ABSTRACT

This article argues that coloniality is an ongoing feature of university music education in Nigeria. It uses a multiple colonialisms framework in exploring Nigerian higher music education systems as historical and contemporary sites of colonialism within which Nigerian universities engage in music knowledge generation to reach this conclusion. It relies on information gleaned from scholarly sources. It shows that the dominance of Euro-American classical musical practice in bicultural university music education in Nigeria since 1961 has received little questioning. It identifies decolonisation as indigenisation, Africanisation, Islamisation, Nigerianisation and globalisation of university music education discourses as competing with this dominant paradigm. From the anti-colonial perspective, it argues that these six Nigerian music knowledge systems should not be simply celebrated, valorised and utilised. They should be critically engaged, interrogated, transformed, altered if necessary, and studied relationally, contextually and comparatively. Decolonising university music education in any society, it posits, involves centring music knowledge creation, understanding and sharing on multiplicity and entanglements.

摘要

本文认为，殖民主义是尼日利亚大学音乐教育的一个持续特征。它使用多重殖民主义框架探索尼日利亚高等教育系统作为殖民主义的历史和当代遗址，尼日利亚大学在其中进行音乐知识的产生以得出这一结论。它依赖于从学术来源收集的信息。这表明，自 1961 年以来，欧美古典音乐实践在尼日利亚双文化大学音乐教育中的主导地位几乎没有受到质疑。它将非殖民化视为与这种主导范式竞争的大学音乐教育话语的本土化、非洲化、伊斯兰化、尼日利亚化和全球化。从反殖民的角度来看，它认为不应简单地庆祝、评价和利用这六种尼日利亚音乐知识体系。他们应该批判性地参与、审问、转变、必要时改变，并在关系、背景和比较方面进行研究。它认为，任何社会的非殖民化大学音乐教育都涉及将音乐知识的创造、理解和分享集中在多样性和纠缠上。