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Okechukwu Ndubuisi's Contributions to
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Akuma-Kalu J. Njoku

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OKECHUKWU NDUBUISI'S CONTRIBUTIONS TO
THE DEVELOPMENT OF ART MUSIC

TRADITION IN NIGERIA

BY

Akuma-Kalu J. Njoku

A THESIS

Presented to
Michigan State University
in partial fulfillment of the requirements for
the degree of

MASTER OF ARTS

School of Music

1987

ABSTRACT
OKECHUKWU NDUBUISI'S CONTRIBUTIONS TO

THE DEVELOPMENT OF ART MUSIC
TRADITION IN NIGERIA

BY
Akuma-Kalu J. Njoku

Nigerian art music has largely been ignored by
scholars. This study focuses on the art music works of
Okechukwu Ndubuisi with the hope to provoke further
investigation. The need for a comprehensive collection,
classification, edition, and assessment of the growing
number of musical compositions in Nigeria is stressed;
historical and sociocultural backgrounds that provide
essential context for the compositions and their
composers are introduced. Highlighted are common
features between folk and art music which make syncretism
possible, and distinguishing factors which help to
illustrate how changes are made in adaptation.

The research for this work was done by
interviewing Ndubuisi; by collecting, classifying, and
analyzing his works; and by corresponding with him; and
by interviewing' other people and searching through
journals and reference books almost in vain for related

information on art music in Nigeria.

ACKNOWLEDGMENTS

I would like to acknowledge the help and
assistance I received from many people, particularly from
Mr. Okechukwu Ndubuisi for entrusting his manuscripts to
me; Professor Schellhous for her advice, suggestions, and
thoughthl readings of preliminary drafts; Professors
Theordore Johnson and Conrad Donakowksi for their
encouragements and insightful criticisms; and Mrs. Nancy
Heath for her editorial assistance.

Finally, my deepest thanks go to Nnennaya, my

wife, for her continued patience and sacrifice.

ii

TABLE OF CONTENTS

CHAPTER

I.

II.

III.

IV.

INTRODUCTION...................................l
Historical Background..........................3
NDUBUISI AND HIS WORKS AS A MUSICIAN...........9
ANALYSIS AND DESCRIPTION......................28
Solo-Songs ........................ ...... .....31
Original Compositions............ ...... .......46

Choral Works..................................59
Text--Music Relationship......................60

Form. 0 O O O O O O O O O O O O O O O O O 0 O O O O O O O O O O O O O O O I O I O O O O 64
Instrumental Works............................68
CONCLUSION. O O O 0 O O O O O O O O O O O O O O O O O O O O 0 0 O O O O O O O O O 72

Suggestions...................................74

APPENDIXOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO0......76

BIBLIOGRAPHY. ...................................... 192

iii

CHAPTER I

INTRODUCTION

Although a large body of literature exists on the
subject of indigenous African music, including that of
Nigeria, the art music of Nigeria, which is the result of
an interaction among indigenous music and Western art
music, is a subject which has been neglected.

Three factors appear to be responsible for this
neglect. First, it is recognized by both Nigerian and
Western scholars that in spite of the number of studies
of indigenous music already published, much work remains
to be done. Furthermore, the increasing worldwide
interests in folk music traditions favor this kind of
work over the study of art music.

Second, some of the most eminent Nigerian
composers and scholars advocate the preservation of
indigenous traits in the- composition of. new African art
music, in keeping with the general spirit of nationalism.
Their call for the expression of national and ethnic
traits is an attempt to resist the supremacy of western
music. A good example is Akin Euba, who calls for an

authentic African tradition. He is concerned that

Western forms and techniques will come to overshadow
African traits in compositions by Africans. "The
influences at work here," he writes, "are so forceful
that the music produced must be regarded as representing

1 Euba is

an almost total rejection of African norms."
against the wholesale and injudicious acceptance of
Western techniques at the expense of African tradition.
African composers, in his opinion, should open themselves
only to those foreign influences which are "so peripheral
in nature" that they will not obliterate the African
identity of their musical compositions.

Third, the dissemination of music in Nigeria is
still monopolized by radio, television, and recording
companies. Printers and publishers do not seem to have
become interested in bringing the work of Nigerian
composers to the eyes of the public. As a result,
nothing much is known about the tremendous amount of art
music composed by Nigerian composers. What scholars do
not seem to realize is that no discussion, however,
thoughtful, can truly represent contemporary Nigerian

music if it does not take into account three broad

 

lAkin Euba, "Traditional Elements as the Basis of
New African Art Music," African Urban Notes, 5 (Winter,
1970): 54.

categories: traditional music, popular music, and art
music.

The scholarly neglect of Nigerian art music is
troubling, since it could contribute to the demise of an
important creative tradition, and in any case, if
uncorrected, it will result in an incomplete historical
record. The musical compositions themselves, of which
there are an immense number, will provide a chronicle of
the creative activity and will testify to the vitality of
the art, but they are of less value to a reception
history.

The primary purpose of this work is to stimulate
further investigation of art music in Nigeria, and the
musicians that generate it. What follows, therefore, is
the documentation and evaluation of the contribution of
only one Nigerian contemporary composer, Okechukwu
Ndubuisi, to art music tradition in Nigeria.

Before discussing Ndubuisi's works, a survey of
Nigeria, her people, and the sociocultural conditions
which have helped to shape Ndubuisi's and other Nigerian

musicians' conception of musical art is necessary.

Historical Background
Nigeria is located on the West coast of Africa.
The country stretches from the end of the Gulf of Guinea

to the southern end of the Sahara Desert (from south to

north) covering about 650 miles, and from her
international boundary with the Benin in the west to the
Cameroon in the east, about 700 miles. Its total land
area of 356,669 square miles lies between latitudes 4°
and 14° north of the equator and between longitudes 2°and
15° east of Greenwich Meridian. The average temperature
of Nigeria is between 75°F and 85°F. Some areas in the
northern part of the country, for example, Nuguru, can
get as low as 40°F, especially when the harmattan--a dry
and dusty cold wind from the Sahara--blows across the
Atlantic coast between December and January. Nigeria
also shares international boundaries with Niger in the
north, and Chad in the northeast.

Nigeria is blessed with abundant mineral
resources such as petroleum, tin, coal, and limestone to
name but a few. The nation prospered in the 1970's when
the increasing world demand for her oil pumped a
tremendous amount of money into her treasury. For
reasons best known to the government administrators,
about 90 percent of Nigeria's economy was tied to oil.
Now that the oil boom is over, Nigeria can hardly
maintain the standard of living to which she was
catapulted. This may be one reason for the current
social, economic, and political instability in the
country, the fu11 impact of which is still uncertain.

The population of Nigeria is approximately
96,000,000, made up of peoples with different

ethnological ancestries . 2

Before 1885, when the British
took control of the vast territory called Nigeria, these
peoples existed as autonomous ethnic communities with
different systems of social administration and command.
They spoke (and still d0) different languages and had
different customs and traditions. From 1886 to 1960,
when Nigeria became an independent nation, several
systems of colonial administration were tried in a bid to
unify these autonomous communities. And over the years
one of the major tasks of succeeding administrations has
remained that of keeping Nigeria one. In fact, many
people still tend to keep to their pre-colonial
traditions. The Ohafia Igbo is perhaps the best example.

In Chafia, people are still linked by a complex
system of matrilineal and communal relationships; here
duties such as fire fighting, security, road maintenance,
which in other places are the responsibilities of central
and local government agencies, are assigned to age grades
and occupational groups. Their Akpan music (an
institutionalized traditional music with instruments and

human beings as agents) is the highest instrument of

 

2Nigerian ethnic groups include Hausa, Fulani,
Yoruba, Igbo, Efik, Ibibio, Tiv, Ijaw, and Igala, among
others.

 

social control in the hierarchy of social institutions.
As in other communities, artistic or musical life
revolves around an endless cycle of rituals or
ceremonies, especially those associated with agricultural
festivals.3

Pre-colonial or 'traditional festivals still
thrive in modern communities despite the challenge of
modern civilization, urbanization, and foreign influence.
The City of Ife, for example, is said to have a festival

for each day of the year.4

The fundamental truth
underlying this seeming overstatement has to do with the
fact that tutelary spirits, deified ancestors, and myths,
in addition to agricultural events, have festivals
associated with them; and the celebrative realization of
these festivals gives rise to elaborate creative
activities such as chanting, singing, drumming, dancing,
and miming, which may take days, weeks, or even months.
Ethnic diversity is so characteristic of Nigeria
that it permeates every facet of her cultural and

intellectual history. _ In the area of music, for

instance, the majority of musical compositions and

 

3For an example of a cycle of agricultural events
and related festivals, see Plate 1, p. 7.

4Oyin Ogunba, "Traditional African. Festival
Drama," in Theater in Africa, ed. Ogunba and Irele
(Ibadan, Nigeria: Ibadan University Press, 1978), p. 3.

Plate 1.--A cycle of agricultural events and related
festivals in Ohafia.

   

.
, K4"
- .‘ rm". ..

than!“ Acflvm”

*flo'ltlvoluf"? '

 

iiaaaai.u.i --
«sauna-mam. .
\

"Agricultural Festivals Music:

Johnston, A. K. Kjoku.
B. A. Thesis

The Case of Ikoro-Agwu from Ohafia," U.N.N.,
(1981), p. 11a.

literary contributions of known Nigerian musicians tend
to reflect their particular states of origin. The works
of the late Bankole and those of Euba represent the
Yoruba musical tradition in the same way that the works
of Fiberesima and Akpabot depict the Ibibio and Ijaw
musical traditions respectively, and also Echezona and
Ekwueme portray the Igbo music.

If there is any single art music composer whose
works seem to span the whole length and breadth of
Nigeria, geographically and musically, that person is
probably Okechukwu Ndubuisi.

CHAPTER II

NDUBUISI AND HIS WORKS AS A MUSICIAN

Okechukwu Ndubuisi is one of most the brilliant
and finished contemporary Nigerian musicians, outstanding
as a performer, composer, arranger, and educator. Born
on July 6, 1936 in Ozu-Item in the Bende Local Government
area in Imo State, Nigeria, Ndubuisi spent the most
extended period of his childhood in his village, Agboa,
where he grew up surrounded predominantly by folk music.

Ndubuisi started his primary education at the
Ozu-Item Methodist School, then in Agboa. The name of
the school was later changed to Ozu—Item Central School,
and it is now located at Akwampiti. It was in the
primary school that Ndubuisi first came into contact with
Western music. As was customary in those days, songs,
usually English songs and hymns, were taught in mission
schools for two reasons. First, songs were used as a
means of enculturation. Second, singing classes were

used as a preparatory ground for potential church

10

choristers for the village church.l There was also a
school band in the Ozu-Item Methodist School.

Of great importance is the fact that the
bimusical environment in which Ndubuisi grew up was a
major influence in his background. As a matter of fact,
Ndubuisi still has a nostalgic memory of one of the
teachers, Mr. Nwafor, who was in charge of music and who
wrote songs and marches for the elementary school where
Ndubuisi attended. "Mr. Nwafor," Okechukwu Ndubuisi
admitted, "helped to make my musical life what it is."
During the interview with this writer in July, 1983,
Ndubuisi sang one of his favorite primary school songs
entitled, "Ozu-Item Obodom" written by Mr. Nwafor.2

In 1950 when Ndubuisi was in standard five, he
left his village to join his uncle, Emenike Onuoha, who
was then teaching at Ora in Bended State, approximately
200 miles from Ozu-Item. Ndubuisi completed his primary
school education in 1951 and the following year he

entered the Sabongari Ora Grammar School.

 

IOkechukwu Ndubuisi's mother who "was very
interested in church. music," was a chorister in the
village church. She also held the office of treasurer of
the church choir.

2A version of this song harmonized by Okechukwu
is song No. 1 in Appendix A.

11

In this secondary school, Ndubuisi joined the
school choir and developed the admiration for choral
works and organ music which was decisive in determining
his own later career. With the help of the school
organists, he learned how to play the organ starting with
hymn tunes, such as "Stand Up” by G. J. Webb, and
"Hanover" by H. J. Gauntlett, which is usually used for
the hymn "0 Worship the King."

In 1954, his third year at Sabongari Ora Grammar
School, Ndubuisi's uncle, Emenike, who was putting him
through school, died. Ndubuisi was forced to go back to
Ozu-Item, and on reaching home, he discovered that his
father had died while he (Ndubuisi) had been away.
Consequently, Ndubuisi could not continue his secondary
education.

Between 1955 and 1959, Ndubuisi worked at an
"institution of organ makers" owned by chief Otutubuike
at Aba. He started first as an apprentice and later
became a journeyman. During this period Ndubuisi studied
the theory of music privately and took the graded
examination of the Trinity School of Music, London. Soon
the largely self-taught Ndubuisi had passed the Grade
VIII as an external candidate.

It was during his trips to Enugu for the theory
examinations that he discovered the musical life of the

city, and he decided to go and settle there. Enugu, the

12

capital city of the Eastern Region, was (and still is)
the center for the annual Festival of the Arts—-including
Western art music. There were also choral and other
musical societies, including, for example, the city's
Jazz Club and the Enugu Musical (choral) Society. And
among the several church choirs, the Holy Ghost, the
Christ Church, and the All Saints Bartholomew Cathedral
choirs gave seasonal concerts.

At Enugu, the young Ndubuisi assumed the role of
a performing' musician. He had learned to play the
clarinet and the trombone in addition to singing. His
proficiency on these instruments, and keyboard as well,
gave him many performance opportunities. He performed
with the Enugu Jazz Club which met at the premises of the
British Embassy at Okpara Avenue. He also performed with
some "highlife"3 musicians. In fact, his association
with the ”highlife" music . has influenced his

compositional style. For example, "Mama G'abara Mu Mba"

 

3"Highlife" music is genre of popular dance music
which is found mainly in the urban areas in West Africa.
It employs mostly foreign instruments, such as trumpets,
trombones, saxophone, guitar, bongos, and bass drums.
The performance practice, among other things, allows a
carefree style of male-female couples dancing seldom
found in the rural areas and much. improvisionl Edna
Smith's article on "Popular Music in West. Africa,"
African Music 3 (1962): 11—14, is a good source of
further IfifOrmafion.

13

and "Ose Va" contain some performance instructions, such
as ”Moderately with Humor in 'Highlife' style," and "in
Highlife fashion,” respectively. What these markings
probably mean, at least in parat is to include the use of
drums and other instruments, as well as body or dance
movements ad lib, while performing these pieces which are
apparently exclusively choral pieces. As a matter of
fact, the Hausa song ”Nyarinya" for voice and piano, is
an arrangement of a one—time popular highlife tune on
record.

In addition to performing with the Jazz Club and
the highlife bands, Ndubuisi performed with the choral
society. It was his performance with this society that
brought the promise of his voice to public attention.
After a performance one evening, Ndubuisi was
congratulated by Mrs. Edna Grant Eliot, who requested a
private meeting with the young singer.

That, according to Ndubuisi, was a very fortunate
incident. Mrs. Eliot, a singer who had received her
training at Royal Academy, London, during the meeting
with Ndubuisi, proposed the idea of helping him by giving
him voice lessons. The young man could not ask for more.
He took his lessons with great determination and made

quick progress.

14

At one point, Mrs. Eliot suggested the formation
of an operatic society. More voices were recruited, and
the Enugu Operatic society was formed in 1960. The
society started by performing excerpts, and in time, they

embarked upon their first major project, The KinLand I

 

by Richard Rogers.

Having been partially supported by the

government, the production of The Kim: and I in 1960 was

 

a big event. The premier of the Eastern Region, Dr.
Michael Iheonukara Okpara, attended the premiere
performance. He was so impressed with the performance
that he did not hesitate to approve the awarding of
scholarships to three members of the Operatic Society to
go to appropriate institutions in Europe to study music.
Ndubuisi was one of the lucky ones.4

In September 1961, Ndubuisi left for the United
Kingdom. He studied at the Guild Hall School of Music
and Drama, London, as recommended by his mentor, Mrs.

Eliot, who made contacts with her friends, one of whom

accommodated Ndubuisi for some time. Ndubuisi studied

 

4The other two were Joy Nwosu and May Afi Usuah,
both of whom studied in Rome. The former, Joy Nwosu, now
Dr. (Mrs.) Joy Nwosu-Lo Bamiloko, is presently on the
faculty of the University of Lagos, and the latter is now
the Director of Cross River State Cultural Center at
Calabar, Nigeria.

15

composition. with. Peter‘Wishart,S voice (singing) with
Arthur Fear, piano with one Mr. Laffitte, and voice
(speech) with Rex Walters. He completed his Diploma in
the music program in three years and spent one additional
year for a Teacher's course. While in the Guild Hall,
Ndubuisi took part in operatic productions. In one.of
these, The Song of the Goat, by J. P. Clark, he
(Ndubuisi) was a principal. He also performed with some
jazz groups in Britain.

Ndubuisi did not abandon his technical interest
in musical instruments. He complemented his studies by
taking relevant courses in musical instrument technology
from the Northern Polytechnic, London.6

After five years in the United Kingdom, Ndubuisi
returned to Nigeria in 1966. At that time, the crisis
that eventually led to the Nigerian Civil War (1967-1970)
was mounting.7 He joined the faculty of the Queen of the

Rosary College (Q.R.C.) in Onitsha. But before he could

 

5A3 of 1983, Dr. Wishart was the Head of Music at
the University of Reading, London.

6This institution is now known as the London
College of Furniture. Ndubuisi went there to take an
Advanced Technology course in 1977.

7The Nigerian Civil War was between the people of
the Eastern Region (Biafra) who wanted a separate nation
and the federal troops whose task was to keep Nigeria
one.

16

make his mark at Q.R.C., Onitsha fell to the federal
troops.

Ndubuisi fled from Onitsha to Aba where he joined
the Biafran Armed Forces Entertainment Band. He stayed
with the band until the end of the war in 1970.

In 1970 Ndubuisi, now married and with a child,
moved to Enugu. Here he opened a workshop at Obiagu
Road, particularly fer repairing musical instruments and
giving private lessons, by which he made his living.
This author was one of Ndubuisi's adult beginner piano
students.

The workshop soon became a meeting point for
music lovers and performers. For example while
beginners, like this writer, would be laboriously working
on exercises and pieces, more proficient pianists and
other instrumentalists would be there to practice, and
singers came there to find accompanists. As time went
on, these music lovers, at the instigation of Ndubuisi,
revived the Enugu Operatic Society, and he *was made
Director.

The Enugu Operatic Society, once again, performed
The King and I, in 1971, and The Vengeance of the Lizards
by Ndubuisi in 1972. They were getting ready to produce

another opera by Ndubuisi entitled Dr. Klujo when

 

Ndubuisi who had gotten an appointment with University of

17

Nigeria, Nsukka (U.N.N.), had become too busy with the
duties at Nsukka to direct the society effectively. gr;
M, was, therefore, abandoned, and even the Society
itself dissolved.

Since 1970 Ndubuisi has been making substantial
contributions to the musical life of the University of
Nigeria, Nsukka, community. He has remained one of the
stabilizing forces in both the U.N.N. Department of Music
and of art music education in Nigeria. His operas and
other choral works have received repeated performances
both in the U.N.N. Arts Theatre and in the Auditorium of
the Music Department. He is the staff advisor of the
Nsukka Jazz Club, Director of the Mixed-Blood, a musical
group concerned with popular music, and the organist of
the Christ Church Chapel in the University.

In the music department, where he is in charge of
the acquisition and maintenance of musical instruments,
he is directly responsible for the Stress Area Instrument
Technology courses as well as the Basic Acoustics for
Musicians course. In addition, he teaches piano,
trombone, euphonium, and voice.

One of the major problems of the U.N.N. Music
Department has remained that of a shortage of faculty
members. At times the faculty strength is so low that
Ndubuisi, in spite of his already heavy responsibilities,

18

has had to teach theory of music and direct operatic
workshops and folk music ensemble classes. That was
particularly the case at several stages of this writer's
undergraduate years.

The situation is no better now. The department
has always depended on expatriate instructors and some of
them have not renewed their contracts. However, the
U.N.N. is increasingly aware of the problem. This writer
and four others have been sent to study in America, in
Europe, and in Nigeria under the U.N.N. Manpower
Development Program, with the aim of securing a good
faculty of Nigerian musician-scholars.

As a teacher, Okechukwu Ndubuisi understands the
problems of students, and he has a characteristic respect
for their personalities. He is very unassuming, and
makes himself so accessible that students even call him
”O'Ndu.” Generally, he encourages the same seriousness
and determination with which he composes, while he still
makes learning an enjoyable experience. Moreover, he
awakens a sense of historical thinking in his students,
and thereby supports their appreciation of style through
knowledge of the past. For example, in building up his
applied students' repertoire, he assigns appropriate
materials from the music literature of various periods.

From the foregoing, and considering the fact that
the U.N.N. is the biggest music degree and diploma

 

l9

awarding institution in Nigeria, upon which virtually all
of the Nigerian Colleges of Education, Radio, and
Television.«Corporations, and other’ government agencies
depend for graduate musicians, the influence of Ndubuisi
on art music in Nigeria cannot be overestimated. At
present, his greatest influence may be seen through his
teaching.

For such a busy person as Ndubuisi to find time
for composition may be difficult to imagine. But the
more than 63 vocal pieces and two operas available to
this writer attest to the fact that Ndubuisi puts a great
deal of effort into composition. And his music is
evidence of his compositional and musical thought. But
his works, and indeed, the art music of Nigeria in
general, have not been adequately studied.

Scholars and musicians appear to be too busy with
teaching, sundry university programs, and occasionally
writing on the cultural aspects of music to pay attention
to the need for a carefully organized collection,
classification, and investigation of the growing number
of compositions by Nigerian composers. Other than the
few collections that make up the Ife Music Editions
containing some works of a few well-known Nigerian
composers, universities do seem to be interested in the

subject. And because publishing is a money-making

20

undertaking in Nigeria, the individual composers cannot
afford to publish their own works.

The result is that there exists neither critical
nor good performance editions. If these were available,
there is no doubt that they would probably give insight
into the theories and aesthetic principles underlying
Nigerian art music, and hopefully, generate enough
interest and experience to make the compositions live for
the people.

Unfortunately, no study of Ndubuisi's early
compositions can be made. All of the works written
before 1970 were lost during the Nigerian-Biafra war.
Ndubuisi had left his manuscripts in the custody of his
mother, presuming the war would not reach Agboa. But
when the federal troops captured the village, Ndubuisi's
mother was barely able to escape. One can only speculate
that if these works are discovered in the future, they
may provide a clue to the masters whom he imitated or who
may have influenced his compositional thought.

The works composed during the period 1970 to 1983
exhibit such a considerable degree of overlapping of
stylistic traits that it is rather difficult to establish
a chronological trend. For example, relatively simple
works, such as "Ozu-Item Obodm," ”Dim Oma," and "Atuak

Ukot Odo" are interspersed among "Ife di Na Oba," "Erna

21

Nne," and "Igbo Rhapsody" which are more advanced in
harmonic and rhythmic complexity and in chromaticism.
The same interspersion is true of "Agiligbo," "Nwaruru,“
"Ngbogho Delu 011," and "Onye di Nma N'azu."

Some works are written in "Highlife" style, with
simple danceable rhythms. These would appear to be
intended for the general public. By writing in this
style using folk tunes, the audience appeal of the tunes
is widened. "Ose Va," "Akumampe," and "Ashiboko" are
perfect examples of works in the "Highlife" style. All
that these works need in order to reach the general
public is performance. For instance, the "Ashiboko"
tune, which was performed in Nsukka in 1980, is now being
sung in the churches throughout Igbo-speaking areas of
Nigeria. It is especially used for the Mother's Day
church service for which the tune is sung with the

following text:

 

IGBO ENGLISH TRANSLATION
Ewu nne muo O my mother

Agam eji gini With just what

Wee kelee mama muo will I thank my mama
Ezigo nne. Good mother.

It has to be pointed out here that the
contemporary trend in church music is of a growing
tendency to use tunes that serve as entertainments at
secular gatherings to set sacred texts. Indeed, the

"Ashiboko" (song No. 8 in Appendix A) tune is derived

22

from the "Ashiboko Mpi-Agbo" tune which was p0pular in
palmwine spots in the early 19505 and 1960s. An example
of other secular tunes which have found their way into
the church is "Lee lee Akam,” one of the favorite songs
of the Biafran soldiers during the civil war. This tune
is now used for the gospel chorus with the following
text: "Okorobia di nma Eze Jesus Okorobia di nma; anyi
sokwa Gi n'azu (Fine young man, King Jesus, fine young
man we are Your followers.)” The frequent exchanges and
substitutions, both musically and textual, and their
effect on the development of church music in Nigeria will
make an interesting study.

The audience appeal of Ndubuisi's works, as a
result of similar exchanges and substitutions is likely
to expand beyond the country. His compositions will
probably be pleasing to Western ears because the overall
structural and harmonic devices used are basically those
of Western art music.

Like other Nigerian composers, Ndubuisi has added
new dimensions to the Nigerian tradition of composition.
Composition, for example, is no longer regarded as an art
based on spontaneous reproduction of music heard or one
learned by participatory imitation and characterized by
group participation. With the contributions of Nigerian

composers, composition has become a formally learned and

23

acquired skill characterized by clearly defined
conventions, the tangible outcome of which is
attributable to an individual.

Ndubuisi has joined other musicians in their bid
to elevate the artistic position of folk songs.
Apparently, the result of their efforts is that folk
songs are now heard on long-playing records and in
churches, as well as local gatherings. But while the
other musicians are busy merely "jazzing up" folk songs
especially for commercial purposes, Ndubuisi and some
other professional musicians are artistically advancing
folk songs from being only an adjunct to bedtime stories
to an independent status as concert and theatrical
pieces. Typical examples include "Mgbogho Delu Uli,"
"Isantim," "Ose Va," and "Enenebe Ejegi Olu" which have
remained encore pieces and staple works of choral
societies. In fact, the Owerri Musical Society, of which
this author was the pioneer director, performed ”Mgbogho
Delu Uli" with native musical instruments in almost all
of their public concerts and command performances for the
Imo State Government between 1977 and 1980.

Another important general characteristic of
Ndubuisi's compositions, which is also a major
contribution to compositional techniques, is the element

of continuous lyricism. It may be important to point out

24

that the felk tunes upon which a majority of Ndubuisi's
compositions are based, are, in their natural settings or
forms, characteristically short and simple, and usually
have short motifs and conjunct melodic motion. One of
the reasons fer the apparent brief nature of folk tunes
has to do with the nature and structure of the oral
literature and folklore to which the tunes are sung.
"Onye Naku Na Onuzo Muo?" (see Song #17 in Appendix A)
are typical examples of lyricism. It tells an entire
folk tale in song and, therefore, has more continuous
melodic lines than most folk songs.

In addition to these and other general traits of
Ndubuisi's works, there are some style characteristics of
his music which are peculiar to him. The use of tempo,
rhythm, and sound as expressive devices is typical of him
and constitute some of the most significant
characteristics of his music. In his handling of
indigenous tunes, he appears to fully understand their
sounds and inherent musical ideas. Because of his
preoccupation with sound, he does, at times, seem to
disregard the importance of making melodies follow the
tonal inflections of vernacular language.

If there is any point of view on African music
about which there appears to be a general consensus among

scholars and composers, it is the fact that African

25

music, vocal or instrumental, is to a very large extent

word-born.8

The major factor responsible for this is
that Nigerian languages are tonal. Consequently, a
single word in Igbo language, 2333 could mean as many as
three different things depending on the tonal inflections
used in pronouncing it.9 For example:

Ugwu - hill

.Ugwu - respect

_figwu - circumcision
Setting words to music, therefore, would require a
skillful choice of pitches for it to make sense. It
follows, therefore, that a wrong placement of tones and
intervals can be misleading and meaningless. For
example, the phrase "ndi agadi" (adults) in measures 20-
21 (Example Ia in "Enenebe Ejegi Olu" (song No. 2,
Appendix A) is meaningless as it sounds in the context of
this piece. In the illustrations that follow, "b" seems
to reflect the text better than "a".

 

8S. E. Akpabot, Foundation of Nigerian
Traditional Music (Ibadan: 11S.B.N., 1986), pp. 79-80;
Laz E. Ekwueme, ”Ibo Choral Music--Its Theory and
Practice” (Ph.D. Dissertation, Yale University, 1972),
pp. 190-196; Hugh Tracey, "Towards an Assessment of
African Scale," African Music, 2 (1) (1958), p. 16.

9Two signs " "' (high) and " ‘ " (low) will be
used to mark the rising and falling tonal inflections,
respectively.

26

Extract from "Enenebe Ejegi Olu"

 

 

 

 

Example 1a, measure Example 1b Suggested
20-21 Alternative
filli) FF:

 

 

I 1

 

 

 

 

    

7 a «-45 airwa—
n-dUcL.—9‘¢£L*' 34'

"Onye Naku Nomzo Mo?" (song No. 17 in Appendix A) is
another work that contains some examples of what one may
_regard as wrong choice of tones.

This should not be mistaken to mean that Ndubuisi
does not write music that corresponds with the tonality
of the Igbo language. As a matter of fact, the music of
"Enenebe Ejegi Olu," with the exception of the particular
spot mentioned, is a perfect example of’ a ‘word—born
music. This piece shares the first position as a model
with Okongwu's "Obiageli Aku Nnem" and Ekwueme's "Nwa
N'eku Nwa."

Nevertheless, in a great majority of Ndubuisi's
works, he expresses what he knows about musical sound.
He brings out the mmsical possibilities inherent in the
original short folk tunes. One is tempted to liken his
treatment of short folk tunes to what happens when, if
necessary, proverbs need explanations. Such explanations
usually require more elaborate commentaries and longer

sentences than the proverbs.

27

In general, Ndubuisi appears to be more
interested in emphasing musical sound and the overall
mood suggested by the song text than on how the
individual words are pronounced. This may be one reason
why some of his works are able to attract some physical
and emotional reactions, such as dancing and sympathy.
For instance, the Isantim (Song No. 16, Appendix A), when
performed effectively, leaves the audience dancing. And
this writer has had people come to sympathize with him
after performing the "Aru Eme" (Song No. 3, in Appendix
A).

Of the 63 works available to this writer, 23 are
set for four or more voices, 35 are art songs for voice
and piano, and five are instrumental pieces. Ndubuisi
wrote two operas, The Vengeance of the Lizards (1970) and

The Symbol of Miracle, (1971) and a third one, Dr. Klujo,

 

is progress. He also wrote the incidental music for
Emmanuel Eze Eleanya's A Lamb for Sacrifice, an
adaptation of Chima Achebe's famous novel, Things Fall
1323, for Nigerian Television Authority Film project
(1983).

CHAPTER III

ANALYSIS AND DESCRIPTION

A new development in Nigeria's musical tradition,
and one that is of central importance to the entire
history of music in Nigeria, is the transformation of
folk-songs into art songs and other genres of art music
composition. Although it is particularly the interaction
of Nigerian traditional music and Western art music that
has introduced Nigerian composers to the idea of adapting
folk songs in their compositions, it is fundamentally the
multicultural nature of Nigeria which allows borrowings,
adaptations, and blending of traditions that makes the
transformation of folk-songs possible and acceptable. In
the countryside and urban areas, in village churches and
cathedrals in. major cities, in. the schools and
universities, as well as in other institutions, radio and
television companies, cultural centers, and art councils
blending of traditions as a general way of life is
phenomenal.

The stion of African and Western musical traits
by Ndubuisi may, therefore, be seen as an outgrowth of

this general way of life. As opposed to their original

28

29

forms, transformed folksongs, or art songs have clearly
defined symmetry' with regard to the interrelation of
parts to form an aesthetic whole.

Some general observations on the common features
of folk and art music which, in this writer's view, have
made syncretism possible are necessary. The list of
common features includes the following:

1. Bi-partitional structure of musical sentences
in which two musical phrases are organically
locked together to make a complete musical
thought;

2. Various scalar structures--diatonic, penta-
tonic, etc.;

3. The principles of melodic and motivic
development by means of sequence, repetition,
varia-tion, improvisation, extemporization;

4. Simultaneous sounding:polyphony or hetero-
phony;

5. Interspersing of a story with music or vice-
versa;

6. Instrumental accompaniments.

Bruno Nettl, discussing certain compatibles found

in the music of various parts of the New World and modern
Africa, points out that these "fundamental similarities

are thought to underlie the successful combination

3O

1 Alan P. Merrian makes similar

of styles."
observations.2 The distinguishing characteristics of
both African and Western musics need to be noted because
they help to show how felk materials are changed in the
adaptation. Of the distinguishing traits, the following
are perhaps the most important ones:

1” In African folk music tradition there is no
fixed pitch center with tonic-dominant
relation as found in art music tradition;

2. Whereas in folk music rapid composition or
spontaneous creation is a basic compositional
technique, in art music the form and content
of a piece is to a considerable extent
carefully contrived and noted;

3. The separation between the composer and
performer or audience is not distinct in folk
music as is virtually the case in art music;

4. A folk song is teh property of a given group
while an art song belongs to a given
individual;

1Bruno Nettl, "Compatibles,” in The _Western
Impact on World Musici_Change,Adaptation, and Survival
(New York: Schirmer Books, A Division of Macmillan,
Inc., 1985), pp. 44-46.

 

2Alan P. Merrian, "African Music," in gmtinuity
andgghange in African Cultures, edited by W. R. Bason and
M. J. Herskowits (Chicago: University of Chicago Press,
1959).

 

31

5. Melody in folk song develops within the
framework of texts while melody in most
modern art music develops freely within the
framework of Standard forms;

6. The monotonous, usually short response
sections associated with African songs are
generally nonexistent in Western songs,
although the ballad usually has a recurrent
refrain for each of its stanzas;

7. Certain solo songs in the folk song
repertory, for example, the folk-tale songs
and lullabies, are traditionally sung without
instrumental accompaniment, while art songs
are almost invariably accompanied.

8. African music is functional in that work
songs, lullabies, and so on, are not
performed outside their context, whereas many
religious and work songs are performed in

concert situations just for entertainments.3

A close examination of Ndubuisi's skillful
manipulation of native and foreign musical materials

3For more information on the dissimilarities
between African and Western music, see James T.

 

 

Koetting' s "Africa/Ghana," in Worlds of Music: An
Introduction to the Music of the World's Peoples (New
York: Schirmer Books, A Division of Macmillan Inc. ,

1984), Chapter 3.

32

provides essential insights into the eclectic character
of his compositions. To begin with, Ndubuisi's works
could be classified into four broad categories: (1) solo
songs, (2) choral works, (3) opera or dramatic works, and
(4) instrumental pieces. Each of these groups could be
further subcategorized. The solo song is comprised of
(a) songs derived from various forms of folk songs; (b)
songs based on popular music tunes; and (c) arrangements

of melodies supplied by known individuals.

Solo Songs

In most solo songs, especially those based on
folk-tale songs, Ndubuisi presents original folk song
melodies and texts in their most familiar forms. The
major difference is that in their transformed versions
the original "call and response" sections are rearranged
so that the two sections are written for one voice.
Other important innovations are the addition of piano
accompaniments to songs which in their traditional
contexts are not performed with instrumental
accompaniments, assigning specific keys 'to the songs and
casting them within specific Western musical forms.

Examples 2 and 3 illustrate two types of
treatments of the "call and response" parts of the
original folk songs arranged by Ndubuisi. In Example 2

there is no overlapping between the call and response

33

sections. The dotted quarter note that ends the "call"
part (last beat of measure 3) ends before the response
section begins, and thus presents no apparent problem.
Other songs with similar call and response sections are
"Nwaruru" and "Okpanku" (songs Nos. 5 and 6 in Appendix
A). The overlapping that takes place in the "original
version" (Example 3a) disappears in the transformed
version (Example 3b). Ndubuisi achieves this through the
technique of elision. In measure 6 (of Example b), the
vowel of the text underlaid for the first eighth note of
the fourth beat is the same as the vowel that begins the
text for the response part in the original. Even the
notes at this point show a similar correspondence which
make the elision both textually and musically possible.

A. close look at the piano accompaniments for
these songs by Ndubuisi reveals that they are often
limited to a doubling of the voice part in the right hand
and some broken, appeggiated, and block chords in the
left hand. Essentially, the piano accompaniments provide
rhythmic contrasts and impetus for the songs. The
following are but a few of the variants of the rhythmic
accompaniments which Ndubuisi uses.

This rhythmic pattern called the Alberti Bass is
one of the figurations obviously borrowed from western

music. It is used by Ndubuisi to maintain forward drive.

34

Example 3. Extract from "Den-deleke Urie"

(measures 1-6):
(«T‘a '
/\o ‘A M4 ’bELEA K)” K'E: Ayn. 0’,“qu

v

gmex"

 

 

//’;‘\\

FMQWmau-——:ZZ;

z'm a-La -L¢ "1’0! Len—diolikIT_ Y{;b_ N—

5

-na'm N’M-M’avta lamb! Whitfisfiemh—e

"Den-Deleke Urie"
(Song No. 4, Appendix A)

35

Example 3a. "Original" Version of "Akwa-Eke"

- li- mag-kick. KD~LI~M

 

Example 3b. Extract from "Akwa-Eke"
‘ (Measures 3-6)

5 ‘4’

1k). _ Li-M’A-ksi-it’e—U—M, .1)... u- muanae—JM—We -

 

"Akwa—Eke"
(Song No. 21, Appendix A)

36

Example 4a Extract from "Oma Bu qunye Muo"
(measures 13-18)

'1 4L.-

‘Ve "1'"? W W ”93': marry-am wwu-QFWID Ra‘s ‘ w.W‘a‘fi’W w.y.8u,g

 

"Ome Bu qunye Muo"
(Song No. 15, Appendix A)

37

Example 4b Extract from "Atuak Ukot Odo"
(Measure 13-14)

-nukwwg e-ba:chmkh-di:hp 1(L4ULma»'————'RidhbflO-——

 

"Atuak Ukot Odo" (Song No. 7, Appendix A)

Example 4b represents a good example of rhythmic
accompaniments based on the repetition of rhythmic
patterns that may be regarded as African ostinato or
western. ground. This rhythmic (pattern also found in
measure 7, is the pattern that actually opens and closes
the piece (see Song No. 7 in Appendix A). As a matter of
fact, the pervasive use of this particular rhythmic
pattern is very characteristic of Ndubuisi's music, so
much so that it may come to be regarded as "Ndubuisi
Rhythm." It is found in "Amigo Dudu" measures 1-3, 47-
54, 161-168, and so on; in "Erna Nne" measures 5-11, 20-
23, 83-85; 'Aru Eme" measure 1-8 and 15-20. The

following representative examples are relevant:

38

Example 5a. Extract from Erna Nne
(measures 7-9)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-.——-—--c---

"Erna Nne“ (Song No. 18, Appendix A)

Example 5b. Extract from "Oyili Onye Oma?"
(measures 10-12)

0 AO—de-meag NW: 31 gin-IA °"3°~"‘°'“3°'"°alo,¢la-u—m, 6-1231

 

flxv ' o ‘0. o

"Oyili Onye Oma?" (Song No. 19, Appendix A)

.A more searching investigation is likely to show
that Ndubuisi may have derived this rhythmic pattern
either from a traditional dance. The treatment of rhythm

39

in "Nwaruru" (Example 6) deserves some attention because
it illustrates a special type of rhythmic accompaniment
that is purely based on the rhythmic motives from the

original song.

Example 6a. Extract from "Nwaruru" (measures 5-8)

5

 

Nwa—ru-w, mam m, ‘bu-be-Q-ke . man uqu mru’ioube LIL-kg, 0f—

"Nwaruru" (Song Number 5 in Appendix A)

The rhythm of this piece could be represented as follows:

Figure 1

mmlml PIJll‘llml

\. ----A-————/ \__3'6.—’\————C.——Jt.— ’2——1

Motives A, B, and C are maintained almost invariably for
the first 20 measures in the piano part. From measure 21

through 30 the accompaniment becomes

40

Figure 2.

l=m>flll HM

which is obviously derived from motives "B2"

and "C."
This section shows the importance of rhythm in creating
contrast very characteristic of Ndubuisi's music.

An important addition to these rhythmic patterns
is the persistence of the dotted quarter note in the left
hand of the piano part which, in addition to outlining
the tonic and dominant notes, seems to be emphasizing the
inherent duple meter of the piece. This tends to make
the horizontal and vertical hemiola in measures 14-16
(Example 3.6) much more pronounced.

Example 7. Extract from "Nwaruru"
(measures 13-16)

-ma-‘ta-rq nqubL fl-be- Laz-kc n-da‘ rte-— r'L’M -l>e “mbe-li-ltefl-M

 

Nwaruru (Song No. 5)

41

The total effect of the combination of these and other
rhythmic patterns is rather complex. And this complexity
adds a sophistication. and interest to this otherwise
simple song.

The harmony and form used in the vast majority of
songs represented by the examples examined so far are
essentially western. These songs illustrate the
preeminence of standardized two and three part forms and
progressions such as I V I or I IV v I which are
hallmarks of a well-developed Western functional
tonality. In some of the works the basic harmonic rhythm
is one chord per beat with the occasional use of
chromatic decorations.

Under the category of arrangements of melodies
supplied by known individuals come songs such as "Enenebe
Ejegi Olu," "Afufu Uwa," "Onye Yabalu Dinma," and "Aru
Eme.” The melodies of these were supplied by Chinwe
Enemuo (now Mrs. Chinwe Kalu Ogba), Azodo, Kate
Omyedinma, and Njoku, respectively. Some of these, like
the "Enenebe Ejegi Olu," also have call and response

patterns as shown in Example 8.

42

Example 8. Extract from Enenebe Ejegi Olu
(Measures 12-17).

M304“ n’ .. 35° Mk!” «5' men-bedeffa-M —— .l’b‘?

 

““7

5:.th M cmukjcbkerk Abbrfuk‘uukfgm‘c ’ 3kg...-

‘

 

Enenebe Ejegi Olu
(Song No. 2 in Appendix A)
The treatment of what is supposed to be the "response
section" (asterick in Example 7) is, however, more
developmental in this song than in Example 3a. A close
observation shows that the rhythm of the
response section is the unifying factor of the piece. It
is stated 19 times in the whole piece--nine times in
section "A" (measures 1-31) and ten times in Section "B"
(measures 32-59). The melody of this response section is
treated sequentially (in measures 24-26, Example 9)

through which the piece reaches it first point of climax.

43

Example 9. Extract from "Enenebe Ejegi Olu"
(measures 24-29).

+"'+

   

{MW-“"1 “(fl)“?- lA mu “J‘S‘fi'h‘t C-ML-ni advice .-

"Enenebe Ejegi Olu"
(Song No. 2, Appendix A)

It is clear from the schematic analysis of the
songs examined so far that, in their original versions,
they present three main aesthetic principles, each of
which has influenced their adaptation. The first is the
principle of absolute melody as exemplified in the
constant response sections, for instance in "Akwa-Eke"
(Example 3), and "Nwaruru" (Example 4). This tends to
stimulate instrumental music as is evident in the piano

part of "Nwaruru" discussed earlier. The second is the

44

principle of melodic malleability which makes it possible
for a simple melody to have an innumerable number of
variants without obliterating the original substance.
This stems from the fact that the same melody sung to
different texts requires some internal alterations to
make it fit the tonality and accentuations of changing
texts (the discussion in Chapter 2 is relevant). Perhaps
the best examples of the exploitation of this principle
in Ndubuisi's music are to be seen in the instrumental
compositions discussed earlier. The third and final
aesthetic principle is that of recitative which would
seem to be the underlying basis of the vocal melodic
lines in the music of Ndubuisi.

An important observation arising from a close
study of the songs or arrangements based on the melodies
supplied by known individuals is that singers, such as
Mrs. Kalu Ogba, and Njoku are already amalgamating the
habits acquired from their experiences in performing
Western music and the conventions of indigenous musical
practices with which they may have, an unbroken
relationship. For example, the Enenebe Ejegi Olu, in
addition to the call and response and other African
elements, has an unmistakable melodic development, a
tonal center and voice leading that are basically western
(see Example 9. The same is true of "Aru Eme" (Example

10).

45

Example 10. Extract from "Aru Eme"
(measures 16-21)

a I
o +

  

lL

   

N- kq-slb-bl nun-n32. mo'. qznmg or sham {(4, (2.-an

O

. /\

fibum'n-kqsi'Q-b', 2 —-—- N'D'. Chi-— m’o, e —-—-w‘b[ old-ru'c-kfwlg-Zf a—

"Aru Eme"
(Song No. 3, Appendix A)

The continued composition, performance, and above
all, acceptance of pieces, such as the "Enenebe Ejegi
Olu"1 may eventually lead to their assimilation into the
Nigerian folk song repertory in the same way that many

songs written by Stephen Foster, for example, "Swanne

 

1The Enenebe Ejegi Olu widely performed by the
Nigerian Broadcasting Corporation (N.B.C.) Choir. Enugu
was enthusiastically accepted in Nigeria. In fact, the
N.B.C. Choir made a long-playing record in 1974 with this
piece in it.

46

River” and "O Susanna," have acquired folk song status in

the United States of America.2

Such a trend may add a
new dimension to song literature in Nigeria and may even

influence the nature of Nigerian folk music.

Original Compositions

Ndubuisi's original compositions, vocal or
instrumental, constitute a major contribution to the
literature of music in twentieth-century Nigeria. It is
in these original works that Ndubuisi's creative genius
manifests itself in the eclectic nature of his style.
They exhibit skillful fusion of African and western
characteristics beyond the levels so far discussed. A
list of some of the blended musical traits includes:
the call and response pattern, polyrhythm,
polytextuality, bi-tonality, polyphony, non-harmonic
tones, chromaticism, and the use of diminished and other
seventh chords augmented chords, and the use of major and
minor modes for .expressive purposes. Some of them
contain borrowed materials which are treated in such a
way that fragments or clearly recognizable sections from
folk and popular songs are grafted to form an organic

union.

 

2Melvin Berger, The Story of Folk. Music (New
York: S. G. Philips, 1976), p. 21).

47

Work Numbers 9 and 10 in Appendix A, typically
entitled "Igbo Rhapsody" and "Igbo Medley," are good
examples. The "Igbo Rhapsody," for example, opens with
"Oyim Oma" folk tune which appears as follows in its

original version:

Example 11a. "Oyimu Oma"

 

 

 

 

 

 

 

The material in the first measure of this version is
extended to three bars in the "Rhapsody” (Example 11b).
In Example 11b the addition of an appoggiatura
(encircled) changes the rhythmic character of the
anacrusis beat of the "original" version, shown in
Example 11a. The whole of measure 1 of Example 11b,
except for the appoggiatura and sustained aepeggiated I
chord, is made up of the first four tones of the
original. Another point of interest is the use of the

48

Example 11b. The Opening of the "Igbo Rhapsody."

. @ “bail {m IGBO RHAPSOD‘I’ o,
d-

   
  

' 1%.}.
“\\v\‘ m4. Legato

Y~a“°

. Moll-tidal." UVCL .

_CMthC'fai‘ij Lively.)

"Igbo Rhapsody"
(Song No. 9, Appendix A)

49

Example 11b. The Opening of the "Igbo Rhapsody."
/
M.A./+9

 

"Igbo Rhapsody"
(Song No. 9, Appendix A)

50

fully' diminished seventh. chord on. the fourth. beat. of
Measure 2.

The first main thematic area begins in the second
beat of Measure 3 in the saxophone part with interval
expansion of the melodic material introduced in measure
2. This material is transposed an octave higher on the
fourth beat.

The piece modulates to its relative minor (A
minor) between measures 3 and 6. Measures 6-8 contain
the melody of the original folk. song marked "B" in
Example 11a.

Measures 7-10 provide a four-bar phrase which
exhibits other forms of melodic development, namely,
variation and prolongation. It will be noticed that the
placement of the tones of the "C" section of Example 11a
are slightly varied in Ndubuisi's piece from the last
beat of measure 6 to the third beat of' measure 7.
Measures 11-14, which have a_ varied repetition of
measures 7-10, bring the first section of the piece to an
end in an imperfect authentic cadence in measure 14.

A seven-bar interlude (measures 15-21) connects
this section to the next. During this interlude,
fragments of another popular music tune are found in the
piano part. Measures 21-24 contain a direct quotation of

this popular tune called "Omu N'onye G'ebinue?” What

51

follows after measure 24 is a complex juxtaposition and
artful alternation of materials from the two original
melodic sources: "Oyi Mu Oma' and "Omu N'onye G'ebinue?"

It is important to note how Ndubuisi occasionally
omits or displaces the response: sections of' the folk
songs in his composition. In the piece under
consideration, for example, one would have expected to
hear the response section marked "C" somewhere between
measures 6 and 7 and much more so in the second and third
beats of measure 14. Measure 10, however, comes very
close to this response pattern in the piano part.

Some musical factors may have been responsible
for the omission of important sections of folk songs used
by Ndubuisi in some of his compositions. A close study
of the omission or displacement of the response section
in Example 11b suggests at least three. Firstly, it may
have been because most of these pieces are for solo
performance which makes it impossible to perform the call
and response sections at the same time with all of the
overlapping that doing so may involve. Secondly, the
response sections may have been omitted in. order to
achieve a better voice leading and melodic progression as
in Examples 12a and 12b. Thirdly, and perhaps most
importantly, the response section, being the most

constant section and the section very capable of giving a

52

folk song its strongest distinguishing quality, was
probably omitted in order that the transformed version

will avoid the monotony found in characteristic of the

original source.

Example 12a. Extract from Igbo Rhaspsody
(Measures 9-10)

 

Cnfmv

Example 13. Extract from Igbo Rhapsody
(Measures 12-14)

D’NJM./q:q

1.?

 

.. ,. _ ‘

Borrowing, as a compositional technique in

Ndubuisi's music, goes beyond drawing materials from folk

53

and popular music sources. He also makes use of many
materials which are apparently drawn from the works of
other known composers. In some cases he does so with due
recognition to the composer whose music he adapts. For
instance Ikemefuna, the incidental music he wrote for the
play entitled The Lamb for Sacrifice he used Sam Ojukwu's
piece, with the same title, for three voices, and
increased the texture by adding a bass part to it.

But in "Amigo Dudu" (Song No. 11, Appendix A) the
structure and melodic materials from at least two other
composers' _works have been identified as having been
adapted or quoted with an apparent neglect of the formula
of acknowledgment. This, however, does not mean that
Ndubuisi is a plagiarist. The musical materials he
adapts from the works of other composers tend to be those
which have become so familiar and have such common
currency that they may well be regarded as having passed
into the musical heritage possessed in common by the
people. In other words, he borrows tunes which, although
known to have been written by known composers, have
become such favorite songs that they have, as it were,
become social possessions just like folk songs. Ndubuisi
probably presumes the right to use any piece or section
of a piece that enjoys general or common usage.

The overall structure and melodic materials of

"Amigo Dudu,” for example, resembles Felix quba's

54

"Nigeria, Imebisiwo Onwe Gi" (1967). Also, measures 35-
40 (Example 14) of this piece are probably from an anthem
entitled "Omume Gi G'agbak'ebe," which was common in the
later 1970's among church choirs in Uzuakoli, Bende, and
Ohafia areas of the Imo State of Nigeria.

It is not possible to find a blending of all the
characteristics enumerated earlier in any single
compositions. "Onye N'aku N'onuzo Mo?" (Example 15),
however, serve as a good example.

Its text is drawn from a familiar folk-tale of
the return of a missing child who, as a result of the
mischievous act of her playmates, got lost in the bush
where she went to collect firewood.

After a highly chromatic four-bar introduction,
the basses come in during measure 5 with what amounts to
a call to which the altos respond in measure 6.
Basically, the response to the text of the call "Onye
n'aku nonuzo mo? (Who is it that knocks on my door?)" is
'Obu Nwagi gi jerenku (It is your child who went to get
firewood)." _

A very important feature of Ndubuisi's music that
is found in this piece is the use of the piano not only
as an accompaniment, but also as an integral part of the
piece. The piano forms part of the ongoing narrative.
That the bass line starts by asking, "Who is it that

knocks?” presupposes the fact that there was a knocking.

55

Example 14.

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56

Example 15.

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57

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58

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59

The three staccato eighth notes in the second half of
heat three and beat four of bar 1 and also in beats 1 and
2 of bar 4 seem to suggest the knocking. Indeed, this is
the exact rhythm 751? that precedes the "response." As a
matter of fact, the text underlay "kpom kpom kpom" is
the usual onomatopoeic imitation of the actual sound of
knocking. It is also important to note that the knocking
staccato rhythm remains in the accompanying vocal and
piano parts as the narration continues (13-18). Some
specifically western musical traits found in this piece
include, among many others, the chromaticism, secondary
dominants and the augmented chords in measures 1-4;
clearly defined cadences in bars 5 and 14); an abrupt
modulation bar 14; continuous melody achieved through
various forms of melodic expansions; troping and

polytextuality in measures 41-44, 49-54.

Choral Works

 

"Onye Naku N'onuzo Mo?" and other choral works of
Ndubuisi, as a group, could probably best be seen as an
outgrowth of the anthem sung in the churches. Some of
these such as "Onye Di Mma Nazu" and Ashiboko are
homophonic, while others, such as "Nwa Aramonu" in their
imitative characters are highly polyphonic and approach
the motet in style.

60

Like the motet, for example, the main melodic
materials of the "Amigo Dudu" (Song No. 11, Appendix A)
and "Aj ama Akwarna Ngwongwo" are borrowed from
preexisting tunes. In most cases, borrowed tunes are
given to the top soprano voice where their prominence is
further emphasized by having them move faster or slower
than the lower parts as in measures 20-23 in Example 16.
From measure 134 of "Amigo Dudu" to the end of the piece,
there is a combination of different, but related, texts
in the voice parts, a technique similar to the troping
technique. Throughout the piece, there is clear evidence
of rhythmic stratification, and the tendency to have two

parts, especially the soprano and the alto in consonance

with each other.

Text-Music Relationship

The expression of text in "Amigo-Dudu" and in a
great majority of the works of Ndubuisi is very closely
allied to the general mood of the text and to some extent
to how the words are pronounced. Careful choice and
placement of tones and .climactic tones (as in Enenebe
Ej egi Olu), chromaticism and changes in meter (found in
Onye N'aku N'onuzo Mo?") and the use of major and minor
keys, are the means most commonly exploited by Ndubuisi
in this regard. These techniques are basically foreign

and show a carry-over from his training in Western music.

61

Example 16. Extract from "Amigo Dudu"
(Measures 17-24)

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62

By far the most generally used of these
techniques by Ndubuisi is the use of major or minor keys
to portray happy or sad moods, respectively. For
instance, in depicting the joy and satisfaction in the
dignity of labor in songs numbers 12 and 13 in Appendix A
the "Oku Ngwo (Palm-wine tapper)” and "Ogbu Nkwu (Palm-
fruit harvester)," D major is used; for the Showmanship
and gaiety of "Enenebe Ejegi Olu" he used the C major.
On the other hand, for the sad subjects of the songs
"Afufu Uwa" (suffering) and ”Aru Eme" (The Worst Has
Happened) the key of D minor is employed. A good example
to demonstrate the affective use of musical materials is

the "Aru Ema." See Example 17.

Example 17. Extract from "Aru Eme"
(measures 16-18)

Extract from "Aru Eme"
(measures 16- )

O

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A

The rhythmic pattern which has been referred to
in this work as the "Ndubuisi Rhythm" with its

 

63

characteristic drone sound produced by the repetition of
the dotted half note on the great G in measure 1-3 sets
the mood for the mournful expression of grief that
follows in the main thematic section in measure 5.
Notice also how this rhythmic pattern pursues its path
from measure 15 to measure 20 without hampering’ the
lyrical and rhythmic freedom of the expressive melody in
the voice part.

In measure 5, the abruptness of and the agitation
excited by the repeated eighth notes in the accompaniment
are quite in keeping with the intensity of the
exclamation ”Ewo!” in the voice part. Also noteworthy
are the change in dynamic expression from "mezzo-forte”
to ”forte,” and 'thea stressed off-beat. entries by ‘the
soloist in measure 5, 10, and 15. These are used to
heighten the emotional effect of the song.

There are noticeable instances of word-painting
in this piece. The upward direction of the word gig (up)
in measure 10 is depicted by a leap of a minor sixth
which is the largest interval used in the piece. Again,
the highest note of this piece--the one-line D (d')--is
used for the words that talk about death in measure 15
and 16. This is a clear example of the effective use of
a musical climax to delineate the most important part of

the overall text in Ndubuisi's music.

64

Fo_rm

Another aspect of Ndubuisi's music that merits
consideration is the form and shape that the transformed
folk songs and arrangements take as tangible pieces of
compositions. A great majority of the works examined are
cast in western standardized forms, binary, and ternary
and through composed or free forms.

The "Enenebe Ejegi Olu' (song Number 2 in
Appendix A) divides into two clearly defined sections: A
and B. The B part is repeated before the restatement of
the A part in a layout that could be represented by the
following diagram:

Figure 4

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The aesthetic principle involved here is that of delayed
repetition. But the form is A-B-A. Since in musical
analysis the immediate repetition of B section, does not
advance the form of a piece, irrespective of the fact
that it adds to the delay. The tonal structure of the
piece, as well as others in this category ("Ose Va" and

"Ashiboko"), is I-V-I. In some the more prevailing tonal

structure is I-IV-V-I.

65

"Ngbogho Delu Uli" (song number 14, Appendix A)
also has two sections, but with a different shape. The
first period of this piece, unlike the usual eight-bar
period, consists of six measures (5-10) made up of two
three bar phrases. This period ends with a final cadence
in the dominant key of B flat major. A ten bar
instrumental interlude (11-20) that is rather
developmental precedes the second period. There are two
four-bar phrases in the second period which ends in bar
29. Measures 30-32 provide a short cadential extension,
and the rest of the measures (33-40) constitute a coda
during which there is a change from 12/8 to 6/4 meter.
Essentially, this is, therefore, a two-part (binary)
piece with two asymmetric periods (see diagram).

Figure 5

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The fact that the first part ends in a key other than the

 

tonic qualifies this piece as being in. a continuous
binary form. A further examination of the phrase shows
that the same phrase which ends the first part (measures
8-10) relates to the phrase which. brings the second
section to a close in measures 27 to 29. Therefore, this

arrangement is in a continuous rounded binary form.

66

"Ozuitem Obodom" (Example 18) is an interesting
one-part song that tends to combine the elements of the
rounded binary form. The piece is spread over a single
complete harmonic movement. There is neither a divisive
aspect nor a striking contrast in the piece. Half way
through this eight-bar piece, the first imperfect
authentic cadence occurs (in measure 4). This marks the
end of the. antecedent phrase. Measures 7 and 8 in this
second phrase contain an exact repetition of the
subphrase in measures 3 and 4--a treatment somewhat
similar to what was observed above.

Although a great majority of the compositions and
arrangements by Ndubuisi would seem to fit into the short
part forms, there are certain pieces about which it is
not possible to make a definite statement as to what
formal design might be expected.

”Erna Nne," "Onye N'aku N'onuzo Mo?" and "Amigo
Dudu" are good examples of the (composition in. which
Ndubuisi appears to have felt the need to create a more
unique form. "Amigo-Dudu" (Song Number 11), for example,
opens with a four-bar piano introduction. The main
thematic section begins in measure 5 where the first
four-bar phrase (5-8) starts. This phrase is answered by

an eleven bar phrase (9-19) characterized by point of

67

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68

imitation technique (see Example 18). Even though there
is a feeling of repose in measure 19, it is weakened by a
continuation of the forward motion provided by the
rhythmic piano accompaniment, as well as the: melodic
interpolation by the basses.

The second period, which begins in measure 20,
ends in a half cadence in measure 31. Again, in spite of
the rallentando from measure 29 reinforcing the cadence,
the sense of repose is elided. This is so because the
end of the first period is the beginning of the second
one. From this point (measure 29), the piece continues
its onward march until measure 106 where the first real,
and by far the strongest feeling of rest in the piece (a

b

perfect authentic cadence in A major) occurs. On the

whole, it is a thorough composed piece.

Instrumental Works

Although they are few in number, the instrumental
pieces written by Ndubuisi present, in addition to the
general eclectic nature of Ndubuisi's style, a new
dimension to music literature in. Nigeria that is of
tremendous importance. They preserve, in absolute ferm,
some nearly forgotten folk tunes.

The transformation of folk tunes into

instrumental compositions appears to stem from three

69

Example 19. Extract from "Amigo Dudu"
(Measures 9-12)

 
    
    
  

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70

basic principles inherent in the adapted folk tunes. The
first is the principle of absolute melody arising from
the constancy of the response sections of most folk
songs. This section in most cases has a text underlay
often comprised of words or syllables which have no
meaningful relation with the text of the song. Excellent
examples are the "tum-be-le-ke" (in "Nwaruru”), Do-li-ma-
li-ma (in ”Akwaeke"). These syllables, therefore,
function as carriers of fixed melodies or phrases that
complete musical thought. A function somewhat similar to
this in Western music is performed by the "Fa-la-la-la-
la" found in some Madrigals and hymns. The second is the
principle of malleability which makes a folk song melody
adaptable to different texts. Evidently, this principle
tends to suggest to Ndubuisi that more artistic and
elaborate development that does not obliterate the
original substance of an adapted material will be
acceptable. In a smaller scale, this seems to be the
underlying basis of the introductions, interludes, and
postuludes found in song arrangements. And to a very
elaborate degree, this principle is explored in the "Igbo
Rhapsody" and "Igbo Medley.” The third and final
principle relates to the second and has to do with the
recitative characters of folk songs. In its folk music

context, a melody develops according to the nature of

71

texts sung. In their instrumental versions, these
melodies, because of their freedom from the limitation of
words, have an almost endless scope for expansion.

Of interest is that in Ndubuisi's instrumental
music, the recitative character of folk songs is
retained. Instruments--piano, organ, and saxophone--act
as the carriers of tunes. Native listeners accustomed to
the underlying principles and familiar with tunes are
likely to derive immeasurable aesthetic satisfaction from
the instrumental works of Ndubuisi. For the foreign
listeners who wish to enjoy these works as compositions,
their (the work's) forms, melodic and harmonic details
might be of interest.

All told, it is clear from the foregoing that
Ndubuisi's works, vocal or instrumental, are derived
mainly from Nigerian folk and popular music tunes
combined with the well developed resources of Western
music. It is the effective fusion of the materials from
these traditions without sacrificing African native
agents that has and will likely continue to be the major

source of interest in Ndubuisi's music.

CHAPTER IV

CONCLUSION

Two of the greatest strengths of Ndubuisi as a
composer and arranger are his abilities first to strike a
balance between Nigerian ethnic music and Western art
music, and second, to organize these works with a
rhythmic sophistication and expressive power that are
typically his.

Whatever their influences might have been, the
work of Ndubuisi portrays a sincere artistic need to fuse
Nigerian ethnic musical materials and the acquired
resources of a well-developed Western art music. Even
though the adaptation of folk music into art music by
many Nigerian musicians may be seen as part of the
contemporary general phenomenon of cultural blending in
Nigeria, Ndubuisi's works exhibit an honest striving for
a higher artistic expression and are more profound than
the output of untrained musicians who merely jazz up folk
songs for commercial ends.

The compositions of Ndubuisi, because of their

eclectic nature, document not only some old and

72

73

contemporary folk and popular tunes, but also show what
twentieth-century trained musicians are doing with ethnic
music and their aCQuired knowledge and experience in
their time. The most important contribution of Ndubuisi
and other Nigerian composers is the elevation and
advancement of simple folk songs from their traditional
roles of incidental importance to the status of "learned”
art music as independent stage and concert pieces.
Evidently, Ndubuisi's works, like those of Harcourt-
Whyte, Sowande, and Bankole to name but a few pioneers,
mark the point where harmonic functions and other Western
techniques become accepted forms of musical development
in Nigeria. Furthermore, the fact that some of these
learned pieces have continued to be enthusiastically
accepted in sacred and secular institutions is a likely
sign that they may influence the {direction of' music
history in Nigeria. In these respects, therefore, the
continued interaction of indigenous and foreign music in
this century and the contributions of Ndubuisi are more
significant landmarks in the history of music in Nigeria
than is generally realized. By opening a professional
field to future composers the first Nigerian composers
have indeed made a significant contribution.

Beyond being a phase in the history of music, the

compositions of Nigerian composers as demonstrated by the

74

collected works of Okechuku Ndubuisi, are aesthetically
beautiful and aurally interesting. But, unfortunately,
in spite of their beauty and acceptance, these works are

still largely in manuscripts held in private hands.

Suggestions

Now is probably the ideal time for these
manuscripts to be systematically collected, classified,
evaluated, and edited. Good performance editions are
needed to ensure the continued existence of Nigerian art
music. Good critical editions are also essential for the
insight they will give to our understanding of not only
the aesthetic significance of the interaction of
indigenous and foreign musical traditions, but also of
the subjects which the compositions celebrate and
symbolize. The result of the type of scholarly
undertaking being advocated may, among other things, form
the basis of an authoritative book on the subject of art
music tradition in Nigeria.

A more searching research will reveal the full
extent of the role of Nigerian composers in the stylistic
and technical development in art music, determine the
dominant trends, assess the works of selected
representative composers, and estimate their influence

and acceptance.

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75

The churches, as major centers of art composed
music and songs, should be considered as a primary source
for manusCripts; other sources will include the Music and
Music Research Departments of Radio Corporations, Art
Councils, and Choral and Music Societies, for
compositions, and program notes. Composers and their
relatives and friends may also be contacted, and finally
the magazines and daily papers could be reached for
necessary items of information.

Whatever the results of future investigations
might be, the facts remain that by integrating Nigerian
ethnic music and Western art music, Nigerian composers
have contributed immensely to artistic and aesthetic
developments in Nigeria, and that their works which have
continued to grow not only in number, but also in

quality, should not be ignored by scholars.

APPENDICES

76

APPENDIX A

SOME SONGS REFERRED TO IN THE TEXT

77

78

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APPENDIX B

COLLECTED WORKS OF OKECHUKWU NADUBISI

188

 

COLLECTED WORKS OF OKECHUKWU NADUBISI

 

VOLUME I

Title Language Scoring Composed/

of Text Arranged
1. Blue Nocturne Instru- Solo

mental & P Composed
2. Ife Di Na Oba, Igbo V & P Arranged
3. Anwie T1, Mini Dze Igbo V a P Arranged
4. Dim Oma Igbo SATB Arranged
5. Ozuitem Obodomu Igbo SATB Arranged
6. Erna Nne (Mother's Breast) Igbo V & P Composed
7. Kwi Saurare Hausa SATB Arranged
8. Oba Nikama Lo'oko Yoruba SATB Arranged
9. Osumopi Kwikelo SATB Arranged

(He Goat, Go Back)
10. Isantim Efik SATB Arranged
(The HippopotamuS)

11. Azu Mbe Bu Ugwre Ya Igbo SATB Arranged
12. Onina Manya Ogo Igbo SATB Composed
13. Nwa Aramonu Igbo SATB Composed
14. Mama Gabora Mu Mba Igbo SATB Composed
15. An Elegy for Cutliff Igbo SATB Composed
16. Oku Ngwo Igbo SV&P Arranged
17. Ogbu Nkwu Igbo SV&P Arranged
18. Nwa N'ebe Akwa Igbo SV&P Arranged
19. Ashiboko Igbo SATB Composed
20. Ajama Akwara Ngwongwo Igbo SATB Composed

189

 

190

 

Title Language Scoring Composed/

of Text Arranged
21. Ogun Salewe Hshekiri SATB Arranged
22. Nyarimya Hausa Solo Arranged
23. Anoro Anokwuru Hausa SATB Composed

11.
12.
13.
14.
15.
16.
17.

18.

NDUBISI

. Onye Naku Nonuzo Mo?

. Ode Nji Nji

Enenebe Ejegi Olu

.Cmmmma

Mgbogho Dolu Uli

COLLECTED WORKS

VOLUME II

Igbo
Igbo
Igbo
Igbo
Igbo
Igbo

Agiligbo, Igbo, Solo, Arrangement

Onye Di Nma N'alu?

Nwaruru

. Oyili Onye Oma?

Icheku Na Nwanneya
Oma Bu Nwemye Mu'ol
Aru Eme

ngu Onwa

Nwa Enwe Nne
Okpanku

Utu Chatoro N'elu

Igbo Folk Medley for

Electronic Organ

Lgbo
Igbo
Igbo
Ibgo
Igbo
Igbo
Igbo
Igbo
Igbo
Igbo

OF OKECHUKWU

SATB Composed
SATB Composed
Solo Arranged
Solo Arranged
Solo Arranged
Solo Arranged
SATB Arranged
Solo Arranged
Solo Arranged
Solo Arranged
Solo Arranged
Solo Arranged
Solo Arranged
Solo Arranged
Solo Arranged
Solo Arranged
Instrumental

191

 

Title Language Scoring Composed/
of Text Arranged
19. Nwannunu Igbo Solo Arranged
20. Etuk Udo Ibibio Solo Arranged
21. Onye Gagwazi Wa Ika-lgbo Solo Arranged
22. Uwa Amaka Igbo Piano Arranged
23. God Bless Africa English Composed
(Textless)
24. Den-dela K'urie Igbo Solo Arranged
25. Atuak Ukot Odo Efik Solo Arranged
26. Mgboye Nwoyi Diye Igbo Solo Arranged
27. Onye Yabalu Di Nma? Igbo Solo Arranged
27(b) Onwuelo Igdo Solo Arranged
28. Obogwu Igbo Solo Arranged
29. Akpo Ughe Urhobo Solo Arranged
30. Miri Igbo Solo Arranged
31. Akw Eke Igbo Solo Arranged
32. Nwa Mgbogho Delu Uli Igbo Solo Arranged
33. Oji M'eme Onu Igbo Solo Arranged
34. Afufu Uwa Igbo Solo Composed
35. Ikpirikpe Ogu Igbo, Piano Composed
(War Dance)
36. Ugani Egbue Umu Aru! Igbo Duet Arranged
37. Ose Va Edo SATB Arranged
38. Eringa Igbo SATB Arranged
39. Uma-Woi Igbo SATB Composed
40. Igbo Rhapsody Igbo Sax Composed

 

BIBLIOGRAPHY

192

 

BIBLIOGRAPHY

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Ahanotu, Adolphus. "Ogbanje for Symphonic or Concert
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Akpabot, Samuel. "The Conflict Between Foreign and
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Alward, S. African Culture and Christian Church.
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Adegbite, Ademola Moses. "Traditional Music in
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Bankole, Ayo. "An Introduction to the Problems of
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194

Bankole, Ayo. "The Dawners of Nigerian Musicology."
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. Ibo Chroal Music: Its Theory and Practice.
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. "Concepts of African Music Theory." Journal
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