added 2 research items
African musical instruments pedagogy in tertiary institutions: A case of the Department of Music Nnamdi Azikiwe University Awka
It should be counted or considered a privilege to have the opportunity of writing on a rare personality such as Prof Dan C.C. Agu. Gone are the days when people are only celebrated and immortalized at death. Celebrating Agu at 70 has not only provided a reflective moment of his grandiose achievements but a challenging ground for all in this academic race. The focus of this paper is not to attempt a biographical account of this erudite scholar, but among other things to bring to lime light the multidimensional packages of an icon who means so many things to so many people at different points of encounter with him, and to say the least, to paint an image which should probably be liken to the tale of an elephant described by six blind men where different images were painted of the same animal. The content of this work is borne out of personal encounter and experiences with him spanning through the writer's postgraduate periods up to the present time as a lecturer, still under his tutelage and mentorship. This reflective cum expository essay deliberated on the man Dan Agu, as a mentor, a teacher, a disciplinarian, an administrator, a composer and above all a professor par excellence and so on. After going through the above qualities encapsulated in one man, it became so obvious and apparently reasonable to give honour to whom honour is due.
The nature, quality and structure of African Music are such that create, propagate and define elaborate potentials which reflect cultural experiences in the day to day activities of man. Obviously, the philosophy of African Music can neither be fully explicated nor better conceived or appreciated outside its functional and utilitarian point of view. The primary issue therefore, centres on the effective implementation, utilization and or application of virtues that give African Musical arts its desired concept and cultural meaning. In essence, the purpose of this paper is to critically examine African Music as Oral Literature and to discus those aspects of literature that the music propagates which validate as well as give credence to both cultural and conceptual relevance and applicability that engender its philosophical import.