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Music a Scientific Art: A call for review of the department of music university of
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 DEPARTMENT OF MUSIC

FACULTY OF ARTS

UNIVERSITY OF NIGERIA, NSUKKA

4th Biennial National Conference of Music and the Performing Arts (NACOMPA)

29th -31st May, 2017

Topic

Music a Scientific Art: A Review of Department of Music, University of Nigeria Nsukka’s

Curriculum and Course Outline.

Sub Theme: Interdisciplinary relation between music and the sciences in Nigeria

By

Stephen G. Onwubiko
Department of Music.
University of Nigeria, Nsukka.
stephen.onwubiko@gmail.com

Tricianne B. Neilsen, Ph.D.

Department of Physics and Astronomy.
Brigham Young University, Provo, UT USA.
tbn@byu.edu
Music a scientific art: A review of the Department of Music, University of Nigeria,
Nsukka’s curriculum and course outline.

Stephen G. Onwubiko
Department of Music.
University of Nigeria, Nsukka.
stephen.onwubiko@gmail.com
+234-7066022908

Tricianne B. Neilsen, Ph.D.

Department of Physics and Astronomy.
Brigham Young University, Provo, UT USA.
tbn@byu.edu

Abstract
Every academic discipline ranging from the Social Sciences, Engineering, Physical Sciences,
Arts and Humanities is typically categorized as either a Science or Arts discipline. While Music
is artistic and creative, there is harm in designating Music as solely an Arts discipline. It is
literally true that music is art, yet the viral damage of categorizing music as solely an Art
discipline cannot be overemphasized. Just like a “wolf in sheep skin,” music is science dressed
up like art. Music is an offspring of pure science (physics) expressed as art. Music is made up
sound, frequency, pitch, resonance, vibration, echo, Doppler effect; these topics are pure science
with mathematical derived formulas and not just art. For example, the action of a typical upright
piano obeys Newton’s third law. This paper condemns the outright definition and categorization
of music as strictly an art and recommends the re-evaluation of music education at the university.
The music curriculum should be rejuvenated and embedded with elective courses from the
department of Physics and Astronomy to enable scholars know more about the science of their
instruments, while acquiring the mastery of the art of music.

Keywords: Music Curriculum, Science of Music, Musical Instruments, Physics.

I. INTRODUCTION

Historically, Music has been almost universally defined as an Arts Discipline whose main

purpose is entertainment. This approach limits the exposure of musicians to the scientific aspects

of music and deprives them of a deeper understanding of the interdisciplinary relationship

between music and science. In arguing that all knowledge can be neither rooted in universalistic

and trans-social categories nor particular interests, Moore and Young (2001:448) maintain that

“knowledge is constructed by historical agents, operating within a determinate historical period,

and therefore any current version of knowledge has evolved from the effort of many human

agents.” The recommendation is made that historically based restrictions be discarded in favour

of an interdisciplinary approach that integrates science into a music student’s education.

Music is a powerful creative experience. A musician transforms the raw materials of

music—the instruments, rhythm and tone—to provide a pleasant experience with the potential to

awaken a sense of political awareness or religious and socio-cultural feelings. Music has always

been the art form of technology born of the primal need for self-expression; music consistently

draws on the prevailing resources to give flight to thought and feelings. (Paynter, 1995).

Yet the greatest influence on music, since inception till date, has come through science

(in particular physics). The linear exchange among science and music influences the

instrumental, cultural, and interdisciplinary history of music. Concrete examples of such

exchanges include the relationship between musical automata and virtuosi, the reed pipe as an

object of music and scientific measurement, the history of standardizing performance pitch, and

the attempts to measure musical virtuosity (Berichte, 2008). Science has facilitated fantastic
advancements in the creation of musical instruments and the generation and transmission of

music. These examples suggest ways in which an interdisciplinary approach that takes the

scientific content seriously can improve upon a single disciplinary approach. Introducing

scholars (in all subject areas and with any level of musical, scientific or mathematical expertise)

to the natural interdisciplinary relationship between music and science enriches their musical

experience and deepens their understanding. As yet, Music is ascribed, define and talked about

as solely an Arts Discipline at the University of Nigeria, Nsukka.

We propose that music should be considered a scientific art. Science is the bedrock of

music, and music is an applied science. This interdisciplinary approach can foster an

appreciation and understanding of the complex interplay of music and physics with

technological, cultural and historical factors inherent in the making and appreciation of music.

This paper provides background on interdisciplinary approaches, discusses the current music

curriculum and makes the case for an interdisciplinary approach. Specific examples of how

scientific understanding can improve a musician’s experiences are given followed by

recommendations for changing to an interdisciplinary approach.

II. BACKGROUND

‘Discipline’ is the name given to a field of research with an educational infrastructure,

methodology and content of its own, which has proved that it can produce new and further

knowledge within its boundaries (Berger, 1970). Put another way, a discipline contains

specialized knowledge with its own educational background, methodology, and content (Piaget,

1972). Each discipline has its own teaching, professional jargon, terminology, forerunners, and
followers (Becher, 1989; Parker, 2002). Discipline comes in different approaches including

interdisciplinary, multidisciplinary, cross-disciplinary and transdisciplinary.

An interdisciplinary approach, according to Jacobs (1989), is a programming mentality

that uses the methodology and knowledge of more than one discipline in order to study a

particular theme, concept, or problem. The interdisciplinary approach is a conceptual integration

of the concepts in different disciplines, according to Erickson (1995), and a series of

undertakings requiring more or less integration of disciplines, according to Stember (1998). In all

definitions for the interdisciplinary approach which have been given so far, Lake (1994) observes

the following features, a combination of subjects, importance attached to lessons plans for the

course, use of materials in addition to course books, relationships among concepts of

interdisciplinary fields, use of relevant units, and flexibility in curriculums.

An interdisciplinary approach is the process used when a very large or complex issue

cannot be explained through a single discipline.Music is the perfect candidate for an

interdisciplinary approach because music is a complex discipline that cannot exist on its own

without underlying science. The interdisciplinary approach is a holistic methodology containing

a wider perspective than the disciplinary approach (Newell, 1998).

As people have instigated interdisciplinary approaches, several varieties have evolved:

‘multidisciplinary’, ‘cross-disciplinary’ and ‘transdisciplinary’ approaches. A multidisciplinary

approach involves taking properly from multiple academic disciplines to redefine

challenges/problems outside the normal boundaries and reach a solution based on new

understanding of complexity in the discipline. Piaget (1972) and Meeth (1978) define the

multidisciplinary approach as more than one discipline focusing on a subject without integrating.
For example when teachers fuse skills, knowledge, or even attitudes from a different discipline

into a different discipline.

A cross-disciplinary approach involves looking at a discipline from the viewpoint of

another discipline (Meeth, 1978). Put in another way, a cross-disciplinary approach occurs when

the knowledge in one discipline is explained in terms of another. Common examples of cross-

disciplinary approaches are studies of the physics of music or the politics of literature.

In a transdisciplinary approach, the word ‘trans’ suggests removing all boundaries

between fields and going beyond those fields. The aim of trans-disciplinary is to acquire the

necessary knowledge and reach a common perspective in order to understand the future world

(Nicolescu, 2000).

Music education should be treated with an interdisciplinary approach. In this case, the

existing various concepts, theories and methods of more than one discipline should be merged to

form something new. Different disciplines intermingle and mutual enrichment results. An

interdisciplinary approach, where boundaries between fields are opened up and expanded, should

be applied to the music curriculum since music and consequently, its basic building blocks—

vibration and sound—are related to many disciplines.

III. CURRENT CURRICULUM

The National Universities Commissions, Curriculum developers/implementers and National

Standard of Arts Education should encourage educators/teachers help student make connections

between music and other discipline beginning with Physics and Astronomy. The review of the

department of Music, University of Nigeria, Nsukka’s curriculum and course outline are
presented here to encourage educators to integrate curricula and find common grounds between

the sciences.

The course outline of the Department of Music, University of Nigeria, Nsukka talks

about music technology at 300 and 400 level in second semesters, a 2 unit course respectively,

which much attention should be given. The design of active learning with elective course from

the sciences (Physics and Astronomy) should also be included. This elective course could focus

on the close relationship between basic fundamental of music, such as sound waves, frequency,

pitch, resonance, vibrations, echoes, and the Doppler effect. This active learning environment

with elective courses will help confront the student’s prior knowledge. According to Ambrose et

al. (2010), in an active learning environment, students’ prior knowledge can help or hinder

learning. The importance of addressing students’ prior misconception through elective course

will help them learn new material and infuse them into their discipline through interdisciplinary

relations.

The Department of Music curriculum and courses are still taught with an intra-

disciplinary focus without the sciences; this is a traditional form of education dating back to at

least the departments’ inception. Music, which requires interactive engagement, should be re-

enforced with the underlying science. Interactive engagement (IE) promotes conceptual

understanding, which yields immediate feedback through discussion with peers and/or

instructors (Hake 1998, p65). Therefore, with IE from elective courses, student will have heads-

on (always) and hands-on (usually) experiences that will provide a foundation about how every

musical instrument works scientifically.

IV. INTERDISCIPLINARY APPROACH

 According to Rogers (2004), music is a perfect interdisciplinary subject due to its natural

intersection between science and mathematics. Designing interdisciplinary courses could

enhance the perspectives of music teachers who think their subject is special and different from

other disciplines. Music is indeed a special subject but not as different from other disciplines as

commonly thought (Rogers, 2004). Music is axiomatic like mathematics. In order to fully

appreciate music, musicians should learn its axioms.

Fig. 1. Shows an interdisciplinary model of these relations (from Eagle, 1996). It follows

that, instead of a single definition of music, various definitions from different perspectives

(sociological, psychological, acoustical, political, etc.) are needed. There are great differences

between a sociologist’s approach to music and an acoustical physicist’s, in terms of both

definition and methodology.

 This interdisciplinary learning does not require conscious studying but is based on the

link between creativity and quantitative intelligence. Consequently, music could be used as a tool

in physics, mathematics and engineering (Gibson, 2009). The primary objective of music

education is to help students form their identities, develop their creativities and prepare for life.

Music is a basic and autonomous subject, in relation to other forms of science through art. In

academic planning at all levels, its relation to other fields must be taken into account.

For a complete interdisciplinary approach, the planning should include paradigms

supporting the link between music and language, mathematics, physics, geography, sociology,

art, poetry, history, religion and philosophy. But here we consider its relationship with sciences

(Physics and Astronomy) and ways that the curricula would be more flexible and less rigid

(Chrysostomou, 2004). In music, the examination of sound sources from all aspects (timbre,

pitch, resonance, harmonics, etc.), what could be done for better sound transmission, factors

affecting the environment of sound transmission all fall into the domain of physics.

The disciplines of physics and music are intricately conjoined. The musical concepts

relating to physics such as resonance, frequency (pitch, highness of the sound), velocity of

sound, intensity of sound (volume, loudness, amplitude) and harmonics (overtones) shows the

interdisciplinary relation between both disciplines.

A music teacher would therefore be better equipped with an awareness of basic physics

as it relates to music. At the department of Music, University of Nigeria, the musical concepts

relating to physics should be identified; this will show that music is a scientific art.
V. EXAMPLES

To promote discussions on the benefits of an interdisciplinary approach to music

education, several examples are given of the science behind musical production. The basic

operation of the vocal folds and brass player’s lip in producing different pitches, as well as the

effect of the body of a string instrument on tone color, can be understood using a simple mass-

spring model. The music from an organ or a string instrument is due to natural resonances of the

instrument’s pipes or strings. Dynamics are a result of Newton’s third law. These examples are

now described; more details can be found in many online references as well as Strong & Plitnik

(2013).

A commonly used basic model in physics is the mass-spring system, illustrated in Fig. 2.

When an object is suspended from a spring, it has one natural frequency of vibration. The

natural frequency is the number of complete oscillations (up then down) the object completes in

one second. The natural frequency is directly related to the stiffness of the spring and inversely

related to the mass of the object. When a student understands these relationships between

frequency, stiffness, and mass, the mass-spring system can be used as an analogy of many

musical events. For example, the vocal folds are stiffer and have a lower mass density when a

singer produces a higher pitch just like a stiffer spring has a higher natural frequency. The

volume of air in the body of a string instruments and the stiffness of the body plates have

resonances that shapes the tone color of the instrument. A larger volume of air is analogous to a

larger mass and has lower resonances; stiffer body plates have higher resonances. The mass-

spring system is one of the basic models in physics that provides insights into the workings of

music production.
 Figure 2. Illustration of a mass-spring system from Strong &Plitnik (2013).

Another basic model in physics is the vibration patterns on strings and in pipes (or

tubes). The physical characteristics of strings and pipes determine their natural resonances,

which are standing wave patterns of vibrations. These standing wave patterns have points where

the string or air molecules remain stationary, called nodes, while the rest of the string oscillates

up and down or the air molecules in the pipe move back and forth. The frequency of vibration of

these patterns depends on the end conditions, the wave speed (v), and the length (L) of the string

or pipe. For lightweight strings fixed at both ends, as on a string instrument, and an organ pipe

open at the top, the lowest natural frequency of resonance is f1 = v/2L and additional natural

frequencies are harmonics (integer multiples) of f1. The first three standing waves for this case

are illustrated in Fig. 3, in which one must visualize the string oscillating from the solid line to

the dashed line and back repeatedly. It is the harmonic nature of these resonances that makes the

sound from string instruments and organs so pleasing to our ears. The length of tubing in a brass

instrument, fingered length of wind instruments have similar resonances that determine the notes

produced.
Figure 3 First three natural resonances (or standing waves) on a fixed-fixed string of length L,
from Strong & Plitnik (2013). The frequency of the first resonance (a) is f1 = v/2L, where v is
the wave speed on the string. The frequency if the second (b) and third (c) resonances are f2 = 2
f1 and f3 =3f1.

To produce a pleasing sound on a wind or string resonances, the vibration rate of the

excitation needs to match a natural frequency of the instrument. A violinist produces A440 when

the horse hairs on the bow are grabbing and releasing the string 440 times per second. A trumpet

player’s lips are vibrating at 440 times as he plays the same A440. The ability of a brass player to

bend a note occurs when he forces the lips to vibrate at a frequency that does not correspond to

the resonance of the instrument, and that is art.

The act (art) of playing an instrument with musical terminologies like pp, mp, and ff

obeys Newton’s third law of motion: “To every action there is equal and opposite reaction” (Sir

Isaac Newton, 1687). For example, when a student playing a piece of music reads ff on a music
score, meaning very loud, this requires the act of striking the piano key hard such that the action

and the reaction of the piano hammer is equal and opposite. Similar actions and reactions are

easily observed in percussion instruments but also occur for other instruments. String players

can increase their bowing pressure to play louder. The lips of brass players, reeds of woodwind

players, and vocal folds of singers vibrate more abruptly as the player forces more air through

the opening. Musicians learn the techniques for creating dynamics but their comprehension is

deepened when the physics behind the technique is unveiled.

RECOMMENDATIONS

This paper has provided motivation for an interdisciplinary approach to music education.

The department of Music, University of Nigeria, Nsukka’s, and Curriculum should be reviewed,

and interdisciplinary studies should be infused and conducted on different levels from

departments related to music. Some specific recommendations for this interdisciplinary approach

are now given.

a. Curriculum should be reviewed and interdisciplinary studies should be infused on

different levels from departments related to music.

b. Educators should be offered pre- and in-service education in the interdisciplinary

approach so that they can use it more effectively in their profession Studies

c. Courses in the physics of music, sound or science of music should be offered at an

introductory and advanced level. For example, a beginning course could explore

the physics behind music production and an advanced level could explore

principles of sound recording and music synthesis.

 d. Similar research into interdisciplinary approaches should be done not only with

music and physics but in all fields open to integration

e. The interdisciplinary approach should be studied at curriculum development level.

f. A litmus test of the interdisciplinary approach should be conducted/studied with

different variables such as student participation and motivation, performance,

collaboration and problem solving skills.

g. Educators should model/design interdisciplinary activities with musical

instruments when teaching music, science and mathematics.

In summary, studies on the importance of an interdisciplinary approach have provided

motivation for a review of the Department of Music curriculum. The advantages to the current

students—the future music educators and professionals—can be tremendous. The integration of

science and technology, in particular, with a music education provide a deeper understanding and

appreciation that can enhance musical creativity.

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