#9 Towards a Strategic Policy Formulation for Enhanced Music Directing and Ensemble Management in Nigeria
UDC: 005.5:785.6(669.1)
COBISS.SR-ID 139161097 CIP - 8
Received: Sept 18, 2023
Reviewed: Nov 03, 2023
Accepted: Nov 15, 2023
#9 Towards a Strategic Policy Formulation for Enhanced Music Directing and Ensemble Management in Nigeria
Citation: Igbi, Oghenemudiakevwe and Ezinne Igbi. 2024. "Towards a Strategic Policy Formulation for Enhanced Music Directing and Ensemble Management in Nigeria." Accelerando: Belgrade Journal of Music and Dance 9:9
Abstract
Policies in music are results of systematic procedures that culminate in blueprints that aid the smooth running of ensembles, for immediate or long-term impacts. The solidity of an enterprise is not solely dependent on financial strength, staffing and facilities, but also on policies that serve as checkmate. In most Nigerian music ensembles, policies are nearly nonexistent, and even when there are, they are not scripted. The paper is a response to this lapse, that is, drawing the attention of ensemble administrators to formulate ideal policies that can be domesticated for use. The paper elicits data from interviews and observation of randomly selected ensemble leaders. Findings from the study reveal that policies are essential to ensembles in maximizing potentials and creating more positive images for the music group. It is recommended that ensemble leaders in both sacred and secular domains should strive to formulate and implement such policies.
music directing, ensemble management, policy, music conducting, nigerian music
Introduction
In Nigeria, music conducting and directing has often been viewed by many practitioners as a mere hobby or past-time. The authors have also observed that most music directors engage in the art for sheer extra-musical reasons. Conductors are even unaware of the need for policies that will guide the activities of their choirs towards improved music ensemble management. This has led to some misguided beliefs, attitudes and etiquette as it pertains to the functionality of a music group. Even in situations where policies exist, they are either unattainable or difficult to implement, probably because of the lack of formal music education among most ensemble leaders. Since art and popular music thrive on laid down rules and principles right from the stage of melodic, harmonic and rhythmic crafting, it is only factual that the delivery of the finished product and in fact the entire process of administration and delivery should be guided by a laid down procedure, herein referred to as policy. It therefore becomes imperative for music directors to come up with a model of policy formulation that will serve as a guide to budding ensemble leaders. The paper is a response to this dire need especially in the face of the proliferation of music ensembles across Nigeria. This will lead to improved service delivery and help members of ensembles to be more focused in their quest to attain professional and technical excellence.
In the field of ensemble musical practice, policies exist that pertain to general ensemble management and others are more specific, geared towards solving specific ensemble needs in both technical and administrative terms. For whatever reason policies are formed, they are aimed at enacting a formidable team of performers that will lead to high aesthetic musical delight during performances. This will help build a strong link between the ensemble leaders and the led. It has been observed by the author that ensemble managers mostly adopt already existing polices, including the rules and regulations that guide other ensembles, without bothering to wonder if those will be relevant to their ensembles. However, since every ensemble is unique in terms of goals, ensemble leaders who are stakeholders in policy development are supposed to carefully draw up workable policies that are relevant to their content, repertoire, aims, programme and professional practice. This will be achievable if the policymakers engage in worthwhile deliberations and ensure that such are well implemented.
Meaning, Cycle and Types of Policies
A ‘policy’ can be defined as an adopted principle or a set of rules that serve as a guide in achieving the set aims and objectives of government, organization or individuals. Schneider & Ingram (1997, 2) define policy ‘mechanisms through which values are authoritatively allocated for society. Policies are revealed through texts, practices, symbols and discourses that define and deliver values including goods and services, regulation, income and status’. A policy is quite different from a law since they do not constrain or forbid one from taking an action. Rather, polices are meant to guide and maintain focus towards the attainment of a goal. Policies therefore, may be formulated in respect to the finances of an organization, property management, administration, members’ conduct, and technical issues, where applicable. Policy is a term also used by insurance managers and brokers.
Cycle
In designing a policy that will effectively drive the aims and objectives of an ensemble, it is imperative to follow a prescribed pattern. Aside that it is important for an ensemble to have a statement of intent, that is, why it is expedient to issue a policy and the proposed outcome. There must also be clear definitions of musical terms and concepts that may sound ambiguous to budding ensemble members or amateurs who may pick the document to peruse. Other areas to be captured in a comprehensive policy should be the target and those that the policy is expected to be binding on. This is important so as not to risk extending the policy to include chance persons that were not part of the original intention or plan. The under listed is a four-step policy formulation guide that music ensembles can adopt:
- Identification of Need/Consultation
- Preparation/Development
- Implementation
- Appraisal
Types of Policies
Policies are of different types and meant to serve different purposes. Theodore Lowi (1972) identified four types of policy. They are distributive, redistributive, constituent and regulatory policies. Each of these policy types is not static. They are dynamic and can be modified from time to time. This is because the expected outcome may not always come to fruition due to many reasons that may be natural or man-made. In such cases, the policies can be revisited or adjusted to readdress the areas where they may have failed. The failure of policies may also be as a result of change in aims and objectives or the philosophies guiding such an ensemble.
Music Conducting/Ensemble Management in Nigeria and the Dearth of Policies
Even though conducting and ensemble management precedes the advent of art music in Nigeria with the invasion of the Christian missionaries on Nigerian soil in the mid nineteenth century, the present study and use of the term is limited to conducting and managing ensembles that are offshoots of the Western art or popular music tradition. The cream of art music practitioners including conductors, composers and other sorts of performers that have emerged from Nigeria since the launch of art music has received some attention in literature (Omojola 1995; Idolor 2001; Ogisi 2008). Notable names in this regard include Thomas Ekundayo Philips, Fela Sowande, Lazarus Ekwueme, Dan Agu, Bode Omojola, Achinuvu K. Achinuvu, Timothy Eru, Emurobome Idolor, Onyee Nwankpa, and others. These learned music practitioners achieved significant success in practicing their art with many successful stage performances in both sacred and secular domains within and outside Nigeria. But an aspect that was visibly lacking in all their commendable contributions to the field of music through their active years in service is their inability to develop policies that border on salient issues in the profession of music performance, with specific reference to conducing and ensemble management. Although policies exist in other areas of music, like music education, as rightly noted by Jones (2009) and Diaz & Maurer (2017), music performance as an area lacks properly documented policies that should serve as a guide to the practice of the art. Even in the event that there were policies at the time, such were not documented for posterity and the benefit of their students and other budding conductors. After the first generation of Nigerian art musicians who received formal training, it is still surprising that other generations maintained the status quo and continued in the footsteps of their predecessors. This lapse has led to technical and administrative drawbacks in choirs and orchestras.
Many conductors and ensemble leaders are even unaware of the need to develop policies that will enhance their productions and facilitate the attainment of set goals and objectives. This is partly because most ensemble leaders seem not to care about undertaking such projects, since the major aim is to sing well at the end of the day, without caring much on how such successes came about. During the course of garnering data for the study, the author interviewed some ensemble leaders in Warri metropolis and a few others that were randomly selected from other parts of the country. They were asked if the ensembles they directed had policies in place, and if there were any, if such were documented. Unsurprisingly, almost all of them did not even understand what a policy for an ensemble means. The respondents mistook it for some laid down laws governing the running of the ensemble. The very few who had supplementary policies regarding different aspects of ensemble management did not have them well spelt out and documented. Whereas, for a document to qualify as a policy guiding the existence of an ensemble or profession, the content of such must be properly documented in order for it to be well propagated and circulated to all who may benefit from them. Policies are essential to every organized music ensemble. The lingering dearth of policy formulation for music ensemble management in Nigeria has had some negative impacts on conducting as an area over the years. Policies are essential to the smooth running of music ensembles, especially in the practice of musical styles that are considered elitist by some individuals.
Some Policies that can Impact Positively on Ensemble Management in Nigeria
The crux of the paper is to understand the need for and develop policies that will guide the smooth running of ensembles in Nigeria. It is a fact that aside from the technical aspect of music, the success of any musical performance also depends on the contributions of other stakeholders who perform functions that may or may not be entirely musical. In this vein, Kartomy (2014, 190) notes that ‘a performance’s success or failure depends, then, on the contributions of many stakeholders, including (where relevant) sound and lighting technicians, costume and make-up artists, backup artists, event organizers, entrepreneurs, patrons, musicological programme writers, pre-concert lecturers, critics, and the media’. But it should be noted that since change is the only constant phenomenon, it is normal that policies can be modified at different times to suit contemporary developments. This view as to the dynamics of policies was also shared by Vargas-Hernandez, Emba and Irani (2011). This section outlines and discusses ten areas that are germane to the efficient administration of a music ensemble in Nigeria. Policy on Recruitment and Membership into Ensembles
Usually, recruitment and membership of any given ensemble should be properly defined. There should be characteristics and requirements of what qualifies an individual to be recruited as member into an ensemble. Areas of need must be identified, and a policy that determines whether to recruit expert entrants or amateur ones that can be groomed within a period of time must be in place. For example, an ensemble must determine whether to employ an accomplished or virtuoso singer to strengthen the ensemble, or if members are to be recruited through advertisements for membership and based on non-stipendiary arrangements. Membership to be recruited into any music ensemble in Nigeria must be auditioned before they are admitted. A committee of experienced members of the ensemble with a high technical proficiency level should be put in place to handle the audition. This is necessary, so as to ensure transparency in the proces,s thereby curbing any risk of bias. There should also be a minimum or maximum number of members at any given time. This is because vacancies are bound to exist for reasons beyond the control of the ensemble manager. Migration occasioned by the quest for greener pastures, marriage, death, health issues, etc., are issues that occur from time to time. The ensemble could even be required to seek more personnel for technical reasons like number. For example, a chamber ensemble that is required to perform in an event hosted in a one thousand capacity hall will require reinforcement in the number of singers whose voices will be able to match the acoustics of such hall. It is therefore imperative to have a policy on how such unavoidable vacuums can be filled, so as not to stand the risk of relying solely on artificial sound reinforcements or voice cracks caused by shouting in other to be heard. A policy for stand-by members will therefore be necessary during such emergencies. Members who are recruited for such purpose must be made to attend at least fifty percent (50%) of rehearsals so that they will be able to cope in filling up the void or in teaming up with their colleagues to deliver what is expected. Policy on Members’ Grooming, Exposure and Ensemble Rehearsals
An accomplished ensemble in Nigeria should have a policy that has a direct impact on the members. How members who have been recruited are/will be trained to fit into the new system, the manner of musical or extra-musical exposure they will get that will influence them positively, and the style to be adopted for rehearsals. Members’ unique talents and areas of strength must be identified and harnessed so as to add more value to the ensemble. In other words, a member who is a versatile and experienced virtuosic singer with an unusual tessitura for example must be taken advantage of and given challenging solo works that will bring out the best out of him/her. Same should be for one that has obvious challenges in pitch, tone quality, breath control or harmonic independence. Appropriate diagnosis of the challenge should be made, a suitable programme that will facilitate addressing such should be designed, and the right exposure to pieces should be given.
The general rehearsal schedule for an ensemble must be clearly defined and made known to members. The day(s), time and venue must be convenient for the majority, or all members. The frequency of rehearsals must be determined by the events ahead, choice/technical difficulty of songs chosen, technical ability of the choir and the convenience of the time to members. The rehearsal itself should have a pattern; that is, the agenda and targets set should be clear. For example, a rehearsal can begin with a short prayer (five minutes maximum), vocal warm-ups (ten minutes maximum), rehearsal of pieces set aside for the day, announcements, closing prayer and dismissal. ‘A rehearsal that does to have objectives does not climax. Therefore, for a rehearsal to be meaningful and productive, it has to have a purpose, a target or an ambition’ (Nwankpa 2013, 180). This is to say that the ensemble leader must have carefully selected the song(s) to be learnt and also fathomed out the approach that he/she thinks will be quicker to achieve results. Some choir directors, for example, may decide to learn from the complex areas, others may prefer the easier and most fascinating sections of the work in terms of melody, harmony or rhythm, so as to make them more enthusiastic about learning the work. The ensemble director should ensure that he/she sticks to the time for resumption and closure of rehearsals. This will help instill seriousness and ensure better productivity. Depending on the availability of funds, it may not be out of place to give refreshment to members after a hectic rehearsal session. A committee responsible for welfare/visitation must also endeavor to check on members who are absent from rehearsals without seeking due permission from the appropriate authority.
Policy on Annual Performance Calendar and Events
An ensemble should have a programme of activities and events clearly mapped out and made known to members at the start of a year. Dates for concerts and invitations already received for performances should be publicized to members early enough. There should be a policy for accepting invitations to perform in terms of the time needed for such notice. Those who wish to patronize the ensemble should be informed of the minimum notice they can be given prior to a performance. The maximum number of invitations at a time that the choir can attend should be documented, or a policy that will help in making choices and determining what event to attend in the case of clashes. The performance calendar of other ensembles, especially those that are resident in the same vicinity, should also be considered, so as to avoid clashes in dates of concerts and other events. Choirs can decide to have specific seasons, months or weeks for their programmes. For example, an ensemble could decide to hold concerts every Easter, Christmas, Independence, New Year, etc. This is highly recommended, because it affords the audience the opportunity of having their minds prepared and assured of the time for the next concert. This also gives room for adequate planning for both the ensemble and choristers. A calendar of concerts and choice of songs can be prepared like five years ahead. Aside from the ensemble, it helps guest artistes and instrumentalists rehearse adequately and master their lines well ahead of time. Alternative dates can also be chosen in the case of unforeseen eventualities that may arise. ‘While increased rehearsals are suggested in this circumstance, it is by no means, an effective initiative to schedule rapid and hasty rehearsals at the nick of performance dates.
Such rehearsals, most times, have proved unfruitful, as they are organized in atmospheres of fear of failure’ (Idolor 2001). Yet, in the case where such is unavoidable, the conductor must be smart in choosing a piece of moderate technical difficulty to perform. Lamb's (2010, 292) advice is that ‘this would probably require a short performance, one or two pieces of music probably not under preparation. If a piece currently being rehearsed by the choir is appropriate, it is easier to meet the need. Otherwise, a piece well within the choir’s quick learning capabilities must be chosen. Each of these opportunities is different. In each case, the conductor must assess the choir’s ability to respond at a performance level.’ In all these, the policies must be documented for easy reference. Special invitees and other stakeholders should be notified of such dates on time.
Policy on Repertory and Performance Philosophy
A policy on repertory and philosophy are sacrosanct to efficient ensemble management in Nigeria. Many ensembles do not have focus as regards the style of songs that should make up their repertory, or a philosophy that should guide their focus and objectives. Anything short of this is likely to lead to a situation where ensembles perform works randomly. Some choirs for example are known to be best at the performance of certain styles of music. For example, the Warri Choral Society is renowned for its strict performance of Western art music, with a strong bias for George Frederick Handel’s compositions. Lagos City Chorale is famous for her performances of majorly African art music and some mix of Western art music. The Ibadan Philharmonic Choir is also well-known for its performances of large Western works including operas. The bias for certain styles of music coupled with the philosophies of the aforementioned choirs have paid off in diverse ways. Warri Choral Society has a philosophy of ‘using [only] classical music to civilize the Nigerian society’; they lay claim to using their unique style of performing only Western art music to attract members from the dominant ethnic groups in Warri, which according to the founder, Joe Ayonmike, played an important role in the resolution of the Warri ethnic crises. Sir Emeka Nwokedi on the other hand, took advantage of his formal music training at the University of Nigeria, Nsukka, to incorporate a significant percentage of African art works into his repertory. His philosophy has reaped many dividends, especially in terms of international recognition. They have won several international competitions in Europe through the performance of mainly African art works. Having a philosophy therefore, guides the ensemble and makes them become a master of a certain style. The Glorious Fountain Choir in Warri has a philosophy of using gospel music to minister to the souls of men. This has led to unprecedented patronage with several concerts in Warri and some parts of Europe.
Policy on Advertisement, Marketing and Use of Social Media
An area where many ensembles take for granted is advertisements and marketing. Music is not only an artistic endeavor; it is a product that can be marketed and even sold as a commodity. There should be a policy put in place that will address how ensembles’ music events and programmes can be advertised and marketed to consumers. The negative attitude of ensemble leaders to advertisement may have been partly responsible for the abysmal turn out of audiences at majority of art music concerts across Nigeria. The relevant print and electronic media to be utilized and the necessary budget for that purpose should be properly documented. How early advertisements should begin prior to an event must be contained in the policy. There are other strategies that could be adopted by choirs. Collaborations with other ensembles can be helpful in this regard. In order to achieve success, the expected audience must be targeted during the advertisement. Recordings of past concerts can be marketed to the public, in order to create more awareness, and improve the societal image of the choir.
For over a decade now, the social media has been a potent means of advertising products in Nigeria. The gains that technology has offered in making the world a global village must be explored by ensembles. Therefore, a policy on the use of social media for different purposes, including advertising and marketing, is important. Facebook pages, Whatsapp groups, Youtube channels, and blogs can be created to facilitate the dissemination of information to the public regarding the choir. Members must be encouraged to further the social media crusade by also using their personal social media accounts to share information. However, the content and quality of all information must be thoroughly screened by designated ensemble members in charge of information and communication technology (ICT) before they are uploaded online.
Policy on Criticism and Feedback
It is expedient for ensemble managers to put a mechanism through which the activities, management and performances of the ensemble are critiqued. Constructive criticisms must be welcomed and appraised for enhanced future productivity. This can be open to members, sister ensembles, and even the general public, who patronize the ensemble in diverse ways. Suggestion boxes can be placed at the entrance of rehearsal/concert venues for attendees to drop comments. Such comments can be deliberated during annual general meetings or at the executive level. However, if such comments are directed at individuals, they (the individuals) should be informed about such observations.
Furthermore, the policy must also capture how such reactions will be sieved and only the constructive criticisms corrected. It should also be made clear that such observations should be treated professionally and feedback taken seriously, since the ensemble is out to satisfy those who consume their finished product – the audience. Where the ensemble cannot immediately implement some of the suggestions or address the criticisms being made, there should be a means of letting the critics know that their observations were noted.
Policy on Instrumental Accompaniment and Instrumentalists
Accompanists are very vital to the success of any musical performance endeavor, save for a cappella renditions. Firstly, there has to be a policy on the style of instrumentation, kind of instrumentation, the number and composition of the instruments. For example, the policy should state if it is African orchestra instruments, Western orchestra instruments, Western pop band instruments like saxophones, drum sets, and others, or a combination of these. The roles of instrumentalists must also be clearly defined. This author’s experience over the years as an organist and choir director has shown that most ensembles have always grappled with the challenge of having unstable instrumentalists. Poor welfare packages and inadequate remuneration is partly responsible for this trend. The ensemble must therefore decide on having a handsome compensation for all instrumentalists. This will ensure continuity and guarantee loyalty to the group. The policy must frown at regular changes of instrumentalists, as this may lead to an inability to replace some of the virtuosos that may have left.
Also, training programmes that will improve the instrumentalists should be encouraged. Organists, for example, can be sent to acquire more practical knowledge from accredited and internationally recognized bodies like the Associated Board of the Royal Schools of Music (ABRSM), London, the Trinity College of Music, London, and the Musical Society of Nigeria (MUSON), Lagos. Experts may also be invited from time to time to give workshops and demonstrate new playing techniques to the instrumentalists.
Policy on Leadership Structure and Gender Composition of Leaders/Members
Leadership tussle in organized sectors is not a new phenomenon. Man is naturally disposed to relish holding positions of authority. But while there are positions that majority of persons can function in, others are for the technically efficient, sound and administratively capable individuals. Leadership or management of any ensemble is hinged on administrative and technical abilities. Therefore, a policy for ensembles in Nigeria should be that which emphasizes the importance of possessing technical abilities as well as administrative capabilities. A plan of succession, either by appointment or election must be ensured or documented. The appropriate designation for each office must be carefully decided. The responsibilities of each personnel should be properly spelt out and holders of such offices could be held responsible for poor service delivery.
The gender composition of ensemble members and their leaders should also be documented in the policy. The ensemble leader should be technically sound to determine the number and sex composition of members that will guarantee acoustic and sonic balance.
Recommendations for Enhanced Ensemble Management in Nigeria
Restructure Music Education in Nigeria
Music education programmes at all levels of education in Nigeria need urgent restructuring in order to place it on the world map. This should be done through the provision of sufficient funds for student choral and instrumental ensembles to enable them to organize concerts, employ competently trained teachers, set up well-equipped music libraries, organize in-service trainings, buy appropriate teaching aids, and facilitate the introduction of industrial training programmes under skilled conductors. Emphasis should also be placed on aural training, and introduction of more conducting courses to foster the emergence of more conductors.
Provide Grants and Scholarships
The government can introduce or establish a scholarship board that provides grants to support ambitious music directors who wish to pursue formal education in music directing and conducting. Such grants and scholarships may be awarded only to deserving individuals who must have excelled after conducting relevant tests.
Infrastructural Development
Government at all levels should allot annual funding for building concert halls, rehearsal rooms, and standard music institutions. Such funding should also cater for the procurement and maintenance of different Western and African musical instruments. Conducting batons, metronomes, podiums, home theatres, conducting books and other necessary equipment should be purchased.
Introduction of Symposia, Workshops and Mentorship programmes
Councils for Arts and Culture, Churches and Choral Music Groups should periodically organize symposia, workshops, and mentorship programmes. During such symposia, veteran choir directors can guide and mentor budding choir directors. Such trainings would encourage interaction among colleagues; pave the way for transfer of knowledge, experience, and practical skills from reputable professionals.
Increased Performance Prospects
Departments of Music, Churches and music patrons should create more opportunities for Nigerian trained choir directors and conductors to showcase their musical abilities through regular concerts and competitions. This will also help promote the addition of Nigerian composers' art music works as part of the repertoire for such concert programmes, thereby, further popularizing the rich cultural heritage of the country through music.
Public Awareness on the Art of Music Directing and Conducting
Music directors and conductors should launch public awareness crusades to promote the significance of music conducting and its role in cultural development. This could be done through art music concerts and tours that will promote the art. The achievements of famous Nigerian music directors and conductors such as Dan Agu, Laz Ekwueme, Emeka Nwokedi, Onyee Nwankpa, Achinuvu Kanu Achinuvu, etc., and their sterling contributions to the global music scene should be brought to the fore. This will help arouse the interest of wannabe music directors.
Conclusion
The paper noted that there is an obvious dearth in the availability of policies that are duly documented for the advancement of music ensembles in Nigeria. Music directors are also unaware of the gains that derive from formulating and implementing policies that will enhance the overall technical output and administrative functionality of their ensembles. The paper, being a response to this oversight, made an effort to highlight and discuss eight crucial areas that require policies. Aside from that, crucial recommendations were made that if implemented, will boost and further popularize the art of music directing in Nigeria. Through this research effort, choir leaders and other ensemble managers will find it easy to develop policies for their ensembles. It should be noted that not all areas that require policies were discussed in the paper. It is a springboard for further research and a call to the lapse that has lingered for so long. Conductors, music directors/choirmasters and other stakeholders in the management of ensembles are challenged to formulate policies that will further boost musical productivity. Policies that are formulated and not implemented are wasted efforts. All stakeholders must therefore ensure that any policy made is adopted, passed and implemented. Through this, the philosophy and objectives of the ensemble will be actualized.
References
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