Music Concepts are Challenging
The open-ended item sought to find out from Form three music students why they found the
given topics challenging. The views that emerged from a majority of students were
categorized under several themes which included: methodology, limited time due starting
some units late, frequency of practice, wide scope, teacher absenteeism due to co-curricular
activities in Kenya Music Festivals (KMF), little attention given to some units, teacher's
attitude, resources, and syllabus relevance.
In regard to methodology, a number of students indicated that the Style of teaching aurals
was not satisfactory. The students indicated that 'when we are left to listen to the radio
cassette and a marking scheme to refer to, it does not help'. This implies that they needed the
teacher's guidance. In reference to music analysis, students complained that they were given
notes got from symposiums to read. Following the music score and listening to the music
together with the students was rarely done by the teacher.
Another theme that emerged was limited time. Music concepts like aurals needed much time
for practice yet the forty minutes allocated on the timetable were not adequate. The students
also indicated that the time allocated for music aurals in exams is inadequate. They thought
that the fifty minutes allocated did not allow them to internalize the various concepts tested
and then write them down.
In addition, the theme of frequency of practice emerged. It was indicated that, there was
inadequate practice of music aurals which was hardly taught in class and was rarely practiced
56
till Form four. Other students indicated that they started learning aurals in Form three, yet
auralsrequired a lot of time to practice and there was hardly time to practice due to a very
busyschedule. Some students indicated that 'last minute rush approach to music aurals and
practicalsmakes it impossible to master concepts'. African music practicals were only taken
seriously in Form three third term hence they hardly had enough time to practice and master
themusic by KCSE.
Moreover, a great number of students reported that the scope of some units was too wide.
They indicated that history of Western music involves mastery of a lot of very hard
terminologies, characteristics and dates which makes it hard to grasp. The students went
further to report that the wide variety of African instruments and traditional dances made it
difficult to classify and identify respectively. Furthermore naming the varied communities
was challenging. They indicated that history of Western music was broad and different books
gave varied information hence making it confusing to internalize the concepts.
Teacher absenteeism due to co-curricular activities especially in second term every year
contributed to late syllabus coverage, omitting or 'brushing over' some topics. In most cases
teachers were not available to offer individual tuition after 4.00 p.m since they were involved
in other school duties.
Some concept areas were given little attention. The students reported African music was
taught on rare cases and mostly revised after tests. In most cases students were either given
notes to read or asked to make their own notes.
Other challenges were due to teacher or student attitudes. A number of students reported that
music was often taken lightly by students as it was considered an optional subject and not
popular in school. One of the students expressed her negative attitude toward music by
stating that, 'There is a lot of bias in this class, I regret my decision of taking music since I
didn't know what to expect. The teacher shouldn't think that since you don't know you
shouldn't know'. This implies that the weaker students were ignored in some cases hence
discouraging the students.
Other students claimed that the type of music taught was not interesting and was not market-
oriented in the Kenyan music industry: 'Classical music is mainly boring and irrelevant in our
context'. Other students stated that if they were given a choice they would do contemporary
57
musicwhich includes popular music. This implied that students found the music syllabus
irrelevantto some extent.
Last but not least, the issue of resources was brought out. Some students said the music
subjecthad no revision materials or books like in other subjects. This made it very difficult to
revisefor various topics.
4.3.10Suggested Strategies to Overcome the Challenges
The study sought out to determine strategies of countering the challenges of grasping the
given music concepts. The results that were yielded from the open-ended questions were
summarized in the following themes:
In regard to methodology the respondents suggested that it would do good for music students
to encourage and help each other by holding more discussions/group work. They also
suggested that the teachers should have practical approach in teaching music. A number of
respondents complained that in most cases the teachers gave them a lecture on a music
concept and asked them to make notes. They found such lessons to be boring and
uninvolving, 'the teachers should make the lesson lively, I mean music is life, we should feel
it!' They preferred to have discussions of African and Western music done more often: 'we
should be given more exercises on analysis of both African and Western music on a daily
basis.' In addition they needed to be given homework in music daily to test them on each
topic learnt and music CATS were to be done once or twice a week. Most students felt that
the use of repetition for mastery of content was key as practice makes perfect. Others
suggested individual tuition as expressed in the statement: 'Teachers should pay more
attention to us and meet us at a more personal level'. Moreover, Form three music students
suggested that they needed more practical lessons and the teacher was to be there to guide
and correct them when they went wrong. In addition, they needed qualified teachers to teach
different instruments: 'Most of us are limited to singing or playing the recorder because the
teacher cannot play certain instruments'. Many students suggested that a day should be set
apart in every month for playing instruments, singing and dancing after which marks should
be awarded so as to make the exercises serious and competitive.
58
In line with limited time to study concepts, they suggested increased time allotment of
lessonson the music timetable to provide more time for the wide syllabus: 'Music is given
few lessons. Music lessons should be given more consideration like any other subject. More
emphasis should be given to music as a subject.' Music practicals were to commence as early
as form one, especially the playing of African instruments so as to avoid the rush to practice
inForm four.
In relation to frequency of practice, it was suggested that aural tapes ought to be listened to
frequently with the teachers' help. Music projects should be frequently given to improve
musical skills as students would be motivated to practice frequently for presentation. The
respondents suggested that they should have more than one teacher for music to curtail
teacher absenteeism especially during the Kenya Music Festivals.
In reference to the wide scope of the music syllabus and little attention given to some music
units, the respondents suggested a review of the music curriculum so as to determine the
scope of units like history of western and African music. As for the music the classical music
that they termed as boring irrelevant in their context, the respondents suggested that the
syllabus should be reviewed to include Western and Kenyan contemporary music. It was also
suggested that more time should be allocated to Paper Three which constitutes, music theory,
history and analysis, and general music knowledge as it is too broad. More opportunities for
practice were to be given for music practicals.
Regarding established attitude, the respondents suggested that parents should be made aware
of the importance of music so that they can stop discouraging them to study music. Some
indicated that school administration and other teachers should value music and allow them to
practice more freely instead of restricting them during prep time. Majority suggested that it
would be encouraging for the school to give positive comments about the music subject than
to always condemn and demean it. In reference to the music subject teachers, Form three
students suggested that the teachers should be free and concerned with every student and
'should be more patient with us if we don't understand'.
Most students suggested that schools should consider equipping music rooms with computers
to enable them to research frequently on the internet in regard to music history, listening to
music and music practicals. Others suggested going to music symposiums and learning from
59
other people, exposure through visiting varIOUS music centers, music conservatoires,
attending music concerts, use of visual aids for African music; actual instruments,
photographs/drawings, videos of various dances and folk songs and having practical music
activities, providing more music textbooks, provision of music theory revision books, and
writingrevision materials for the music subject. Others suggested interacting with practicing
musicians, buying music instruments for practicals, and exposure to real situations e.g. to see
different instruments learnt, to watch African dance performances at Bomas, to watch live
concerts of music forms learnt. Some students emphasized that they should be given access to
CD and cassette players: 'Teachers should be letting us have access to the radio and aural
cassetteswithout restriction.'
4.4 Classroom Lesson Observation Schedule
This was employed to authenticate the findings of the questionnaires. Classroom lesson
observation schedule was designed to find out existing teaching and learning strategies,
activities, resources used and evaluation strategies used during the delivery of content.
Observations were objectively recorded. In this regard the following tables are a summary of
the findings:
4.4.1 Teacher's Preparation
Specific questions were formulated to obtain information regarding teacher preparation in
teaching music in the classroom. The observer was required to tick YES or NO against the
given questions. Table 4.14 shows the findings:
Table 4.14: Teacher Preparation
Question Yes No
% F %
3. Is the content related to the subject 20
curriculum?
87 3 13
F
65.2 8
2. Was adequate time allocated to the content? 10 43.5 13
34.81. Is the teacher adequately prepared? 15
56.5
4. Are the teaching /Iearning resources 14
available?
60.9 4 17.4
5. Is the lesson developed systematically? 18 78.3 5 21.7
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IFromthe findings presented in the table 4.14, most of the teachers 20(87%) taught content
that was related to the subject matter; 18(78.3%) of the teachers developed the lesson
systematically; 15(65.2%) were adequately prepared and clarified on the lesson objectives
and stated the teaching procedures in simple and clear language though they did not have
written lesson plans; in 14(60.9%) classrooms the teaching and learning resources were
available; however it was noted that in 13(56.5%) cases adequate time was not allocated to
the content. The results show the teachers were adequately prepared for the lesson. The
findings show that although most teaches were prepared in teaching the music classroom,
time allocation to content received the least attention. This implies that the content was not
covered in depth.
4.4.2 Lesson Introduction and Presentation
Specific questions were formulated to guide in the observation of how the teacher introduced
and presented the music lesson. The observer was required to tick Yes or NO against the
given questions. Table 4.15 shows the results:
Table 4.15 Lesson Introduction and Presentation
Question Yes No
F % F %
21 91.3 2 8.7
19 82.6 4 17.4
17 73.9 6 26.1
14 60.9 9 39.1
1.Did the teacher link current lesson with the previous lesson?
2. Was the introduction of the content based on leamer's
experience?
3. Was lesson introduction motivating and interesting to
learners?
4. Were teaching and learning resources used during the
lesson?
It was observed a number of teachers 21(91.3%) linked current lesson with the previous one
but a few 2(8.7%) did not; 19(82.6%) teachers introduced content based on the learners
experience while 4(17.4%) did not; 17(73.9%) teachers had a motivating and interesting
introduction to the lesson while 6(26.1%) did not; 14(60.9%) used teaching and learning
resources during the lesson while 9(39.1) did not. It can be concluded that the teachers
introduction and presentation of the music lesson was well done except for the few 'NO'
cases. These reflect that there were teachers who did not use learning resources during the
61
lessonand some who did not motivate the learners in the introduction of the lesson. This
explainswhy some students found the music lesson boring.
4.4.3Teaching Strategies Used during the Lesson
To authenticate the findings on teaching strategies from the teachers' questionnaires and
focusgroup discussion and students' questionnaires, a classroom observation schedule was
formulated. The observer was required to tick YES or NO against the given questions as
shown in table 4.16 below:
Table 4.16: Strategies Used during the Lesson
Strategy Yes No
F % F %
Group worklDiscussion 22 95.7 1 4 ..3
Discovery 5 21.7 18 78.3
Lecture 12 52.2 11 47.8
Demonstration 10 43.5 13 56.5
Question!Answer 16 69.6 7 30.4
Assignments/ Exercises 17 73.9 6 26.1
During the lesson observation, the researcher sought the strategies used by the teachers. The
findings are shown in the table 4.16. Majority of teachers 22(95.7%) used group work or
discussion; 17(73.9%) used assignments or exercises while 6(26.1%) did not; 16(69.6%)
teachers used question and answer while 7(30.4%) did not; 12(52.2%) teachers used lecture
method while 11(47.8%) did not; however it was evident that 18(78.3%) did not use
discovery method; 13(56.5%) did not use demonstration method whilel0(43.5%) did. The
results show that the main teaching strategies included: group work/discussion, discovery,
lecture, demonstration, question and answer, assignments or exercises. However, it was
observed that a large percentage of teachers did not use the discovery, demonstration,
question and answers and assignments/exercises.
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f4.4.4Learning Activities during the Lesson
The questions were designed to get information on learning activities during the lesson. The
observer was expected to tick YES or NO against the given questions. The findings are
reflected in table 4.17 below:
Table 4.17: Learning Activities
Activity Yes No
F % F %
Singing 21 93.3 2 8.7
Dancing 4 17.4 19 82.6
Playing an instrument 15 65.2 8 34.8
Listening to Music 13 56.5 10 43.5
Clapping and tapping rhythm 11 47.8 12 52.2
Writing 23 100 0 0
Table 4.17 shows that majority teachers 23(100%) engaged students in writing notes;
21(93.3%) engaged them in singing activities; 15(65.2%) engaged students in playing
instruments while 8(34.8%) did not; 13(56.5%) engaged students in listening to music while
10(43.5) did not. It was noted that a high number of teachers 19(82.6%) did not engage Form
three students in dancing activities during music classroom instruction and 12(52.2%) did not
engage students in clapping and tapping rhythm while 11(47.8%) did. It can be deduced that
a variety of learning activities were used in the music classroom although, at the same time, a
big percentage of teachers did not engage music students in, dancing, playing of instruments,
listening to music, clapping and tapping rhythm.
4.4.5 TeachinglLearning Resources used during Classroom Instruction
The question was designed to establish the availability of resources in the music class. The
observer was supposed to tick Yes or No against the given questions. The results are shown
in table 4.18 on the next page:
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ITable 4.18 Resources used during the Lesson
Materials Yes No
I. Print Materials F 0/0 F %
Score/song sheets 17 73.9 6 26.1
Textbooks 23 100 0 0
Musicextracts 12 52.1 11 48
Dictionaries 10 43.5 l3 56.5
Reference books 18 78.2 5 21.7
Internet 7 30.4 16 69.6
II. Non-projected materials
African music instruments 15 65.2 8 34.8
Western music instruments 18 78.2 5 21.7
Flash cards 6 26 17 73.9
Cassette/Cd/Dvd recording 23 100 0 0
Radio cassette player 23 100 0 0
Computers 7 30.4 16 69.6
Diagrams/charts 19 82.6 4 17.4
Pictures 9 39.1 14 60.9
Photographs 6 26.1 17 73.9
Costumes and decor 8 34.8 15 65.2
As indicated in table 4.18, official print materials were available in most schools except in
some. Dictionaries l3(56.5%) and music extracts 11(48%) were very scarce in schools.
Similarly, non-projected materials Iike photographs 17(73.9%), flash cards 17(73.9%),
computers 16(69.6%), costumes and decor 15(65.2%) and pictures 14(60.~%) were not
available in most schools. Although African and Western musical instruments were available,
they were mostly one type except few schools where there was a variety. It was also noted
that most ofthe instruments were non-functional.
4.5 Focus Group Discussion
Focus group discussion was used to clarify closed ended questions in the questionnaires. A
total of 12 teachers from the participating schools were interviewed to corroborate
information given in the questionnaires. The main aim of the questions was to investigate
substantive pedagogical issues faced in the implementation of the music curriculum and the
instructional methods used in implementing the music curriculum.
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4.5.1Pedagogical Issues Faced in the Implementation of the Music Curriculum
Emerging themes captured included: time to introduce given music concepts, content
coverage, scope of music curriculum, challenging content areas, reasons for challenges in
content areas, other issues faced in implementing the music curriculum, recommendations on
solving given issues faced by teachers in implementing the music curriculum, instructional
methods employed in implementing music curriculum, evaluation strategies. In the following
section these emerging themes are discussed.
4.5.2Time to Introduce Given Music Concepts
Music teachers were interviewed on the appropriate time in terms of what class to introduce
the following music concepts: aurals, melody writing/ composition, harmony, analysis,
practicals. It emerged from most of them that melody writing and practicals should start in
Form 1, while aurals, harmony, and analysis should start in Form 3. The reasons advanced for
this were that the latter topics required much time and maturity on the part of students and
introduction to a lot of music theory in order to grasp them fully.
4.5.3 Content Coverage
In regard to content coverage, music teachers were asked to respond to specific questions.
The questions included whether: the syllabus was covered in time, all the concept areas in the
syllabus were covered and if not why, and in what way the syllabus could be covered
adequately.
Most teachers indicated that not all areas were covered. The areas that were given the least
attention included: analysis, melody writing to given words, voice training, playing of
western instruments, ornaments, and harmony. Most teachers claimed that overloaded
syllabus and limited time was the main reason for the syllabus incompletion while others
attributed it to incompetence in the given areas. A few reported that the areas were
deliberately ignored as they were hardly examined in KCSE.
With reference to ways of ensuring syllabus coverage, a number of teachers suggested that
music should be taught in primary schools, and those incompetent in given areas should seek
the assistance of their proficient colleagues or be required to undergo further subject training.
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4.5.4Challenging Music Concepts to Teach
The question was meant to investigate competence of teachers in teaching music concepts.
The teachers were asked to state whether there were any areas in music they found
challenging to teach and the reasons for the challenges. Some teachers indicated that they
found aurals, music analysis, playing of African and Western instruments, composition of
music to given words and harmony challenging to teach. The main reason that was given for
the challenges was that most of them had either not been taught well or not taught at all
during the pre-service training.
4.5.5Other Issues Faced in Implementing the Music Curriculum in the Classroom
Teachers were required to give their views on issues encountered in teaching music in their
schools. Comprehensive data on issues facing music teachers in implementing music in the
classroom was collected from the views given by twelve music teachers. The following are
the themes that emerged:
The teachers indicated that they were overwhelmed by statutory instructional work. A music
teacher had two subjects to teach which constituted at least twenty eight lessons,
notwithstanding having other responsibilities including all music activities in the school. In
their responses most teachers exuded discouragement due to the large amount of work, 'I feel
so overwhelmed with too many lessons that at the end of the day I do not feel like engaging
in another activity'. This implies that such teachers would not be able to provide extra tuition
for music practicals and would not be energetic and motivating in lesson presentation.
Furthermore teachers were of the view that music was allocated very little time on the time
table. The lower classes (Form one and two) were allocated three lessons per week while the
upper ones (Form three and four) had four lessons per week. This was hardly enough for the
music teachers to complete the wide syllabus in time and have ample time to guide students
in practical work, aurals and projects. This meant that the teachers were to source for extra
time outside class. 'This is very overwhelming considering that we have other subjects to
teach!' said one teacher dejectedly. As a result music teachers resorted to drilling students to
pass examinations.
66
Italso emerged from the teachers' discourse that there was low opinion of the music subject
bycolleagues, administration, parents, and students hence they lacked support. 'In most cases
studentsdon't take music because the parents, teachers and school administration say it does
not take anybody anywhere.' In this way music teachers were demoralized as they lacked
physical and emotional support. Teachers had low morale due to lack of motivation and
insteadthey were blamed for engaging students in the music activities which took most of the
students' time hence affecting their academic performance. Some felt unappreciated yet they
did so much for the school. One of the teachers retorted, 'I work so hard yet the comment I
hear from the school is that music does not get anyone far!' It was also evident that some
institutions felt that music was uneconomical since the subject had few students taking it.
One music teacher said, 'The principal cannot look at my music budget twice. All he says is
that it is too expensive for five student.'
It was revealed from discussions that some teachers had limited training in college which
affected their teaching of certain concepts like practicals and aurals. 'In College we were not
thoroughly taught the playing of African instruments and Western instruments.' The reason
that came out clearly is that there were limited resources for training and also the trainers
were not well versed in teaching all instruments. 'Some of us are greatly affected by our
trainers' incompetency in playing most of the instruments. Moreover many kinds of
instruments were not even there,' revealed some teachers.
Another theme that came out clearly was the wide syllabus with topics that are rarely
evaluated in KCSE. Music teachers complained that the music syllabus was quite wide,
especially history of music and analysis of western music. Some teachers were of the view
that they were subjected to very high pressure to complete the syllabus and students did not
have ample time to process and practice what they had learnt. 'When does a student digest
the much content that is shoved in their brain?' retorted a teacher vehemently. 'We teach so
much and yet some topics are never assessed!' lamented another teacher. They felt that units
like projects were never assessed in KCSE yet they consumed a lot of time. In addition, some
said that the students chose music thinking that they would study the music they listen to in
the media and sing along. They soon got disappointed and bored when they found out it was
not the case and instead got to listen to what they termed as strange music and composers that
they could not identify with. This implied that the some sections of the syllabus were
irrelevant to the current students.
67
The issue of inadequate facilities and materials emerged strongly. 'It is a shame that a school
of this calibre lacks music instruments and a proper music room,' commented one teacher.
'Youwill be surprised that we teach music in an old dilapidated building with a piano that is
offtune and most of the keys are missing!' Without adequate and functional music resources,
itwas very difficult to teach music effectively.
It came out that most music students had a poor background in music. One teacher reported
that, 'Most of the students who take music are very weak. To make matters worse they have
not studied music in primary school. How are we expected to transform such students into
musicians within a span of less than four years before KCSE?' It was also revealed that most
of the students who are obliged to take music have an already formed attitude which is
injected in them by their parents, peers, and the teachers who do not understand what music
entails. The music teacher was then forced to drill such students to pass exams.
4.5.6 Recommendations on Solving Pedagogical Issues Faced by Teachers in
Implementing the Music Curriculum
A majority of Form three music teachers gave the following recommendations:
• Music teachers should be relieved of the teaching load of the second subject to enable
them cater for individual needs of the students in practical work, aurals and project.
• More lessons should be allocated for music on the school timetable to complete the
wide syllabus in time.
• Sensitize parents, non-music teachers, Administrators and policy makers on the
importance of music in order to change their attitude toward music.
• Music should be taught in primary school to create knowledge foundation III
secondary school.
• MOEST should be more proactive in getting music teachers together to discuss
challenging areas/train in workshops.
• In-service or refresher courses should be organized for music teachers by KICD
annually.
• Frequent forums should be created for music teachers to share ideas on teaching
vanous areas
• Own initiatives of organizing workshops where examiners are invited as facilitators
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• Building and equipping music rooms so as to have adequate resources
• Review the syllabus content to make it manageable within the four years of study
• Include music that appeals to students' taste in the syllabus to encourage to take music
and to enjoy music lessons
• Motivating teachers and learners to encourage effective teaching and learning
4.5.7Instructional Methods Employed in Implementing the Music Curriculum
A question was administered which sought to establish the methods employed in teaching
music in the classroom with specific reference to: music theory, history and analysis, aurals
and practicals. The responses were as follows:
• Music theory involved mainly definition of terms and construction different aspects
e.g. scale intervals, triads and melodies.
• Mainly teachers used lecture method and singing. Lecture method, question and
answer and discussion was employed in teaching history and analysis.
• In aurals there was a lot of singing and playing the keyboard for those who had access
to it.
• In teaching practicals, a lot of demonstration was employed.
4.5.8 Evaluation Strategies
Concerning the issue of evaluation strategies, Form three music teachers were asked to give
their views on how best to evaluate the performance of students in the different units of music
i.e. music theory, history and analysis, aurals and practicals. The following were their views:
Question and answer during classroom instruction is appropriate in evaluating the
understanding of music concepts in music theory and history and analysis
Essay presentations can be very effective in assessing cognitive skills
Quizzes or tests are appropriate in evaluation every topic to diagnose the students'
needs
69
Home work exercises are the most commonly used to give students more practice
For practical works, regular performance presentations are the most effective
Frequent aural dictations are necessary for practice and in depth understanding of
aural skills
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CHAPTER FIVE
DISCUSSION OF FINDINGS
5.0Introduction
Inthis chapter a discussion of the research findings is given in relation to the objectives of the
study (refer to pg. 4). Data from Form three music teachers' and music students' responses to
the questionnaires, form three teachers' responses to focus group discussion and classroom
observations were evaluated and compared. Reference was made to other research findings
by various scholars to establish validity. The study addressed the objectives as reflected on
page 4.
5.1 Pedagogical Issues Faced by Music Teachers in the Implementation of Music
Curriculum Content
This study focused on the experiences of teachers and students in the implementation of the
music curriculum in the classroom. Curriculum implementation, however, 'is a
multidimensional process which involves aspects such as the availability of materials, the
structure or grouping of course content, the philosophy or conception underpinning the
curriculum, the beliefs of the implementers, and their teaching strategies,'(Fullan 1998, p.65).
In most cases, a small portion of dimensions are attended to and Fullan cautions that the most
critical dimensions are often neglected or ignored. In order to ensure maximum
implementation, all forms of obstacles should be minimized and preferably removed. Hence
the study considered the extraneous variables apart from the independent and dependent
variables.
5.1.2 Demographic Characteristics of the Respondents
Although the variables under 5.1.3 and 5.104 were not the main focus of the study, it was felt
to some extent they affected the manner in which music teachers taught. They could therefore
facilitate in generating answers to questions not captured in the research instruments yet yield
key information
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5.1.3Distribution of respondents by Gender
ill regard to gender there were more female teachers (56.5%) than male teachers (43%) in
Nairobi County obtained from total number of 23 respondents. This distribution may be
peculiarto Nairobi County but this study makes no claims in other parts of the country.
5.1.4Distribution of Respondents by Age
The results revealed that most teachers were mature in age with (73.9%) above the age of
thirty three. The results imply that most teachers had stayed long in teaching music hence
experienced in teaching music. This could also suggest that they were conversant with
requirements of the music syllabus and KNEC yearly reports. Classroom observations and
FGD however revealed that age neither determined a teacher's competency nor their
awareness of the MOEST requirements. A teacher's training and their quest for information
andknowledge and upgrading in music knowledge would more meaningfully determine ones
expenence.
5.1.5 Teaching Experience of Respondents
Traditionally, teaching experience is an asset whose beneficiaries are the learners.
Experienced music teachers are competent in instruction since it is expected that in the course
of their teaching they acquire new knowledge, skills and abilities. The findings revealed that
a great percentage of teachers (87%) had an experiences more than of six years. McNergney
and Herbert (2001) affirm that experienced teachers have better strategies to apply at any
given situation and disseminating the subject matter. With time, teachers learn through
successful and unsuccessful practice to be creative and technically proficient.
5.1.6 Academic and Professional Qualifications
The issue of academic and professional qualification aspect was an important consideration in
this study because teaching involves dissemination of knowledge and skills from a competent
teacher to a learner. The competence of a teacher enables him/her to use their abilities and
experiences to manipulate their teaching and learning environment for successful delivery of
72
contentwhich leads to higher achievement on the part of the learner. Focus Group Discussion
wasused to clarify the closed ended questions in the questionnaires. Data elicited from this
instrument revealed that the educational level of music teachers was appropriate because a
majority of music teachers had a B.Ed degree in the subject area. This was a strong
characteristic for effectively handling students' learning needs. McNergney and Herbert
(ibid)confirm that professional teachers know about teaching, about students, about learning,
andabout content so they can improve their chances for successful practice.
In support of this, Elliot (1995), in quoting Gardner, asserts that teachers must serve as role
models of the most important skills and attitudes and must in a sense embody the practices
that are sought. Students value the guidance and feedback of a musically proficient teachers
and this goes a long way in developing them psychologically and practically. Elliot (ibid)
goes on to emphasize that students easily bond with a teacher who has expertise and are
highly motivated by the feedback they receive from such a teacher. The enjoyment of music
and the growth of students as well as teachers can only be realized when the music goals and
standards are clear and when teachers and students know they are meeting important musical
challenges.
Campbell and Scott-Kassner (2010) posit that the teacher as a transmitter of knowledge
should:
(i) Know the subject matter; know well the music, concept, or technique to be taught.
Knowing the music requires preparation; without it, the lesson will fail, e.g. the teacher
should be able to sing, play or even move the music selected for lessons with ease and
refinement. As the teacher transmits the music, his/her enjoyment and love for it is also
passed onto the children. Music concepts must be clearly understood in terms of their critical
perceptual qualities so activities can be chosen to highlight those qualities.
(ii) Model desirable music behaviors; Performance skills are learnt by children who imitate or
are otherwise influenced by the behavior and comment of their teacher. Verbal comments are
far less effective than demonstration. The teacher who performs is critical to the students'
well being.
(iii) Present with energy and enthusiasm; (enthusiasm is conveyed in many ways): a broad
spectrum of vocal inflections and facial expressions, steady eye contact, varied gestures and
73
demonstrative movements of the body, and descriptive vocabulary with quick changes of
experiences and approaches to a musical concept. High energy and vitality most successfully
convey ideas. A teacher's enthusiasm is also related to job satisfaction as well as his or her
interestin the music selected for the lesson ..
In the same vein, Reimer (1989) points out that a qualified teacher needs to be functionally
literate.A person would be considered literate about music who understood a great deal about
the art of music; its history, its techniques, its many styles, its major practitioners, where to
find good examples of it, how to make discerning judgments about it, how to respond to it
appropriately and sensitively. Such a person would be considered musically literate or
educated, perceptive, and knowledgeable about music. The prospective teacher must have the
required knowledge, skill and methodology for any impressive performance which majorly
depends on one's academic and professional qualifications.
However, Akuno (2012) on teacher training and qualifications reveals that the general
consensus is that teacher education in Kenya has not kept pace with developments that have
occurred throughout most developed countries. A policy framework for teacher education is
lacking, while at the same time teacher education and the teaching profession are not well
defined as few teachers have a clearly defined career. A music teacher's individual and
collegial aspects are very important in the implementation of the music curriculum
development plan.
In her study that sought to gauge school head teachers' and music teachers' perception of the
latter's preparedness for such a role, Akuno (ibid) observes that music in the public
(government) schools in Kenya is a paradox. In early childhood education, music means
singing at various intervals of the school day. In primary school, it is combined with fine art
as a non-examinable subject called creative arts. In secondary school, it is an elective subject,
presenting relatively few students for the Kenya Certificate of Secondary Education (KCSE),
a national examination that comes at the end of the secondary school cycle. The teacher
training colleges (TTCs) have music in the timetable, with a singing content in the
curriculum. At university, only two of the seven government institutions provide music as a
subject. There is no middle-level music college. Yet song, dance and instrument playing
characterize a range of activities in learning institutions. These include participation in the
annual Kenya Music Festival competitions that involve thousands of pupils from nursery
school to university.
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In this environment, the music teacher is an undefined entity. Where music is taught,
the teacher is expected to be well-trained and competent, supported by academic
certificates and validated by students' examination results. Elsewhere, the music
teacher is a choir trainer whose qualifications in music appear not to matter. Yet if
music teachers were to impart knowledge and skills to learners through music, they
would presumably require an understanding of how music works and the nature and
concept of music. They would need to be familiar with diverse music types and have
the ability to create and interpret music. Music teaching requires the ability to
communicate these attributes of music, and to employ music in diverse circumstances
to facilitate learning. The theoretical approach characterized by content- focused
instruction, leaves little room for reflection or engagement with gathered information.
This is compounded by examination based assessment that demands recall, Akuno
(2012, p. 278).
Wanjala (2004), on the other hand, points out that what is more beneficial in a teacher's
pedagogy is mainly a facilitative competence and not necessarily the virtuoso ability. He
further postulates that possession of instrumental skills would equip music teachers with
more resourceful and exemplary techniques in their endeavor to model musicianship for
students.
The realization that instrumental techniques are requisites for a great range of
functions including accompanying class singing, articulating voice parts and intervals
in harmony lesson and analysis of rhythm in traditional dances is an important insight
for music teachers (Wanjala, 2004, p.126)
Wanjala (ibid) concludes that a music teacher is a more sensitive musician who seeks to
develop the art through a wide spectrum of musicianship by letting hislher learners perform
research, analyse/critique, study and compose music. It is understandable that every
individual requires a form of self-expression and music meets this through sound. A
performance in music can be expressed on an individual basis as a solo performance or it can
be expressed through a collective as in an ensemble. To deny children the opportunity to
express themselves through music is to deny them an important facet of self expression.
Music teacher training seems to be a priority in dealing with students' underperformances in
music. Continuing education facilitated by in-service courses and workshops would give
music teachers the means and impetus to explore a lifelong path in their profession. It is a
framework where one shares pedagogical and artistic experience and constitutes effective
means to upgrade the music teacher but unfortunately it is lacking. It is important to work on
each specific area of expertise in music. Whereas, the achievement of music objectives
requires an emphasis on the cognitive, psychomotor and affective domain, curriculum
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implementation in schools is biased toward the cognitive domain resulting in rote learning.
The emphasis of theory has hindered the inculcation of practical skills necessary for self
relianceand the country's economic development (MOEST, 2010).
5.1.7Content and Objectives
Goodteachers typically plan for teaching and interacting with the students during the course
of instruction. Planning involves a variety of ideas: selecting appropriate content, designing
activities that maximize opportunities for students to succeed; arranging the classroom and
organizing necessary material; providing for student motivation and reinforcement of good
work, and management of people, ideas and resources. Good plans well implemented can
inspire students to do their best work.
In regard to the use of 'KIE (2002) Republic of Kenya MOEST Syllabus Vol. 4 Subjects: Art
& Design, Computer Studies & Music', table 4.5 shows that 18(78.3%) teachers indicated
that they used it for music curriculum implementation, 14(60.9%) indicated that they had no
access to "Teachers' Handbook for Secondary Music (2006)" and had not heard of it, while
9(39.1%) used it for music curriculum implementation. Majority 20(87%) of teachers
revealed that they did not use the "Examination, Regulations, and Syllabuses for the Kenya
Certificate of Secondary Examination (KCSE) examination" in curriculum implementation.
This implies that the percentage of teachers who did not have or use the given documents
were not fully aware of the requirements of the music curriculum as stipulated in the KIE
(2002; 2006) and KNEC yearly reports.
This result explains a majority of teachers do not refer to the key document especially
'Teachers' Handbook for Secondary Music (2006) and 'Examination, Regulations, and
Syllabuses for the Kenya Certificate of Secondary Examination (KCSE) examination'.
According to Ayot (1984), the role of the music curriculum in teaching music is to: inform
the teacher of the goals and objectives of music; dictate the standards students are expected to
attain, and define what the teachers and students must focus their attention on. In a nut shell,
the music curriculum prescribes what may appear in the examination and dictates the
teaching and learning activities. Hence it is important for a music teacher to have access to
and use the given documents otherwise the music students affected are disadvantaged and
will fail to meet the expected standards in music by KNEC and the current KICD.
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A professional teacher needs to communicate effectively to relay subject matter; establish,
negotiate and help students set reasonable goals for learning. Goals typically relate to the
development of students' knowledge, skills and attitudes. Communicating expectations for
successand reinforcing success when it occurs is key in the teachers' service. Teachers must
statetheir expectations clearly so that students perceive their intent. In summary, a successful
teacher needs planning and organizational skills, time and resource management skills,
communication and human relations skills, critical thinking and problem-solving skills,
instructional delivery and assessment skills. These skills underlie teachers' abilities to
understand students, set goals, create learning environments, evaluate student learning, and
communicate.
However, it clearly came out from FGD that the scope of the music syllabus is wide with
topics that are rarely evaluated in KCSE. Music teachers complained that the music syllabus
was quite wide, especially history of music and analysis of western music. Some teachers
were of the view that they were subjected to very high pressure to complete the syllabus and
students did not have ample time to process and practice what they had learnt. 'When does a
student digest the much content that is shoved in their brain?' retorted a teacher vehemently.
'We teach so much and yet some topics are never assessed!' lamented another teacher. They
felt that units like projects were never assessed in KCSE yet they consumed a lot of time. In
addition, some said that the students chose music thinking that they would study the music
they listen to in the media and sing along. They soon got disappointed and bored when they
found out it was not the case and instead got to listen to what they termed as strange music
and composers that they could not identify with. This implied that the some sections of the
syllabus were irrelevant to the current students and in this case the MOEST should consider
reviewing the music syllabus to harmonize with the students' interests in the contemporary
society. Secondly, the scope of the subject should be reduced to fit into the limited hours that
music is allocated on the time table in the four years of secondary school or the hours
allocated to music should be increased on the timetable.
5.1.8 Development of Musical Skills
As shown in table 4.6 (pAl), most of the teachers indicated that they taught concepts on
Basic Skills/reading skills frequently the highest being 16(69.6%) rhythmic dictation in
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simpletime and rhythmic dictation in compound time. It can be deduced from the results that
topicslike melodic dictation in minor keys, ornaments and naming and describing cadences
weregiven little attention in teaching. Of great concern was the large percentage of teachers
11(47.8%) who rarely taught composition of a melody to given words. However, the
students' response in the questionnaire seemed to differ with the teachers' in some cases.
From students' questionnaire in table 4.15 (p.61), it is evident that in developing basic
skills/reading skills most students 120(66.7%) were rarely taught rhythmic dictation in simple
time; 115(63.9%) were rarely taught rhythmic dictation in compound time. But the teachers'
response indicates otherwise. However on learning some skills, the finding concurs with the
teachers' response in terms of the concepts that were given the least attention or no attention
at all. Development skills that stand out as receiving the least attention include rhythmic
dictation in simple (66.7%) and compound time (63.9%), melodic dictation in minor keys
(50%), modulation (48.3%), and transposition ofa melody to different keys (65%). The result
also shows that a high percentage of students were never taught composition of a melody to
given words (58.3%) and ornaments (75%). It can, therefore, be concluded that while some
Form three students received frequent tuition on certain concepts some were rarely taught or
not taught at all.
These results are a pointer to the reason why music students do not perform well in these
areas as indicated by KNEC in "Examination, Regulations, and Syllabuses for the Kenya
Certificate of Secondary Examination (KCSE) examination". In regard to content coverage,
teachers' Focus Group Discussion (FGD) revealed that not all areas were covered. The areas
that were given the least attention included: analysis, melody writing to given words, voice
training, playing of western instruments, ornaments, and harmony. Most teachers claimed
that wide syllabus and limited time was the main reason for the syllabus incompletion while
others attributed it to incompetence in the given areas. A few reported that the areas were
deliberately ignored as they were hardly examined in KCSE. In reference to ways of ensuring
syllabus coverage, a number of teachers suggested that music should be taught in primary
schools and those incompetent in given areas should seek the assistance of their proficient
colleagues.
FGD further revealed that teaching of two subjects was a challenge as it stretched the
teacher's work load. Most teachers stated that the teaching workload and co-curricular
activities were overwhelming hence very limited time for studying and examining musical
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aspectsin a practical way. They complained that it was very difficult for them to prepare
adequately for lessons as a result. This implies that poor methodology was employed in
teachingmusic as there was limited time to examine and chose the most appropriate activities
andstrategies.
Itwas also revealed from discussions that some teachers had limited training in college which
affectedtheir teaching of certain concepts like practicals and aurals. 'In College we were not
thoroughly taught playing of African instruments and Western instruments.' The reason that
cameout clearly is that there were limited resources for training and also the trainers were not
well versed in teaching all instruments. 'Some of us are greatly affected by our trainers'
incompetency in playing most of the instruments. Moreover many kinds of instruments were
not even there,' revealed some teachers. These limitations call for the MOEST to be more
proactive in getting music teachers together to discuss challenging areas and have them
trained in workshops. In-service or refresher courses should be organized for music teachers
by KICD annually. Frequent forums should be created for music teachers to share ideas on
teaching various areas, for instance teachers can have own initiatives of organizing
workshops where examiners are invited as facilitators and those incompetent in given areas
can seek the assistance of their proficient colleagues.
Teachers' response in regard to lack of in-service opportunities in the teaching of music
indicated that (78.3%) had not attended in-service courses in music. This confirmed the
response from Ruth Agesa in charge of the music curriculum in MOEST that in-service
courses had not been held for several years due to lack of finances. This implied that most
music teachers were oblivious of the new developments in teaching strategies and content in
music. It is necessary to have in-service courses for professional guidance in the teaching
profession e.g. in teaching problematic areas like aurals, melody writing, harmony, and music
analysis. In pre-service training teachers could have not comprehended certain areas hence
professional guidance through in-service courses would improve efficiency. Mwonga (2007)
concurs with this as she states that teachers can be involved through organized interactive in-
service courses and seminars, which offer opportunities for them to interact with education
managers and other experts. Through these forums they get to share experiences and gain
more awareness and clarity about the various implementation issues.
In regard to history and analysis skills, the findings in table 4.8 (p.48) indicate that history
and analysis skills were in most cases taught occasionally. A large percentage of teachers
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rarely exposed students to live African music 9(39.1 %) and rarely taught memory skills
8(34.8%).Of great concern was the high percentage of teachers that never exposed students
to live Western music 12(52.2%). To some extent these findings were in tandem with the
students' responses. Table 4.17 (p.63), reveals findings on the development of history and
analysis skills. In regard to history and analysis skills, the findings reveal that quite a number
ofForm three music students were never taught music analysis skills e.g. live Western music
performance (55.6%), memory skills (41.7%), listening to recorded African music (38.8%),
score reading of western music (38.8%), and observation of live African music (38.3%). This
is in contrast with the teachers' response which revealed that only history and analysis, live
western music performance and memory skills were least attended to.
FGD revealed that music was allocated very little time on the time table. The lower classes
(Form one and two) were allocated three lessons per week while the upper ones (Form three
and four) had four lessons per week. This was hardly enough for the music teachers to
complete the wide syllabus in time and have ample time to guide students in practical work,
aurals and projects. This meant that the teachers were to look for extra time outside class.
'This is very overwhelming considering that we have other subjects to teach!' said one
teacher dejectedly. As a result music teachers resorted to drilling students to pass
examinations. Music teachers should be relieved of the teaching load of the second subject to
enable them cater for individual needs of the students in practical work, aurals and project.
The findings in table 4.7 (p.47), on practical skills from the teachers' response reflect that
although some music concepts of Practical Skills were given prominence in teaching,
performance of African instruments (52.2%) was hardly taught. The observation was in
tandem with the students' response in regard to performance of African music and
instruments except for the rest. The students' response in relation to practical skills, as shown
in table 4.16 (p.62), reveals that although practical skills were taught to some extent,
performing African instruments (75%) and African folk songs and dances (69.4%) was given
the least attention followed by singing and playing arpeggios both major and minor (38.9%),
sight singing and playing at sight and singing and playing major and minor scales (33.3%).
The given results depict that there is a gap between what is laid down in the music curriculum
and what is taught in the classroom. This concurs with Bishop's notion (1985) that a
curriculum design can only become actualized when it is adopted in the classroom. However,
there is a mismatch between the 'official' curriculum and the 'actual' curriculum of the
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classroom.Actual classroom activities differ from the ones stated in the National curriculum
document and in spite of the nice jargon in curriculum documents', teaching remains
traditional, teacher-centered and content driven, (Chisholm, 2000). Ogula (1990) posits that
thereis a big gap between the planned curriculum and the curriculum as translated and taught
by teachers. This is because teachers were required to implement a curriculum most of them
did not understand. Conway (2002) argues that, there will be a disconnect between the
written document and what is taught if teachers are not part of the curriculum development
process and if they're not given adequate time and in-service for trying new ideas suggested
by the curriculum. It is important for the music teacher to participate in curriculum
development to adhere to the structured course provided by the ministry of education science
and technology (MOEST) so as to achieve the stipulated objectives and cover the content in
theKenyan music curriculum.
During FGD music teachers were interviewed on the appropriate time in terms of what class
to introduce the following music concepts: aurals, melody writing/ composition, harmony,
analysis, practicals. It emerged from most of them that melody writing and practicals should
start in Form 1, while aurals, harmony, and analysis should start in Form 3. The reasons
advanced for this were that the latter topics required much time and maturity on the part of
students and introduction to a lot of music theory in order to grasp them fully. This could
explain why there was dismal performance at the end of four years as there was inadequate
time to tackle them if they were introduced late. According to the music syllabus (2002),
these concepts are supposed to be introduced as early as Form one and taught systematically
to Form four.
It can be observed from the given table 4.9 (p.49), that most teachers did not engage students
in Music projects as reflected by the percentages. The table depicts that the bulk of the
percentage of the frequency with which the teachers engaged the students in project exercises
falls under occasionally, rarely and never. A large number of teachers hardly engaged
students in composition of topical songs 20(87%), analysis of different genres of music
(African and Western) 15(65%) and preservation of traditional African instruments 15(65%).
This depicts that projects were never taken seriously by teachers in music curriculum
implementation. This concurred with the students' response as reflected in table 4.18 (p.64),
where 160(88.9%) were never engaged in preservation of traditional African instruments;
150(83.3%) were never engaged in composition of topical songs; 100(55.6%) were never
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taught analysis of different genres of music (African and Western); 90(50%) were never
engaged in performing African traditional dances while 50(27.8%) were rarely engaged. The
results reveal that generally projects were not taken seriously because a high percentage of
students were never engaged in it. This is in agreement with the teachers' response that
projectswere hardly considered.
Elliot (1995) opines that music students should be inducted into musical practices which
depend on selecting significant musical challenges that confront students with genuine
musical problems to solve in context in relation to the demands and traditions of carefully
selected musical practices. This includes an authentic and engaging musical work (or project)
to be performed (improvised, composed, arranged, or conducted). Teachers and students
work together to meet the musical challenges involved in realistic musical projects through
reflective musical performing with frequent opportunities for related forms of music making.
Although a big portion of the teachers regarded project work as useful in enhancing learning,
this strategy was rarely used. FGD revealed that teachers did not see project work as being
useful. This was probably due to the attitude that projects required too much time than was
available and were not examinable at the end of the course, in KCSE. In general, it was clear
that involvement of learners in hands-on activities was limited. The teaching and learning
strategy such as projects, music excursions, and demonstrations help the learner to
comprehend content and retain it in their memory much longer. If these strategies would be
varied according to content and learners' abilities, the performance would be improved from
its current state. When teaching and learning strategies are used properly, they make teaching
and learning activities interesting motivating and more real and they enhance understanding.
McNergney and Herbert (2001), content that good teachers learn about their students so that
they can teach in ways that are culturally and developmentally appropriate. They maintain
that teachers use a variety of methods to understand the influences of students' ages, abilities,
and cultural backgrounds to find out what students know, what they can do, how they think,
what they value, and what gets in the way of their learning. Teachers can shape their skill of
understanding students formally by reading and studying students' artifacts such as tests and
projects. They can informally observe, talk with, and listen to students and their parents.
It came out from FGD that most music students had a poor background in music. One teacher
vehemently said, 'Most of the students who take music are very weak. To make matters
82
worsethey have not studied music in primary school. How are we expected to transform such
students into musicians within a span of less than four years before KCSE?' It was also
revealed that most of the students who are obliged to take music have an already formed
attitude which is injected in them by their parents, peers, and the teachers who do not
understand what music entails. The music teacher was then forced to drill such students to
passexams. Music should be taught in primary school to ease the load in secondary school
Furthermore the issue of admitting weak students in the music class implies that music does
not require aptness. 'In most cases, the very weak students are dumped in the music class,'
lamented one teacher. To some extent this kills the morale of music teachers as they see their
subject as a 'dumping ground' for the incapable students. This coupled with many more
challenges makes it difficult to process such students to music proficiency within the four
years of learning. It was noted that most music students had a poor music background which
curtailed their effective learning. The breakdown in the teaching of music in primary schools
contributed to a great deal in this.
5.1.9 Music Resources
Table 4.10 (p.SO), gives a summary of frequency and percentage distribution of resources
used in the implementation of the music curriculum. It was observed that although music
teachers used course textbooks and cassette/CDIDVD recording, radio cassettes, frequently,
other key resource that would enhance teaching of music were hardly utilized. As reflected in
the result, non-projected materials like music centers, recording studios, bands, African music
instruments, flash cards, pictures/photographs, and costumes and decor, were in most cases
rarely or never used. A large percentage of print material like scores/song sheets, music
extracts, and internet and music dictionaries was hardly utilized. This was in agreement with
the students' response in regard to the uti Iization of resources.
In 14(60.9%) classrooms the teaching and learning resources were available while in
9(39.1 %) they were unavailable. Similarly in 14(60.9%) classrooms the teaching and learning
resources were used during the lesson while 9(39.1 %) indicated that they were not used.
From the study, classroom observation indicated that the availability or unavailability of
resources influenced the teacher's choice of teaching-learning strategy. A teacher could for
instance, be forced to use a teacher-centered method for lack of non-print materials. It was
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observed that textbooks constituted the highest percentage that was utilized in the
implementation of the music curriculum. It was of great concern, however, to note that a
minimal percentage of teachers used non-print materials. The current study confirmed
Monte's (2009) conclusion that underutilization of resources impacts negatively on music
curriculum implementation. In this case it limited the acquisition of psychomotor and
affective skills hence a possible factor leading to below average performance in skills like
musicaurals, practicals history and analysis.
From FGD the issue of inadequate facilities and materials emerged strongly. 'It is a shame
that a school of this calibre lacks music instruments and a proper music room,' commented
one teacher. 'You will be surprised that we teach music in an old dilapidated building with a
piano that is off tune and most of the keys are missing!' Without adequate and functional
music resources, it is very difficult to teach music effectively. Therefore schools should
consider building and equipping music rooms so as to have adequate resources. Music
teachers and learners ought to be motivated to encourage effective teaching and learning.
Campbell and Scott-Kassner (2010) believe that a teacher's enthusiasm is also related to job
satisfaction as well as his or her interest in the music selected for the lesson.
Cambourne' Natural Theory, on which the current study draws its principles, advocates for
the ability to observe actions and artifacts (compositions or recordings). Learners may select,
interpret, organize and re-orient their thinking through engagement with demonstration, e.g.
imitating a teacher or peers playing techniques or compositional styles. It was realized from
the study that the demonstration condition was not applicable in a considerable number of
classes hence music teachers failed to involve music students in musical activities and also
expose them to audio-visual (non- print) and print materials. During the theoretical sessions a
small portion of the teachers could make effort to use teaching aids. This probably made
visualization difficult and hindered exercise and development of power of imagination. It
therefore limited learners' practice of the skills and could lead to low acquisition of the same.
Campbell and Scott-Kassner (ibid) explicitly project that performance skills are learnt by
learners who imitate or are otherwise influenced by the behavior and comment of their
teacher. Verbal comments are far less effective than demonstration. The teacher who
performs is critical to the students' well being.
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Lackof music instruments and proper music classrooms was reported as one of the major
issuesfaced by teachers in teaching music. The issue was due to lack of finances. Most music
instruments were considered to be very expensive and most school heads did not find it
economical or viable to spend so much money on such instrument considering the small
number of students that take music as a subject. Limited support from school administration
as reported by (73.9%) respondent teachers led to unavailability of teaching-learning
resources. Most teachers reported that it was difficult to go for music excursions like in music
symposiums and also participate in Kenya Music Festivals which enhance the music
students' musical knowledge as recommended by the MOEST in the music curriculum.
Engaging skilled instrumentalist (African and Western) in providing extra tuition to music
students was a very big issue. Yet music teachers were expected to produce proficient
learners at the end of the four years which would be gauged by the high performance in
KCSE. Supporting music teachers to take students to music excursions wiII ensure depth and
breadth coverage of content.
This observation confirms that learning in the given schools is theoretical as learners are
denied experiential learning due to unavailability of key resources. Bishop (1993) observes
that proper use of resources can extend education beyond the four walls of the school and
embrace a wider spectrum of people. Uses of Audio-visuals (radios, computers, projectors
etc) are vital as they vary the stimuli in a classroom. This enhances retention of content as
they are powerful in holding the leamer's attention and interest for they involve more than
one sensory channel which can in the long run be translated into better performance.
Richards and Rodgers (1986) concur with the fact that resource materials need to be varied so
as to realize teaching and learning objectives. They ascertain that participatory (experiential
learning) should be employed for effective teaching and learning. They go on to assert that:
The role of instructional materials within a method or instructional system will reflect
decisions concerning the primary goal of materials (e.g to present content, to practice
content, to facilitate communication between learners, or to enable the learners to
practice content without the teacher's help), the form of materials (e.g text book,
audio visual, computer software), the relation of material to other sources of input (i.e
whether they serve as a major source of input or only as a minor component of it), and
the abilities of the teachers (e.g their competence or degree of training and
experience), Richards and Rodgers (1986, p.25).
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In addition, Glassgow & Hicks (2009) say that students find the use of the internet and
telecollaborative environments engaging and motivating. The use of the internet is an
emerging technology. For instance, Noodle Tools, at http://www.noodletools.com. is a free
suiteof interactive tools designed to aid students and professionals with their online research.
Although technology provides an attractive and often motivating alternative to conventional
hands-on experience, the evaluation and preparation time remains the same. The idea that the
internet can provide serious instruction sometimes requires an adjustment in perception and
context change with both students and parents.
In agreement to the same, Campbel & Scott-Kassner (ibid) propose that computers for
independent and small group projects can be set up in one corner of the room, to which a
Musical Instrument Digital Interface (MIDI) station can be attached. A high-quality sound
system with the capacity to play compact discs (CDs), and cassette tapes is basic to any
successful instruction. Overhead transparency projectors and video cassette recorder (VCR)
and digital video disc (DVD) equipment are also critical. A table with chairs, on which
cassette tape players with headphones can be set, can make for an ideal independent listening
and ear-training lab. A teacher's desk, a personal computer, files, and storage cabinets
complete the list necessary furniture. Visual appeal- chalk board with staff lines, attractive
posters and color photographs of performers, composers, dancers, instruments, maps, and
timely announcements. Campbell and Scott-Kassner (ibid) advocate for a music teacher to
have a personal collection of recordings, videotapes, and DVDs, books, and basal series
textbooks which can stimulate the design of successful lessons and expose students to audio-
visual and print materials (recordings, video tapes, digital video discs, slides, colour
transparencies, photographs and websites, basal series textbooks that feature attractive
recordings and sometimes video sources, posters, and computer-assisted instruction
programs).
5.2 Instructional Methods/Strategies undertaken by Music Teachers to Implement
Music in the Classroom
Strategies or instructional methods are paramount in ensuring that music skills, content,
attitudes and values are taught in a systematic or orderly manner. Data regarding the
strategies undertaken by music teachers to implement music in the classroom elicited varying
responses from teachers and students, observation schedule and Focus Group Discussion. It is
86
expected to have the given variations as the students and teachers are bound to have
conflicting perspectives toward issues that regard curriculum implementation. Class
observation, however corroborated the responses.
The students' report as contained in figure 4.11 (p.52), indicates that the most frequently
utilized strategy was lecture 175(97.2%) followed by discussion 115(63.9%), and group work
95(52.8%). The strategy which was occasionally utilized to a high extent was question and
answer. A number of music students 85(47.2%) were rarely engaged in music performance
and 55(30.6%) indicated music teachers rarely utilized demonstrations and 35(19.4%) never
demonstrated practical concepts. The strategy of discovery 11O(61.1 %) was never utilized.
The results show that a variety of teaching strategies were utilized but the least utilized
strategies were discovery and demonstrations while the most utilized was lecture method.
This is in line with the teachers' response except for the use of demonstrations. The teachers'
response as per the findings, in figure 4.7 (p.40), reveal that quite a number of teachers used a
variety of teaching strategies; giving of exercises, discussion, question and answer, group
work, demonstrations, performances, but lecture method (87%) was predominant while the
least used was discovery method (56.5%) and demonstration method 8(34.8%).
Similarly, it was realized from classroom observation that the main teaching strategies
included: lecture, and question and answer. However, it was observed that a large percentage
of teachers did not use discovery method 18(78.3%), demonstration 13(56.2%), and to some
extent, question and answer 7(30.4%) and assignments/exercises 6(26.1%). Classroom
observation showed that instruction took the form of expositions in which theoretical work
was dominant. Although as per the findings students were, to some extent, given opportunity
to participate in practical activities, it is only a small percentage of music teachers that
engaged learners in practical activities. The study considered practical activities to be
adequate if learners were consistently engaged in learning activities at least during the one
double lesson that was indicated on the timetable. Demonstrations which allow the student to
observe and imitate the teacher were to a great deal ignored.
As observed from the findings elicited by the three instruments; questionnaires, classroom
observation schedule and Focus Group Discussion, a large percentage of the respondents
used the lecture method which is teacher centered. Only a small percentage used learner
centered methods the least used being discovery 18(78.3%), demonstration 13(56.2%),
question and answers 7(30.4%) and assignments/exercises 6(26.1 %). Given that teachers may
87
practice their best teaching skills when an observer is in class, it reinforces the fact that other
strategies not observed might not be in practice at all. It is evident from the findings that
teachers dominate lessons and this indicates an emphasis on content and knowledge
acquisition. This makes students in a number of schools passive learners with little
participation, which could possibly have a negative impact on their understanding of the
music curriculum content. This re-affirms Digolo's observation (1997) in regard to teaching
music in secondary school that teachers teach with a focus upon examinations and in the
process compromise the understanding of the concept. This, however, is contrary to the music
syllabus requirements which emphasize learner -centered approaches to teaching music.
This finding is important because it shows that the mode of instruction in most classrooms is
still very controlling, direct and undemocratic. Teachers must develop teaching strategies that
not only transmit information but also encourage learners to learn independently for instance
using the discovery method. An analysis of the findings presented in figure 4.7 (pAO) and
4.l6 (p.62), show that there is a sharp contrast between what teachers claimed to be doing
and what they did in class. This discrepancy could be interpreted as a gap existing between
the objective meaning by curriculum developers and the subjective meaning by music
teachers given that they implement the syllabus depending on their understanding.
It was revealed in Focus Group Discussion that the methods employed in teaching music in
the classroom in specific reference to: music theory, history and analysis, aurals and
practicals. The responses were as follows: lecture method, question and answer, discussion
and demonstration. The results depict that, learner -centered strategies in learning music like
question and answer, group work, discussion, demonstration were to some extent utilized in
certain schools. Lecture method, which is teacher centered on the other hand was used to a
great deal. The results were consistent with Mushira's (2000) study that inadequate time is
allocated for the teaching of Kenyan indigenous music and that teaching and learning
activities are predominantly theoretical hence experiential learning found to be lacking.
Student-centered approaches assist the students to answer questions, discuss, explain, and
argue out points in class. Students can corporately work in groups under conditions that
assure both positive interdependence and individual accountability. Student-centered methods
also help to make the teaching and learning experience interesting to students because student
involvement enables the learners to understand and contribute fully during the learning
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process. They also encourage independent and discovery learning. This view on student
centered methods is in tandem with the MOEST (1992,2002).
In regard to mastery of skills, few practice sessions are inadequate for mastery of skills, and
mastery is enhanced when students are given multiple opportunities to work in different
content areas and contexts. In teaching music both the expository (explanation) and heuristic
(experimental) approaches of teaching are required. This is voiced in 'The Kenya Education
commission' report by Ominde (1964) where he discourages the drill method of teaching that
negates activity and learner participation. Drill method which is one of the teacher centered
methods is one of the contributing factors to low achievement in education as advanced by
Ominde (ibid). He encourages teachers to use instructional methods that are activity oriented
leaner-centered. In the same vein Gachathi's report (1976) advocates for learner centered
methods like the discovery method. He observes that one ofthe basic requirements in making
education relevant to the common challenges experienced by learners is to enable them to
observe phenomena of the environment, gather data about them, interpret the data and then
use them to solve problems. This is applicable to the teaching of music in units like practicals
(African and Western music).
Piaget's developmental psychology implies that a music teacher ought to present the subject
matter sequentially and in a logical and integrated manner. Teaching of new skills must be
built on the previously acquired skills. This is in line with Bloom's taxonomy of knowledge
acquisition which demonstrates that acquisition of knowledge is hierarchical beginning with
lowest level, knowledge, comprehension, application, analysis, synthesis up to the highest
skill which is evaluation. He identified three domains of educational activities; Cognitive-
mental skills (knowledge), affective (growth in feelings or emotional areas (attitude) and
psychomotor (manual or physical skills). Taxonomy of learning behaviors can be thought of
as the goals of the learning process. That is, after a learning episode, the learner should have
acquired new skills, knowledge and attitudes. In the same vein Kodaly believes in
progressive attainment of music skill and sequencing of what is to be learnt. Suzuki on the
other hand advocates for individualized instruction.
The syllabus in the Kenyan music curriculum is divided into four areas, namely Basic skills,
History and analysis, practical and project. Despite the clearly stipulated objectives, it
appears that most music teachers have clung to the traditional methodologies in teaching
music. Akuno (2012) states that:
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The teaching of music has been pro-western and rather theoretical in Kenya. The current
syllabus, though stated in such practical terms, is still a victim of the traditions set by the
early teachers. The mode of delivery has remained theoretical. .... Teaching is so heavily
examination focused, that the commutative nature of music learning, as aptly reflected in
the syllabus, is of no use to the students. Since not much focused learning really goes on,
musicianship is barely developed (p.278)
Akuno (ibid) further elaborates that in Kenya, the theoretical approach characterized by
content-focused instruction, leaves little room for reflection or engagement with gathered
information. This is compounded by examination based assessment that demands recall.
Richards and Rogers (2000) contend that for goals and objectives to be achieved educational
practices should be well applied and that the effectiveness of teaching and learning is
determined by the type of teaching techniques, approaches and methods applied. In most
cases music teachers tend to use teacher-centered approach (expository) where the teacher
exposes knowledge to the learners and the Leamer-centered (Heuristic Approach) where
learners are encouraged to find information on their own. The methods may not apply to all
the areas of music knowledge hence the music teacher needs to be innovative to choose
methods that are logically sequential and provide for sequential learning.
5.2.1TeachinglLearning Activities
The information in table 4.6 (pAl) generally, depicts that majority of teachers engaged Form
three music students in a variety of activities. However, it was noted that a number of
activities were never utilized. These included: composing melodies 18(78.35%), visiting
music centers 16(69.6%) and participating in music activities 16(69.6%), listening to a
variety of African 8(34.8%) music and dancing 12(52.2%). This was similar with the
information obtained from the students' questionnaire in table 4.21 in regard to activities that
were frequently utilized. However, in relation to activities that were rarely put into practice,
writing melodies, listening and imitating given melodies were outstanding. Generally, it was
observed that majority of Form three music students were engaged in a variety of activities.
However, it was noted that a number of activities were never utilized. These included:
composing melodies 160(88.9%), dancing 120(66.7%), visiting music centers and
participating in music activities 100(55.6%), listening to a variety of African music
115(63.9%), dancing, writing melodies, listening and imitating given melodies and voice
training 65(36.1 %). These were in tandem with the teachers' response except for the last
three. From classroom observation as reflected in table 4.17 (p.63), it was deduced that a
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varietyof learning activities were used in the music classroom. However, a big percentage of
teachers did not engage music students in, dancing 19(82.6%), playing of instruments
8(34.8%), listening to music 10(43.5%), clapping and tapping rhythm 12(52.2.8%).
Composition includes all activities directed toward the creation of music. Composition is
thought to include creativity relating to many aspects of music other than just composing
songs; for instance, interpretation in performance, improvisation, and determining phrases.
Performance includes singing or playing an instrument. Musical performance involves
developing neuro-muscular responses in relation to aural discriminations. Listening concerns
attending to musical performances; it can lead to exposure to diverse musical styles and the
development of discriminative listening skills. Listening can be passive but it also includes
knowledge of musical elements. Listening might include discriminations concerning the way
music is put together (theory and style) as well as aspects of dealing with sophisticated aural
discernments such as instrumentation, form and rhythm. Listening may even include
acoustics. Musical discussions necessitate a vocabulary of musical terms and expressions
which people can use to label and talk about the musical phenomena. Formal words or terms
are needed to describe music occurring in time and to allow communication of the effect
music has on listeners.
From the given findings it is clear that, although some teachers employed a variety of
activities in teaching music, a quite a number did not engage students in composing melodies,
listening to a variety of African music, dancing, writing melodies, listening and imitating
given melodies, voice training, playing instruments, clapping and tapping rhythms and
visiting music centers. Research reveals that the greater the involvement in class, the greater
the acquisition of knowledge and skills. In general it was confirmed that, composition,
performance, listening, musical discussion, aesthetic sensitivity were to a large extent
ignored.
Reimer (1989) contents that the goal of interacting with music is to experience it. Instruction
in music must help that experience to be as powerful and satisfying as possible. He asserts
that the objectives of general music education are to improve musical perception, to
encourage musical reaction, to enhance musical creativity through more expert and sensitive
performing, composing, and improvising; to increase the depth and breadth of concepts about
the art of music and how it works; to develop analytical abilities; and to promote more
refined evaluations of music. To the extent that these foundational objectives are being met
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successfully, students are likely to achieve a desired outcome which IS to value music
intrinsically.
Additionally, Reimer (ibid) gives four basic means for achieving heightened aesthetic
experiences of music in addition to listening to it. These include:
• Creating which gives direct access to musical experience because it requires that
artistic decisions be made about sounds as in composing, performing and conducting,
improvising and intensive listening.
• Conceptualizing; Concepts about music give a logical, developmental, artistically
focused medium by which to build progressively more challenging experiences of
music.
• Analysis which is a mode of conceptualizing which focuses on the internal conditions
that make sounds expressive.
• Evaluation which is the making of judgments about the quality of pieces of music and
their performance is a necessary means for illuminating the inner workings of music
and exploring its effective power.
In support of this, Madsen & Kuhn (1978) advocate that the student experience all aspects of
music within a lesson since music involves numerous activities: composition, performance,
listening, musical discussion, aesthetic sensitivity. That is, students should create, engage in
rhythmic bodily activities, listen, discuss, read notation and perform. Learners are the main
recipients of a curriculum and it all depends on how they perceive it, what value they attach
to the subject so that they can commit themselves to all the instruction given by teachers, the
assignments and even going a mile further to read extra materials in that subject. In the
schools studied, the observation schedule indicated that majority of the learners were not
meaningfully engaged in learning activities and the activities were hardly planned to arouse
and sustain learners' interest. During the FGD teachers indicated that they were overwhelmed
by work. A music teacher had two subjects to teach which constituted at least twenty eight
lessons, notwithstanding having other responsibilities including all music activities in the
school. In their responses most teachers exuded discouragement due to the large amount of
work, '1 feel so overwhelmed with too many lessons that at the end of the day I do not feel
like engaging in another activity'. This implies that such teachers would not be able to
provide extra tuition for music practicals and would not be energetic and motivating in lesson
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presentation. It is prudent that music teachers be relieved oftwo subjects and more lessons be
allocated for music on the school timetable to complete the wide syllabus in time.
From the findings presented in the table 4.14 (p.60), most of the teachers 20(87%) taught
content that was related to the subject matter; 18(78.3%) of the teachers developed the lesson
systematically; 15(65.2%) were adequately prepared and clarified on the lesson objectives
and stated the teaching procedures in simple and clear language. It was however noted that in
13(56.5%) cases adequate time was not allocated to the content. The findings show that
although most teaches were prepared in teaching the music classroom, time allocation to
content received the least attention. This implies that the content was not covered in depth.
Classroom observation showed that a number of teachers 21(91.3%) linked current lesson
with the previous one but a few 2(8.7%) did not; 19(82.6%) teachers introduced content
based on the learners experience while 4(17.4%) did not; 17(73.9%) teachers had a
motivating and interesting introduction to the lesson while 6(26.1 %) did not.
It can be concluded from the given findings that the teachers introduction and presentation of
the music lesson was well done except for the few 'NO' cases. These reflect that there were
teachers who did not use learning resources during the lesson and some who did not motivate
the learners in the introduction of the lesson. This explains why some students found the
music lesson boring. While a minority of schools had materials and demonstrations
appropriate for the purpose, a majority scored fair. In a few of the schools the teacher
appeared to be enjoying the teaching and was seen to be sympathetic to the needs and
problems of the learners. In addition, a number of the teachers tended to exercise patience
with the learners. However, improvisation in majority of the lessons observed was low.
It also emerged from the teachers' discourse that there was low opinion of the music subject
by colleagues, administration, parents, and students hence they lacked support. 'In most cases
students don't take music because the parents, teachers and school administration say it does
not take anybody anywhere.' In this way music teachers were demoralized as they lacked
physical and emotional support. Teachers had low morale due to lack of motivation and
instead they were blamed for engaging students in the music activities which took most of the
students' time hence affecting their academic performance. Some felt unappreciated yet they
did so much for the school. One of the teachers retorted, 'I work so hard yet the comment 1
hear from the school is that music does not get anyone far!' It was also evident that some
institutions felt that music was uneconomical since the subject had few students taking it.
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IEN---iUA UI~fUERSlrV
Onemusic teacher said, 'The principal cannot look at my music budget twice. All he says is
that this is too expensive for five students.' This situation calls for urgent sensitization of
parents, non-music teachers, administrators and policy makers on the importance of music in
orderto change their attitude toward music.
The table on classroom observation further shows that majority of schools did not have good
time management in the work plan and the execution of time during the lesson. In addition,
majority of the schools did not have very good class control where the teacher failed to
ensure that all students were engaged in relevant learning activities. It was observed that this
was due to lack of or inadequate music resources. However, majority of teachers were good
at handling disruptive behavior appropriately. Most of the teachers were good at relating
students' ideas to the content being taught and discussing students' misconceptions. As
evidenced by Focus Group Discussion, teachers who preferred teacher centered methods
confirmed that such approaches enabled them to tackle a wide area of the music syllabus
within a short time as opposed to learner centered methods which were time consuming.
Some teachers noted that teacher-centered methods enabled them to explain facts easily to
students. Other teachers however highlighted that varied application of the methods of
teaching led to effective teaching of music although this was rarely used in the classroom.
Barich (2011) points out key behaviors contributing to effective teaching. Approximately ten
teacher behaviors have been identified that show promising relationships to desirable student
performance, primarily as measured by classroom assessments and standardized tests. They
have been categorized into key behaviors and helping behaviors. Key behaviors are
considered essential for effective teaching and include:
• Lesson clarity which refers to how a teacher's presentation is to the class in terms of
clarity of ideas, logical explanation of concepts; direct, audible non-distracting oral
delivery.
• Instructional variety which refers to the teacher's variability or flexibility of delivery
during the presentation of a lesson e.g. asking questions, using learning materials,
equipment, displays, and space in the classroom. The physical texture and visual
variety of the classroom can contribute to instructional variety. This in turn influences
student achievement on end-of-unit tests, performance assessments, and student
engagement in the learning process.
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• Teacher task orientation refers to how much time the teacher devotes to teaching an
academic subject. Most researchers agree that classrooms in which teacher-student
interactions focus primarily on subject-matter content, which allows students the
maximum opportunity to learn and practice what was taught, are more likely to have
higher rates of achievement. The achievement is enhanced where the relationship
between the teacher and the learners provides the energy to motivate and challenge
learners to reach increasingly higher levels of understanding.
• Engagement in the learning process/engaged learning time refers to the amount time
students devote learning in the classroom. The time students are actively engaged
with the instructional materials, and benefiting from the activities being presented.
• Student success rate refers to the rate at which students understand and correctly
complete exercises and assignments.
Helping behaviors can be used in combination to implement the key behaviors and include:
• Using student ideas and contribution/reasoning, problem solving, independent
thinking achieved through teacher-mediated dialogue that helps learners restructure
what is being learned using their own ideas experiences and thought patterns.
• Structuring; are teacher comments made for the purpose of organizing what is to
come or summarizing what has gone through before. Ways of structuring include:
signaling, emphasis, advance organizer, verbal markers, and activity structure.
• Questioning includes content and process questions. Content questions are posed to
have students deal directly with the content taught. Process questions are meant to
encourage different mental processes; to problem solve, to guide, to arouse curiosity,
to encourage creativity, to analyze, to synthesize and to judge also goals of instruction
that should be reflected in the questioning strategies.
• Probing refers to teacher statements that encourage students to elaborate on the
answer, either their own or another student's.
• Teacher affect; effective teachers provide warm and encouraging classroom climate
by letting students know help is available. A teacher who is excited about the subject
being taught and shows it by facial expression, voice inflection, gesture, and
movement - thus communicating respect and caring for the learner - is more likely to
hold the attention of students and motivate them to higher levels of achievement than
one who does not exhibit these behaviors.
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However,Reimer (1989) argues that there is simply no way to fill in the theory-practice gap
completely. Individuals are so diverse in their belief systems, their orientations to their
subjects and to learners, their knowledge and understandings, their motivations; that no two
people are likely to interpret something as complicated as curriculum plan identically.
Curriculum phases get funneled through the personality, values, beliefs, human potentials,
andhuman limitations of that person who is a teacher. To ensure that teachers are competent
to make interpretations that are professionally sound even if individual, pre-service and in-
service teacher education must be keenly taken into consideration. Both teachers in training
and in service need to be steeped in:
• A valid philosophy of music education and new developments in philosophy
• An understanding of the relevance of related fields to the music curriculum including
new developments in those fields
• Knowledge of valid bases for sequence decisions and changes in that knowledge as
they occur
In addition, Walker (1998) maintains that good classroom discipline is a critical element
affecting a music educator's success or failure. A teacher may have all the necessary musical
skills to succeed but lack expertise in important non-instructional skills: motivation and
classroom discipline. A music teacher is required to arouse students' interest, promote eager
involvement, kindle group spirit, and encourage student action in his/her attempt to motivate
them. Good discipline is evident in situations in which students exert an optimal amount of
energy in trying to learn what a teacher is attempting to teach rather than wasting energy on
other unproductive activities. A teacher may be considered a good disciplinarian ifhe/she has
learned to use force of motivation to keep students moving toward their academic goals.
College and university instructors in music education methods must accept the responsibility
of classroom leadership in this important aspect of teaching training.
Walker (ibid) proposes that music educators can motivate students by developing an
association between music and the type of person that students admire, thus appealing to
teenagers' need for a positive self-image. Through their own actions and external influences
they can establish role models to serve as motivating forces. External influences could
include such things as pictures and stories of famous people who are exceptional musicians
but who are equally known for other accomplishments. Teachers must base their classroom
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motivation on the intrinsic needs of the students. Motivational factors include: internal and
external factors namely:
• Fear and desire; fear of failure strongly affects behavior especially of preteen and
teenage students; when students are motivated by desire which is genuine interest in
achieving a goal, limits are removed and a whole new level of creativity is opened to
them. Building a desire to learn holds long lasting and far reaching benefits for
students,teachers and entire music education programs.
• Music contests; competitive and non-competitive music contests contain the
motivational elements of both fear and desire and affects both teachers and students.
• Award; awards or rewards are meant for accomplishment of a specific set of
objectives. Awards provide an opportunity to recognize students who achieve some
degree of excellence in their work and provide extra incentive for students who can
be considered underachievers.
• Testing and grading; tests and grades hold some potential for motivating students
toward musical success.
• Performances; Young people are natural exhibitionists and they should be placed in
group and solo performances as often as the practical limits of the music program
permit. Inviting alumni to participate in a performance upon occasion can be a source
of motivation for student participants, as well as a positive public relations effort.
Concert programs listing the names of all student participants are another
motivational aid.
• Photographs/recordings; video tapes of concerts can serve as an incentive for
excellence as students like to see and hear themselves in performance. A cassette or
CD recording of their own performance can provide a lasting sense of pride for
student participants. That sense of pride translates into motivation for the future.
• Group spirit; group activities appeal to students' need for sense of belonging.
• Complements; successful teachers can motivate learning through their positive and
friendly attitudes, as well as through their personalities. It is up to the teacher to set
the example and create an educational environment in which students feel good about
themselves. When students feel good about themselves, they perform accordingly.
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5.2.2Challenging Music ConceptslUnits
It is evident from table 4.14 that the most challenging units to teach were aurals 18(78.3%),
music analysis 16(69.6%), melody writing 15(65.2%), harmony 13(56.5%), playing of
African/Western instruments 12(52.2%), and an equal proportion of teachers 7(30.4%)
indicated that translating from solfa to staff notation and listening to music was challenging
to teach. On the other hand, the less challenging skill to teach was history of music 3(13%).
On the other hand, table 4.23 gives a summary of the frequency and percentage of the
distribution of music topics learners found to be challenging. The response revealed that the
most challenging topic was aurals 174(96.7%), followed by composition of melodies to given
words 162(90%), analysis of Western music aurally and visually 156(86.7%), harmonizing a
melody in S.A.T.B 140(77.8), continuation of melodies in simple and compound time
135(75%), singing minor keys 123(68%), playing African instruments 120(66.7%),
ornaments 113(62.8%), sight singing/playing 99(55%), transposition 84(46.7%), playing
Western instruments 57(3l.7%), and singing in major keys 35(19%). These results are
synonymous with the ones elicited from the students' and teachers' questionnaire.
5.2.3 Reasons for Challenges in Given Music Concepts
Data elicited from the open ended questions by teachers and students was varying III
response. It was found out from the students' and the teachers' questionnaire that some topics
of music were challenging to some teachers to present to students during the teaching
'learning process. In the analysis of reasons given by teachers for the challenges of teaching
the given skills the following themes were identified: methodology and resources, teacher
competence, and student attitudes.
In line with methodology and resources, there was lack of or inadequate materials e.g
computers, videos/ audio visuals in teaching history and analysis. Moreover lack of resources
limited the instructional methods teachers would employ in teaching. Some teachers indicated
that students had varying capabilities hence a need to employ a variety of teaching strategies
to attend to individual students but they were forced to employ one type of method like
lecture method due to lack of or limited resources.
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In regard to issues of competence, a high percentage of teachers indicated that some skills
likeaurals, harmony, solfa notation and playing of African and Western instruments were not
tackled in depth during pre-service training hence limited knowledge in the given areas.
During the FGD some teachers acknowledged that 'nobody is good in all content areas.'
Therefore if they did not find time to approach colleagues who were well versed in these
content areas they omitted them in their teaching. These content areas were identified as,
melody writing to given words, harmony, singing in minor keys, modulation, playing African
instruments, playing western instrument aurals and analysis. This implied most teachers
leaned towards their areas of specialization and interest thus the music syllabus was not
taught holistically.
Concerning attitudes, a number of teachers indicated that, students perceived aurals as
difficult and had a fixed mind that harmony was difficult. They reported that students find it
difficult to internalize the concept of rhythm and melody at the same time when required to
write a given melody in aurals. Actualization of sound was viewed as very difficult by most
students hence they lacked confidence in tackling aurals and harmony and melody writing.
The students' attitude to Western classical music was negative as they lacked interest in
listening to it.
On the other hand, Form three music students gave conflicting reasons why they found the
given topics challenging. The views that emerged from a majority of students were
categorized under several themes which included: methodology, limited time due starting
some units late, frequency of practice, wide scope, teacher absenteeism due to co-curricular
activities in Kenya Music Festivals (KMF), little attention given to some units, teacher's
attitude, resources, and syllabus relevance.
In regard to methodology, a number of students indicated that the Style of teaching aurals
was not satisfactory. The students indicated that 'when we are left to listen to the radio
cassette and a marking scheme to refer to, it does not help much'. This implies that they
needed the teacher's guidance. In reference to music analysis, students complained that they
were given notes got from symposiums which they found difficult to comprehend to read.
Following the music score and listening to the music together with the students was rarely
done by the teacher.
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Another theme that emerged was limited time. Music concepts like aurals needed much time
forpractice yet the forty minutes allocated on the timetable were not adequate. The students
also indicated that the time allocated for music aurals in exams is inadequate. They thought
that the fifty minutes allocated did not allow them to internalize the various concepts tested
and then write them down.
In addition, the theme of frequency of practice emerged. It was indicated that, there was
inadequate practice of music aurals which was hardly taught in class and was rarely practiced
till Form four. Other students indicated that they started learning aurals in Form three, yet
aurals required a lot of time to practice and there was hardly time to practice due to a very
busy schedule. Some students indicated that 'last minute rush approach to music aurals and
practicals makes it impossible to master concepts'. African music practicals were only taken
seriously in Form three third term hence they hardly had enough time to practice and master
the music by KCSE.
A great number of students reported that the scope of some units was too wide. They
indicated that history of Western music involves mastery of a lot of very hard terminologies,
characteristics and dates which makes it hard to grasp. The students went further to report
that the wide variety of African instruments and traditional dances made it difficult to classify
and identify respectively. Furthermore naming the varied communities was challenging. They
indicated that history of Western music was broad and different books gave varied
information hence making it confusing to internalize the concepts.
Teacher absenteeism due to co-curricular activities especially in second term every year
contributed to late syllabus coverage, omitting or 'brushing over' some topics. In most cases
teachers were not available to offer individual tuition after 4.00 pm since they were involved
in other school duties.
Some concept areas were given little attention. The students reported African music was
taught on rare cases and mostly revised after tests. In most cases students were either given
notes to read or asked to make their own notes.
Other challenges were due to teacher or student attitudes. A number of students reported that
music was often taken lightly by students as it was considered an optional subject and not
popular in school. One of the students expressed her negative attitude toward music by
stating that, 'There is a lot of bias in this class, I regret my decision of taking music since I
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didn't know what to expect. The teacher shouldn't think that since you don't know you
shouldn't know'. This implies that the weaker students were ignored in some cases hence
-discouraging the students.
Other students claimed that the type of music taught was not interesting and was not market-
oriented in the Kenyan music industry: 'Classical music is mainly boring and irrelevant in our
context'. Other students stated that if they were given a choice they would do contemporary
music which includes popular music. This implied that students found the music syllabus
irrelevant to some extent. There is a need to review the syllabus content to make it
manageable within the four years of study. Include music that appeals at students' taste in the
syllabus to encourage to take music and to enjoy music lessons.
Last but not least, the issue of resources was brought out. Some students said the music
subject had no revision materials or books like in other subjects. This made it very difficult to
revise for various topics.
5.2.4Strategies Used to Overcome the Challenges
In the open ended questions the teachers suggested the use of internet in teaching history and
analysis and playing of African and Western instruments and a lot of demonstration should
be employed by significant others. Furthermore the services of resource persons could be
sought and students could be exposed to live performances. In regard to aurals, they
suggested that aurals should be introduced in Form one and systematically taught in small
units for four years. Moreover, melody and -rhythm should be taught separately and simple
pieces should be used. At the same time recorded tests should be introduced as early as Form
two. Concerning harmony, frequent practices could be employed by giving a lot of exercises
plus the utilization of group work.
On the other hand, Form three music students -suggested strategies of countering the
challenges of grasping the given music concepts. The results that were yielded from the open-
ended questions were summarized in the following themes:
In regard to methodology the respondents suggested that it would be appropriate for music
students to encourage and help each other by holding more discussions/group work. They
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also suggested that the teachers should have a practical approach in teaching mUSiC. A
number of respondents complained that in most cases the teachers gave them a lecture on a
music concept and asked them to make notes. They found such lessons to be boring and
uninvolving, 'the teachers should make the lesson lively, I mean music is life, we should feel
it!' They preferred to have a discussion of African and Western music done more often: 'we
should be given more exercises on analysis of both African and Western music on a daily
basis.' In addition they needed to be given homework in music daily to test them on each
topic learnt and music CATs were to be done once or twice a week. Most students felt that
the use of repetition for mastery of content was key as practice makes perfect. Others
suggested individual tuition as expressed in the statement: 'Teachers should pay more
attention to us and meet us at a more personal level'. The Form three music students also
suggested that they needed more practical lessons and the teacher was to be there to guide
and correct them when they went wrong. In addition, they needed qualified teachers to teach
different instruments: 'Most of us are limited to singing or playing the recorder because the
teacher cannot play certain instruments'. The students suggested that a day should be set
apart in every month for playing instruments, singing and dancing after which marks should
be recorded so as to make the exercises serious and competitive.
In line with limited time to study a concept, they suggested the increment of lessons on the
music timetable to create more time for the wide syllabus: 'Music is given few lessons. Music
lessons should be given more consideration like any other subject. More emphasis should be
given to music as a subject.' Music practicals were to commence as early as form one,
especially the playing of African instruments so as to avoid the rush to practice in Form four.
In relation to frequency of practice, it was suggested that aural tapes ought to be listened to
frequently with the teachers' help. Music projects should be frequently given to improve
musical skills as students would be motivated to practice frequently for presentation.
The respondents suggested that they should have more than one teacher for music to curtail
teacher absenteeism especially during the Kenya Music Festivals.
In reference to the wide scope of the music syllabus and little attention given to some music
units, the respondents suggested a review of the music curriculum so as to determine the
scope of units like history of western and African music. As for the music the classical music
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that they termed as boring irrelevant in their context, the respondents suggested that the
syllabus should be reviewed to include Western and Kenyan contemporary music. It was also
suggested that more time should be allocated to paper three which constitutes, music theory,
history and analysis, and general music knowledge as it is too broad. More opportunities for
practice were to be given for music practicals.
In regard to attitude, the respondents suggested that parents should be made aware of the
importance of music so that they can stop discouraging them to do music. Some indicated
that the school administration and other teachers should value music and allow them to
practice more freely instead of restricting them during prep time. Majority suggested that it
would be encouraging for the school to give positive comments about the music subject than
always condemn and demean it. In reference to the music subject teachers, the Form three
students suggested that the teachers should be free and concerned with every student and
should be more patient with them if we don't understand.
Most students suggested that schools should consider equipping music rooms with computers
to enable them to research frequently on the internet in regard to music history, listening to
music and music practicals. Others suggested going to music symposiums and learning from
other people, exposure through visiting various music centers, music conservatoires,
attending music concerts, use of visual aids for African music; actual instruments,
photographs/drawings, videos of various dances and folk songs and having practical music
activities, providing more music textbooks, provision of music theory revision books, and
writing revision materials for the music subject. Others suggested interacting with practicing
musicians, buying music instruments for practicals, providing realia e.g. to see different
instruments learnt, to watch African dance performances at Bomas, and to watch live
concerts of music forms learnt. Some students emphasized that they should be given access to
CD and cassette players: 'Teachers should be letting us have access to the radio and aural
cassettes without restriction.'
5.2.5 The Frequency of Evaluating Music Units in a Term
Results in figure 4.8 (pA2), showed that the units that were evaluated most times (that is,
ranging from twice to more times) were history of Western music 22(95.7%) and African
music 20(87%); those units evaluated least times included music aurals 16(69.6%) and music
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practicals 14(60.8%). Of great concern was the high percentage of music projects that were
not evaluated at all 18(78.3%). This reveals that teachers did not test the students adequately
in aurals, practicals and projects.
In contrast, results as reflected in figure 4.12 (p.54), shows that majority of Form three music
students 130(72.2%) indicated African music was mainly assessed twice in a term while
50(27.8% indicated it was assessed thrice; as for history of western music and analysis, 120(
66.7% ) indicated it was assessed twice while 60(33.3%) indicated it was assessed thrice;
some students indicated that there were units that were assessed once or not at all in a term
and these included: music aurals which 90(50%) students indicated was assessed once a
term while 80(44.4%) indicated it was not assessed at all; music practicals, which 77(42.8%)
students indicated was it was assessed once a term while 88(48.9%) indicated it was not
assessed at all; 39(21.7%) students indicated that music projects were assessed once a term
while 141(78.3%) indicated they were not assessed at all. As revealed in the findings, a
number of Form three students were assessed in music aurals and practicals once indicating
they were not exposed to adequate testing. On the other hand projects were never assessed.
This was a replica of the teachers' responses.
5.2.6 Performance of Form Threes in Music over the Last Three Years (2010-2012)
Figure 4.10 (p.45), reflects the Form three students' performance in music for the last three
years in Nairobi County. It is clear as recorded that a big number of schools attained below
grade C+ 12(52.1%) while 11(47.8%) attained C+ and above. The best grade is 'A' attained
by three schools; 'A-' is attained by one school; 'B+' by three schools; 'B' by four schools.
The mean grade for the 23 schools was a C+ (7.6). It can be concluded that the mean score
was above average. Although the mean score was above average, individual grades reflect
that more than a half of the schools scored grade C and below. This indicated that music was
performed dismally at school level and this could M what was extended to the national level
in KCSE. These findings are in line with the previous observations from KNEC report (2011)
on KCSE music performance which identified poor teaching methods as a reason for poor
performance in music.
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5.2.7 Recommendations in Tackling Issues Faced by Teachers in Curriculum
Implementation
The following recommendations emerged:
I. More lessons should be allocated for music on the timetable to complete the wide
syllabus
ii. In-service should be organized for music teachers by KICD annually
111. Refresher courses should be organized by KICD
iv. Frequent forums for music teachers to share ideas on teaching various areas
v. Own initiatives of organizing workshops where examiners are invited as facilitators
VI. Sensitize parents, non-music teachers, Administrators and policy makers on the
importance of music
Vll. Building and equipping music rooms
viii. Motivating teachers and learners
IX. Review the syllabus content to make it manageable within the four years of study
x. The MOEST should be more proactive in getting music teachers together to discuss
challenging areas/train in workshops.
xi. Music teachers should be relieved of the teaching load of the second subject to enable
them cater for individual needs ofthe students
5.3 Contributing Factors towards Music Students' Performance in Examinations
The students' questionnaire was used to triangulate the teachers' questionnaire and the focus
group discussion. It was geared toward investigating the contributing factors toward music
students' performance in examinations. Open-ended questions were asked in regard to the
teaching-learning issues faced by students that would contribute to their performance and
proficiency in music and these included: learners' entry behavior, introduction of the music
subject in Form one, evaluation of music units in a term, challenging music concepts, reasons
why music concepts are challenging, and strategies to overcome the challenges.
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Contributing factors towards music students' performance in examinations were highlighted
as follows: student's entry behavior, frequency with which music activities are utilized during
the music lesson, frequency of evaluating the music curriculum.
5.3.1Learners' Entry Behavior
The question was intended to find out what category of primary school the students had gone
through and whether the students had been exposed to music as a subject in primary school.
Majority of the music students 76.9% indicated that they had not been exposed to music at all
while 24.1 % had been taught some basics of music.
Those who had been exposed to music mainly came from private schools. Reimer (1989)
Says that each of the learners brings along to school a set of capacities, experiences, interests,
beliefs, and dispositions not exactly like anyone else's, so that everything the curriculum
presents and everything the teacher does is processed somewhat differently by every learner.
Effective instruction attempts to maximize the learning experience of every pupil by
providing necessary group learning and fine-tuning by individual attention. The results
elicited confirmed that Form three music students had individual challenges in music learning
that affected their musicianship.
5.3.2 Introduction of Music Subject in Form One
In this question the students were required to state in which week they started learning music
in Form one. A number of students 87 % responded that they started in week six of the term
(i.e. week two after reporting to school) while 13% responded they started in week seven (i.e.
week three after reporting to school). This implies that the music teachers have a backlog of
approximately five to six weeks to cover the music syllabus which is already 'too wide'.
Coupled with this is the students' poor background of music as they have not been taught
music in primary school. This is as a result of the Koech report which advocated for the non-
examination of music in primary school although it was to remain a teaching subject.
However, primary teachers did not find it necessary to teach music as a subject as they
concentrated on examinable subjects. Music in primary school, therefore, has mainly been
considered for co-curricular activities and singing during pastoral programs (Shitandi, 2005).
5.3.3 The Frequency of Evaluating Given Music Units in a Term
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The question was geared towards establishing how often the given music units were tested in
a term. Evaluations enable music teachers to understand music students' work hence
diagnosing their needs. As a result, music teachers make more informed decisions about the
most suitable help needed by the students.
Results as reflected in table 4.22 shows that majority of Form three music students
130(72.2%) indicated African music was mainly assessed twice in a term while 50(27.8%
indicated it was assessed thrice; as for history of western music and analysis, 120( 66.7% )
indicated it was assessed twice while 60(33.3%) indicated it was assessed thrice; some
students indicated that there were units that were assessed once or not at all in a term and
these included: music aurals which 90(50%) students indicated was assessed once a term
while 80(44.4%) indicated it was not assessed at all; music practicals, which 77(42.8%)
students indicated was it was assessed once a term while 88(48.9%) indicated it was not
assessed at all; 39(21.7%) students indicated that music projects were assessed once a term
while 141(78.3%) indicated they were not assessed at all. As revealed in the findings, a
number of Form three students were assessed in music aurals and practicals once indicating
they were not exposed to adequate testing. On the other hand projects were never assessed.
The students' responses were a replica of the teachers' responses.
Teachers must provide students with feedback about their work, thereby helping judge their
own progress. If feedback is infrequent or unclear, students have no way of knowing whether
they have met or exceeded teachers or their own expectations. Elliot (1995) opines that
because musicianship is a multifaceted, progressive, and situated form of knowledge, music
educators require a multidimensional, progressive, and situated approach to assessment and
evaluation. Assessment of the student's progress is key in music instruction. Assessment
should always be used to determine where the student should go from a given point and
should not be used as a static evaluation. Progress in academic world is said to have taken
place when someone understands, comprehends, or has a better mastery of a subject. A
teacher notes progress when a student can solve a new problem, sing better in tune or answer
questions orally. Academic behaviors are easily assessed or measured because ·these
behaviors can be observed and counted. Teachers engaged in practical music should actually
assess skill development continuously. Progress is often measured with a test.
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Madsen and Kuhn (1978) however, have a conflicting view that students can perform poorly
because of nervousness and anxiety or appear to perform better on exams, especially
objective ones, with less knowledge of the subject. This suggests that assessment instruments
are often fallible and incomplete indicators of progress. Assessment or learning must be
carefully structured otherwise a report card showing a grade rose from a D to a C might be
misleading for a parent to think that the child progressed when in reality the child may not
have learned much or even progressed but just got a C.
Nevertheless, without subsequent progress monitoring, goals will be difficult to achieve.
Walker (1998) contends that far too often, worthwhile and well thought out objectives fail
because no monitoring process was used and that a means of progress needs to be established.
He suggests that for the general music classroom teacher, written tests, music achievement
tests, and close observation are useful tools in monitoring progress. At high school level,
written tests, music achievement tests and music contests and festival participation may be
used to measure specific progress. Music educators should consider developing a student
evaluation form specific to their own teaching situations.
Elliott (ibid) distinguishes evaluation and assessment and concludes that the latter is crucial
in achieving the aims of music education. According to Elliott (ibid), the assessment of
student achievement gathers information that can benefit students directly in the form of
constructive feedback according to their growing musicianship. It also provides useful data to
teachers, parents, and the surrounding educational community. Evaluation, on the other hand,
is primarily concerned with grading, ranking, and other summary procedures for purposes of
student promotion and curriculum evaluation. Elliott (ibid) continues to explain that
assessment of musical achievement can be communicated via coaching, cueing, correcting,
advising, discussing, modeling, approving, disapproving and encouraging.
Concerning the issue of evaluation strategies, FGD revealed the following views on how best
to evaluate the performance of students in the different units of music i.e. music theory,
history and analysis, aurals and practicals:
Question and answer during classroom instruction is appropriate in evaluating the
understanding of music concepts in music theory and history and analysis
Essay presentations can be very effective in assessing the cognitive skills
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Quizzes or tests are appropriate in evaluation every topic to diagnose the students'
needs
Home work exercises are the most commonly used to give students more practice
For practical works, regular performance presentations are the most effective
Frequent aural dictations are necessary for practice and in depth understanding of
aural skills
Although music teachers seemed to know and understand ways of evaluating students, what
came out of the students" responses revealed that the teachers did not evaluate them
frequently.
Borich (2011) points out ways of assessing the lesson outcome. Assessment activities can
include scored interviews, objective and essay questions, graded homework, classroom
performances, and student work samples. However these more formal evaluative tasks could
be counterproductive to learning if required at earlier stages, when the instructional goal is to
get learners to respond for the first time without limiting discovery, exploration, and risk
taking; all important ingredients to meaningful learning. But these tasks are instrumental for
evaluating the degree to which the learner has attained the desired behavior at the completion
of a lesson or sequence of related lessons. Some additional methods of completing this event
include the following: tests and quizzes, homework exercises, in-class homework,
assignments, performance evaluations, lab assignments, presentations, oral,
questioning/interviews, essay questions, research papers, independent practice, port folios.
Abeles, Hoffer and Klotman (1995) advocate for portfolios as alternative modes of
assessment. Portfolios are collections of a student's work. In some cases portfolios are kept
while works are being developed. In performance class tapes of performances, rehearsals,
sectionals, or practice sessions as well as written critiques of the tapes by the student, teacher
or peers, might be included in the portfolio. In a genera) music class, tapes of practices, class
exercises, notes, and drafts of compositions, as well as finished products might be included.
In addition to examples of work at different stages of development, these portfolios should
include evaluative statements particularly those of the student. In addition music teachers
should establish rubrics to evaluate students effectively. Rubrics are basically established
guidelines for judging student work on performance-based tasks. Music teachers ought to
construct holistic rubrics (instruments that contain different levels of performance that
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describe both quantity and quality of a task) that assess musical behaviors that include:
responding, creating, performing and listening.
One of the most widely used ways of organizing levels of expertise is according to Bloom's
Taxonomy of Educational Objectives. Bloom's Taxonomy uses a multi-tiered scale to express
the level of expertise required to achieve each measurable student outcome. Organizing
measurable student outcomes in this way allows teachers to select appropriate classroom
assessment techniques for the course. There are three taxonomies and each of them is used
depending on the original goal to which the measurable student outcome is connected. There
are knowledge-based goals (cognitive domain), skills-based goals (psychomotor domain),
and affective goals (affective domain- values, attitudes, and interests); accordingly, there is a
taxonomy for each. Within each taxonomy, levels of expertise are listed in order of increasing
complexity. Measurable student outcomes that require the higher levels of expertise will
require more sophisticated classroom assessment techniques.
5.4 Guided Music Teaching Activities that would Enhance Classroom Teaching in the
Future
The final objective of the study was to propose, with reference to available literature on
instructional methods, guided teaching activities that would enhance classroom teaching in
the future in Kenyan secondary schools. Seven methodologies/strategies and learning
activities were identified that music teachers can utilize to assist learners: (i) Meki Nzewi'
Method of Teaching African Music, (ii) Ongati's Strategy of Teaching African Music, (iii)
Leonhard and House Procedures in Music Education (iv) Hoffer's Principles of Effective
Teaching and Learning Music, (v) Elliot's Strategies and Activities of Teaching Music, (vi)
Instructional Strategies in Teaching Music by Campbell and Scott-Kassner, (vii) Joyce and
Weil's Instructional Models as Proposed by McNergney &Herbert. The success of the
teaching-learning process depends, to a considerable extent, on how well these strategies are
employed.
5.4.1 Meki Nzewi's Method of Teaching African Music
Nzewi's (2001) philosophy regarding African music education in modem music education
discourse is that formal system of music education should be based on indigenous African
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model and resources in generating the content and the pedagogy. This will bring about a
method that reflects the pragmatic approach which helps the young people to understand their
immediate environment with a great view of their social-cultural base. Meki Nzewi's
methods include:
(a). The Musical Arts Approach: This is a method that is based on African indigenous
belief and practice of music which reflects the teaching or learning of music in isolation but
rather recognizes and carries along the music related arts; drama, dance, folklores and visual
arts. Meki's method of teaching and learning music arts is based on the knowledge that these
arts are seldom separated in African creative thinking and performance practice (Nzewi
2003). This method makes teaching, learning and musical performance skill more complete
and whole e.g. the singer or drummer also dances, acts, recites poems, and makes use of
costumes. During musical teachings and instructions, the performance related arts are given
to the pupils or students so that they grow into balanced and complete professionalism.
(b). Creativity Method: It is all practical and activity based. It demonstrates to the leaner
and tasks him/her to create and recreate or to use Nzewi's words; 'composition and re-
composition', using African musical techniques of improvisation, extemporization, creative
repetition, imitation, variation and parody. This method differs from other activity based
methods in its employment of indigenous African models and structures. Would-be teachers
and practitioners of school music education in Africa are to be thoroughly taught and skillful
in creative processes to be active practicing musicians, adequately grounded in African
culture.
(c). Indigenous Knowledge Systems: Teaching music with the method of indigenous
knowledge system is all encompassing, as far as African culture is concerned. It subsumes the
first two methods and includes the use of African life experiences and technology for
illustration. The employment of indigenous African models as highlighted earlier, refers to
African cosmological and musical world view, including its abstracted world of sounds and
starting early to last for a life-time.
III
Adedeji (2005) states that each African country uses relevant and workable method that is yet
to be systemized into theories. He identifies features of African music as: oralness, repetition,
improvisation, extemporization, spontaneity, creation and recreation, percussiveness,
sacredness, boisterousness, integration and other arts, audience participation and unlimited
world of sounds. Hence the methods of teaching include: parenting, apprenticeship, lifelong
development, imitation techniques, metaphysical dimensions (spirit teaching right from the
womb). Other philosophical methods include; self education, teacher-Iearner-all-Iearning,
demonstration and early child activity.
5.4.2 Omollo-Ongati's Strategy of Teaching African Music
In support of Meki's view, Ongati (2010) describes two pedagogical methods that have been
used for learning African music in formal institutions namely: imitation which promotes
creativity and learning by and through performance which enhances learning by doing.
Performance-composition techniques which involves creating and recreating music in the
context of performance as promoted by the event or occasion (Nzewi: 1991) also falls in this
method of learning. The end product in this case is a shared experience produced from a
collaborative effort making the product a communal property rather than individuals. This
method of learning composition provides a conducive atmosphere where the learners correct
themselves in the cause of creating a piece of music and compare their ideas as they continue
the process. The method of learning also gives the students an opportunity to tryout their
ideas and skills and receive feedback in terms of approval or non approval from the fellow
learners. Learning therefore becomes an active process executed in the context of musical
community of practice.
Another strategy suggested by Ongati (ibid) is re-contextualization strategy and process.
Once the music has been transferred to the classroom the teacher has the challenge of
determining: what to learn about the music (the content of learning), how to learn (learning
styles/process); when to learn what and under what circumstances and situations
(context/environment). Control of direction, development, space, and pace is given to the
learner by the teacher. The teacher should organize collaborative performance concerts
between the students and the cultural practitioners of the music during cultural days in
schools so that they learn from each other. This will encourage comparative display of skills
and ideas between the two parties. It will also create partnership between the teachers in the
academy and the artists who are the cultural practitioners of indigenous music. This will
encourage transfer of skills and knowledge between the two settings and ensure retention of
what is taught in terms of subsequent application in the learners' lives.
1 12
Teachers in secondary schools should also organize workshops and invite master musicians
from the community to facilitate and inculcate the right performing practice in the learners.
Apart from having the master musician come to school, the students should also be given an
opportunity to interact with the music in its cultural context by organizing fieldtrips to
different communities. In the case of dance, the contemporary dance instructors should study
the existing indigenous dances to establish the non-verbal cues that informed the dance
vocabularies and movements with which indigenous choreographers created their work. This
will facilitate the relocation of the dances to the culture present and enable the students to
generate contemporary meaning from their performance taking cognizance of the age
difference of the performers. It is only possible to achieve this through interviewing the
indigenous choreographers and observing and participating in the performance of the dances
within their cultural contexts. By consulting and performing with the cultural practitioners a
partnership is created through collaborative effort of the two parties. Since non-verbal cues
and their meaning are culture bound, culturally appropriate non-verbal cues should then be
used to communicate relevant and contemporary themes. Since the indigenous
choreographers can identify with the cultural non-verbal cues, they bound are to approve the
dance.
5.4.3Leonhard and House Procedures in Music Education
Leonhard and House (1959) advance basic patterns for teaching procedures in music
education which are still applicable in the teaching of music in secondary schools today. The
following are teaching procedures useful in teaching performance skills, appreciation,
knowledge and understanding and attitudes:
(i) Teaching Performance Skills
Learning performance skills requires the formation of both aural and movement concepts.
The music teacher should establish the concepts, provide experience with the whole, analyze
the performance, provide for practice of parts as necessary, re-analyze the performance, and
re-establish the performance.
(ii) Teaching Music Reading
The development of the skill depends upon awareness of tonal and rhythmic movement in
music and the development of concepts of tonality, of the tendencies of chords and tones, of
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the meaning of notational symbols, and of the relationship between the symbols and the
sounds they represent. To achieve this, the teacher should emphasize on gradually and
consistently helping the students conceive the tonal and rhythmic movement in music through
hearing, sight, and kinesthetic sense. Control of notation is attained through varied
meaningful experience with the score.
(iii)Teaching Appreciation, Knowledge and Understanding
Just like the steps outlined in teaching performance skills, teaching appreciation requires the
development of concepts, provision for experience, trials, practice, and fixation of correct
responses.
(iv) Teaching Attitudes
There is a need to create a favorable experience throughout the music program. The music
teacher needs to be sensitive to the music interests of students, emphasize success in music
learning, and effectively teach musical skills, knowledge, understanding, and appreciation.
5.4.4 Charles Hoffer's Principles of Effective Teaching and Learning Music
Hoffer (1983) proposes nine principles of effective teaching and learning of music:
• Experience with music; singing, playing instruments, listening, composing, dancing
• Bringing out musical qualities; exploiting the learners potential e.g. in voice, playing
of instruments etc
• Aural experience should be part of every music lesson
• The significance of Whole and Part Learning should be understood, e.g. presentation
of a whole sonata then breaking it in pieces (analysis) then presenting the whole
again; teaching a song etc
• Having a scale of reference; having something to refer to before making a relative
decision e.g. have a sense of judgment in choosing set pieces that can be completed
within a limited time to avoid pressure and stress; Know how to begin music in a new
school etc
• Identifying the degree of difficulty in given topics
• Employing distributed effort, e.g. having numerous short sessions of practice instead
of few long ones (because concentration span will be affected as fatigue affects
internalization) for voice or instrumental training
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• Considering singleness of concentration; go slower so as to master a concept e.g. on
concepts like ornaments, harmony, composition etc
• Having meaningful teaching; teaching has to have value and relevance to the student.
Shape learning with a view of market! music industry.
5.4.5 Elliot's Strategies and Activities of Teaching Music
Elliot (1995) proposes six strategies that are especially important to the musical practicum:
modeling, coaching, scaffolding, articulating, comparative reflecting, and exploring.
(i)Modeling
It refers to the expert carrying out of musical thinking-in-action so that students can observe,
listen for, and build the practical concepts they need to think musically themselves. Modeling
involves reciprocal teaching and learning e.g. a teacher performs a musical passage, develops
a melodic motive, or improvises over a ii-V-I progression. The teacher then coaches students
toward the model by talking and questioning. As rapidly as possible, the teacher fades from
the center of attention to allow students to continue to apply their new procedural knowledge
on their own. From the students' view learning from models is highly cognitive and
constructive. Music modeling can also be found in video and audio tapes of expert
performances, or performances by accomplished amateur musicians in the local community,
visiting artists, or experts linked to classroom through computers and 'distance-education'
technology. Teachers can also model various aspects of arranging and composing e.g. they
can set specific arranging projects and then demonstrate how to generate and select musical
solutions to specific problems of melody writing, orchestration, or rhythmic variation.
(ii) Coaching
It begins by diagnosing and assessing the processes and products of students' musical
thinking. Coaching then proceeds by offering hints, reminders, models, or new problems
designed to direct students' attention to important musical details. In these ways, coaching
moves students' music making toward closer approximations of artistic and creative
achievement.
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(iii) Scaffolding
It involves supporting students in various ways as they move forward in their efforts to find
and solve problems themselves. Supports can take many forms including special equipment,
models, verbal suggestions, and the physical details of the learning environment itself.
Examples include the use of child-size instruments for very young instrumentalists, the use of
MIDI technology to 'realize' student arrangements or compositions, and the use of recorded
accompaniments in teaching jazz improvisation. Successful scaffolding depends on preparing
and planning the practicum in advance by diagnosing and anticipating students' needs and the
ability of the teacher to assume responsibility for the more difficult aspects of musical task
that students cannot yet manage by themselves.
(iv) Fading
It refers to the gradual removal of supports as students become able to problem-solve on their
own. A teacher's support can fade over time as students take more responsibility for finding
and solving musical problems.
(v) Articulation or verbal reflection
It is an important strategy for developing supervisory musical knowledge. It includes any
means of helping students express their personal approaches to musical problem solving
including words, diagrams, analogies, and models, e.g. students might be asked to articulate
different ways of approaching the dynamic markings in a new work they are learning to
interpret and perform. The goal of articulation is musical self-awareness. Articulation helps
students supervise or reflect on the processes they and their fellow practitioners are using to
find and solve musical problems.
(vi) Comparative reflection
It takes the ideas of articulation and reflection one step further. The educational power of
reflecting on one's musical actions can be boosted by replaying examples of musical thinking
in various ways, e.g a teacher video-tapes her students while they are solving interpretive
problems in a performance rehearsal and then asks her students to analyze various aspects of
the video and conduct verbal 'postmortems' concerning their successes and failures. Such
comparative reflecting serves to highlight the determinant features of students' effective and
ineffective actions. Differences among students' reflections expose what proficient and
expert students are thinking and listening for and what less knowledgeable students are
overlooking.
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YFNVATT IINI f:" ftji i iD
(vii) Exploration
If students are to become critical and creative musical thinkers, they must be coached toward
exploring, generating, and selecting musical problems and solutions themselves. By gradually
fading the supports teachers provide, the students are obliged to explore various decision-
making routes and thereby take ownership oftheir musical goals and accomplishments. E.g. a
teacher can divide his or her choir into small chamber choirs. The teacher might then assign
different portions of a new work to each chamber choir directed by student conductors with
the general goal of finding and solving the musical problems involved in each assigned
portion of the work. In this way, students receive opportunities to identify sub-problems and
sub-goals and relate their solutions to the musical work as a whole.
5.4.6 Instructional Strategies in Teaching Music by Campbell and Scott-Kassner
Campbell and Scott-Kassner (2010) suggest the following instructional strategies in teaching
music:
(i) Starting the Class
It should entice and motivate learners, e.g. playing recorded music, asking a question, telling
a story related to the topic, making a bold and startling statement, leading to a lesson
incorporating song, story, dance and xylophone performance, clap a rhythm to be imitated,
sing or playa piece, perform a familiar song with the class, show a photograph or illustration
in silence or with a leading question.
(ii) Ending the Class
End in a memorable or stimulating fashion, e.g. play or snap, clap, pat, and stamp a rhythmic
piece or passage, ask questions to be answered in the next music class, preview the next class,
rapidly review the main points of the lesson, play live or recorded music as students exit.
(iii) Supplying Feedback
The TST; a three sequence that involves the Teacher (T) presentation of the information, the
Student's (S) response to that information and the Teacher's (T) specific feedback to the
response. Based on operant conditioning, the TST is the Skinnerian stimulus-response-
stimulus sequence that makes for effective instruction. There must be information from the
teacher, followed by a response from the learners, concluding with the teacher's evaluation of
their response. From TST to the next, the teacher is interacting with the students through
information given and gained.
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(iv) Stimulating Aural Learning
Understanding and skill building in music require careful listening. Music literacy is
advanced through aural learning which includes the use of modeling, imitative devices, and
strategies for strengthening the memory. The instructional approaches of Kodaly, Dalcroze,
and Orff suggest the melodic and rhythmic ideas. Phrasing and form, expressive elements and
performance techniques can initially be taught aurally. The aural acquisition of music may
even facilitate music literacy; it is a necessary phase toward that development. Recorded
music for aural learning can be supplemented by live performances given by the teacher,
older and more experienced students, visiting artists, amateur musicians from the community.
Musical patterns, fragments, phrases, and pieces can help to build in learners a functional
musical vocabulary for their later listening and performance. Learning by listening is a
logical procedure, bringing learners directly into the sound ofthe music.
(v)Providing for repetition and rehearsal
The acquisition of performance and listening skills takes time and effort and learners can
show considerable progress through repeated attempts to achieve them. The words, rhythm,
melodic patterns, and tonality may take many listening, and even more occasions for singing
it, before the components fall in place. Listening may prove to be challenging when the
object is to listen analytically for the formal organization of melodic and rhythmic ideas.
Preference for, or at least tolerance of, a musical piece may require a bare minimum of ten
listenings, and probably more. Fleeting experiences do not guarantee learning; repetition can.
5.4.7 Joyce and Weil's Instructional Models as Proposed by McNergney &Herbert
McNergney & Herbert (2001) concur that there is no single best way to teach all people for
all purposes because learners vary in needs and abilities. At the same time when goals and
objectives change, instructional models must change. They propose four instructional models
by Joyce and Weil (1996) namely:
(i) The Behavioral Systems Family Models
They use ideas about manipulating the environment to modify students' behaviors.
Behavioral systems strategies include:
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a.Mastery learning
Mastery learning suggests that stunt learning is a function of students' aptitude, his/her
motivation, and the amount and quality of instruction. Given enough time, the inclination to
learn, and instruction fitted to a student's needs, students are thought to be capable of
mastering a range of subject matter. Teachers must organize instruction into manageable
units, diagnose students' needs with respect to the material, teach in ways that meet those
needs, and evaluate progress regularly.
b. Direct instruction
Direct instruction is a highly structured, teacher-centered strategy. It capitalizes on behavioral
techniques such as modeling, feedback and reinforcement to promote basic skill acquisition.
Teachers using this model must set high but attainable goals for student. The model
prescribes classroom organization and processes that maximize the amount of time students
spend on academic tasks at which they can succeed with regularity.
c. Computer-assisted instruction
In this case the teacher guides the students to use the internet to research on given concepts,
watch performances etc.
(ii) The Social Family
This capitalizes on people's nature as social beings to learn from and relate to one another.
Instructional models in the social family are intended to help students work together in
productive ways to attain both academic and social goals. Teachers serve as guides
encouraging students to express their ideas and to consider others' perspectives as they deal
with a variety of problems and issues. These include:
a. Cooperative Learning (peer-mediated instruction)
When used as intended, it promotes the careful, purposeful formation of heterogeneous
groups of students within classrooms to accomplish social, personal and academic objectives.
One of the cooperative techniques is Students Teams-Achievement Divisions (STAD) where
the teacher uses direct instruction to teach students concepts or skills. Students then work in
four-member heterogeneous groups learning teams to help each other master content by using
study guides, worksheets, and other materials. Following group work students may take
quizzes on which they may help one another. Teams earn recognition or privileges based on
the improvement made by each team member. Thus the success of groups depends on the
individual learning of all group members, not a single group product.
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b. Project-based learning
It involves students in relatively long-term, problem-based units of instruction. Students
pursue solutions to nontrivial problems posed by the students, teachers or curriculum
developers. Students approach problems by asking and refining questions, debating ideas,
making predictions, designing plans and lor experiments, collecting and analyzing data,
drawing conclusions, communication ideas and findings to others, asking questions and
creating artifacts. Artifacts are concrete, specific products (e.g. models, reports, video tapes,
computer programs) representing students' problem solutions. These can be shared with
others and critiqued. Feedback from others allows students to reflect on their work and to
revise solutions as needed.
c. Reciprocal teaching
It is an instructional method used to teach poor readers specific comprehension strategies but
can apply to teaching music. When introducing the strategies, teachers explain a specific
skill, model the skill using a selection of text, then coach the students as they try to use the
strategy on a paragraph of text musical piece. As students take turns demonstrating newly
learned skills, the teacher supports their efforts by offering feedback, additional modeling and
coaching. The teacher also encourages the students in each group to react to one another's
statements by elaborating or commenting on another student's summary, suggesting other
questions, commenting on another's predictions, and requesting clarification on material they
do not understand. As teacher and students work together, responsibility for much of the
work shifts from teacher to student. In this way, teacher's students work corporately to bring
meaning to the text.
(iii) Information-processing Strategies
This is where the development of thinking skills such as observing, comparing, finding
patterns, and generalizing while also teaching specific concepts or generalizations. Strategies
in this category include:
a. Concept formation and generalizations method of instruction
Where teachers require students to analyze and synthesize data to construct knowledge about
a specific concept or idea hence they become active creators or inventors of knowledge
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b. Thinking and creativity synectics
This is a teaching model that seeks to increase students' problem-solving abilities, creative
expression, empathy, and insight into social relations.
c. Inquiry learning
It is where students try to answer questions and solve problems based on facts and
observations.
d. The Suchman Inquiry Model conveys to students that knowledge is tentative. That is,
new information is discovered and new theories evolve, old ideas are modified or pushed
aside.
(iv) The personal Family instructional model
This model encourages self-exploration and the development of personal identity. Teachers
who use personal models of instruction want to involve students actively in the determination
of what and how they will learn. The ultimate goal is to develop long-term dispositional
changes rather than short-term instructional effects. An example of personal source strategies
is:
(v) The nondirective model
This is where teachers act as both facilitators and reflectors. They encourage students to
define problems and feelings, to take responsibility for solving problems and to determine
how personal goals might be reached. Problems that the students address may relate to
personal, social, or academic issues. Thus classroom activities are determined by the learner
as he/she interacts with the teacher and the peers.
In conclusion, the music teachers need adopt an integrated approach where most mustc
lessons are planned to allow for a variety of activities that are related and not
compartmentalized. For example the teaching of Scales can incorporate sequence, aurals and
harmony; in other words the central theme should be covered with other aspects of music.
This puts concepts in context and is more motivating because of variety. Leonhard and House
(ibid) describe successful teaching as that which produces authentic musical achievement by
learners. Learners' progress toward valid objectives is to the measure of successful music
teaching. Successful teaching in general music results in learner attainment of musical
understanding, musical skills, appreciation, and other musical learning which are associated
with a musically educated person e.g. Successful piano teaching produces people who can
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play the piano expressively, who can read music readily, who can play by ear and have a
musical understanding; successful teaching in the music theory leads to a functional
understanding of the structure of music which the learner continues to apply in all their music
endeavors; Successful teaching in music history results in stylistic understanding and
comprehension of the broad sweep of stylistic development.
This scenario is however contrary to what is reflected in some of the musical instruction
products of the music education program in Kenya, case in point is Nairobi County, who
cannot sing, read music, or play an instrument and who have not developed a lasting interest
in or appreciation for music. This re-affirms Akunos' words (1997) that most music
candidates are unable to behave musically be it in the area of performing, listening or
composing. This is in sharp contrast with the ultimate goals of music education, which can be
summarized from the music general objectives as being able to: read and write music, create
or compose music, listen to /appreciate music, and perform music vocally and instrumentally.
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CHAPTER SIX
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
The chapter provides a summary of the research findings in terms of the study objectives.
Conclusions were drawn from the study findings and a number of recommendations were
made. Suggestions for further research were also included in this chapter.
6.0 Summary and Conclusions
The study addressed objectives as reflected on page 4. The issues are discussed as follows:
6.1.0 Pedagogical Issues that Music Teachers Face in the Implementation of Music
Curriculum Content
In order to ensure maximum implementation, all forms of obstacles should be minimized and
preferably removed. Hence the study considered the extraneous variables apart from the
independent and dependent variables.
In regard to gender there were more female teachers (56.5%) than male teachers (43%) in
Nairobi County obtained from total number of23 respondents. The results revealed that most
teachers were mature in age with (73.9%) above the age of thirty three. Classroom
observations and FGD however revealed that age neither determined a teacher's competency
nor their awareness of the MOEST requirements. A teacher's training and their quest for
information and knowledge and upgrading in music knowledge would determine ones
experience. The findings revealed that a great percentage of teachers (87%) had an
experience of six years and above. Data gathered in this respect revealed that the educational
level of music teachers was appropriate because a majority of music teachers had a B.Ed
degree in the subject area.
The other issue that emerged in the study is that there is some 'irrelevant music' in the
curriculum that does not address the interests of students. This aspect requires urgent
attention of policy makers. Apart from the fact that the current syllabus was revised in 2002,
it is clear that this particular curriculum is still fundamentally rooted in a Western conception
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of music education. According to this conceptualization, music education is regarded as an
independent art discipline, with a strong emphasis on acquisition of (Western) music literacy
skills, group singing and individual instrumental performance. The dominant music that is
performed and listened to is Western music which students describe as boring. This calls for a
review of the music curriculum in order to accommodate the students' tastes so that they can
enjoy the subject and also relate it to contemporary music or popular music which they
identify with.
Another aspect that was revealed from study is that some of the teachers do not regard
themselves as sufficiently competent in teaching certain music concepts like composing
music to given words, harmony, aurals, and playing of music instruments. If these skills are
absent on the part of the implementers, it is prudent to conclude that the music
implementation process is being hampered. Furthermore, the fact that this subject is presented
by some teachers who see themselves as incompetent to teach some concepts of music,
implies that pre-service training needs to be reviewed and upgraded. Frustrations of these
teachers about their ineptness and inability to implement the curriculum will subsequently
lead to apathy of the subject and will inevitably result in poor teaching. Teachers' antipathy
may even be transferred to the learners, leading to a vicious cycle of decline in this subject
area. If the quality of music education in these schools is to improve, it means that these
impediments need to be addressed and subsequently removed.
Teachers' response in regard to lack of in-service opportunities in the teaching of music
indicated that (78.3%) had not attended in-service courses in music. Therefore KICD needs
to organize for workshops to assist the teachers in the given areas. In regard to issues of
competence, a high percentage of teachers indicated that some skills like aurals, harmony,
solfa notation and playing of African and Western instruments were not tackled in depth
during pre-service training hence limited knowledge in the given areas. During the FGD
some teachers acknowledged that 'nobody is good in all content areas.' This implied most
teachers leaned towards their areas of specialization and interest thus the music syllabus was
not taught holistically.
In addition, music teachers do not seem to get the required emotional or physical support
from the school administrators, who are perceived to be concerned only about those school
subjects that are thought to be core. Limited support from school administration as reported
by (73.9%) respondent teachers led to unavailability of teaching-learning resources. In the
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same respect, most teachers reported that it was difficult to go for music excursions like in
music symposiums and also participate in Kenya Music Festivals which enhance the music
students' musical knowledge as recommended by the MOEST in the music curriculum.
Engaging skilled instrumentalist (African and Western) in providing extra tuition to music
students was a very big issue. Yet music teachers were expected to produce proficient
learners at the end of the four years which would be gauged by the high performance in
KCSE. Supporting music teachers to take students to music excursions will ensure depth and
breadth coverage of content. In order to fully realize the potential of music education in
Nairobi County schools, teachers need to have a positive attitude hence they need maximum
support from MOEST and school administrators.
FGD emerging issues further revealed that teaching of two subjects was a challenge as it
stretched the teacher's work load. Most teachers stated that the teaching workload and co-
curricular activities were overwhelming hence very limited time for studying and examining
musical aspects in a practical way. They complained that it was very difficult for them to
prepare adequately for lessons as a result. This implies that poor methodology was employed
in teaching music as there was limited time to examine and chose the most appropriate
activities and strategies. Furthermore, FGD revealed that music was allocated very little time
on the time table. The lower classes (Form one and two) were allocated three lessons per
week while the upper ones (Form three and four) had four lessons per week. This was hardly
enough for the music teachers to complete the wide syllabus in time and have ample time to
guide students in practical work, aurals and projects. This meant that the teachers were to
look for extra time outside class. As a result music teachers resorted to drilling students to
pass examinations. Music teachers should be relieved of the teaching load of the second
subject to enable them cater for individual needs of the students in practical work, aurals and
project.
It came out from FGD that most music students had a poor background in music. It was also
revealed that most of the students who are obliged to take music have an already formed
attitude which is injected in them by their parents, peers, and the teachers who do not
understand what music entails. The music teacher was then forced to drill such students to
pass exams. Music should be taught in primary school to ease the load in secondary school
Furthermore the issue of admitting weak students in the music class implies that music does
not require aptness. To some extent this kills the morale of music teachers as they see their
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subject as a 'dumping ground' for the incapable students. This coupled with many more
challenges makes it difficult to process such students to music proficiency within the four
years of learning. It was noted that most music students had a poor music background which
curtailed their effective learning. The breakdown in the teaching of music in primary schools
contributed to a great deal in this.
Concerning, content and objectives it was revealed that a majority of teachers do not refer to
the key document especially 'Teachers' Handbook for Secondary Music (2006) and
'Examination, Regulations, and Syllabuses for the Kenya Certificate of Secondary
Examination (KCSE) examination'. Hence it is important for a music teacher to have access
to and use the given documents otherwise the music students affected are disadvantaged and
will fail to meet the expected standards in music by KNEC and the current KICD. It clearly
came out from FGD that the scope of the music syllabus is wide with topics that are rarely
evaluated in KCSE. Some teachers were of the view that they were subjected to very high
pressure to complete the syllabus and students did not have ample time to process and
practice what they had learnt. Form three students indicated that some sections of the syllabus
like the type and style of music were irrelevant to them in the current context and in this case
the MOEST should consider reviewing the music syllabus to harmonize with the students'
interests in the contemporary society. Secondly, the scope of the subject should be reduced to
fit into the limited hours that music is allocated on the time table in the four years of
secondary school or the hours allocated to music should be increased on the timetable.
Development skills that stand out as receiving the least attention include aurals and music
composition. FGD revealed that the following music concepts: aurals, melody writing/
composition, harmony, analysis, practicals were not given emphasis in form one and two.
This could explain why there was dismal performance at the end of four years as there was
inadequate time to tackle them if they were introduced late. According to the music syllabus
(2002), these concepts are supposed to be introduced as early as Form one and taught
systematically to Form four. It can, therefore, be concluded that while some Form three
students received frequent tuition on certain concepts some were rarely taught or not taught at
all. These results are a pointer to the reason why music students do not perform well in this
areas as indicated by KNEC in "Examination, Regulations, and Syllabuses for the Kenya
Certificate of Secondary Examination (KCSE) examination". In regard to content coverage,
teachers' FGD revealed that not all areas were covered. The areas that were given the least
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attention included: analysis, melody writing to given words, voice training, playing of
western instruments, ornaments, and harmony. In reference to ways of ensuring syllabus
coverage, a number of teachers suggested that music should be taught in primary schools and
those incompetent in given areas should seek the assistance of their proficient colleagues.
In regard to history and analysis skills, the findings reveal that quite a number of Form three
music students were never taught music analysis skills e.g. live Western music performance
(55.6%), memory skills (41.7%), listening to recorded African music (38.8%), score reading
of western music (38.8%), and observation of live African music (38.3%). This is in contrast
with the teachers' response which revealed that only history and analysis, live western music
performance and memory skills were least attended to.
On practical skills from the teachers' and students' response reveals that although practical
skills were taught to some extent, performing African instruments (75%) and African folk
songs and dances (69.4%) was given the least attention followed by singing and playing
arpeggios both major and minor (38.9%), sight singing and playing at sight and singing and
playing major and minor scales (33.3%). The results also revealed that, generally, projects
were not taken seriously because a high percentage of students were never engaged in it. This
is in agreement with the teachers' response that projects were hardly considered. The given
results depict that there is a gap between what is laid down in the music curriculum and what
is taught in the classroom.
Concerning resources, it was observed that although music teachers used Course textbooks
and cassette/CD/DVD recording, radio cassettes, frequently, other key resources that would
enhance teaching of music were hardly utilized. As reflected in the result, non-projected
materials like music centers, recording studios, bands, African music instruments, flash cards,
pictures/photographs, and costumes and decor, were in most cases rarely or never used. A
large percentage of print material like scores/song sheets, music extracts, and internet and
music dictionaries was hardly utilized. This was in agreement with the students' response in
regard to the utilization of resources.
The classroom observation indicated that the availability or unavailability of resources
influenced the teacher's choice of teaching-learning strategy. A teacher could for instance, be
forced to use a teacher-centered method for lack of non-print materials. It was observed that
textbooks constituted the highest percentage that was utilized in the implementation of the
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music curriculum. It was of great concern, however, to note that a minimal percentage of
teachers used non-print materials. Underutilization of resources is known to impact
negatively on music curriculum implementation. In this case it limited the acquisition of
psychomotor and affective skills hence a possible factor leading to below average
performance in skills like music aurals, practicals history and analysis. From FGD the issue
of inadequate facilities and materials emerged strongly. Without adequate and functional
music resources, it is very difficult to teach music effectively. Therefore schools should
consider building and equipping music rooms so as to have adequate resources. Music
teachers and learners ought to be motivated to encourage effective teaching and learning.
This observation confirms that learning in the given schools is theoretical as learners are
denied experiential learning due to unavailability of key resources. During the FGD teachers
made following recommendations in tackling issues faced in curriculum implementation:
provision of resources, review of the syllabus content to make it manageable within the four
years of study, music teachers should be relieved of the teaching load of the second subject to
enable them cater for individual needs ofthe students.
6.2 Instructional Methods/Strategies undertaken by Music Teachers to Implement
Music in the Classroom
To begin with, the findings of this research suggest that, in most cases, music is not properly
taught in Nairobi County schools. In general, it appears that teachers dwell on using teacher-
centered instructional methods as opposed to leamer-centered methods and they invest
minimum effort into the teaching of music as they are limited by lack of, or limited resources.
Data regarding the strategies undertaken by music teachers to implement music in the
classroom elicited varying responses from teachers and students, observation schedule and
Focus Group Discussion. It is expected to have the given variations as the students and
teachers are bound to have conflicting perspectives toward issues that regard curriculum
implementation. Class observation, however corroborated the responses.
The students' report show that a variety of teaching strategies were utilized but the least
utilized strategies were discovery and demonstrations while the most utilized was lecture
method. Classroom observation showed that instruction took the form of expositions in which
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theoretical work was dominant. Although as per the findings students were, to some extent,
given opportunity to participate in practical activities, it is only a small percentage of music
teachers that engaged learners in practical activities. The study considered practical activities
to be adequate if learners were consistently engaged in learning activities at least during the
one double lesson that was indicated on the timetable. Demonstrations which allow the
student to observe and imitate the teacher were to a great deal ignored.
As observed from the findings elicited by the three instruments; questionnaires, classroom
observation schedule and Focus Group Discussion, a large percentage of the respondents
used the lecture method which is teacher-centered. It is evident from the findings that
teachers dominate lessons and this indicates an emphasis on content and knowledge
acquisition. This makes students in a number of schools passive learners with little
participation, which could possibly have a negative impact on their understanding of the
music curriculum content.
This finding is important because it shows that the mode of instruction in most classrooms is
still very controlling, direct and undemocratic. Teachers must develop teaching strategies that
not only transmit information but also encourage learners to learn independently for instance
using the discovery method. In regard to mastery of skills, few practice sessions are
inadequate for mastery of skills, and mastery is enhanced when students are given multiple
opportunities to work in different content areas and contexts. In teaching music both the
expository (explanation) and heuristic (experimental) approaches of teaching are required.
Generally, in relation to teaching/learning activities it was observed that majority of Form
three music students were engaged in a variety of activities. However, it was noted that a
number of activities were never utilized. From the given findings it is clear that, although
some teachers employed a variety of activities in teaching music, quite a number did not
engage students in composing melodies, listening to a variety of African music, dancing,
writing melodies, listening and imitating given melodies, voice training, playing instruments,
clapping and tapping rhythms and visiting music centers. Research reveals that the greater the
involvement in class, the greater the acquisition of knowledge and skills. In general it was
confirmed that, composition, performance, listening, musical discussion, aesthetic sensitivity
were to a large extent ignored.
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It can be concluded from the given findings that the teachers introduction and presentation of
the music lesson was well done except for the few 'NO' cases. These reflect that there were
teachers who did not use learning resources during the lesson and some who did not motivate
the learners in the introduction of the lesson. This explains why some students found the
music lesson boring. While a minority of schools had materials and demonstrations
appropriate for the purpose, a majority scored fair. In a few ofthe schools teacher appeared to
be enjoying the teaching and were seen to be sympathetic to the needs and problems of the
learners. In addition, a number of the teachers tended to exercise patience with the learners.
However, improvisation in majority of the lessons observed was low.
It also emerged from the teachers' discourse that there was low opinion of the music subject
by colleagues, administration, parents, and students hence they lacked support. In this way
music teachers were demoralized as they lacked physical and emotional support. Teachers
had low morale due to lack of motivation and instead they were blamed for engaging students
in the music activities which took most of the students' time hence affecting their academic
performance. Some felt unappreciated yet they did so much for the school. It was also evident
that some institutions felt that music was uneconomical since the subject had few students
taking it. This situation calls for urgent sensitization of parents, non-music teachers,
administrators and policy makers on the importance of music in order to change their attitude
toward music.
The table on classroom observation further shows that majority of schools did not have good
time management in the work plan and the execution of time during the lesson. The findings
show that although most teaches were prepared in teaching the music classroom, time
allocation to content received the least attention. This implies that the content was not
covered in depth. In addition, majority of the schools did not have very good class control
where the teacher failed to ensure that all students were engaged in relevant learning
activities. It was observed that this was due to lack of or inadequate music resources.
However, majority of teachers were good at handling disruptive behavior appropriately. Most
of the teachers were good at relating students' ideas to the content being taught and
discussing students' misconceptions. As evidenced by Focus Group Discussion, teachers who
preferred teacher centered methods confirmed that such approaches enabled them to tackle a
wide area of the music syllabus within a short time as opposed to learner centered methods
which were time consuming. Some teachers noted that teacher-centered methods enabled
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them to explain facts easily to students. Other teachers however highlighted that varied
application of the methods of teaching led to effective teaching of music although this was
rarely used in the classroom.
It was revealed that the most challenging units to teach and learn were aurals, playing of
African and Western instruments, translating from solfa to staff notation, listening to music,
composition of melodies to given words, analysis of Western music aurally and visually,
harmonizing a melody in S.A.T.B, continuation of melodies in simple and compound time,
singing minor keys, playing African instruments, ornaments, sight singing/playing,
transposition, playing Western instruments and singing in major keys.
In the analysis of reasons given by teachers and students for the challenges of teaching and
learning the given skills in music the following themes were identified: methodology and
resources, teacher competence, student attitudes and capabilities, limited time, wide scope,
boring/irrelevant music, teacher absenteeism due to co-curricular activities.
In line with methodology and resources, there was lack of or inadequate materials e.g
computers, videos/ audio visuals in teaching history and analysis. Moreover lack of resources
limited the instructional methods teachers would employ in teaching. Some teachers indicated
that students had varying capabilities hence a need to employ a variety of teaching strategies
to attend to individual students but they were forced to employ one type of method like
lecture method due to lack of or limited resources and limited time. On the other hand, a
number of students indicated that the Style of teaching aurals was not satisfactory. The
students indicated that 'when we are left to listen to the radio cassette and a marking scheme
to refer to, it does not help much'. This implies that they needed the teacher's guidance. In
reference to music analysis, students complained that they were given notes got from
symposiums which they found difficult to comprehend to read. Following the music score
and listening to the music together with the students was rarely done by the teacher.
Other challenges were due to teacher or student attitudes. A number of teachers indicated
that, students perceived aurals as difficult and had a fixed mind that harmony was difficult.
The students' attitude to Western classical music was negative as they lacked interest in
listening to it. In the same vein a number of students reported that music was often taken
lightly by students as it was considered an optional subject and not popular in school. Some
students expressed their disappointment with their teachers by stating that their teachers were
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biased, insensitive to their needs, and disregarding to their contribution in class. This implies
that the weaker students were ignored in some cases hence discouraging the students.
Another theme that emerged was limited time. Music concepts like aurals needed much time
for practice yet the forty minutes allocated on the timetable were not adequate. The students
also indicated that the time allocated for music aurals in exams is inadequate. They thought
that the fifty minutes allocated did not allow them to internalize the various concepts tested
and then write them down. In addition, the theme of frequency of practice emerged. It was
indicated that, there was inadequate practice of music aurals which was hardly taught in class
and was rarely practiced till Form four. Other students indicated that they started learning
aurals in Form three, yet aurals required a lot of time to practice and there was hardly time to
practice due to a very busy schedule. Some students indicated that 'last minute rush approach
to music aurals and practicals makes it impossible to master concepts'. African music
practicals were only taken seriously in Form three third term hence they hardly had enough
time to practice and master the music by KCSE.
A great number of students reported that the scope of some units was too wide. They
indicated that history of Western music involves mastery of a lot of very hard terminologies,
characteristics and dates which makes it hard to grasp. They indicated that history of Western
music was broad and different books gave varied information hence making it confusing to
internalize the concepts. In addition, the issue of resources of limited resources curtailed their
study of the subject. Some students said the music subject had no revision materials or books
like in other subjects. This made it very difficult to revise for various topics.
Other students claimed that the type of music taught was not interesting and was not market-
oriented in the Kenyan music industry: 'Classical music is mainly boring and irrelevant in our
context'. Other students stated that if they were given a choice they would do contemporary
music which includes popular music. This implied that students found the music syllabus
irrelevant to some extent. There is a need to review the syllabus content to make it
manageable within the four years of study. Include music that appeals at students' taste in the
syllabus to encourage to take music and to enjoy music lessons.
Moreover, the students indicated that teacher absenteeism due to co-curricular activities
especially in second term every year contributed to late syllabus coverage, omitting or
'brushing over' some topics. In most cases teachers were not available to offer individual
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tuition after 4.00 pm since they were involved in other school duties. As a result some
concept areas were given little attention. The students reported that African music was taught
on rare cases and mostly revised after tests. In most cases students were either given notes to
read or asked to make their own notes.
In the open ended questions teachers and students suggested strategies that can be used to
overcome the challenges. Teachers suggested the use of the internet in teaching history and
analysis and playing of African and Western instruments and a lot of demonstration should be
employed by significant others. Furthermore the services of resource persons could be sought
and students could be exposed to live performances. In regard to aura Is, they suggested that
aurals should be introduced in Form one and systematically taught in small units for four
years. Moreover, melody and rhythm should be taught separately and simple pieces should be
used. At the same time recorded tests should be introduced as early as Form two. Concerning
harmony, frequent practices could be employed by giving a lot of exercises plus the
utilization of group work.
On the other hand, Form three music students suggested strategies of countering the
challenges of grasping the given music concepts. The results that were yielded from the open-
ended questions were summarized in the following themes:
In regard to methodology the respondents suggested that it would be appropriate for music
students to encourage and help each other by holding more discussions/group work. They
also suggested that the teachers should have a practical approach in teaching music. A
number of respondents complained that in most cases the teachers gave them a lecture on a
music concept and asked them to make notes. They found such lessons to be boring and
uninvolving. They preferred to have a discussion of African and Western music done more
often. In addition they needed to be given homework in music daily to test them on each topic
learnt and music CATs were to be done once or twice a week. Most students felt that the use
of repetition for mastery of content was key as practice makes perfect. Others suggested
individual tuition. The Form three music students also suggested that they needed more
practical lessons and the teacher was to be there to guide and correct the when they went
wrong. In addition, they needed qualified teachers to teach different instruments. The
students suggested that a day should be set apart in every month for playing instruments,
singing and dancing after which marks should be recorded so as to make the exercises serious
and competitive.
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In line with limited time to study a concept, they suggested the increment of lessons on the
music timetable to create more time for the wide syllabus. Music practicals were to
commence as early as form one, especially the playing of African instruments so as to avoid
the rush to practice in Form four. As regards matters of frequency of practice, it was
suggested that aural tapes ought to be listened to frequently with the teachers' help. Music
projects should be frequently given to improve musical skills as students would be motivated
to practice frequently for presentation.
In reference to the wide scope of the music syllabus and little attention given to some music
units, the respondents suggested a review of the music curriculum so as to determine the
scope of units like history of western and African music. As for the music the classical music
that they termed as boring irrelevant in their context, the respondents suggested that the
syllabus should be reviewed to include Western and Kenyan contemporary music. It was also
suggested that more time should be allocated to paper three which constitutes, music theory,
history and analysis, and general music knowledge as it is too broad. More opportunities for
practice were to be given for music practicals. The respondents suggested that they should
have more than one teacher for music to curtail teacher absenteeism especially during the
Kenya Music Festivals.
In regard to attitude, the respondents suggested that parents should be made aware of the
importance of music so that they can stop discouraging them to do music. Some indicated
that the school administration and other teachers should value music and allow them to
practice more freely instead of restricting them during prep time. Majority suggested that it
would be encouraging for the school to give positive comments about the music subject than
always condemn and demean it. In reference to the music subject teachers, the Form three
students suggested that the teachers should be free and concerned with every student and
should be more patient with us if we don't understand.
Most students suggested that schools should consider equipping music rooms with computers
to enable them to research frequently on the internet in regard to music history, listening to
music and music practicals. Others suggested going to music symposiums and learning from
other people, exposure through visiting various music centers, music conservatoires,
attending music concerts, use of visual aids for African music; actual instruments,
photographs/drawings, videos of various dances and folk songs and having practical music
l34
K N~~TTAU. I
activities, providing more music textbooks, provision of music theory revision books, and
writing revision materials for the music subject. Others suggested interacting with practicing
musicians, buying music instruments for practicals, providing realia e.g. to see different
instruments learnt, to watch African dance performances at Bomas, to watch live concerts of
music forms learnt. Some students emphasized that they should be given access to CD and
cassette players: 'Teachers should be letting us have access to the radio and aural cassettes
without restriction.'
Some units were not evaluated frequently in a term. Of great concern was the high percentage
of music projects that were not evaluated at all 18(78.3%) by teachers. It however revealed
that projects were hardly engaged in projects. A number of Form three students were assessed
in music aurals and practicals once. This reveals that teachers did not test the students
adequately in aurals, practicals and projects.
Performance of Form threes in music over the last three years (2010-2012) showed that the
mean grade for the 23 schools was a C+ (7.6). Although the mean score was above average,
individual grades reflected that more than a half of the schools scored grade C and below.
This indicated that music was performed dismally at school level and this could be what was
extended to the national level in KCSE. These findings are in line with the previous
observations from KNEC report (2011) on KCSE music performance which identified poor
teaching methods as a reason for poor performance in music.
Contributing Factors towards Music Students' Performance in Examinations, included:
students' entry behavior, frequency with which music activities are utilized during the music
lesson, and frequency of evaluating the music curriculum.
In regard to learners' entry behavior majority ofthe music students 76.9% indicated that they
had not been exposed to music at all while 24.1 % had been taught some basics of music.
Those who had been exposed to music mainly came from private schools. Introduction of
music subject in form one was done in week six or seven after the students had reported to
school. This implies that the music teachers have a backlog of approximately five to six
weeks to cover the music syllabus which is already 'too wide'. Coupled with this is the
students' poor background of music as they have not been taught music in primary school.
135
Concerning the issue of evaluation strategies, FGD revealed the following views on how best
to evaluate the performance of students in the different units of music i.e. music theory,
history and analysis, aurals and practicals:
Question and answer during classroom instruction is appropriate in evaluating the
understanding of music concepts in music theory and history and analysis
Essay presentations can be very effective in assessing the cognitive skills
Quizzes or tests are appropriate in evaluation every topic to diagnose the students'
needs
Home work exercises are the most commonly used to give students more practice
For practical works, regular performance presentations are the most effective
Frequent aural dictations are necessary for practice and in depth understanding of
aural skills
Although music teachers seemed to know and understand ways of evaluating students, what
came out of the students' responses revealed that the teachers did not evaluate them
frequently. Teachers must provide students with feedback about their work, thereby helping
judge their own progress. If feedback is infrequent or unclear, students have no way of
knowing whether they have met or exceeded teachers or their own expectations. Assessment
should always be used to determine where the student should go from a given point and
should not be used as a static evaluation. Teacher engaged in practical music should actually
assess skill development continuously. Progress is often measured with a test. Music
educators should consider developing a student evaluation form specific to their own teaching
situations.
6.3 Guided Music Teaching Activities that would Enhance Classroom Teaching in the
Future
The final objective of the study was to propose, with reference to available literature on
instructional methods, guided teaching activities that would enhance classroom teaching in
the future in Kenyan secondary schools. Seven methodologies/strategies and learning
activities were identified that music teachers can utilize to assist learners: (i) Meki Nzewi'
Method of Teaching African Music, (ii) Ongati's Strategy of Teaching African Music, (iii)
Leonhard and House Procedures in Music Education (iv) Hoffer's Principles of Effective
136
Teaching and Learning Music, (v) Elliot's Strategies and Activities of Teaching Music, (vi)
Instructional Strategies in Teaching Music by Campbell and Scott-Kassner, (vii) Joyce and
Weil's Instructional Models as Proposed by McNergney &Herbert. The success of the
teaching-learning process depends, to a considerable extent, on how well these strategies are
employed.
In conclusion, the music teachers need adopt an integrated approach where most music
lessons are planned to allow for a variety 'of activities that are related and not
compartmentalized. For example the teaching of Scales can incorporate sequence, aurals and
harmony; in other words the central theme should be covered with other aspects of music.
This puts concepts in context and is more motivating because of variety. Leonhard and House
(ibid) describe successful teaching as that which produces authentic musical achievement by
learners. Learners' progress toward valid objectives is to the measure of successful music
teaching. Successful teaching in general music results in learner attainment of musical
understanding, musical skills, appreciation, and other musical learning which are associated
with a musically educated person e.g. Successful piano teaching produces people who can
play the piano expressively, who can read music readily, who can play by ear and have a
musical understanding; successful teaching in the music theory leads to a functional
understanding of the structure of music which the learner continues to apply in all their music
endeavors; Successful teaching in music history results in stylistic understanding and
comprehension of the broad sweep of stylistic development.
This scenario is however contrary to what is reflected in musical instruction products of the
music education program in Kenya, case in point Nairobi County, who cannot sing, read
music, or play an instrument and who have not developed a lasting interest in or appreciation
for music. This re-affirms Akunos' words (1997), most music candidates are unable to
behave musically be it in the area of performing, listening or composing. This is in sharp
contrast with the ultimate goals of music education, which can be summarized from the
music general objectives as being able to: read and write music, create or compose music,
listen to /appreciate music, and perform music vocally and instrumentally.
137
6.4 Recommendations
(i). Pre-service Training institutions (TTCs and Univer~ities)
• They should endeavor to review their curriculum in order to make it practical-oriented
to produce quality teachers in terms of, African music and Western practical skills,
aural skills, and analytical skills.
• Music teachers to use the most effective teaching techniques and resources in music
education by being creative and improvising. Teachers should strive to improve their
own art of teaching so as to inspire each student to see the beauty in knowledge, the
insight of listening, and the joy of creation. A holistic view of all the content areas
and their relation to students' personal experience is what can make music relevant
and exciting and will make teachers and students attain perspectives that are valuable
in the entire curriculum.
(ii). MOEST:
• It is necessary for music teachers through the MOEST to create a forum where music
educators could interact and exchange ideas that would ultimately provide direction
and standards for the profession.
• Should consider music as a core subject since it permeates all spheres of life.
• Should give tangible support to music teachers especially with regard to adequate
allocation of time on the time table. This would ease the pressure music teachers have
in striving to cover the wide syllabus within a short time with limited time allocated to
the music subject.
(iii). KICD, Policy makers, KNEC, QUASO
• It is important that all persons in positions of responsibility in the above structures to
focus their energies toward the creation and maintenance of in-service courses and
workshops. These forums are useful for expanding teachers' options and for enriching
their professional practice and for highlighting the place of music in the society
• Another aspect that emerged in the study is the issue of some 'irrelevant music' In
curriculum that does not address the needs of the students. This aspect requires the
138
urgent attention of policy makers to consider revising the syllabus and include
contemporary music that interests students.
(iv). School Principals, Parents
• In order to fully realize the potential of music education in Nairobi County schools,
teachers need to have a positive attitude. They need to be zealous about teaching
music. Many teachers' negative attitudes can be ascribed to their feelings of isolation
and futile endeavors to implement the music curriculum without tangible support
from colleagues, and above all, their school principals. The situation with regard to
music education in these schools will only improve once teachers experience the
interest and backing of their school principals and heads of department, as well as
their colleagues. The school principals ought to be sensitized on the significance of
music and encouraged to support the music teachers and students. This can be done
during the Kenya Secondary Schools Heads' Association (KSSHA) and staff
meetings.
6.4.1 Suggestions for Further Research
The study provokes critical thinking that requires further research. The following are some of
the pertinent areas for further research:
• Further research should be done in developing strategies in music analysis
• The relevance of the music curriculum to the emerging needs in the music industry
• Pre -service training for music teachers in relation to the needs in the classroom
• The evaluation strategies in relation to the KNEC requirements
• The sufficiency of the content of the music textbooks in relation to the scope of
music
139
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Walker, D.E. (1998).Teaching Music: Managing the Successful Music Program (2nd Ed.).
New York: Schirmer Books.
Wanjala, H.N. (2004). A Survey of Productive Musicianship. The Interface between Music
Literacy and Expressiveness among Secondary Music Teachers in Kenya,
Unpublished PhD Kenyatta University. Nairobi.
_____ , (1991). A Study of the Relationship between Attitudes towards Music
Achievement among Standard 7 in Bungoma District, Unpublished M.A Thesis.
Kenyatta. University Nairobi.
Wanyama, M.N. (2006). An Unexploited Goldmine in Kenya. In International Journal of
Community music, proceedings of Music and Lifelong Learning Symposium of April
14-16, 2005 University of Wiscosin-Madison, U.S.A Edited by Chelcy Boule and
Debbie Rohwer. ISSN: 1550-7327. VolA.
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from http://www .weac.org/resource/primedvariab le.hmt\.
Wiggins, R. and Wiggins, J. (2008), 'Primary music Education in the Absence of Specialists',
International Journal of Education & the Arts, 9, pp. 1-26.
WIT (2000). Curriculum Terms and Concepts: Digging Deeper into Curriculum
Development. University of Chicago. Retrieved, 4/5/2013 at 5.00pm, from
Cuip.uchicago.edu/wit/2000/curriculum/ .../curriculum. Terms/ extra.ht. .....
The World Bank, (2008). World Bank Working Paper no. 128: African Human
Development Series; Curricula, Examinations and Assessment in Secondary
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147
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Kenyatta Foundation.
Quist, D. (2000). Teaching Methods. Malaysia: Macmillan Publishers Limited.
148
APPENDICES
APPENDIX I
Form Three Music Teachers' Questionnaire
This questionnaire intends to get views on issues faced by music teachers in implementing
the objectives and content of the music curriculum. The information you give will be treated
with utmost confidentiality and will be strictly used for the purpose of this study. Please tick
against the appropriate choice or fill in the spaces appropriately. Answer all Questions in
this Questionnaire.
SECTION I: Biographical data.
Name of school (optional)
School type
State gender: Male ( ) Female ( )
Age: 23-27 ( )
28-32 ( )
33-37 ( )
38-42 ( )
43 and above ( )
Teaching experience:
1-5 ( )
6-10 ( )
11-15 ( )
16 and above ( )
Professional qualifications
Diploma ( )
BEd ( )
MEd ( )
Others (specify)
SECTION TI: Pedagogical Issues that Music Teachers Face In the Implementation of
Music Curriculum Content
1. Do you use the following documents? Tick (~) or (x) against the given document
appropriately.
(a). 'K. 1. E (2002) Republic of Kenya MOEST Syllabus Vol.4 Subjects: Art& Design,
Computer Studies & Music'
(b). 'Teachers' Handbook for Secondary Music (2006)'
(c) 'Examination, Regulations, and syllabuses for the Kenya Certificate of Secondary
Examination'
149
2. Please read the following items and grade each one by putting a circle according to the
frequency with which you teach it:
1. Never
2. Rarely
3. Occasionally
4. Frequently
Basic Skills
(i) Rhythmic dictation in simple time 1 2 3 4
(ii) Rhythmic dictation in compound time 1 2 3 4
(iii) Writing syncopated rhythms in simple and compound time 1 2 3 4
(iv) Melodic dictation in major keys 1 2 3 4
(v) Melodic dictation in minor keys 1 2 3 4
(vi) Writing anacrusic melodies in simple and compound time in major and minor keys 1 2
3 4
(vii) Writing rhythm to given lyrics and vice versa 1 2 3 4
(viii) Writing intervals, hearing, describing the harmonic intervals 1 2 3 4
(ix) Use of the technical names of the notes of the scale 1 2 3 4
(x) Description of chords in major and minor keys (I, II, IV, V, VI) 1 2 3 4
(xi) Naming and describing cadences as perfect, imperfect, plagal, interrupted 1 2 3 4
(xii) Composition of melodies by continuing a given melody up to 16 bars 1 2 3 4
(xiii) Composition of a melody to given words 1 2 3 4
(xiv) Transposition of a melody to different keys using different clefs 1 2 3 4
(xv) Ornaments 1 2 3 4
(xvi) Modulation 1 2 3 4
(xvii) Interpretation of musical terms and signs 1 2 3 4
Practical skills
(i) Sing/play major and minor scales 1 2 3 4
(ii) Sing/play arpeggios both major and minor scales 1 2 3 4
(iii) Sight singing/playing at sight 1 2 3 4
(iv) Performing African folksongs and dances 1 2 3 4
(v) Performing African instruments 1 2 3 4
(vi) SinginglPlaying Western set pieces (vocal/instrumental) 1 2 3 4
History and Analysis skills
(i) Listening to recorded music (African music) 1 2 3 4
(ii) Observation oflive performances (African music) 1 2 3 4
(iii) Listening to western recorded music 1 2 3 4
(iv) Score reading of western music- techniques of following a score 1 2 3 4
(v) Sight reading especially the melodic line 1 2 3 4
(vi) Analytical skills- procedure in analysis, basic skills including terms and signs 1 2 3 4
(vii) Writing music in open/closed scores 1 2 3 4
(viii) Memory skills- to identify repeated sections
Project
(i) Reading music 1 2 3 4
(ii) Writing music 1 2 3 4
(iii) Listening to various kinds of music 1 2 3 4
(iv) Aural skills 1 2 3 4
150
(v) Composition of topical songs 1 2 3 4
(vi) Sight reading of different kinds of music 1 2 3 4
(vii) Singing music from different genres (African and western) 1 2 3 4
(viii) Performing African traditional dances 1 2 3 4
(ix) Analysis of different genres of music (African and Western) 1 2 3 4
(x) Preservation/maintenance of traditional musical instruments 1 2 3 4
3. In the table below, please tick (-Y) to indicate how often the given materials are used in
learning music.
I. Print materials. (please put a tick against the level of use)
Materials Frequently Occasionally Rarely Never
Scores/song sheets
Textbook
Extracts
Internet
Dictionaries
II. Non projected materials (Please put a tick against the level of use)
Materials Frequently Occasionally Rarely Never
Live performances
Resource persons
Music centers
Recording studios
Cultural and music
festivals
Bands
African music
instruments
Western music
instruments
Flash cards
Cassette/CdlD VD/
Recording
Radio cassette
player/Computer
Diagrams/charts
Pictures
Photographs
Costumes and decor
151
SECTION IV: Teaching Approaches/Strategies and activities
4a. Indicate with a tick (-V) the level of frequency you use the following strategies in teaching
music in the classroom:
Approaches Frequently Occasionally Rarely Never
Group work
Discovery
Question/Answer
Discussion
Performance
Lecture method
Demonstrations
Exercises
b. Indicate with a tick (-V), in the table provided, how frequently you use the given music
activities in the classroom.
Activity Frequency
Never Rarely Occasionally Frequently
Clapping and tapping rhythms
Writing rhythms
Singing scales
Writing melodies
Describing intervals, triads, vocal
techniques
Playing melodies, intervals, triads
Listening & imitating given melodies
Sight singing/playing
Describing cadences
Composing melodies
Visiting music centers & participating in
music activities
Voice training
Dancing
Listening to a variety of African music
Giving explanations on composers works
& historical periods
Listening to Western music
Discussion
152
5. Indicate how frequently you evaluate the given music units in a term by ticking once,
twice, thrice, more times or not at all in the table provided.
Music unit Once Twice Thrice More times Not at all
History of Western music
African music
Music aurals
Music practicals
Music projects
6a. Which skills do you find challenging to teach?
b. Give reasons why it is challenging.
7. Which methods have you used to overcome the challenging skill to teach?
8. Give the mean grade of Form three music students over the last three years (2010-2012).
9. Indicate the extent to which you experience the given issues in teaching concepts in the
music syllabus by ticking in the table appropriately?
Issues Very Serious Not Serious
Inadequate pre-service training
Lack of in-service opportunities
Inadequate facilities and materials
Limited time to teach
Wide syllabus
Lack of support from school administration
Lack of support from parents
Teaching a 2nd subject
Student's unwillingness to learn music
Intellectual ability of students
Others, specify
iii. What recommendations would you make in solving these issues?
153
APPENDIX II
Form Three Music Students' Questionnaire
This questionnaire intends to get views on issues faced by music students in learning music.
The information you give will be treated with utmost confidentiality and will be strictly used
for the purpose of this study. Please give the correct answer by ticking only ONE of the
choices in question 4, 5 and 6. Kindly answer all questions.
Section I -Pedagogical Issues in Implementation of the Music Curriculum Content
la. Did you learn in a public or private primary school?
b. Did you learn music as a subject in your primary school?
2. In which week of the term did you start learning music in form one?
3. Please read the following items and grade each one by ticking in the table provided
according to the frequency with which you learn it in class as never, rarely, occasionally, or
frequently.
Music Skills Development I
Music Skills Never Rarelv Occasionally Frequently
1. Basic skills
Rhythmic dictation in simple time
Rhythmic dictation in compound time
Melodic dictation in major keys
Melodic dictation in minor keys
Writing intervals, hearing, describing
the harmonic intervals
Use of the technical names of the scale
Description of chords in major and
minor keys (1, II, IV, V,VI)
Naming and describing cadences as
perfect, imperfect, plagal, interrupted
Composition of melodies by
continuing a given melody up to 16
bars
Composition of a melody to given
words
Transposition of a melody to different
keys using different clefs
Ornaments
Modulation
Interpretation of musical terms and
signs
154
Music Skills Development 2
Music Skills Never Rarel •. Occasionally Frequently
2.Practical skills
Sing/play major and minor scales
Sing/play arpeggios both major and
minor scales
Sight singing/playing at sight
Performing African folksongs and
dances
Performing African instruments
Singing/playing Western set pieces
(vocal/instrumental)
Music Skills Development 3
Music Skills Never Rarel •. Occasionally Frequently
3. History and analysis
Listening to African recorded music
Observation of live African
performance
Observation of live Western
performance
Listening to western recorded music
Score reading of Western music-
techniques of following a score
Analytical skills -procedure In
analysis, basic skills including terms
and signs
Writing music in open/closed score
Memory skills- to identify repeated
sections
Music Development Skills 4
Music Skills Never Rarel Occasionally Frequently
4. Project
Listening to various kinds of music
Composition of topical songs
Sight reading of different kinds of
music
Sight singing music from different
genres (African and Western)
Performing African traditional dances
Analysis of different genres of music
(African and Western)
Preservation/maintenance of
traditional African instruments
155
4. In the table below, please tick to indicate how often the given materials are used in
learning music, as never, rarely, occasionally, frequently.
Materials Never Rarelv Occasionally Frequently
I. Print Materials
Scores/Song sheets
Textbooks
Music extracts
Internet
Music dictionaries
Other reference books
II. Non-projected materials
Live performances
Resource persons
Music centers
Recording studios
Cultural and music festivals
Bands
African music instruments
Western music instruments
Flash cards
Cassette/Cd/DVD recording
Radio cassette/Computer
Diagrams/charts
Pictures
Photographs
Costumes and decor
156
Section II -Strategies Undertaken by Music Teachers to Implement music in the
Classroom
5. Put a tick, in the boxes provided in the table, to indicate the frequency with which each
activity is used during the music lesson.
Activity Frequency
Never Rarely Occasionally Frequently Always
Clapping and tapping
rhythms
Writing rhythms
Singing scales
Writing melodies
Describing intervals, triads,
vocal techniques
Playing of melodies,
intervals, triads on
instruments
Listening and imitating
given melodies
Sight singing/Playing and
sight reading
Describing cadences
Composing melodies/ music
Visiting music centers and
participating in music
activities
Voice training
Dancing
Listening to a variety of
African music
Giving explanations on
composers, works and
historical periods
Listening to western music
Discussion
157
6. How often are you tested in the following music units in a term? Indicate by ticking in the
table provided whether it is once, twice, thrice, more than thrice or not at all.
Music Units Once Twice Thrice More Not at all
than
thrice
History of western music
African music
Theory of music
Music aurals
Music practicals
Music project
7a. which of the above units (in no.6) do you find challenging?
b. Give areasons why.
8. List ways in which you think the understanding of the given units can be made easier?
Section III -Contributing factors Toward Music Students' Performance in
Examinations
9. In your opinion what factors rate high in contributing to poor performance in music?
Section IV - Guided teaching Activities that would Enhance Classroom Teaching in
Future
10. What instructional methods do you propose for successful music learning?
158
APPENDIX III
Classroom Observation Schedule
The main objective of classroom lesson observation is to assist the current researcher in her
study and not to find any faults.
NAME OF SCHOOL .
DATE .
TOPIC .
NO. OF STUDENTS PRESENT .
Section I: Strategies in Implementation of Music in the Classroom
Teacher's preparation
I. Is the teacher adequately prepared? Yes ( ) No ( )
2. Was adequate time allocated to the content or subject matter?
Yes ( ) No ( )
3. Is the content related to the subject curriculum?
Yes ( ) No ( )
4. Are the teaching/ learning resources available?
Yes ( ) No ( )
5. Is the lesson developed systematically?
Yes ( ) No ( )
Lesson introduction and presentation
1. Did the teacher link current lesson with previous lesson?
Yes ( ) No
2. Was the introduction of the content based on learners' experience?
Yes· ( ) No
3. Was lesson introduction motivating and interesting to learners?
Yes ( ) No
(
(
(
)
)
)
5. Tick the most used teaching strategies during the lesson.
Group work/Discussion ( )
Discovery ()
Lecture ()
Demonstration ()
Question/Answer ()
Assignments/Exercises ( )
Question/Answer ()
Any other. .
159
5. Tick yes or no on how learners were involved by ticking the following learning activities:
Activity Yes No
Singing
Dancing
Playing an instrument
Listening to music
Clapping and tapping rhythm
Writing
6. Which teaching/ learningresources were used? Please tick Yes or No against the given
materials.
I. Print materials.
Materials Yes No
Scores/song sheets
Textbooks
Music extracts
Dictionaries
Reference books
II. Non projected materials (please put a tick against the given materials)
Materials Yes No
African music instruments
Western music instruments
Flash cards
Cassette/CdIDVD/ Recording
Computers
Radio cassette player/Computer
Diagrams/charts
Pictures
Photographs
Costumes and decor
160
APPENDIX IV
Focus Group Discussion Schedule for Teachers
Pedagogical issues that Music Teachers Face in the Implementation of Music
Curriculum Content
1. In what Form do you introduce the following each ofthe following music concepts: aurals,
melody writing, composition, harmony, analysis and practicals?
b. Why do you find it appropriate to introduce the concepts at that time and not any other?
c. Do you manage to complete the music syllabus in time?
d. Are you able to cover all concept areas? If not, why?
e. In what way do you think the music syllabus can be covered adequately?
2a. Are there areas in music that you find challenging to teach?
b. What could be reasons for the challenges?
c. What other issues do you face in implementing the music curriculum in the classroom in
your school?
3. Could you give recommendations on solving the issues you face in implementing the
music curriculum in your school?
4. What instructional methods do you employ in teaching the following Music units?
• Music theory
• History and analysis
• Aurals
• Practicals
5. Could you give your views on how best to evaluate the performance of students in the
different units of music?
161
APPENDIX V
Letter to Principals
Kenyatta University
Music and Dance Department
P.O.Box 43844
NAIROBI.
The Principal,
NAIROBI.
Dear SirlMadam,
RE: REQUEST FOR PERMISION TO CONDUCT A RESEARCH IN
YOUR SCHOOL
I hereby request you to allow me to carry out a research on 'The Impact of Music
Instructional Methods on the Implementation of Music Curriculum in Nairobi County' in
your school. The music teacher and students are requested to respond to a questionnaire .The
teacher will further respond to an interview schedule. The researcher will make classroom
observation and record accordingly. The information given will be solely utilized for research
purposes and treated confidentially. Your co-operation will be highly appreciated.
Yours faithfully,
JOYCE MOCHERE.
162
MONTH
ACTIVITY
Project Proposal
writing(consolidation of
literature)
Pilot Study and Editing
Research Instruments
APPENDIX VI
Work Planffime Frame 2012-2013
2012 ---------.. +------2013
Sept Oct Nov Dee Jan Feb March April
Data Collection
Data Analysis
Editing and Compiling
the Project for
Submission
Submission of the
Project
163
APPENDIX VII
Budget
Budget Details Amount in
Kshs
Consolidation of Literature Library search and travelling expenses 100,000
Designing and Developing Research Typing and Photocopying Research 40,000
Instruments Instruments
Research Induction and Training (lday) Transport and Lunch for Researcher 24,000
& Five Research Assistants
Piloting Research Instruments Transport for Researcher & five 12,000
Research Assistants
Refining the Research Instruments Editing and formatting the 10,000
Instruments
Data Collection Travelling and Lunch Expenses for 50,000
Researcher and Five Assistants
Data Analysis and Presentation Researcher and Two Research 80,000
Assistants
Finalizing the Project Type Setting and Binding 10,000
Miscellaneous Expenses Arising costs 10,000
GRANT TOTAL 336,000
164
NATIONAL COMMISSION FOR SCIENCE,
TECHNOLOGY AND INNOVATION
Telephone: +254-20-2213471,
2241349,310571,2219420
Fax: +254-20-318245, 318249
Email: secretary@nacosti.go.ke
Website: www.nacosti.go.ke
When replying please quote
9" Floor, Utalii lIousc
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P.O. Box 30623-00100
NAIROBI-KENYA
Date:
Ref: No. NACOSTIIP/13/9557/431
zs" November, 2013
Joyce Mudengani Mochere
Kenyatta University
P.O Box 43844-00100
NAIROBI.
RE: RESEARCH AUTHORIZATION
Following your application for authority to carry out research on "Music
instructional methods and their impact on curriculum implementation: A
case of selected secondary schools in Nairobi County (Kenya)," I am pleased
to inform you that you have been authorized to undertake research in Nairobi
County for a period ending 31st December, 2014.
You are advised to report to the County Commissioner and County Director
of Education, Nairobi County before embarking on the research project.
On completion of the research, you are expected to submit two hard copies
and one soft copy in pdf of the research report/thesis to our office.
~SEIN
FOR: SECRETARY ICEO
NATIONAL COMMISSION FOR SCIENCE, TECHNOLOGY & INNOVATION
Copy to:
The County Commissioner
The County Director of Education
Nairobi County.
165
-l',1 ; .r .
CONDIl1IONS
1. You.must report.to th¢County Commissioner and.
the County Education Ofticerof the area before
cmbarl9ng on your' research'; Failure to 'do that
may lead tq tJl!J ~al!celfittion of your permit
2. Government Officers will not be interviewed
'lVithout prior appointment. ' ,3. No q'uestlorinaire win b~used unless it has been
approved.
4. Excavation, filming-and collection of biological
specimens arc sl)bject to further permissloii from
the relevant Government Ministries.
5. You are required to submit at least two(2) hard
copies and on,em sort copy of y,our final report,
6. the Govemmcllt of:Kcnya reserves the right to
modify the-conditions ofthis-permit including
its cancellation without lIotic~sse/~ <
REPUBLIC OF KENYA
---National Commlssion for Science,
Technology and Innovation
RESEARCH CLEARANCE
PERMIT
,... :,'", j;;."Serial No. A, •••~J
CONDITIONS; see back page
THIS IS TOtER],]FY THAT: _
MS. JOYCE MUC)'ENGANI MOCHERE
ofKENYATTA-UNIVERSITY,0-1000
_thik~,ha~ been permitted to conduct
research in Nairobi County
Permit No : NACOSTI/P/13/9$5iI43l
Date Of Issue: 28th November,2013
Fe~'Redeved : Kshs khs1000.00
'.\ 1 : ,I .'''';',
on the topic: fv7USIC INSTRUCTIONAL
METHODS AND "THEIR IMPACt ON
CURRICULUM'lMPLEMENTATlON: A CASE
OF SELECTED SECONDARY SCHOOLS IN
NAIROBI COUNTY (KENYA)
for the periodendlnq:
31st Oe.:en1b.er,2014
. ---.
I \
••h...),~ i'..'h ••••••• 1
Ap,p/fcan't's
Signature
...~K" .
fQ!.: Sf3~retary
National Commission for Science,
Techilology& 1nnovation