This study, EFFECT OF POPULAR MUSIC ON MUSIC EDUCATION contains concise information that will serve as a framework or guide for your project work. The project study is well-researched for academic purposes and are usually provided in complete chapters with adequate References.
The purpose of this research work is to look into the effect of popular music on music education. In order to achieve this objective, structural questionnaire was used in gathering data. The population was some of popular music earers and learners, practitioners students of Federal College of Education, Osiele, Abeokuta. The findings revealed that there was a significant relation between music education and popular music. It further reveals the genres of music having wide appeal as popular music. It is clearly shown that the wide appeal of popular music have strong effect on music education. Recommendation were also made that there should be adequate teaching of music education in all schools so as to build pupils. The lyrics of some of those popular music should be treated well before releasing to the populace.
1.1 BACKGROUND OF STUDY
Popular music belongs to any of a number of musical genre having wide appeal and its typical distributed to large audience through the music industry. It stands in contrast to both art music and traditional music, which are typically disseminated academically or orally top smaller, local audience.
Although, popular music sometimes is known as “POP music”, the two terms are not interchangeable. Popular music is a generic term for music for all ages that appeals to popular tastes whereas POP music usually refers to a specific musical genre.
The large variety of popular music in current practise in Nigeria range from highlife, to juju and various genres prefixed with “Afro” such as afro-rock, afro-jazz, afro-funk, etc. They can all be grouped into four distinct categories as follows:
We shall therefore be looking at music in the various categories and their composers in the modern time and past.
Popular music based on Western European brass bands
Music under this category is mainly highlife but also include its contemporary local derivatives such as Ikwokilikwo, Akete, Swage and gospel. Notable highlife musicians include Bobby Benson, Victor Olaiya, Eddy Okonta, E.C. Arinze, Rex Lawson, Bill Friday, Stepehn Amechi and the likes.
Bobby Benson was regarded as the father of highlife in Nigeria, he started his professional career as an entertainer but later formed the Bobby Benson Jaon session archema. Victor Olaiya, has remained one of the chief exponents of highlife in the contemporary time, he has been described as one of the highlife survivors.
Popular music based on guitar bands
A most popular genre belonging to this category of popular music is juju localized among the Yoruba of South Western Nigeria. Some scholars have grouped juju in some category as, waka, sakara, apala and fuji. Early practitioners included Tunde King, Ambrose Campbell, Sunday Harbour Giant, Alabu Labilo and Ojo Babajide.
Popular music based on Islamic traditions
Music under this category include sakara, waka, apala and fuji all of which are neotraditional and use for entertainment by Yoruba muslim musicians. Early practitioners of this music include the late Alhaji Sikiru Ayinde Barrister (a.k.a. Barry Wonder) but other eminent artists such as Kolington Ayinla, Dauda, Epo Akara, Nureni Akande and many others.
Popular music based on Euro/America POP bands
Music under this category includes all Western popular music such as Rock and Roll, Twist and Funk to mention a few. It also includes soul and varieties of afro music typologies such as afro-rock, afro-beat, afro-jazz and others as well as afro-Caribbean. In the contemporary time, musicians who play reggae are Bongos Ikwure, Late Sunny Okosuns, Ras Kimono, Majek Fasek, the mandators and Eri-edna Ogholi to mention a few.
Music education unlike popular music also appeal to the popular taste, but not usually for a short period of time, but it is a life long system, that helps to build sound pupils in every area.
Music education can therefore be seen as a field of study associated with the teaching and learning of music, it touches on all learning domains, including the psychomotor domain (the development of skill), the cognitive domain (the acquisition of knowledge). The affective domain (the learner willingness to receive, internalize, and share what is learned). Music education also takes place in individualized, life long learning and in community contexts.
Popular music in the light of socio-cultural and economic aspects is produced to mass distribution for large and often socio-cultural heterogeneous group of listeners, according to which it should ideally sell as much as possible to as little as possible to as many as possible.
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