Moving Forward: Challenges to be Addressed

If there is to be any change in the delivery of composition instruction in music educa tion, several key concerns must be carefully considered and systematically addressed.

First, the oral tradition must be re-contextualized into the formal education system. Its practices must be re-introduced through the combination of face-to-face transmission emphasizing learning-by-ear as well as use of field recordings. The use of all forms of recording equipment, from tapes to cell phones, should be embraced in the classroom setting for learners to record performances of peers and teachers for educational purposes. As outlined earlier in this chapter, the relationship between formal, non-formal, and informal music education has not been effectively explored by music educators. Closer links should be forged between all music education platforms for a well-balanced program that fosters an equal redistribution of music educators amongst schools.

Second, a choice must be made about the relationship between Western and African philosophical perspectives as they apply to music education. The current rationale for music education in Uganda is based on Western models and approaches. This frame does not reflect the needs and interests of a population who hold very different cultural values and who practice a uniquely African form of music-making. The Ministry of Education and Sports must address how music composition can be effectively presented within the curricula. A true African rationale for composition within music education must reflect the appropriate philosophical model within Ugandan contexts (Nzewi, 2001). A modern system that values indigenous African models and which provides appropriate resources should be made available for generating such content and developing its pedagogy. This will bring about a method that reflects the pragmatic approach and which helps young people to understand their immediate environment with a deeper grasp of their social-cultural base.

Third, the availability of appropriate resources presents an ongoing challenge. With the introduction of Universal Primary Education, the government’s strategic investment plan proposed a 50% increase in expenditure on primary schools (Ndeezi, 2001). The intent was to subsidize school fees at 50% for primary education. With persistent high levels of inflation, the stipulated funds have long ceased to be adequate (Elwana, 2000). Further, the overwhelming response to free Universal Primary Education and Secondary Education initiatives, the numbers in schools across the country has more than doubled. While increased access to education is critical, inadequacies in facilities and resources have also risen. Class sizes will need be addressed to ensure adequate and favorable environments for learning. Similarly, additional infrastructure is needed to adequately supply facilities and resources.

This overwhelming response nationwide posed challenges concerning staffing, teaching and educational materials. In various parts of the country, the response was so high that some classes were conducted under trees. In urban centers, government- aided schools had equally overwhelming enrollment figures, which have raised questions about the quality of arts education. (Kigozi, 2008)

Fourth, the importance of music education must be made clear. Nzewi (1999) recounts “the reality [that] in many cases . . . music is not regarded by Africans to be a subject worthy of study, yet its value in the social, emotional, physical and intellectual growth is undisputed by music educators” (pp. 79). Music, as part of the broader arts, should positioned as equal to other arts subjects. For music education to attain the goals it has been challenged to achieve, it must be designed to enable learners to demonstrate individual as well as group creativity in meeting authentic challenges within diverse music practices. The current nature and structure of music education is largely determined by the general education system, with music teachers and administers playing a generic role in its implementation. If music teachers had a greater voice in determining how music education would be offered, change might be more forthcoming.

Fifth, the type of music education learners receive is largely dependent upon their locality. Music education should not be left to whim of individual schools but made compulsory from the start to the conclusion of schooling. This will guarantee teachers a platform to advocate for sufficient allocations of class time. Further, no matter how good and relevant the new music education curriculum may be, it can only be properly implemented when resources at underprivileged schools match what is offered to those in more privileged schools.

Sixth, the Ministry of Education and Sports should recognize that the future of the music education discipline lies in the development of music educators. They should ensure financial assistance toward the effective development of practicing music educators so that teachers are competent and feel confident in handling all aspects of music composition within music education.

Finally, the government should foster studies investigating areas related to music education. Such studies should involve music educators and explore topics that hold promise for improving instruction related to music creativity. The findings from such studies could serve to inform the creation of an articulated national agenda for research in the field of music with a focus on significant problems and issues of music education. Involving teachers and teacher-educators in such studies will empower them to become agents in the improvement of their own practice and as well as enhance the effectiveness, usefulness, and relevance of the teaching and learning of music and music creativity.

References: Adedeji. (2005). Hymns sacred and secular: use of poetry in religious literature and in the religious education system of Judaeo, Christians, and the traditional Yoruba of Africa. Religion and Society, 50(2), 62-78.

Blaak, M. Openjuru, G. L., & Zeelen, J. (2013). Non-formal vocational education in Uganda: Practical empowerment through a workable alternative. International Journal of Educational Development, 33(1), 88-97.

Borko, H., & Putman, R. (1996). Learning to teach. In D. Berliner & R. Calfee (Eds.), Handbook of educational psychology (pp. 673-708). New York: Macmillan.

Elwana, D. (2000). Uganda hits universal primary education target. Newsletter of the world education (WEF) forum in Dakar. Paris: UNESCO Success stories. The UNESCO Courier, 53(3), 22-23.

Euba, A. (1989). Essays on music in Africa. African Studies Center. (Two Volumes).

Flolu, E.J. (1998). In search of an African and relevance oriented music education system for Ghanaian schools. UBUNTU: Proceedings of the 23rd ISME Conference. Pretoria: UNISA, 183-190.