Ebele V. Ojukwu (PhD), Echezona Adaora Unoma


The Cultural and Creative Arts (CCA) curriculum has for several times and reasons concerned itself with the inclusion of Nigerian folk and art music in teaching and learning. While the efforts made by curriculum planners so far have achieved significant results, there is a need to make the learners relate more with the prevalent music of their time. Learning with the genre of music different from what the learners are exposed to daily may hamper cooperation, mutual communication and comprehension between the teachers and learners in the CCA learning process. This paper, therefore, intends to advocate for giving more place to more recent musicians and their music genre in CCA as the learners will relate to them better. This study recommends that musicologists should redirect their efforts towards the study of popular music even in higher institutions where the CCA teachers are churned out from.


Keywords: Nigerian contemporary pop music, musicologists, Cultural and Creative Arts curriculum.

Full Text:



Aluede, C.&Ibekwe, E. (2017).Popular music culture and urban experiences. In Nigeria IGWEBUIKE: An African Journal of Arts and Humanities Vol. 3 No 3, April 2017. ISSN: 2488-9210(Online)

Bandura, A. Social Learning: 5 keys of the Learning Process.

Emielu, A. (2013). From The Classroom to Stage': Developing an Africanpopular music pedagogy.Ejotmas:Ekpoma Journal of Theatre and Media Arts Vol. 4 No. 1-2(2013)

Green, L. (2002). How popular musicians learn: A way ahead for music education. London:


Idamoyibo, I. (2003). Interaction between music and culture in relation to human

development in Nigeria”. Nigeria Music Review, 4. Ile– Ife: Department of Music,

Obafemi University. 53 – 63.

Inyabri, I. (2008). Orality, subjectivity and communality in contemporary Nigerian pop music. A Journal of Research in Nigerian English and Literature. (JONEL) 7: 163-75.

Jayeola, F. (2021). Professional music practice: the Nigeria example. International Journal of

E n g l i s h L i t e r a t u r e a n d S o c i a l S c i e n c e s Vo l - 6 , I s s u e - 3 ; 112

Jeffreys, M.V.C. (1971). Education: Its nature and purpose. London: George Allen and Unwin

Nwachukwu, O. P. (2012). Understanding the new revised basic education curriculum.

Awka: NERDC.

Nzewi, M. (2006).Growing in musical arts knowledge versus the role of the ignorant expert.

In Mans M. (Ed). Centring on African Practice in Musical Arts Education. Pan-African Society of Musical Arts Education: African Minds

Okoli C. &Atelhe, G. (2018).Globalization and 'Africanization' of Contemporary Pop Music: Implications for history and theory. Covenant University Journal of Politics &International Affairs, 6(1),.

Ogunrinade, D. (2013). Philosophy of music education in Nigeria: Content analysis of music curriculum for Nigeria certificate in education (NCE). Journal of Philosophy, Culture and Religion, 1.

Ojukwu, E. V. (2017). Music education: a vehicle for fostering positive youthdevelopment.

U J A H : U n i z i k J o u r n a l o f A r t s a n d H u m a n i t i e s , S p e c i a l Edition.http://dx.doi./org/10.4314/ujah.v18i2.28

Ojukwu, E. V., Obielozie, E. O. &Esimone, C. C. 2016). Nigerian values and contemporary popular music: A new look. Ogirisi: A New Journal of African Studies,12. s1.7)

Onyeji, C. (2002). Popular Music: Facts about the music and musicians. In Idolor (Ed.) Music

In Africa, Fact and Illusions. Ibadan: Stirling – Horden


  • There are currently no refbacks.