Teaching Art Music in Nigerian Schools: The Academic, Technical and Social Implications
Bibliographic record
Abstract
Art music in the Nigerian context is the composition of Nigerians who have formal music training and have composed using Western medium to express traditional Nigerian music. This paper sets out to illuminate the technicalities involved in this form of musical composition and proposes a model of art music instruction for Nigerian schools. The author posits that the teaching and performing of art music in Nigerian schools will bring music closer to the people. He argues that whereas art music is an aberration from Nigerian traditional music, yet with concerted efforts and skill, the practice of art music will help in preserving Nigerian culture on paper and facilitate the promotion of its local music to the global level. The paper concludes that traditional music elements that are entrenched in art music composition can constitute a model and parameter for identifying and appreciating Nigerian music. The teaching of art music therefore must be encouraged by Nigerian music curricular planners.Art music in Nigerian context is the composition of Nigerians who have formal music training and have composed usingWestern medium to express traditional Nigerian music. This paper sets out to illuminate the technicalities involved in this form of musical composition and proposes a model of art music instruction for Nigerian schools. The author posits that the teaching and performing of art music in our schools will bring music closer to the people. The author equally argues that whereas art music is an aberration from our traditional music, yet with concerted efforts and skill, the practice of art music will help in preserving our culture on paper and facilitate the promotion of our local music to the global level. The paper concludes that traditional music elements that are entrenched in art music composition can constitute a model and parameter for identifying and appreciating Nigerian music. The teaching of art music, therefore, must be encouraged by Nigerian music curricular planners.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.013 | 0.007 |
| Scholarly communication | 0.009 | 0.002 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.002 | 0.002 |
| Insufficient payload (model declined to judge) | 0.004 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".