CHAPTER ONE
BACKGROUND TO THE STUDY
1.0 INTRODUCTION
Classical music is referred to a class of music that originated from the western world. It is rooted heavily in religious, political, social and/or secular music cultures of the west. Classical music, generically known as art music refers to all forms of music composed and performed by musicians who are formally trained in the art of western art music styles (Sadoh, 2010:85). It is also important to note that many cultures of the world that have experienced western colonisation, civilisation, education, and/or religion may have encountered this western musical practice(s) (Osanebi, 2020:131).
In Nigeria, classical music practice began when the missionaries and the colonial masters came into the country. They did not find Nigerian music interesting and attractive, they considered them pagan practices. They imposed their own musical practices on us which were taught in the schools and churches they established (Omojola, 1995; Nwamara, 2009; Akpakpan, 2010; Sadoh, 2010, Osanebi, 2020). Today, many Nigerian churches and schools still keep up with this musical tradition. Some have even Africanised it to suite our African ideology and audience. Many who acquired this knowledge fell in love it. Some made it a hobby, some made it a lifestyle. Those who made classical music a lifestyle made extra efforts to learn and perfect the act in the higher institutions abroad and at home. Examples include; Robert Coker, T.K.E. Philip, Amu, Nketia, Fela Sowande, Ayo Bankole, Laz Ekwueme, Akin Euba, Samuel Akpabot, Joshua Uzoigwe, Bode Omojola, Okechukwu Ndubuisi, Sam Ojukwu, Dayo Oyedun, Ayo Oluranti, and others. These classical and art music exponents in Nigeria have one way or the other influenced the younger generation to embrace lifestyle too. Amongst them are renowned composers and virtuoso/seasoned performers.
Musical performance is an age long practice whose origin can be traced to the ancient times. It has been the most cherished method of expressing or presenting one’s feelings, emotions, experiences and knowledge to other people. Kartomi (2014:189) defines musical performance according to the live presentation of a music event by musicians and other participants or stakeholders at a given time and place, usually in the presence of an audience. Mikhail quoting Yampol'skii (1974) explains musical performance to mean the creative process of recreating a musical works by means of performing mastery (2014:467). While Kendall and Carterette (1990:129) describe musical performance a system of communication in which composers code their musical thoughts in notation form and the performers based on his training decode, interpret and reinterpret the composers’ musical thoughts to an audience. This system of communication can provide a rich domain for study and development of the cognitive and psycho-motor skills (Palmer, 1997:116).
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In the classical music industries, there have been cases where some performances did not come out as planned. Several factors could be responsible for why these performances did not come out as planned. According to Kartomi (201:190), a performance’s success or failure depends on the contributions of many stakeholders including sounds and lightening technicians, costume and make-up artistes, backup singers, event organizers, entrepreneurs, patrons, programme note writers, pre-concert lecturers, critics and the media. In all of these, the performers are the key players in any musical production. Their presentations determine the success or failure of any musical performance. If a performance fails as a result of the performer(s) making a poor presentation of his music, that can be considered grievous. What could be the cause of the poor performance? Is it that the performer did not practice his or her music very well? Or, is it a case of medical, mental and/or psychological conditions?
This study therefore, sets to find out the cause(s) of music performances anxiety (MPA) amongst trained classical musicians in Lagos State. The study particularly focuses on how performance anxiety has marred many musical performances. Performance experts and critics believe that any situation could make a performer who intends to perform at his best becomes nervous about his ability to put up a good show could lead to music performance anxiety.
Music performance anxiety (MPA) according to Salmon (1990:3) refers to a as the experience of persisting, distressful apprehension and/or actual impairment of performance skills in a public context, to a degree unwarranted given the individual's musical aptitude, training, and level of preparation. These distressful situations could directly or indirectly affect the entire life of a performer if proper attention is not given to the affected performer. Furthermore, it has been established that MPA is a variable that could be as a result of different factors.
This study therefore, sets out to find the cause(s) of music performance anxiety (MPA) among classical musicians in Lagos State, discusses the effects of MPA on the performer(s), the audience and the performance itself and in the end suggests possible solutions or remedies to music performance anxiety. To achieve these tasks, the researcher would interact with students of music (particularly those who have had MPA experiences) of some selected institutions in Lagos State where music is taught as a specialised subject to find out the cause(s), the effects and how they were able solve their MPA challenges. The selected institutions include; University of Lagos (UNILAG), Lagos State University (LASU), Music Society of Nigeria (MUSON) and the Mountain Top Conservatory of Music (MTCM). Again, the researcher would engage performance experts, critics and teachers of these performers of the above-mentioned institutions to gain from their wealth of experience on the subject matter.
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1.1 STATEMENT OF THE PROBLEM
Musical performances are not void of enormous challenges that could affect performers and their performance. These problems have been traced to music performance anxiety. Music performance anxiety can be caused by some variables ranging from musicological, medical and/or psychological challenges. It has been established that these challenges are more among amateur performers but very less among professionals. For example; in 2013, an acclaimed student soprano singer in one of the prominent recital halls in Lagos after giving a mild blowing dressed rehearsal came on stage but started on a totally different key/pitch from what the accompanist introduced on performance day. Again, a lady pianist in 2014 why performing a piece repeatedly played a wrong note at a particular section of the music not because she did not practice. Another young pianist giving a recital of a Mozart Sonata of three movements, took a bow and walked off the stage after performing just first movement alone. Lastly, an amateur conductor was conducting a choir but went blank on stage and was unable to remember the songs arrangements in the middle of the performance despite having the music score.
What are the causes of these poor performance experiences? What about the devastating effects of music performance anxiety may have on the performers? How do we help those challenged performers solve the problem performance anxiety? It is on this premise that this study wishes to investigate the cause and effects of various variables that could lead to poor performances.
1.2 AIM AND OBJECTIVES OF STUDY
This study aims at providing solutions to the cause and effect of music performance anxiety, a major cause of poor performance among musicians, particularly, classical musicians. Therefore, the objectives of this study would be as follow.
i. To examine factors responsible for poor musical performances among classical musicians in Lagos State.
ii. To investigate how music performance anxiety affects performances and the performers.
iii. To determine the categories of classical musicians that are mostly affected by effects of music performance anxiety.
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iv. To suggest possible solutions on how to overcome music performance anxiety.
1.3 RESEARCH QUESTIONS
i. What are the factors that could lead to poor musical performances among classical musicians in Lagos State?
ii. How has music performance anxiety affected musical performances and the performers?
iii. What categories of classical musicians that are mostly affected by effects of music performance anxiety?
iv. To suggest solutions on how to overcome music performance anxiety amongst classical music performers.
1.4 SIGNIFICANCE OF STUDY
If the subject matter is well researched upon and its findings properly documented, it would not only contribute to knowledge, but proffer solutions that could help particularly young music performers still battling with music performance anxiety, thereby improving the quality of their performances.
1.5 SCOPE AND LIMITATIONS OF THE STUDY
The main focus of this study is to provide solutions to the problem of poor musical performances among classical musicians in selected music institutions in Lagos State. They include; University of Lagos (UNILAG), Lagos State University (LASU), Music Society of Nigeria (MUSON) and the Mountain Top Conservatory of Music (MTCM). The knowledge for this study would be limited to the findings from the interactions with the performers (particularly students who still battle with music performance anxiety) and teachers/instructors in the above-mentioned institutions and from music performance experts and critics within Lagos State.
1.6 DEFINITION OF TECHNICAL TERMINOLOGIES
MUSIC PERFORMANCE ANXIETY: Music performance anxiety can be explained to mean any medical, psychological or musical conditions that can lead to a performance breakdown
SHAME: Individuals that display this tendency shy away from performing because they find it incredibly difficult to sing in front of an audience, which is an indication of chronic poor self-esteem in music.
ENOCHLOPHOBIA: This indicates that fear of crowd can lead to concern over music performance.
MUSIC PERFORMANCE: Music Performance is an art of stage singing or presentation.
MUSON: Music Society of Nigeria.
PERFORMANCE ANXIETY: This is acute anxiousness felt before, during, or after a performance or activity in front of an audience.
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PERFORMANCE: The act of staging or presenting a play, concert, or other type of entertainment is referred to as performance. It can also be described as the actor process of carrying out or completing an action or task.
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