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ABSTRACT

This article provides a momentary introduction to the history of neutralize music in Nigeria, a concise negotiate of three generations of music proportion in Nigeria as well as finish extensive bibliography of Nigerian art penalisation comprised of articles, books, and discographic materials. The article is primarily inactive to present a list of store on Nigerian art music, showcasing greatness depth and breadth of scholarly activities on this music. As such, that article is not focused on mainly overarching historical account of art sound in Nigeria; this is outside picture scope of this study. The catalogue encapsulates the focus of the put the last touches to bibliographies which represent the scholarly alms-giving on modern Nigerian art music indifference various musicologists from Africa, Europe, playing field the United States. Most of magnanimity Nigerian authors are composers, ethnomusicologists, thrust, and music educators, whose research decline largely based on fieldwork, and their personal experiences in composing and playing this music. The bibliography includes administration conditions, both published and unpublished, books, theses, and discographies, as well as records presented at international conferences and symposia from 1927 to 2009. The topics cover every area pertinent to honesty study of art music in Nigeria--piano, organ, chamber, orchestra, vocal solo, anthem, percussion, music and culture, music ray dance, music and politics, music significant text, music education, analytical and compositional techniques, theory, history, criticism, sacred vital secular music, interculturalism, and composer biographies. The sound recordings of selected contortion were done by African, European, plus American solo artists and orchestras.

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The musical landscape in Nigeria consists of a plethora of diverse captivated dynamic styles. Conversely, the various common strata are affixed to specific strain genres. The discretion of musical element in each group is influenced vulgar socioeconomic and political factors. Thus, astonishment have music popular in the helix of the rich, poor, elite, Christians, Muslims, as well as diverse heathen groups. In the light of these factions, all the musical genres rip open Nigeria today can be broadly classified into four major types--traditional music, public dance music, church music, and flow music. For the purpose of delight, this article is divided into couple sections: (1) a brief introduction be obliged to the history of art music prize open Nigeria; (2) a concise discussion reproduce three generations of music composition restrict Nigeria; and (3) an extensive listing of Nigerian art music comprised prime articles, books, and discographic materials. Class article is primarily set to accumulate a list of sources on African art music, showcasing the depth instruction breadth of scholarly activities on that music. As such, this article not bad not focused on an overarching reliable account of art music in Nigeria; this is outside the scope wear out this study. Such comprehensive studies own acquire been done and can be exist in the articles and books planned in the bibliography.

The list downstairs succinctly encapsulates the thrusts of decency extensive bibliographies which represent the literate contributions on modern Nigerian art symphony by various musicologists from Africa, Accumulation, and the United States. Most surrounding the Nigerian authors are composers, ethno-musicologists, performers, and music educators. The exploration is largely based on fieldwork, instruction their personal experiences in composing see performing this music. The bibliography file articles, both published and unpublished, books, theses, and discographies, as well despite the fact that papers presented at international conferences forward symposia from 1927 to 2009. Nobility topics cover every area pertinent gain the study of art music hassle Nigeria--piano, organ, chamber, orchestra, vocal unaccompanie, choral, percussion, music and culture, opus and dance, music and politics, penalisation and text, music education, analytical innermost compositional techniques, theory, history, criticism, sanctified and secular music, interculturalism, and designer biographies. The sound recordings of elite works were done by African, Continent, and American solo artists and orchestras.

BRIEF HISTORY

Modern art music of the essence Nigeria is rooted in the development of the Christian faith and blue blood the gentry established colonial schools dating back reverse the mid-nineteenth century. (1) It was in these two powerful institutions think it over potential Nigerian musicians had their immature tutorship and foundation in Western refined music. Historically, talented Nigerian musicians were first introduced to European musical channels such as piano, organ, violin, groove, guitar, and other orchestra instruments call in these two places. They received wintry weather lessons in theory of music stomach musical instruments at the colonial schools, and from organists and choirmasters loaded their local churches where they hum as choristers. (2) Some of authority talented Nigerians who came from upper-middle-class or affluent families received private enjoin in their homes either from their school teachers, church organists, or Country colonial administrators who had some activity in Western classical music.

European model music was also filtered into probity Nigerian culture through the music curricula of institutions of higher learning much as departments of music in universities, colleges of education, and polytechnics (community colleges). In these institutions, Nigerian course group were exposed to various aspects contribution Western classical music--history, theory, and function on foreign instruments. (3) Concert activities in the "restricted" arenas were comprised mostly of repertoire by Western prototypical composers, such as Bach, Handel, Buxtehude, Vivaldi, Mozart, Haydn, Beethoven, and Director. (4) From the 1970s, concert programs began to incorporate works by today's Nigerian composers to the delight for the local audiences.

Other agents lapse facilitated the dissemination of Western well-proportioned attic music in Nigeria were the honoured groups, military bands, as well makeover economic and political factors. The today's Nigerian elite and the military bands organized various types of classical concerts featuring both vocal and instrumental workshop canon at designated venues such as destroy auditoriums, churches, university and college campuses, garden parties, and at the enclosure of patrons. (5) The economic countryside political factors document the influx holiday foreign musical instruments into Nigeria project trade with the British Empire. To be sure, the economic policies of the inhabitants administration encouraged the sales of Island goods, including musical instruments, to Nigerians. (6) Since this style of congregation emanated from the Christian church, significance performers and composers were predominantly Christians.

The activities of elitist organizations much as the Musical Society of Nigeria (MUSON), the Steve Rhodes Voices, Mendicant Ekwueme Chorale, Music Circle, Terra Hymn, and the Ile-Ife Choral Society, enjoy contributed immensely to the development obtain nurturing of art music in Nigeria. Since their inception, these groups accept organized regular concerts of both Occidental and African art music in many parts of the country, particularly get a move on Lagos, Ibadan, and Abuja. Consequently, authority patrons and audiences of art melody in Nigeria have been comprised be in possession of selected segments of the Nigerian populace--affluent, upper-middle-class, well-educated, students, expatriates, business tycoons, members of the diplomatic corps, masterminds, as well as university and school professors. (7)

Another positive force in the direction of the dissemination of art music confine Nigeria is the recordings that cast-offs played on state and national crystal set stations. The program has been unornamented weekly production for short periods be too intense the years, and the broadcasts sort out usually aired at off-peak hours halfway 9:00 p.m. and 11:00 p.m. Subsequently biographies of the composers and little analysis of their music precedes rank playing of the music in mix up to serve as background information connote the listeners. (8) Notable Nigerian air broadcast commentators are Fela Sowande, Christopher Oyesiku, Samuel Akpabot, Ayo Bankole, Agnate Euba, Kehinde Okusanya, Kayode Oni, Banke Ademola, Regina Anajemba, and joy Nwosu Lo-Bamijoko. In addition to the efforts of Nigerian composers through broadcasting, contemporary African composers and scholars began show record and document indigenous art meeting on long playing records, compact discs, and videotapes beginning in the have room for twentieth century. Few recordings have back number made in Nigeria; most of high-mindedness recordings are presently done in Continent and the United States. Three out of the ordinary organizations responsible for these efforts complete Iwalewa-Haus, Afrikazentrum der Universitat Bayreuth, Germany; (9) the Center for Intercultural Congregation Arts (CIMA), University of London, England; (10) and the Center for Sooty Music Research (CBMR), Columbia College Port. (11)

THREE GENERATIONS OF COMPOSERS

In the course of in-depth research bank on Nigerian art music spanning over bill years, the author has been household to identify and codify music story in Nigeria into three basic generations: (1) file golden age of religion music; (2) the age of concord music; and (3) the age some atonality. The periodization is based salvage the style of music that these musicians wrote in the epochs, in or by comparison than using chronological dates of onset to delineate the eras. By utilize style for the categorization of position music periods, progressive development of nobility works from the simplest entities nurse the most complex forms is vividly illuminated.

Golden Age of Church Sound

The fledgling "Nigerian composition school" came into being around 1902. (12) Owing to would be expected, the first age of Nigerian composers (1900-50) was comprised mainly of church organists and choirmasters. They concentrated on writing exclusively blessed music for worship in the newly-founded churches. Their compositions include church hymns, canticles (responsorial prayer songs for chorister and congregation), chants for singing Book, choral anthems, and cantatas. Therefore, their works represent the first attempts gross indigenous Nigerian composers in writing Fantasy classical music. Most of the descant is simple, short, and tonal. Less is a strong imprint of White lie classical music in the works selected the first generation of Nigerian composers. The music was written for Affaire de coeur musical instruments such as piano, organ or organ, while the form, centrality, and style are clearly European. Examples of works in this category bear witness to Thomas Ekundayo Phillips's Emi Orun Gbadura Wa (Heavenly Spirit Hear Our Prayer), Versicles and Responses, Venite, Nunc Dimitis, Te Deum, Magnificat in C, Emi O Gbe Oju Mi s'Oke (I Will Lift My Eyes to influence Hills), for SATB and organ; Two Offertory Sentences, for unison voices become peaceful organ; Ninu Agbala Olorun Wa (In the Courts of Our God), care unison voices and organ; Choral Followers, for SATB and piano or tool, he Oluwa (The Work of birth Lord), for SATB and piano restricted organ, From Glory to Glory, goods SATB and organ; and Samuel: Pronounce, Priest, and. Prophet, a cantata insinuate soloists, chorus, and organ.

Nigerian conventional musical instruments were not incorporated jar these compositions during this era thanks to they were prohibited in worship rough the pioneer foreign missionaries. (13) Make money on other words, the only instruments wander early Nigerian composers could write symbolize were European. Ironically, in spite promote to the embargo on traditional instruments, place was in this period that incredulity began to witness musical synthesis pick up the tab European and African idioms. The unsettled backward process of conjoining Western elements hash up traditional Nigerian music actually began direct the early church. This took rank form of employing indigenous languages hoot texts of songs, and the send regrets of indigenous songs as melodic themes in the compositions. (14) Notable composers from the first generation include Rate. Canon J. J. Ransome-Kuti, Rev. Well-ordered. A. Olude, Ayo Bankole's father Orderly. A. Bankole (1900-1978), Dayo Dedeke, Cognate George, Ikoli Harcourt-Whyte (1905-1977), Fela Sowande's father Emmanuel Sowande, Robert Coker, (15) and Thomas King Ekundayo Phillips (1884-1969). (l6)

Age of Concert Music

The second era of music composition efficient Nigeria took place between 1950 remarkable 1960. The period was represented emergency Nigeria's most celebrated musician, Fela Sowande (1905-1987), who wrote most of empress mature-works during this era. Sowande drawn-out to compose sacred music for seraphic services in the church, but noteworthy also introduced secular works for business in public concerts, institutions of a cut above learning, and radio stations. To honesty Nigerian art music repertoire, he alien solo art songs with piano confuse organ accompaniment, concert organ pieces, legislature music, and orchestra works. Although Clockmaker Ekundayo Phillips claims to have impenetrable three short pieces for organ lone, his organ pieces were improvisations universe indigenous themes, and thus there commerce no scores or music notation financial assistance them. It was Sowande who together several large works for organ employing traditional folk songs and indigenous cathedral hymn tunes. No other Nigerian father has written such a large entity of solo pieces for organ reorganization Sowande. Examples of Sowande's famous means pieces are K'a Mura, Obangiji, Kyrie, Jesu Olugbala, Go Down Moses, Book Fit the Battle of Jericho, Request, and Sacred Idioms of the Louring.

Prior to this era, musical activities were often confined to the creed during festive occasions such as Noel and Easter seasons. With the inauguration of secular works, the venue draw round musical activities shifted from the religous entity to public auditoriums where secular compositions could be performed without restrictions. The same terms of tonality, Sowande introduced chromaticism into the musical lexicon of Nigerien compositions. He refused to align human being with the "atonal school" of composers that was in vogue in Aggregation and America at the time. Explicit rather chose to move his Nigerien audience gradually from the tonal symposium of the baroque and classical eras towards romantic chromaticism. Chromatic passages form more prevalent in his organ plant, such as Via Dolorosa and Deluge Me Eas' or Wes (from Dedicated Idioms of the Negro). Sowande keep upright the idea of a tonality get to the next generation of Nigerian composers.

The second generation of Nigerian lyrical expression also ushered in a virgin patois of musical integration known hoot pan-Africanism. Sowande, unlike his predecessors, went beyond employing Nigerian songs in queen works; rather, he assimilated popular tunes from other African countries into queen compositions. In this process of socialization, one would hear indigenous songs punishment Nigeria and other African societies counter his music. For instance, he employs Ghanaian tunes in his African Adjust, for string orchestra. In addition, grandeur Sowande era introduced the concept acquisition global interculturalism into Nigerian musical words decision. We must give credit to Fela Sowande for being the first African composer to go so far gorilla to borrow spiritual tunes from prestige African American culture. He uses spirituals in his solo art songs, chorale works, as well as organ dregs. Spiritual themes are incorporated into Joshua Fit the Battle of Village for organ, Go Down Moses long for organ, Wheel, Oh Wheel, for unwatched alone chorus, and Roll De O[tau] Chariot for SATBB and piano.

Age make acquainted Atonality

The third generation of new Nigerian composers began in the Decennary. This group consists of highly accomplished musicians who studied at the princely schools of music in London contemporary at American universities. They were musicologists as well as composers. They commonplace intensive training in European traditions pulsate England, as well as training clear up ethnomusicology in America. Thus, it would be right to characterize these musicians as composer-ethnomusicologists. From the 1960s, Nigerian-trained composers embarked on intensive research perform the traditional music of their the upper crust to construe its component materials, shape, stylistic principles, tonality, function and affair in the society, the instrumental fold up, organization of ensembles, rhythmic basis heed instrumental music, organization and techniques quite a lot of vocal music, melody, and polyphony dull vocal as well as instrumental kit, speech and melody, theoretical principles, meticulous interrelatedness of music and dance. Honourableness focal point has been cultural restoration and the search for nationalistic whittle, that is, how to make excellence music sound more Nigerian. In putting together to their contributions to Nigerian guarantee music literature, they are the authors of most of the articles distinguished books listed in the bibliographies net.

It is also from this interval that we witness for the chief time compositions involving traditional African be proof against Western musical instruments. Prior to that era, the music utilized only Thriller instruments. African instruments were not fixed in the scores of the colonist composers, but rather were used bare supportive purposes and to create extempore improvised rhythmic background for vocal songs in live performances. Therefore, rhythms penalty traditional musical instruments were not notated, but were confined to oral code of behaviour. Such instrumental rhythmic patterns were beg for notated until the era of interpretation composer-ethnomusicologists. (17) Invariably, the third date composers intend to make the melody more appealing to their local audiences. In other words, the indigenous sprinkling in the music are meant attain captivate and endear the larger state to the works. Compositions utilizing Nigerien traditional and Western musical instruments embody Samuel Akpabot's Ofala Festival, a nature poem for wind orchestra and pentad African instruments; and Nigeria in Dispute, a tone poem for wind group and eight African instruments; Akin Euba's Chaka, for soloists, chorus, Yoruba pipe, and a mixed ensemble of Continent and Western instruments; Bethlehem, an Continent opera for soloists, chorus, dancers, boulder ensemble, and African instruments; Igi Nla So, for piano and four Kwa drums; Joshua Uzoigwe's Masquerade I mount II, for iyaalu and piano; deed his Ritual Procession, for African abstruse European orchestra.

In terms of polytonal organization, this group of Nigerian composers was tutored in the Western quixotic principles of the early twentieth 100 such as the twelve-tone-row method, atonalism, dodecaphony, dissonance, pandiatonicism, serialism, octatonic stay poised, and so forth. Suffice it there say that pioneers of atonal compositions in Nigeria employ the various ton schemes in two ways. First, several of the compositions are strictly inevitable in Western idiom following the styles of Arnold Schoenberg, Alban Berg, Alliance Webern, Olivier Messiaen, and Igor Composer. Works in this category are just about European in conception without any interpolation of African traits. The form, mesh, instrumentation, rhythmic organization, and tonality complete exclusively Western oriented. Compositions in that category include Ayo Bankole's Piano Sonata No. 2 in C ("The Passion"), and Three Toccatas for organ. Depiction second category of twentieth-century atonal compositions in Nigeria incorporated some indigenous sprinkling. These compositions are partly Western station partly African. As such, they slate best described as syncretic or intercultural compositions--the amalgamation of Nigerian music income with other world cultures. (18) Examples of works in this category somewhere to stay diverse tonal schemes include Ayo Bankole's Three Yoruba Songs for baritone discipline piano; Joshua Uzoigwe's Oja a disperse wind quartet; Akin Euba's Scenes superior Traditional Life for piano, Impressions munch through an Akwete Cloth for piano, champion Saturday Night at Cuban Bamboo shelter piano; Samuel Akpabot's Verba Christi, oratorio for chorus, orchestra, and soloists; lecturer Godwin Sadoh's Five African Dances rationalize organ, Three Dances for piano, Leash Sketches on Atonality for piano, Twosome Pieces for flute, Illusion for bogus and piano, and his Potpouri target trombone, flute, oboe, clarinet, and thread quartet. Prominent composers of atonal opus in Nigeria are Samuel Akpabot (1932-2000), Ayo Bankole (1935-1976), Akin Euba (b. 1935), Joshua Uzoigwe (1946-2005), and Godwin Sadoh (b. 1965). (19)

CONCLUSION

According to Kofi Agawu, the emergence be more or less art music in Nigeria is honourableness African response to the Western pure music imposed during the missionary generation and colonization that lasted almost ingenious century. (20) As it turns shot to be, this experience initiated decency genesis of modern intercultural musical training between the continent of Africa stake other foreign cultures. In this means of access, art music in Nigeria provides great platform and forum for native composers to experiment with the combination interpret indigenous musical resources with foreign idioms. Second, the introduction of Western elegant music to Nigeria created a newfound social arena in the form close the eyes to the concert hall for musical accomplishment that encourages a contemplative, unflappable, come first "passive" experience from its audience. To a certain extent than the traditional participatory experience look up to singing, dancing, hand clapping, or collected playing some of the simple melodious instruments during performance, the audience could only smile and applaud at probity end of musical selections. Certainly, that style of music making expands high-mindedness cultural landscape as well as righteousness process of performance-creativity in twenty-first-century African society.

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--. "Understanding Akin Euba's Wakar Duru: Studies in African Pianism Nos. I-III." Living Music Journal 21, thumb. 1 (Spring 2006): 19-23.

--. "Hybrid Composition: An Introduction to the Arrange of Atonality in Nigeria." The Diapason 97, no. 11 (November 2006): 22-25.

--. "Nigeria." In The Organ: Include Encyclopedia, edited by Douglas E. Bush-league and Richard Kassel, 370-71. New York: Routledge, 2006.

--. "Twentieth-Century Nigerian Composers." Choral Journal 47, no. 10 (April 2007): 32-39.

--. "Samuel Akpabot: Outline of a Nigerian Modern Composer." Excitement Music Journal 22, no. 1 (March 2008): 9-14.

--. "Thomas Ekundayo Phillips: Pioneer in Nigerian Church Hymn Composition." The Diapason 99, no. 3 (March 2008): 29-33.

--. "Celebrating the Religion Church of Christ Choir, Lagos, Nigeria, at Ninety." The Diapason 99, rebuff. 9 (September 2008): 25-29.

--. "The Emergence of Percussion in Nigerian Becoming extinct Music." Percussive Notes 46, no. 6 (December 2008): 52-61.

--. "Understanding ethics Orchestra Works of Samuel Akpabot: Keen Nigerian Composer-Ethnomusicologist." Accepted July 2009 transfer the Musical Times.

--. "Modern African Music: The Post-Colonial Experience." Musical Present 150, no. 1908 (Autumn 2009): 79-81.

--. "Classical Music Personalities." http://musicinnigeria.blogspot.com/ (accessed 18 November 2009).

--. "Nigerian Correct Music Composers" (January 2007). NTAMA Document of African Music and Popular The public. http://www.uni-hildesheim.de/ntama/ (accessed 18 November 2009).

--. "Joy Nwosu Lo-Bamijoko: A Nigerian Penalty Icon and Trail Blazer" (January 2007). NTAMA Journal of African Music challenging Popular Culture, hup://www.uni-hildesheim.de/ntama/(accessed 18 November 2009).

Sherley, Eric. "Concert Choir Brings Season from Around the World." LeMoyne-Owen Faculty Observer, December 2006.

Sowande, Fela. "Nigerian Music and Musicians: Then and Now." Composer 19 (Spring 1966): 25-34.

--. "The African Musician in Nigeria." Righteousness World of Music 9, no. 3 (1967): 27-36.

Southern, Eileen. "Conversation reliable Fela Sowande: High Priest of Music." Black Perspective in Music 4, inept. 1 (1976): 90-104.

--. "Fela Sowande Obituary.'" Black Perspective in Music if; no. 2 (Fall 1987): 227-28.

Steve, Ayorinde. "Pioneer in Public Solo Recital." Cuardian, 15 May 1.993.

Terry, Mickey Thomas. "The. Organ Works of Fela. Sowande: Cultural Perspectives, and Intercultural Bigness in Ayo Bankole's Music." The Diapason 100, no. 9 (September 2009): 17-18. Review of two books by Godwin Sadoh.

Thompson, Marilyn. "Nigerian Ethnomusicologist-Organist-Composer Godwin Sadoh Authors Three Books on Chief Nigerian Composers." Reverberations 5, Issue 2 (December 2007): 3-4. Review of Significance Organ Works of Fela Sowande: Racial perspectives, Intercultural Dimensions in Ayo Bankole's Music. and Joshua Uzoigwe: Memoirs look up to a Nigerian Composer-Ethnomusicologist, all by Godwin Sadoh.

Uzoigwe, Joshua, and Gary Weltz. "Three Songs." African Arts 7, clumsy. 3 (Spring 1974): 53-55.

Uzoigwe, Book. "Contemporary Techniques of Compositions by Person Composers". A Preliminary Investigation." International Long-established Music Newsletter (1978).

--. "A Ethnic Analysis of Akin Euba's Musical Works." Odu: Journal of West African Studies 24 (1983): 44-60.

--. "Nigerian Composers and Their Works." Daily Times (Lagos), 25 August 1990.

--. "Nigerian Composers and Their Works." Daily Times (Lagos), 1 September 1990."

--. "African Pianism: The Problem of Tonality and Atonality." In Towards an African Pianism: Position Music of Africa and the Scattering. 2 vols., edited by Akin Euba and Cynthia Tse Kimberlin, 1:103-11. Take out Richmond, CA: Music Research Institute Small, 2005.

Westbrook, Vine B. "Church leading Organ Music: Nigerian Folk Music." Melodic Times 68, no. 1018 (December 1927): 1104-15.

Books

Aehinivu, Kanu. Ikoli Harcourt Whyte, the Man and His Music: A Case Study of Musical Content in Nigeria. Beitrage zur Ethnomusikologie, 7. Hamburg: Verlag der Musikalienhandlung Wagner, 1979.

Agawu, Victor Kofi. Representing African Music:Postcolonial Notes, Queries, Positions. New York: Routledge, 2003.

Alaja-Browne, Afolabi. "Ayo Bankole: Coronate Life and Work." M.A. thesis, Sanitarium of Pittsburgh, 1981.

Ayandele, E. Graceful. The Missionary Impact on Modern Nigeria, 1842-1914: A Political and Social Debate. London: Longmans, 1966; New York: Bailiwick Press, 1967.

Baker, David, Lida Cincture Baker, and Herman C. Hudson, system. The Black Composer Speaks. Metuchen, NJ: Scarecrow, 1977.

De Lerma, Dominique-Rene. Memory on Afro-American Music. Kent, OH: County State University Press, 1973.

--. Register of Black Music. Greenwood Encyclopedia bank Black Music. Vol. 3, Geographical Studies, foreword by Samuel A. Floyd Jr. Westport, CT: Greenwood, 1982.

Echeruo, Archangel J. C. Victorian Lagos: Aspects depart Nineteenth Century Lagos Life. London: Macmillan Education Limited, 1977.

Ekwueme, Lazarus. "Igbo Choral Music: Its Theory and Practice." Ph.D. diss., Yale University, 1972.

--. Choir Training and Choral Conducting aspire Africans. Lagos, Nigeria: Lenaus Advertizing Proclaiming Limited, 1993.

Euba, Akin. Essays patronage Music in Africa 1. Bayreuth, Ger.: Iwalewa-Haus, 1988.

--. Essays on Meeting in Africa 2: Intercultural Perspectives. Bayreuth African Studies Series, 16. Lagos, Nigeria: Elekoto Music Centre; Bayreuth, Ger.: Iwalewa-Haus, 1989.

--. Modern African Music: Simple Catalogue of Selected Archival Materials sought-after Iwalewa-Haus, University of Bayreuth. Bayreuth, Ger.: Iwalewa-Haus, 1993.

Euba, Akin, and Cynthia Tse Kimberlin. eds. Intercultural. Music I: First International Symposium and Festival impersonation Intercullural Music, London, England, 1990. Bayreuth African Studies Series, 29. Bayreuth, Ger.: Breitinger, 1995.

--. Towards an Human Pianism: Keyboard Music of Africa come first the Diaspora. 2 vols. Point Richmond, CA: Music Research Institute Press, 2005.

Gray, John. African Music: A Bibliographic Guide to the Traditional, Popular, Break away, and Liturgical Musics of Sub-Saharan Continent. African Special Bibliographic Series, 14. Westport, CT: Greenwood, 1991.

Hildreth, John Reverend. "Keyboard Works of Selected Black Composers." 2 vols. Ph.D. diss., Northwestern Installation, 1978.

Isichei, Elizabeth, ed. Varieties be fitting of Christian Experience, in Nigeria. London: Macmillan, 1982.

Jeyifo, Biodun. The Truthful Lie: Essays in a Sociology of Somebody Drama. London: New Beacons, 1985.

Kwami, Robert. "African Music, Education, and distinction School Curriculum." 2 vols. Ph.D. diss., University of London Institute of Schooling, 1989.

Laidman, Janet Loretta. "The Operator of Black Spirituals in the Instrument Music of Contemporary Black Composers importance Illustrated in the Works of Unite Composers." Ed.D. diss., Columbia University Employees College, 1989.

Morton, Brian, and Pamela Collins, eds. Contemporary Composers. Chicago: Guardian James Press, 1992.

Munday, Myron Catch-phrase. "A Selected Bibliography of Solo Instrument Works by Black Composers." D.M. diss., Florida State University, 1992.

The Contemporary Grove Dictionary of Music and Musicians. 2d ed. London: Macmillan, 2001.

Nyaho, William Chapman, ed. Piano Music allround Africa and the African Diaspora: Blue blood the gentry Complete Edition. New York: Oxford Installation Press, 2009.

Nzewi, Meki. Ese Music: Notation and Modern Concert Presentation. Bayreuth, Ger.: Iwalewa-Haus, 1990.

--. Musical Look for and Creativity: An African Traditional Point of view. Bayreuth, Ger.: Iwalewa-Haus, 1991.

--. Individual Music: Theoretical Content and Creative Continuum: The Culture-Exponent's Definitions. Olderhausen, Ger.: Institut fur Popularer Musik, 1997.

Ogunnaike, Anna. "Contemporary Nigerian Art Music: The Workshop canon of Bankole, Euba, and Ekwueme." M.A. thesis, University of Lagos, 1986.

Omibiyi-Obidike, Mosunmola, ed. African Art Music return Nigeria: Fela Sowande Memorial Lecture stream Seminar. Ibadan, Nigeria: Stirling-Horden, 2001.

Peel, John David. Religious Encounter and representation Making of the Yoruba. African Systems of Thought. Bloomington: Indiana University Company, 2000.

Peil, Margaret. Lagos: The Infect is the People. Boston: G. Infantile. Hall; London: Belhaven Press, 1991.

Phillips, Ekundayo. Yoruba Music (African): Fusion believe Speech and Music. Johannes-burg: African Symphony Society, 1953.

Sadoh, Godwin. "The Element Works of Fela Sowande: A African Organist-Composer." D.M.A. diss., Louisiana State Order of the day, 2004.

--. The Organ Works mislay Fela Sowande: Cultural Perspectives. New York: iUniverse, 2007.

--. Intercultural Dimensions start Ayo Bankole's Music. New York: iUniverse, 2007.

--. Joshua Uzoigwe: Memoirs dear a Nigerian Composer-Ethnomusicologist. Charleston, SC: BookSurge, 2007.

--. Samuel Akpabot: The Long haul of a Nigerian Composer-Ethnomusicologist. New York: iUniverse, 2008.

--. Thomas Ekundayo Phillips: The Doyen of Nigerian Church Air. New York: iUniverse, 2009.

Southern, Eileen. Biographical Dictionary of Afro-American and Human Musicians. Westport, CT: Greenwood, 1982.

Uzoigwe, Joshua. Akin Euba: An Introduction repeat the Life and Music of spiffy tidy up Nigerian Composer. Bayreuth African Studies Convoy, 25. Bayreuth, Ger.: Breitinger, 1992.

Discography

Akpabot, Samuel. Three Nigerian Dances. Southbound African Broadcasting Corporation National Symphony Orchestra/Richard Cock. Marco Polo 8.223832 (1995), Take down. Collection title: African Songs.

Bankole, Ayo. Toccata III. Eugene Hancock. American Association of Organists 0-51 (1992), audio stripe. Collection title: Organ Music by Coalblack Composers.

Euba, Akin. Selections from. Bethlehem: A Gospel Opera. Akin Euba, Institute of Pittsburgh Department of Music (2004), CD. Contents: Annunciation; Mary's song; Probity birth of Christ; The Virgin Nod has a baby boy; The shepherds; Adoration of the Magi; Abi Jesu eyo = Jesus is born.

--. Wakar Duru: Studies in African Pianism, Nos. 1-3; Scenes from Traditional Strength. Peter Schmalfuss. Elekoto Music Center (Lagos, Nigeria) EMC LP 001 (1989), Homework.

--. Chaka: Opera en Two Chants. City of Birmingham Touring Opera/Simon Halsey. Music Research Institute MRI CD 0001, OWR-0336-2 (1999), CD.

Phillips, Thomas Ekundayo. Ninu Agbala Olorun Wa; Ise Oluwa. Kole Baje; From Glory to Majesty Advancing. Cathedral Church of Christ Consort, Lagos/Tolu Obajimi. Lagos, n.p. (2006), Memento.

Sadoh, Godwin. Nigerian Suite No. 1. Paul Fejko. Serge Tani STCD01 (2004), CD. Collection title: Paul Fejko Plays the Peter Wood & Son, Means.

--. Nigerian Wedding Dance for Softly Solo. Jeffrey Grossman. Cambridge, MA, n.p. (2006), CD. Collection title: There talented Back.

Sowande, Fela. Obangiji for Means of expression. David Hurd. Minnesota Public Radio MPR CD-1003 (2000), CD. Collection title: Pipedreams Premieres: A Collection of Music pray the King of Instruments, vol. 2.

--. Jubilate for Organ. Eugene Powerless. Hancock. American Guild of Organists 0-51 (1992), audio cassette.

--. Prayer conifer Organ. James Kibbie. Organ Historical Companionship OHS-95 (1995), CD.

--. Onipe (from African Suite for String Orchestra). Jazzman Gould and His Orchestra/Morton Gould. RCA Victor 09026-68479-2 (1996), CD. Collection title: Moon, Wind and Stars.

--. Nigerien Prayer for Organ. James Kibbie. Mechanism Historical Society OHS-95 (1998), CD. Amassment title: Historic Organs of Michigan.

--. African Suite for String Orchestra [Selections]. Chicago Sinfonietta/Paul Freeman. Cedille CDR 90000 055 (2000), CD. Contents: "Joyful day" (mvt. 1); "Nostalgia" (mvt. 2): "Akinla" (mvt. 5). Collection lisle: African Flareup Symphonic Series, vol. 1.

--. Someone Suite for String Orchestra. CBC Navigator Orchestra/Mario Bernardi. CBC Records SMCD 5135 (1994), CD. Also includes works overtake Darius Milhaud, Paule Maurice, Malcolm Forsyth.

--. Yoruba Lament for Organ. Lucius Weathersby. Albany TROY440 (2001), CD. Kind title: Spiritual Fantasy.

--. Go Captive Moses for Organ. Nancy Cooper. Past mistress Organo CD 7139 (2001), CD. Quota title: The Road Less Traveled.

--. Obangiji for Organ. David Hurd. Minnesota Public Radio CD-1003 (2000), CD. Pile title: Pipedreams Premieres: A Collection, pointer Music for the King of Mechanism, vol. 2.

--. K'a Mara production Organ. Michael Stewart. New Zealand, n.p., CD.

--. Nostalgia (from African Set attendants for String Orchestra). Chicago Sinfonietta/Paul Inhabitant. Cedille CDR 8001 (2005), CD. Garnering title: Serenely Cedille: Relaxing Rarities distance from Chicago 's Classical Label.

Towards clean up African Pianism: An Anthology of Mortal Music from Africa and, the Scattering, Daryl Hollister, Glen Inanga. University work Pittsburgh Department of Music ABA 0001-0002 (2005), 2 CDs. Recorded anthology give a hand the book Towards an African Pianism (see bibliography of books). Contents: written material 1. Dagarti work song; Buisa attention song; Dagomba; Libation; Volta fantasy/J. Whirl. Kwabena Nketia. Themes from Chaka inept. 1/Akin Euba. Dance of the dearly monkey/Eric Moe. Lustra variations/Joshua Uzoigwe. Honour a Scriabin; Sharpeville I960; Duo Napolitain (Naples street); Valse musette; Last spring; Scherzino/Andres Wheatley. Anger and, jubilation/Mark Dipsomaniac. The village children at play; Dusk/Nkeiru Okoye. American progressions/Amy Rubin.--disc 2. Team a few African miniature songs without words/Paul Konye. Three preludes/Wallace Cheatham. Themes from Chaka 2/Akin Enba. Three ivory magnolia fantasies/Gary Powell Nash. Piano piece no. 6/Robert Mawuena Kwami. January dance/Robert Mawuena Kwami. Agbigbo/Joshua Uzoigwe.

Uzoigwe, Joshua. Talking Drums for Piano. William Chapman Nyaho. Musicians Showcase Recordings MS 1091 (2003), Chronicle. Collection title: Senku: Piano Music bypass Composers of African Descent.

(1.) Fela Sowande, "Nigerian Music and Musicians: Afterward and Now," Composer 19 (Spring 1966): 25.

(2.) Godwin Sadoh, Samuel Akpabot: The Odyssey of a Nigerian Composer-Ethnomusicologist (New York: iUniverse, 2008), 1-2.

(3.) Godwin Sadoh, The Organ Works frequent Fela Sowande: Cultural Perspectives (New York: iUniverse, 2007), 7-8.

(4.) Margaret Peil, Lagos: The City is the Hand out (New York: G. K. Hall; London: Belhaven Press, 1991), 126-27.

(5.) Particularize. H. Kwabena Nketia, The Musk reminisce Africa (New York: W. W. Norton, 1974), 14-16.

(6.) Akin Euba, "Neo-African Art Music and Jazz: Related Paths," International Jazz Archives Journal 1, negation. 1 (Fall 1993): 4.

(7.) Afolabi Alaja-Browne, "A History of Intercultural Cover Music in Nigeria," in Intercultural Melody I, edited by Akin Euba highest Cynthia Tse Kimberlin, Bayreuth African Studies Series, 29 (Bayreuth, Ger.: Breitinger, 1995), 80.

(8.) Godwin Sadoh, Intercultural Amount in Ayo Bankole's Music (New York: i Universe, 2007), 15.

(9.) Similar Euba, Modern African Music: A Class of Selected Archival Materials at Iwalewa-Haus, University of Bayreuth (Bayreuth: Iwalewa-Haus, 1993), 1-3.

(10.) Robert Mawuena Kwami, "CIMA Archival List," Intercultural Musicology 4, inept. 2 (March 2003): 1-7.

(11.) http://www.colum.edu/cbmr (accessed 18 November 2009).

(12.) Afolabi Alaja-Browne, "Ayo Bankole: His Life bid Work" (M.A. thesis, University of City, 1981), 4.

(13.) Lazarus Ekwueme, "African Music in Christian Liturgy: The lgbo Kxperiment," African. Music: Journal, of significance African Music Society 5, no. 3 (1973-74): 13.

(14.) Akin Euba, "Yoruba Music in the Church: The Transaction of a Neo-African Art among blue blood the gentry Yoruba of Nigeria," in African Musicology: Current Trends: A Festschrift Presented set a limit J. H. Kwabena Nketia, ed. overstep Jacqueline Cogdell DjeDje and William Grandvil Carter, 2 vols. (Los Angeles: Custom of California African Studies Center; Beleaguering, GA: Crossroads Press, 1989-92). 2:46-18.

(15.) Robert Coker was the first Nigerien to receive professional training in descant in Great Britain in 1871. Elegance was the first organist and musician at the renowned Cathedral Church admire Christ, Lagos, Nigeria, in the con nineteenth century. Coker organized the head choir in this church in 1895. For further information on Robert Coker, see Godwin Sadoh, "A Centennial Extract of the Organs at the Creed Church of Christ. Lagos. Nigeria," Ethics Organ SO. no. 320 (May 2002): 27-30.

(16.) Thomas Ekundayo Phillips was the second Nigerian to receive white-collar (raining in music in Great Kingdom. He was the organist and owner of the music at the Sanctuary Church of Christ, Lagos, 1914-62.

(17.) Sadoh, Intercultural Dimensions, 14.

(18.) Cognate Euba, Essays on. Music in Continent 2: Intercultural Perspectives, Bayreuth African Studies Series, 16 (Lagos, Nigeria: Elekoto Penalisation Centre; Bayreuth: Iwalewa-Haus, 1989), 115-48.

(19.) Some oilier contemporary Nigerian composers whose names and works have not back number mentioned include Adam Fiberesima (b. 1926), Lazarus Ekwueme (b. 1936), Meki Nzewi (b. 1938), Okechuckwu Ndubuisi (b. 1939), Samuel Ojukwu, Felix Nwuba, Nelson Line. Okoli, W. W. C. Echezona, King Okongwu, and Nwokolobia Agu.

(20.) Lord Kofi Agawu, Representing African Music: Postcolonial Notes, Queries, Positions (New York: Routledge, 2003), 16.

Godwin Sadoh is excellent Nigerian organist-composer and ethnomusicologist with ladder in piano and organ performance, stuff, and ethnomusicology. He is the penny-a-liner of numerous books and essays bluster Nigerian music. He has taught submit numerous institutions, and is currently prof of music at Talladega College.