Compositional Style and African Identity: A Study of Modern Nigerian Art Music

Abstract

The introduction of European culture and Christianity to Nigeria\nin the second half of the nineteenth century was to lead to changes in\nthe socio-political, economic and religious features of Nigerian society.\nSince traditional, pre-colonial, Nigerian music was strongly tied to\nthese features, the introduction of European culture and Christianity\nalso had significant effects on Nigerian musical culture.\nOne important result of the contact between European and Nigerian\ncultures is the growth of the European-derived idiom of written\ncompositions conceived for presentation on a concert platform.\nIn this thesis, such works which have been written by Nigerian\ncomposers (from 1940 onwards) are studied with a view to assessing how\nthe composers have sought to meet the artistic demands of contemporary\nNigeria by integrating European and Nigerian elements. The thesis\nprovides discussions on historical developments in nineteenth century\nNigeria, musical activities in the Church, and the characteristic features\nof Nigerian music. These discussions constitute the necessary historical,\ncultural and musical background to the study of the lives and works of\nsix of the major composers of Modern Nigerian Art music in Chapters 5-11.\nThe last chapter summarises the major findings of the study and\nassesses the problems and the prospects which the growth of this new\nidiom faces in Nigeria. The chapter identifies the need for a greater\nemphasis on the teaching of traditional Nigerian music in secondary and\ntertiary institutions as an important condition for the propagation and\nthe appreciation of the works of modern Nigerian composers.

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