Cognitive apprenticeship in indigenous Baluu and Kengbe musical arts of Ilorin people in Kwara State, Nigeria
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Date
2021-03-23
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Publisher
Society of Music Educators of Nigeria (SOMEN)
Abstract
Over time, different and divergent learning methods such as the Kodaly method
(1941), Vygotsky’s Zone of Proximal Development (ZPD) (1987), Gordon’s Music
Learning Theory (1989), Pratt’s Apprenticeship Perspective (1998), McPherson’s
Self-Regulated Learning in Music Practice (2017) have been postulated by scholars
and musicologists alike in relation to the learning and practice of music in formal
education. However, little study has focused on learning and apprenticeship
methods for indigenous musical arts and practice, partly due to the informal context
of indigenous music arts and practice in most cases. Hence, this study interrogates
cognitive apprenticeship in indigenous African musical arts using two indigenous
music styles: Baluu and Kengbe of Ilorin people in Kwara State, Nigeria as
examples. This study is underpinned with Cognitive Apprenticeship Theory and
relied on ethnography as the design. Using oral interview and non-participant
observation of learning process, training, rehearsals and band performances of
Baluu and Kengbe musical arts, this study identifies the stages of learning,
development and professional practice of the practitioners. Learning by imitation,
rote, articulation, reflection, exploration and improvisational skills were methods of
skill acquisition. The study therefore recommends cognitive instructional strategies
as an effective model in learning and apprenticeship as it stimulates the thought
process of trainees and cognitive skills such as problem solving, social charisma,
human relations, improvisation, enquiry, self-expression and self-esteem are
developed through this model.