IMPACT OF SECULAR MUSIC ON THE MORAL LIFE OF ROMAN

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IMPACT OF SECULAR MUSIC ON THE MORAL LIFE OF ROMAN CATHOLIC YOUTHS IN DELTA STATE, NIGERIA

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	TABLE OF CONTENTS
COVER PAGE	…	…	…	…	…	…	…	I
TITLE PAGE	…	…	…	…	…	…	…	II
DECLARATION…………					…	…	…	III
CERTIFICATION		…	…	…	…	…	…	IV
DEDICATION		…	…	…	…	…	…	V
ACKNOWLEDGEMENT		…	…	…	…	…	…	VI
ABSTRACT	…	…	…	…	…	…	… VIII
TABLE OF CONTENTS		…	…	…	…	…	…	X
LIST OF APPENDICES		…	…	…	…	…	…	XIII
LIST OF TABLES		…	…	…	…	…	… XIV
ABBREVIATIONS		…	…	…	…	…	… XVI
OPERATIONAL DEFINATION OF TERMS					…	…	… XVII

CHAPTER ONE:		INTRODUCTION
1.1	Background to the study	…	…	…	…	…	…	1
1.2	Statement of the problem		…	…	…	…	…	4
1.3	Objectives of the study	…	…	…	…	…	…	6
1.4	Research questions	…	…	…	…	…	…	7
1.5	Research Hypotheses …	…	…	…	…	…	…	7
1.6	Basic Assumptions …	…	…	…	…	…	…	8
1.7	Significance of the study	…	…	…	…	…	…	9
1.8	Scope of the study	…	…	…	…	…	…	10
			x.

CHAPTER TWO:				REVIEW OF RELATED LITERATURE
2.0.1	Introduction			…	…	…	…	…	…	…	11
2.0.2	The Christian Concept of Music					…	…	…	…	…	11
2.0.3	The Concept of Secular Music					…	…	…	…	…	12
2.0.4	The Christian Concept of Morality					…	…..		…	…	13
2.0.5.	Historical Origin of Church Music						…	…	…	…	15
2..0.5.1 Religious Music				…	…	…	…	…	…	…	18
2.0.5.2 Music in the Bible				…	…	…	…	…	…	…	19
2.0.5.3 Early Church Music (Apostolic Age) …							…	…	…	…	20
2.0.5.4 Music in the Medieval Period (12^th – 16^th Century) …									…	…	24
2.0.5.5 Music and Liturgy					…	…	…	…	…	…	26
2.0.5.6 Types of Music at Liturgy Celebrations							…	…	…	…	28
2.0.5.7 Liturgical Music and Instruments						…	…	…	…	…	31
2.0.5.8 The Popularity of Secular Music among Roman Christian Youths										…	33
2.0.5.9 Lyrics in Secular Music					…	…	…	…	…	…	34
2.0.5.10 Dancing Styles of Secular Music						…	…	…	…	…	35
2.0.5.11 Dressing patterns of Secular Musicians… …								…	…	…	36
2.0.5.12 Secular Musical Genres seen in Church Today								…	…	…	38
2.0.5.13 Makossa				…	…	…	…	…	…	…	38
2.0.5.14		Rock and Roll and Jazz			…	…	…	…..		…	40
2.0.5.15		Reggae			…	…	…	…	…	…	41
2.0.5.16		Jazz	…	…	…	…	…	…	…	…	41
2.0.6	Problems with Moral Behaviour					…	…	…	…	…	42
2.0.7	Attempts to deal with personal immorality						…	…	…	…	44
						xi.

2.0.8	Basis of Roman Catholic Moral Teachings				…	…	…	…	46
2.0.9	Secular Music and the Moral life of the Roman Catholic Youths							…	47
2.0.10	Other views on secular music and the moral life of the Roman
	Catholic Youths	…	…	…	…	…	…	…	49
2.0.11	The Factors responsible for the infiltration of Secular music into
	Roman Catholic Church in Delta State				…	…	…	…	52
2.0.12	Empirical Studies	…	…	…	…	…	…	…	60
2.0.13	Summary	…	…	…	…	…	…	…	67
CHAPTER THREE:			RESEARCH METHODOLOGY
3.0.1	Introduction	…	…	…	…	…	…	…	68
3.0.2	Research Design	…	…	…	…	…	…	…	68
3.0.3	Population	…	…	…	…	…	…	…	69
3.0.4.1	Sample and Sampling Procedures.			…	…	…	…	…	70
3.0.4.2	Sampling of Parishes in Delta State.…				…	…	…	…	71
3.0.4.3	Sample and Sampling of Respondents for the Study …						….	…	72
3.0.5	Instrumentations		…	…	…	…	…	…	72
3.0.6	Validity of the Instruments …			…	…	…	…	…	76
3.0.7	Pilot study…	…	…	…	…	…		…	76
3.0.8	Reliability of the Instruments …			…	…	…	…	…	77
3.0.9	Administration of the Instruments			…	…	…	…	…	78
3.10	Method of Data Analysis			…	…	…	…	…	78

xii.

CHAPTER FOUR:RESULTS AND DISCUSSION OF
	FINDINGS
4.1	Introduction		…	…	…	…	…	79
4.2	Demographic Characteristics of the Respondents				…	…	…	80
4.3	Testing of Research Hypotheses		…	…	…	…	…	102
4.4	Summary of Findings	…	…	…	…	…	…	107
4.5	Discussion on Findings		…	…	…	…	…	108

CHAPTER FIVE:		SUMMARY, CONCLUSIONS AND
		RECOMMENDATIONS
5.1	Introduction	…	…	…	…	…	…	…	115
5.2	Summary	…	…	…	…	…	…	… 116
5.3	Conclusions	…	…	…	…	…	…	…	117
5.4	Recommendations…		…	…	…	…	…	… 118
5.5	Recommendation for further study			…	…	…	…	… 120
5.6	Contribution to knowledge			…	…	…	…	… 120
	REFERENCES		…	…	…	…	…	… 122
			APPENDICES
	Appendix I –	Questionnaire…		…	…	…	…	…	131
	Appendices II – Interview Schedule			…	…	…	…	… 138
	Appendices III – Interview Responses				…	…	…	… 141
	Appendices IV – Ancient Liturgical Instruments and Music
		Performers …		…	…	…	…	… 156

xiii.

			LIST OF TABLES
Table 1.	Selected Dioceses and Parishes from the Population						…	… 69
Table 2.	Sampling of Selected Parishes from the population						…	… 71
Table 3.	Classification of respondents by their sex					…	…	… 80
Table 4.	Classification of respondents by their age ranges…						…	…	80
Table 5.	Classification of respondents by their age group … …							…	81
Table 6.	Classification of respondents by their religious ranking … … 81
Table 7.	Factors responsible for the infiltration of secular music
	into the church.		…	…	…	…	…	… 82
Table 8.	Responses of youths and adults respondents on the
	Impact of secular music on moral life of Roman
	Catholic Church		…	…	…	…	…	… 86
Table 9.	Opinions of male and female Catholic respondents on
	the effect of secular music in Roman Catholic Church							… … 90
Table 10.	Opinion of male and female Catholic respondents on
	the impact of lyrics, dance and dressing pattern of
	secular musicians on moral life of Roman Catholic youth’s …								94
Table 11.	Responses of youths and adults on how to assist the
	Roman Catholic youth to the music of true worship of God … 98
Table 12.	Two sample t – test statistics on the mean scores of
	clergy and members of Roman Catholic Church in their
	opinion concerning the factors responsible for the
	Infiltration of secular music in the church					…	…	… 102
Table 13.	Two sample t – test statistics on the mean scores
	of adults and youths of the Roman Catholic church in their
	opinion concerning the impact of secular music on
	moral life	…	…	…	…	…	…	..	103

xiv.

Table 14.	Two sample t – test statistics on the mean scores
	of male and female youths of the Roman Catholic church in their
	opinion concerning the effect of secular music
	in the church. …	…	…	…	..	…	… 104
Table 15.	Two sample t – test statistics on the mean scores
	of male and female members of the Roman Catholic Church
	in their opinion concerning the impact of secular music
	lyrics, dance and dressing pattern of secular musicians
	on moral life of Roman Catholic Church				…	…	…105

Table 16. Two sample t-test statistics in the mean scores of

youths and adults members of Roman Catholics church in their opinion concerning how to assist the Roman Catholic youth to

the music of true worship of God … … … … 106 of God.

xv.

		ABBREVIATIONS
C.R.C.C.	–	Catechism of Roman Catholic Church
U.S.A.	–	United States of America
O.C.D.	–	Official Roman Catholic Directory (2012 – 2015)
R.C.M.	–	Roman Christian Music

xvi.

OPERATIONAL DEFINATION OF TERMS.

Secular – Profane, temporal, worldly. Secular music; Secular means being separate from (not associated or concerned with) religion.

Music – It is combination of tunes that are very pleasant to the listeners, which at times involves motor movement and can lead to dancing.

Morality – A code of acceptable standards of behaviour among persons by which acts or intentions are said to be good or bad, worthy or unworthy (Esthon 2004).

Liturgy – It is the prescribed form of service of a Church.

Liturgical Music – Liturgical music is the officially accepted kind of music used primarily for liturgical celebration expressing the efficacy of sacred text. It is purely vocal music, often with accompaniments of the organ and some other instruments.

Lyrics – They are set of words that make up a song; they usually consist of verses and choruses.

Dancing – Is a systematic motor body movement that sometimes involve clapping

of hands, tapping of feet on the ground or nodding of head. Dressing – Dressing generally means the acceptable way of covering oneself

without exposing vital parts of the human body.

Makossa – Originated from type of Daola dance called Kossa in Congo. It began in 1960s; its main thrust is to activate sexual feeling.

Reggae – Reggae music is from Jamaica. The music is identified with Rastafarian life style.

xvii.

Rock & Roll – Arose in America in 1950s; it is a mixture of two musical traditions, Jazz and Negro blues. It is noisy and lustful.

Kwukere – Traditional music and dance style of Ibibios and Ijaws in Nigeria.

Azonto – This music and dance is from Ghana, mostly used by the communities during social or societal gatherings.

Alanta – Efik dance styles from Calabar usually used during celebration by the communities.

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IMPACT OF SECULAR MUSIC ON THE MORAL LIFE OF ROMAN CATHOLIC YOUTHS IN DELTA STATE, NIGERIA

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