Lesson Notes By Weeks and Term v3 - Senior Secondary 1
Repair/servicing
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Repair/servicing
Download the Lessonotes Mobile Nigeria 2025 app for faster lesson access on Android and iPhone.
Subject: Music
Class: Senior Secondary 1
Term: 2nd Term
Week: 1
Theme: Introduction To Music Technology (Africa Musical Instruments) I
This page supports the lesson note with a companion video and a short classroom-ready summary.
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Students should be able to identify some common problems as sociated with named traditional musical in struments e.g. 'Sekere ' (Rattle), 'Ekwe' (wooden slit drum), 'molo' (xylophone)
This section delves into the foundational knowledge required for understanding the repair and servicing of traditional Nigerian musical instruments, focusing on common problems encountered with the 'Sekere', 'Ekwe', and 'Molo' (xylophone). It also covers essential tools for a basic repair workshop.
A. Importance of Instrument Repair and Servicing: Preservation of Sound Quality: A damaged instrument will not produce its intended sound, affecting musical performance and cultural authenticity.
Longevity of the Instrument: Regular maintenance and timely repairs prevent minor issues from escalating into irreversible damage, extending the life of culturally significant artifacts.
Cultural Preservation: Many traditional instruments are heirlooms or integral to specific cultural practices. Their repair ensures the continuity of these traditions.
Cost-Effectiveness: Repairing an instrument is often more economical than replacing it, especially for unique or antique pieces.
B. Common Problems Associated with Traditional Musical Instruments:
1. Sekere (Rattle): Description: A percussion instrument made from a dried gourd, typically covered with a net strung with beads, cowries, or seeds.
Components: Gourd, net, beads/cowries/seeds, handle (sometimes).
Common Problems: Cracked or Damaged Gourd: The gourd, being natural and brittle, can crack or break due to impact, excessive dryness, or old age. This affects resonance and durability.
Loose or Broken Net: The net holding the beads can become loose, torn, or detached from the gourd's neck or base, causing beads to fall off and diminishing the rattling sound.
Missing or Damaged Beads/Cowries: Individual beads or cowries can fall off or break, leading to an unbalanced sound and reduced volume.
Dull Sound: Accumulation of dust or moisture inside the gourd, or weakened net tension, can lead to a less vibrant sound.
Example Scenario: A 'Sekere' used in a traditional Egungun festival starts producing a weak sound, and some beads are found on the ground after a performance. This indicates a loose or damaged net and possibly missing beads.
2. Ekwe (Wooden Slit Drum): Description: An idiophone (a percussion instrument that produces sound primarily by the vibration of the instrument itself, without the use of membranes or strings) carved from a single piece of wood, featuring one or more slits that create distinct pitches when struck.
Components: Solid wooden body, carved resonating slits, mallets (for playing).
Common Problems: Cracks or Splits in the Wood: Due to changes in humidity, extreme temperatures, direct sunlight, impact, or inherent wood imperfections, cracks can develop, particularly along the grain or near the slits. This severely alters the sound and can lead to structural failure.
Deterioration/Rotting of Wood: Exposure to moisture, termites, or other wood-boring insects can cause decay, weakening the instrument and affecting its resonance.
Damaged Resonating Slits: The edges or walls of the slits, which are critical for sound production, can become chipped, worn, or deformed from repeated striking or accidental damage.
Muffled Sound: Internal accumulation of dust or debris, or severe cracking, can dampen the instrument's natural resonance.
Example Scenario: An 'Ekwe' belonging to a village elder, traditionally played during community gatherings, develops a deep crack along its side after being left outdoors in the sun. This crack will significantly change its tone and might weaken its structure.
3. Molo (Traditional Xylophone - e.g., Balafon, Ngelenge): Description: A pitched percussion instrument consisting of wooden bars of varying lengths, often resting on a frame and sometimes amplified by calabash resonators.
Components: Wooden bars (keys), frame/support structure, ropes/strings (to suspend bars), resonators (calabashes, sometimes with mirlitons), mallets (for playing).
Common Problems: Cracked or Broken Wooden Bars: Individual wooden bars can crack or break due to forceful striking, dropping, or changes in humidity, affecting their pitch and sustain.
Loose or Broken Suspension Ropes/Strings: The ropes or strings that suspend the wooden bars on the frame can wear out, loosen, or break, causing bars to become unstable, fall off, or lose their proper resonance.
Damaged Resonators (Calabashes): Calabash resonators underneath the bars can crack, develop holes, or detach from the frame, leading to reduced volume and altered tone. * Pest Infestation: Woodworm or termites can attack the wooden bars or frame, weakening the structure and affecting to forceful striking, dropping, or changes in humidity, affecting their pitch and sustain.
Loose or Broken Suspension Ropes/Strings: The ropes or strings that suspend the wooden bars on the frame can wear out, loosen, or break, causing bars to become unstable, fall off, or lose their proper resonance.
Damaged Resonators (Calabashes): Calabash resonators underneath the bars can crack, develop holes, or detach from the frame, leading to reduced volume and altered tone.
Pest Infestation: Woodworm or termites can attack the wooden bars or frame, weakening the structure and affecting the sound.
Out of Tune Bars: Over time, or due to repairs/wear, the bars might lose their precise tuning, requiring careful re-tuning or replacement.
Example Scenario: A school 'Molo' for music lessons has several keys that sound "dead" or have a wrong pitch. Upon inspection, it is noticed that some keys are cracked, and the ropes holding another key are frayed, causing it to sag.
C. Essential Tools for a Technology Workshop (relevant to instrument repair): While a dedicated music instrument repair workshop might have specialised tools, a basic "technology workshop" for general repairs would include: Hand Tools: Hammers, screwdrivers (various types), pliers, wrenches, files, chisels, saws (hand saw, coping saw).
Measuring Tools: Rulers, tape measures, calipers, squares.
Cutting Tools: Knives (utility knife, carving knives), wire cutters, scissors.
Joining/Fastening Tools: Wood glue, clamps (C-clamps, bar clamps), awls, needles, strong threads/ropes, adhesives.
Finishing Tools: Sandpaper (various grits), wood scrapers, rags for oiling/varnishing.
Drilling Tools: Hand drill or electric drill with various drill bits.
Safety Equipment: Safety glasses, gloves. * Specialised Tools (for instruments): Mallets (for tapping/tuning), small carving tools, tuning forks (for checking pitch). This section outlines the step-by-step process for delivering the lesson, incorporating active learning strategies suitable for a Nigerian classroom.
A. Teacher Activities: Introduction (10 minutes): Teacher displays pictures or, ideally, actual examples of 'Sekere', 'Ekwe', and 'Molo' (if available). Teacher initiates a discussion on the importance of these instruments in Nigerian culture and music.
Teacher asks students: "What happens if a significant instrument like an 'Ekwe' gets damaged just before a major festival?" to elicit prior knowledge about repair needs. Teacher states the learning objectives for the lesson.
Explanation of Key Concepts (20 minutes): Teacher explains what "repair and servicing" means in the context of musical instruments. Teacher systematically explains common problems for each instrument ('Sekere', 'Ekwe', 'Molo') using the detailed explanations from Section 2B. For each instrument, the teacher provides the example scenarios (e.g., Sekere with dull sound and falling beads, cracked Ekwe, out-of-tune Molo) and asks students to identify the likely problem. Teacher explains the general types of tools found in a technology workshop that would be useful for these repairs (Section 2C), demonstrating actual tools if available or showing pictures. Guided Identification and Discussion (15 minutes): Teacher presents more visual aids (pictures of damaged instruments) or brings in simple damaged items (e.g., a cracked gourd, a frayed rope). Teacher guides students to identify specific problems in these examples and discuss potential causes. Teacher encourages students to suggest simple, hypothetical solutions based on the identified problems (e.g., "If the Ekwe is cracked, what might we need to fix it?"). Activity Wrap-up and Assignment (5 minutes): Teacher summarises the key problems identified for the instruments. Teacher assigns a short group activity or homework.
B. Student Activities: Observation and Participation (10 minutes): Students observe the displayed instruments/pictures. Students actively participate in the introductory discussion, sharing their thoughts on the role of instruments and the consequences of damage. Note-Taking and Problem Identification (20 minutes): Students take notes as the teacher explains common problems for each instrument. Students respond to the teacher's questions regarding example scenarios, practicing identification of instrument problems. Group Discussion and Solution Brainstorming (15 minutes): Students work in small groups (e.g., 3-4 students) to discuss the visual aids of damaged instruments. Each group identifies the problem(s) for a given example and brainstorms potential repair tools/methods. Groups share their findings with the class.
Questions and Clarifications (5 minutes): Students ask questions for clarification on any concept or problem discussed. Students note down assigned homework/group tasks. This section provides scaffolded questions to reinforce understanding, directly targeting the performance objectives, with detailed solutions.
Question 1: A cultural troupe is preparing for a performance, but their 'Sekere' produces a very weak and inconsistent sound. Upon closer inspection, some of the cowries are missing, and the net feels loose. a) Identify two common problems associated with this 'Sekere'. b) Suggest one immediate (though temporary) action to improve its sound for the performance, assuming no repair tools are immediately available.
Solution 1: a)
Identified Problems: Missing Cowries/Beads: This directly reduces the number of sound-producing elements, leading to a weak sound.
Loose Net: A loose net prevents the remaining cowries from rattling effectively against the gourd, contributing to the inconsistent and weak sound. b)
Immediate Action: Carefully gather the remaining cowries/beads and try to push the loose net firmly against the gourd, perhaps tying it temporarily with a piece of string or elastic band at the top or bottom to increase tension. This might partially restore some rattling sound for the performance.
Question 2: During a practical music lesson, a student accidentally drops an 'Ekwe'. A visible crack appears along one of its resonating slits. a) What is the primary problem caused by this incident? b) How would this damage likely affect the 'Ekwe's sound?
Solution 2: a)
Primary Problem: The primary problem is a crack/split in the wooden body, specifically affecting a resonating slit. b)
Effect on Sound: This damage would likely cause the 'Ekwe' to produce a dull, muffled, or distorted sound. The crack interferes with the natural vibration of the wood, preventing proper resonance and altering the intended pitch and timbre. It might even produce a buzzing noise.
Question 3: A 'Molo' (xylophone) used in a local church choir has several of its wooden bars that no longer produce a clear, sustained tone. Some bars also seem to wobble when struck. a) Enumerate two possible problems contributing to the 'Molo's poor sound and wobbling bars. b) Which specific components of the 'Molo' are likely affected for the wobbling bars?
Solution 3: a)
Possible Problems: Cracked or Broken Wooden Bars: This would directly affect the clarity and sustain of the tone, making it sound "dead" or off-pitch.
Loose or Broken Suspension Ropes/Strings: This would cause the bars to wobble, preventing them from vibrating freely and thus affecting their sound quality. (Optional additional problem for comprehensive answer)
Damaged Resonators (Calabashes): If the resonators underneath are cracked, they wouldn't amplify the sound effectively, leading to a weaker tone. b)
Affected Components for Wobbling Bars: The suspension ropes or strings that hold the wooden bars in place on the frame are likely loose, frayed, or broken. The frame/support structure might also be loose, contributing to the instability.
Cultural Preservation and Community Engagement: Understanding instrument repair empowers individuals to contribute to the preservation of Nigeria's diverse musical heritage. Students can become informal caretakers of instruments in their local churches, mosques, cultural centres, or family compounds. This knowledge directly supports the continued use of traditional instruments in ceremonies, festivals, and storytelling, strengthening community bonds and cultural identity.
Vocational Skills and Entrepreneurship: The ability to identify and address instrument problems is a valuable vocational skill. In Nigeria, there's a demand for skilled artisans who can repair traditional instruments, as specialists are rare. Students who develop this skill can potentially offer repair services to local musicians, schools, or cultural institutions, creating a small business opportunity and contributing to the local economy. For instance, a student could learn to mend nets for 'Sekere' or patch minor cracks in 'Ekwe' for a fee.
Sustainable Music Practices: By extending the life of existing instruments through repair and maintenance, the need for new instrument production (which often involves consuming natural resources like wood and gourds) is reduced. This promotes a more sustainable approach to music-making and resource management, aligning with environmental awareness and responsible consumption practices within the Nigerian context.