izu music project
TRANSCRIPT
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TITLE PAGE
DOXOLOGY: THREE SACRED WORKS BASED ON DAN
CHRISTIAN CHIKPEZIE AGU’S CHORAL STYLES
BY
EWULU, JOHN IZUCHUKWU
REG. NO: PG/MA/07/43607
A THESIS SUBMITTED TO
THE DEPARTMENT OF MUSIC,
UNIVERSITY OF NIGERIA, NSUKKA
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE AWARD OF MASTER OF ARTS (MA)
DEGREE IN MUSIC COMPOSITION
MAY, 2011
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APPROVAL PAGE
This thesis has been read and approved for the award of Master of Arts
(M.A.) degree in Music.
By
___________________ ___________________
Dr. Ade Adeogun Dr. Ade Adeogun
(Head of Department) (Supervisor)
_______________________
Prof. Emurobome Idolor
(External Examiner)
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ACKNOWLEDGEMENTS
It is my pleasure expressing my profound gratitude to the Almighty God
for His loving kindness throughout my course of study and the successful
completion of this research work. Thank you, Lord, for what you have done. My
special thanks go to my dear and ever ready supervisor, Dr. A. O. Adeogun, for
his critical and objective attitude to the supervision of this work.
I vividly remember the numerous contributions made by my parents,
lecturers, friends, brothers and sisters, colleagues, and well wishers, in diverse
capacities both physically, morally and otherwise towards the completion of this
thesis. It is my earnest hope and prayer that God in His infinite mercy shall
continually prosper all of you in your respective lives‟ endeavours. I sincerely
owe all of you my heart- felt appreciation.
To my loving mother, Gladys, the Lord will reward you abundantly for
being there for me at all times. My beloved brothers and sisters: Pauline,
Chukwuka, Tony, Alex, I. K. and Chinwe you worth millions of my thanks. It is
my utmost heart desire that God Almighty will reward all of you for your moral
and financial support throughout my years of study. I must also thank God for the
life of Mrs. Rose Igwe my landlady for her untiring encouragement and support.
Ejike Igwe, the Lord will bless you the more for your brotherly care and love.
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I remain ever grateful to my colleagues; Ikenna, Lizzie, Rev. Fr. Ben,
Peter, Mrs. Anya- Njoku, Mrs. Obiekwe, Mrs. Forchu, Mr. Onyekwelu, Rev. Sr.
Keke, Ken, Emma, C. J., Professor Onyeji and Dr. Sam Cee for their pieces of
advice and criticism for a better output. To Nnaemeka Nnaji (Bawo) and
Emmanuela Ugwu my typists, I am really grateful for your dedication and
sincerity. God shall reward you both accordingly. My sincere gratitude goes to
my wife Nkechinyere Izuchukwu for your untiring effort in encouraging me even
when it seems tough and unbearable. Thanks my dear.
Finally, I must thank Sir (Professor) Daniel Chikpezie Christian Agu
whose creativity, forms, styles and techniques I have adopted in writing this
composition. Prof. thanks for granting me audience during interviews, material
findings and above all, allowing me to study your works as basis for my own
compositions. May the good Lord bless you all.
Ewulu, Izuchukwu J.
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ABSTRACT
The art of composition is an approach to creative writing which brings out a
synthesis of musical ideas, motifs and sonorities, to get at that which originally
will not be reachable. African art music, also known as academic music in the
context of this thesis, is that unique, stylized art; formalized kind of music that
emerges from the fusion of Western musical idioms with that of African
traditions of musical concepts and practices. In the present academic enquiry, the
researcher has critically studied the life, times and works of Prof. Dan Chikpezie
Christian Agu, exploring the unique features of his works, the analysis of his
musical compositions, approach to his choral music compositions, and his
general contributions to the art, history, and management of academic music in
Nigeria. A remarkable feature of this documentation is that it has given the
studied musician a chance to clarify the claims of the researcher, due to the fact
that the musician is studied while he is still alive. This using the descriptive and
historical methods explores Agu‟s styles and techniques in the composition of
three sacred works by the researcher.
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TABLE OF CONTENTS
Title Page - - - - - - - - - - i
Approval Page - - - - - - - - - ii
Dedication - - - - - - - - - iii
Acknowledgments - - - - - - - - iv
Abstract - - - - - - - - - - vi
Table of Contents - - - - - - - - vii
CHAPTER ONE
INTRODUCTION - - - - - - - - 1
1.1 Research Background and Statement of the Problem - 5
1.2 Aims and Objectives - - - - - - - 6
1.3 Significance of the Study - - - - - - 7
1.4 The Scope of the Study - - - - - - 7
1.5 Methodology - - - - - - - - 8
CHAPTER TWO
REVIEW OF RELATED LITERATURE - - - - 9
2.1 Composition- - - - - - - - - - - - - - -
2.2 Art composed music - - - - - - - 10
2.3 History of art composed music in Nigeria - - 10
2.4 University music education, art music in Nigeria and the
Department of Music, UNN- - - - - - 10
2.5 Dan Agu‟s contemporaries - - - - - 11
2.5.1 Samuel Nehemiah Ojukwu - - - - - - 11
2.5.2 Felix Chukwuemeka Nwuba - - - - - 12
CHAPTER THREE: THE COMPOSITIONS
3.1 Father glorify thy name (John 12:28&32) - - -
3.2 Kelee Jehova (O give thanks) (Psalm 136:1) - -
3.3 Jehova onye ga-ano (Lord who shall ascend) (Psalm 15)
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CHAPTER FOUR: ANALYSIS OF THE COMPOSITIONS
4.1 Theme
4.2 Tonality and scalic organization
4.3 Piano introductions/Accompaniment
4.4 Solo
4.5 Medium
4.6 Sequence
4.7 Response Repetition
4.8 The use of counterpoint
4.9 The use of Ostinato and Chorus refrain
CHAPTER FIVE
Summary and Conclusion - - - - - - - 101
References - - - - - - - - 104
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CHAPTER ONE
INTRODUCTION
Background of the study
Man /woman through the ages has been known to be creative, innovative
and artistic in one form or the other, and one of the most practical means of
exposing this natural or acquired skill is through music. Music, in its content and
styles, represents significant aspects of social reality, which is therefore, an
important means of information on the consciousness of a people.
The effectiveness of musical gift differs from one individual to the other.
Hence, the differences in the levels of performance, appreciation, participation
and creativity may be due to cultural and social disparities. These differences
ultimately give rise to the various kinds of music that we have today which are
broadly classified as: the traditional, popular and art music. The traditional and
pop genres are functional as they play diverse functional roles in areas such as
funerals, marriages, wrestling, festivals etc. Art music is somewhat generally on
contemporary art music and particularly the art music of Daniel Chikpezie
Christian Agu, a prolific composer, performer, scholar and music educator of our
time.
A composer is one who writes music for theatre, television, radio, film,
computer games and other areas where music is needed. According to Echezona
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in Achinivu (1979), a composer is anyone who writes a piece of music regardless
of the length, originality, or artistic achievement of the piece. About a good
composer, he notes:
… but the world, fortunately, does not admit a lax view. A composer
is expected to show some skill in handling his materials (technique)
and some degree of originality. The first of these requirements,
technique, may be learned or acquired, provided the composer has a
basic minimum of musical ability. That branch of music is called
theory and includes harmony, counterpoint, orchestration, etc. The
second, the requirement of originality can scarcely be learned,
though it may be developed and cultivated (Achinivu, 1979:120).
The main task of a composer is to write an original composition for a specific
project. His music should be properly written so as to guide the musicians
properly in its performance. Hence, Idamoyibo (2003) states that:
What makes a musician to be distinct is the originality of his work
and his ability to create interest and to arouse emotion in his
audience. This can only be achieved through musical competence,
creativity and expertise (p. 12).
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A good composer should be able to create his own songs with different
fascinating rhythms for both voice and instruments. A composer makes sure that
his music suits his project, as in the case of film scores where the music should
help move the story without overpowering the scene. The music a composer
writes may be instrumental or vocal. It may be in various styles such as classical,
jazz, country or folk and so on.
Most Nigerian composers are of Western background in music theory,
composition, orchestration and harmony. Certain aesthetic essentials such as
clarity of theme, introduction, contrast, repetition, balance, variation, elaboration,
proportion, connexion, transition, and many others are applicable regardless of
style or idiom. However, there are many composers who do not have school
training; instead theirs remain a natural endowment. For instance composers like:
Edward Elgar, Karl Lawrence King, Witty Amy Beach, Dizzy Gillespie,
Philemon Okoye, Christian Ilo, Nwaogbamgbada Paul and Heitor villa-lobos
were mostly self-taught.
A good composer has fresh ideas, is creative, versatile, not afraid to
experiment, willing to collaborate with fellow artiste and, of course, passionate
about writing music. Although a road to becoming a composer may be hard and
highly competitive, once you get your foot in the right door, composing can
generate good income for you, not to mention the experience and exposure one
will get along the way. At the same time, music can bring consolation, hope and
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joy to all who need it. However, it remains pertinent that to vividly grasp and
appreciate Nigerian art music, much better in all angles, one needs to have an in-
depth look at the past, the origin and the upsurge of the genre. The essence of this
is clearly stated by Aristotle, who says „he who considers things in their first
growth and origin will obtain the clearest view of them‟ (Aristotle: 1929 Politics
1, 2). Sequel to this, studying Agu and his choral styles of composition at this
point in time gives the researcher the inspiration to gather first hand information
vividly from Agu himself in order to put on paper what Agu was and is for the
wider audience to be directed aright.
1.1 Statement of the problem
Research according to Mark (1978):
Music is a thing that delighteth all ages and beseemeth all states, a
thing as seasonable in grief as joy, as descent being added to actions
of greatest solemnity, as being used when men sequester themselves
from action (p. 7).
Music is a highly valued creative art, that is, it is an expression of various aspect
of life in every community. Music emanated as a means of communication and
self expression and then gradually develops into a form of entertainment in which
others could share. Before now, strong scholarly interest was shown by
ethnomusicologists such as A.M. Jones, J. Blacking, A.P. Merriam, Bruno Nettl,
W. Bascom, J.H.K. Nketia, Meki Nzewi, Sam Ekpe Akpabot, Richard C. Okafor,
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Akin Euba, Dan C.C. Agu, Joshua Uzoigwe and many others in discovering and
bringing to the fore music genres in various societies of the world especially in
Africa.
Dan Agu has really distinguished himself in music in the area of composition
which has brought him fame and honour from different people, religious groups
and corporate bodies. The problem still lies in the performance of his works
which are generally tough to interpret. Dan Agu‟s compositions have really posed
a lot of problems too many choirs in times of performance. This is because of his
style and choice of techniques evident in his compositions. Also his constant use
of syncopations and other complex rhythms has scared many music directors and
choir masters from performing his music. The researcher has critically studied
most of his works as a choirboy under Agu. This singular opportunity motivated
him (the researcher) to undertake composing in the same styles and techniques of
Agu.
However, exposing his styles and techniques through analysis by the
researcher will pave way for up-coming musicians to critically study Agu‟s
works without bias or inferiority complex but with full zeal of getting to that
which is unreachable through compositions as embedded in Dan Agu‟s numerous
works.
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1.2 Aims and objectives
The wider Nigerian society has the misconception that it is a mark of
irresponsibility for one to study music as a profession. Even, many parents,
guardians see music as a profession for never- do- wells, way- ward and school
drop-outs. But ever since Dan Agu excelled in music right from the primary to
the tertiary levels, his name commands respect from all and sundry as far as
African art music is concerned. Of course, he remains one of the well known
Nigerian art/ choral musicians. Hence he composes all kinds of music – secular,
sacred, dirge, ode, and arrangements to mention but few.
Dan Agu, as an icon in the Nigerian art music, stands tall in the society especially
after the composition of the Anambra State song which gave him fame. Today,
he is respected among his peers, colleagues and the wider society that some
parents now want their children, wards to study music just to be like Dan Agu.
These achievements, fame, and his ability to influence the society
positively with music therefore prompted the researcher‟s interest in discovering
more about Dan‟s life, approach in terms of composition as regards his choice of
styles and techniques.
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1.3 Significance of the study
This research work would go a long way in contributing to the preservation
of art music and its development in Nigeria. This will be feasible when most of
the works of other Nigerian art musicians like Dan Agu are studied and the styles
and techniques utilized in further compositions by some other growing
composers. This research will also serve as an avenue for musicologists to
acquaint themselves with Dan Agu‟s techniques and styles of composition. It will
also boost creativity and seriousness amongst students as they will see the
importance and usefulness of their course of study. This research work will serve
as a source of inspiration to many who think that the study of music is a waste of
time and for the way- wards. It will open up a topic to correct further research on
the misconception about the study of music and serve as a reference point for
further researches.
1.4 The scope of the study
This research is mainly confined to Nigeria, especially within the Nnamdi
Azikiwe University, Awka where the Dan Agu currently teaches, University of
Nigeria, Nsukka, Enugu State, precisely the Department of Music that avails the
researcher the opportunity to carry out the research.
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Due to the financial constraint of the researcher, he could not travel to other
institutions of higher learning in the country that offer e music to find out their
own views about Agu. Instead, he sought the opinion of some music experts at
the Department of Music, University of Nigeria, and Nsukka where he teaches.
He also interviewed some members of staff of the Departments of Music, UNN,
and the Nnamdi Azikiwe University, Awka where the Dan teaches. The artiste
Dan Agu availed himself for interviews by the researcher. This singular
opportunity helped a great deal to alleviating most of the problems the researcher
would have encountered. The research was also faced with unfavourable
conditions and situations, which include the following:
- Very busy schedule of most of the interviewees.
- Difficulty in fixing appointments with Prof. Agu, who was on his sabbatical
leave at the University of Uyo as at the time of this research work.
Nevertheless, the researcher was not demoralized by all these odds instead he
devised alternate means of making both ends meet and has not claimed to have
exhausted all that could be said or written on this topic.
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1.5 Research methodology
Research according to Olaitan (1988):
…is best conceived as the process of arriving at dependable
solutions to problems through the planned and systematic collection,
analysis and interpretation of data (p.1).
Merriam (1964: 37) in his own theory of method and techniques believes that
method depends upon theoretical and basic assumptions particularly those which
concern the aim of the discipline. Generally, the reliability of any research output
depends largely on the method used in data collections.
In carrying out this research, the researcher drew materials from
interviews, the researcher‟s personal experience having been under Dan Agu as a
student and a choir boy respectively. Although an uphill task, the researcher
relied mostly on oral information he got from Agu, some of the members of St.
Cyprian‟s Cathedral Church Choir, Abakpa – Nike, Enugu State, where Agu
started as a choirmaster.
Finally, information gathered from few relevant journals, articles, the
internet, and the library were of great help during the process of this study.
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CHAPTER TWO
REVIEW OF RELATED LITERATURE
Music is a developmental activity in cultivation of the senses and
expression. It is one of the most effective vehicles for the growth and
development of customs and traditions of a given area. Music, is a universal form
of expression that is as old as man and is usually appreciated by people of
different culture. Hence Banks (1976) asserts:
Speculations about the singing of the arts and especially music are of
very ancient date. All primitive literature is filled with legends
describing the creation of the universe, and very early in these
stories, long before the other arts, music appears (p. 38).
In this chapter, the researcher discusses composition, art composed music,
the history of art composed music in Nigeria, university music education, art
music in Nigeria and the Department of Music, University of Nigeria, Nsukka.
Discussions about some of Agu‟s contemporaries in Nigeria form the concluding
part of this chapter.
2.1 Composition
Composition today forms a basic discipline in music study both at the
undergraduate and the post-graduate levels. The questions here are “What
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composition is and who is a composer? To do justice to these pertinent questions,
Achinivu (1979) quoting Riemann says:
Nowadays, composition in music is generally an elaborate, notated
piece of work, the successful outcome of which presupposes creative
musical aptitude and extensive training and which reckons with live
performance for the study of composition, instruction in the
elements of composition, (harmony, counter-point, twelve-tone
technique, rhythm, metre, form and orchestration/instrumentation is
of use; nevertheless, the composer begins, above all, with the work
of those masters whom he chooses in certain details and
fundamentally) as his models. The composition itself must, in order
to be valid, satisfy the requirement of newness, and of originality
(p.115).
To buttress the point on composition more, Achinivu (1979), quoting the
encyclopedia Musik in Geschichte and Genenwart states:
According to the present-day usage in the field of music
composition, the creative process by which a more or less clearly
and permanently fixed and meaning conglomeration of sounds (a
musical composition) is produced and is, as a rule, recorded in
notation whereby a certain degree of originality is presupposed in
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the product. The creator of such a meaningful (well formed) sound
formation is called a “composer” (p.115).
In drawing a live of distinction between two kinds of composers, Geoffrey
Nutting as cited in Achinivu (1979) says:
One can make music in an instinctive way, that is to say, without
any conscious or knowledge of the theory of music at all. That is a
kind of composition and such a person is a composer (p.116).
Such a composer‟s work will be one that is full of blunders and lapses because of
lack of the basic knowledge of the rudiments and theory of music as mentioned
earlier on. With regards to who should be called a composer, Nutting in Achinivu
still goes on and added:
I am thinking of a composer in the sense that Sam. Akpabot,
W.W.C. Echezona, Fela Sowande and Bankole are composers: that
is, men who consciously plan in advance the music they want to
hear, and who are fully conscious intellectually of the qualities and
relations of the sounds which they choose (p.116).
To be a composer, one must have the basic knowledge of the rudiments of
music as well as grounded in the theory of music. Echezona in Achinivu (1979)
went further to explain who a composer is as he says:
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Anyone who writes a piece of music is a composer, regardless of the
length, originality, or artistic decorations of the piece which can
stand and fulfill the needs of the rudiments and of theory (p.120).
Can we now say that anyone who composes can term the outcome of
his/her work “composition”? Going by the already generated ideas and findings,
there are two schools of thoughts of who a composer is. First, from the western or
academic point of view, that sees a composer as one who must be knowledgeable
in the theory of music as well as have the impetus to compose using the needed
elements of composition which must conform to originality in the work. Still
from the western angle, a composer must be one that is very serious with
composition and must be able to notate his music following the laid down rules,
styles and techniques. His compositions must be able to stand the test of time.
Olaniyan (2000) in Idamoyibo (2003) opines that:
A traditional musician is a non-literate entertainer who is naturally
endowed, acquired or inherited his musical prowess through oral
tradition from the foremost and elderly colleagues (p.66).
From the above findings, it seems clear that there is no formal training in
the traditional phase. This does not really mean that musicians under this
category do not know their bearing. They do because they are being instructed
and guided by their masters. Agu has the fusion of both the naturally endowed
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and of the educated phase. On the side of the naturally endowed, he took after his
father Samuel Okonkwo Agu of Ugamuma village in Obosi who was a great
singer and a well-known dancer in the whole of Obosi and its environs. His
mother, Esther Ochamba Agu, (nee Ikedionwu) of Ire village, Obosi, was also a
great dancer and singer in her village. She arranges songs for her group in the
church especially the Mothers‟ Union of the Anglican Communion of St.
Andrew‟s, Obosi. On the other hand, Agu is a trained musician as he has attained
the climax in his career: A Professor of Music.
Pioneers of the Nigerian art music include: Akin Euba, Ayo Bankole,
W.W.C. Echezona, and Samuel Akpabot who studied music abroad and later
came home as trained musicians in the 1960s after Nigeria gained her
independence. Thus, they realized the urgent need to preserve their nation‟s
musical heritage. Both Akin Euba and, Samuel Akpabot, who had the opportunity
of working under the research unit of the Nigerian Broadcasting Corporation,
(NBC) served there as music producers. They were able to collect and broadcast
traditional music to the public and this spurred their interest in documenting this
music for fear of it disappearing.
This was followed by the stimulation of writings on topics in music, music
education, performance and scholarship by Government who encouraged and
promoted socio-musical activities. After the national crises that culminated in a
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civil war, many more music scholars returned home with higher degrees in music
and there was a shift from documentaries to what is known as composition today.
By the middle of 1970, composition in this part of the country became a pre-
occupation with scholars till date. According to Ogisi, (1996:66) the first full
documentation and study on a renowned musician/composer was written by
Achinivu, Kanu Achinivu in 1979. This was a systematic study that explains the
origin, development, biography and analysis of a composer in the person of Ikoli
Harcourt Whyte.
A task such as writing on Dan Agu‟s compositional styles and techniques
is not an easy one. It becomes even more difficult when one has to search for
relevant information regarding the personality being researched on. This is
because such information is not readily documented for easy reference. Mbiti
(1984) observes this much earlier when he states that:
Most African people did not know how to read and write. Therefore,
they could not keep written records of their history. Instead, they
passed on information from one generation to another by words of
mouth (p.4).
This is not the case with Dan Agu because his music has been written
down and preserved in scores and discographs. There is no doubt that Africa has
produced talented musicians (composers and performers) whose great
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contributions, activities and creations were never documented over the centuries.
African music has travelled far and wide. It has also influenced a lot of music of
other cultures of the world. This was possible because of the slave trade and
colonial rule. Mbiti, (1984) was right when he states that:
The famous „Negro Spirituals‟ of the United States of America are
based on African musical and religious feelings. In recent times
many of the great artistes of Europe and America have studied and
copied African art (p.3).
In the opinion of Okafor (1987), he writes:
The study of Nigerian composers is mainly concerned with the study
of African academic musicians and their styles, techniques and
biographies. These Nigerian and African composers incorporate
western styles and African musical idioms in their works (p.19).
Onwuegbuna, (2009:99) outlines the necessary points that must be mentioned
while doing an analytical research. These include:
1. The musician‟s name, style of music, and natal records;
2. Remarkable events that marked the musician‟s time of birth;
3. The musician‟s pedigree;
4. The exerting influences on the musician-musical and otherwise;
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5. The musician‟s experiences within his nuclear/extended family circles;
6. The musician‟s education and apprenticeship/training;
7. His professional career, growth, and development;
8. Remarkable turning points in the life of the musician;
9. Patronage of his works and services;
10. Contemporaries, collaborations, and controversies arising from his person
and/or his works;
11. Works and contributions, and
12. His philosophy and general world-view;
All these form the researcher‟s format while studying Dan Agu‟s choral styles
and techniques in composition. Here, the definition of composition as an art
becomes necessary. Orton (1992) defines composition as:
The act of notating musical ideas before the performance of an
identifiable and usually titled musical work. It is commonly
understood to be slow, steady and painful process, taking weeks,
months or even years for the gestation and maturation of ideas to
crystallize to the point where they can be written down in a fully
coherent and ordered form (p.762).
Composition is of two main categories: vocal and instrumental. Risset (1992:583)
states that: traditionally, composition consists of putting together pre-existing
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elements: notes as they will be played or sung by the instruments (and or
vocalists) from a score where they are assembled. Vocal compositions are
referred to as choral music. Funk and Wagnall (1973) in the explain choral music
as:
Music sung by a group of people as a unit. Usually the term choral
music implies two or more for each part …. Most choral music is
written for a chorus or choir, consisting either of women and men, of
boys and men, or solely of men, women or children (p.179).
“Instrumental music refers to as that which is specifically composed for an
orchestra or a given instrument and free from the burden of words‟‟ (Ferris,
1995:38). According to Honigshein (1963):
The simplest instrumental music is based on only one instrument or
part, in contrast to that with a more or less logical structuring of
multiple parts. Another simple form is composed of only one
movement, which many combine several instruments or parts
(p.206).
The study of Dan Agu‟s music falls under these two categories namely: vocal and
instrumental. The researcher lays more emphasis on the former which is multi-
functional because it serves many purposes which are evident in his works. These
compositions are for diverse occasions like: marriages, birth and burials. Others
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include compositions such as school anthems, diocesan anthems, jubilee songs,
songs of patriotism and jingles. Agu‟s works are more of sacred than secular.
2.2 Art Composed Music
Art music as a new tradition of musical practice in Nigeria represents a
significant change within the context of Nigerian musical tradition if we take into
consideration the nature of evidences as well as the context of performances. Art
composed music involves generally, the application of literary tools in the
conception, composition and documentation of otherwise orally conceived,
documented and disseminated. In the opinion of Onyeji:
Art music or art composed music can be defined, as those
compositions that are literary form, literary, in the sense that they are
written down. It also dominates music traditions in contemporary
music education especially as introduced by Europe (Onyeji,
2003:148).
Most art music is contemplative and is referred to as music of the matured
minds. Hoffer (2003:3) maintains that art music is that music created for the
intellectual and psychological satisfactions it provides, usually composed for
performance in concert halls and opera houses. Works in this genre may be
sacred or secular, vocal or instrumental depending on the choice of a composer.
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In contrast to folk music, the origin of art music is usually known. Even if
the individual composer is not identified, the group from which the music
originates is known. We may not know the specific composer of the rhythmical
accompaniment for the name of the Benedictine‟s father who composed the
recitatives sung by the members of his order, but we can identify their special
group and consider that group as sociologically different from others. Art music
has normally been produced for a specific and differentiated audience rather than
for everyone in the tribe or community. It generally presupposes some knowledge
of rules/musical conventions that are accepted as valid within the producing
group.
Finally, all art music: Classical cum Neo-Classical is purely non-Nigerian
musical expression that came into the country through Nigeria‟s colonial
heritage: Western education and Christian Evangelizing activities (Okafor,
2005:5).In the same vein, according to Omojola (1987), the Nigerian
contemporary art musicians include all those that are:
Trained in Universities and conservatories both at home and abroad,
writing works which are conceived along the lines of European
music but which often employs a considerable degree of African
elements (p. 13).
Miller (1979) on the other hand, observes that:
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Those who take music seriously say that it beautifully expresses and
communicates ideals and emotions and that they return again the
fulfillment and revitalization they may have found at a concert, in
church, or wherever they as individuals were touched and moved to
a different feeling about life (p. 32).
Omibiyi (1976) opines that:
Academic musicians are highly qualified professional men
producing music based on western idioms in order to develop what
might be regarded as Nigeria‟s or indigenous contemplative music
(p. 80).
Nigerian composers in this genre include: Laz Ekwueme, Akin Euba,
Okechukwu Ndubuisi, Joshua Uzoigwe, David Okongwu, Sam Ojukwu, Felix
Nwuba, T.K.E. Phillips, Dan Agu, Ade Adeogun and Chris Onyeji to mention but
few.
2.3 History of art composed music in Nigeria
Little is known about the country‟s music history prior to European
contact, although bronze carvings dating back to the 16th
and 17th
centuries have
been found depicting musicians and their instruments. The Nigerian musical
landscape changed significantly following the advent of Christian missionary
30
activities and British colonial administration in the later nineteenth century.
Adegbite (2001) notes that:
The history of art music in Nigeria dates back to the first half of
nineteenth century, when Christian missionaries set their feet on
Nigerian soil. The Anglican came in 1842, the Methodist in 1845
and the Baptist in 1850 (p. 78).
Since then the musical landscape in Nigeria has continued to witness the
emergence of new musical idioms that range from those that are practiced within
the Christian and Islamic settings to those that are performed as part of social
ceremonies and in concert halls. It is to this latter trend that Nketia (1963) refers
to art music as: “That new form of an art, designed for the church, educational
institutions, entertainment arenas and the concert hall” (p. 5).
Art music is composed music that can be visually observed, studied and
appreciated based on the norms and idioms of its expressions. Kinds in Nigeria
include many types of folk, popular and the art composed music; some of which
are known worldwide.
Nigeria has been called “the heart beat of African music” because of her
role in the development of West African highlife of palm wine music which fuses
native rhythms with techniques imported from the Western world. Nigeria‟s
musical output has achieved international acclaim not only in the fields of the
31
folk and popular music but also in art composed music written by many prolific
composers such as: Fela Sowande (The father of modern Nigerian art music),
Akin Euba, Sam Ojukwu, Joshua Uzoigwe, W.W.C. Echezona, Ade Adeogun,
David Okongwu, Chris Onyeji, Okechukwu Ndubuisi, and Dan Agu whose life
and works as a composer form the basis of this research work.
2.4 University music education, art music in Nigeria and the Department
of Music, UNN
Music, like language, is an accomplishment that distinguishes us as human
(Blacking 1976: 42). Music education is a field of study associated with the
teaching and learning of music. It touches on the development of the effective
domain, including music appreciation and sensitivity. The incorporation of music
training from preschool to postsecondary education is common in most nations
because involvement in music is considered a fundamental component of human
culture and behaviour.
Music education also takes place in individualized, life- long learning, and
community contexts. To the African, as to many other peoples of the world,
music remains a veritable way of life, and no occasion, whether sad or joyful, is
without its attendant musical expression (Okafor 2005: 190). Music education
generally is that which trains the learner on the process of acquiring musical
32
knowledge and skills with the sole aim of producing music educators. Uzoma
(2001) has this to say to support the above thought:
Music education has, as one of its cardinal objectives, the provision
of experiences and training of learners. Such experiences when
acquired would help learners to live and contribute positively
towards the progress of their society (p. 1).
Because music does not exist in isolation, its social relevance cannot be
over emphasized. This concurs with the views of Hoffer (1985: 28) which
regards music education as part of a subject that has the power to awaken in us
sensation and emotions of a spiritual kind. On the other hand, he still opined that
music education is not only an abstract art, but a force which affects the lives of
the people who acquire it. Bessom (1980) further adds that:
Music education must adhere to the philosophy that our foremost
purpose is to foster an understanding of music that leads to lasting
appreciation of and participation in music activities that through
aesthetic experiences life is enriched and its beauty is intensified (p.
54).
Music education in the traditional Nigerian society was, is and still a
comprehensive educational system geared towards a functional and artistic
33
career. This involves an informal exposure to musical situations from birth
through the mother to adulthood through age – groups and various associations.
According to Okafor (2005: 198) he stated that formal music education
started with some teacher training colleges and secondary schools which enlarged
their curriculum to add lessons in the rudiments of music to singing and concert
shows. One of the pioneer advanced teacher training colleges ( college of
education), the Alvan Ikoku College of Education, Owerri, also introduced music
in its curriculum and began producing music teachers (trainer) for secondary
schools and teacher training colleges.
At the University level, music as a course is taken seriously following a
laid down curricula for both the theoretical and applied aspect s respectively.
Like every other professional course like medicine, law, engineering,
architecture, mass communication, fine and applied arts, languages etc. music has
played its role in the academic circle distinguishing itself as the most vocal of the
arts in Nigeria.
Music education in Nigerian Universities has gone a long way in training
undergraduates in Diploma programme in Music Education with the sole aim of
training practicing musicians and music educators. The degree programme is for
the academically minded and the potential trainers of trainers. The general
objective of music education is to equip the individual student to perform music
34
in the society and to contribute to the economy may be as an artist or a teacher, to
work in the entertainment industry, the educational institutions or in the public
service (Okafor 2005: 124).
The University of Nigeria, Nsukka, the first autonomous University in
Nigeria, established the first college of music in Africa (Okafor: 2005:198). Since
the inception of the Department of Music in 1961 it has been at the fore front in
training of graduates who may have distinguished themselves in certain areas of
specialization including: theory and composition, music education,
ethnomusicology and the like.
The Department of music, University of Nigeria, Nsukka has trained
academic musicians of national and international repute. In the records are
notable names: Sir. Sam Ojukwu, Felix Nwuba, Achinivu kanu Achinivu, Dan
Agu, Meki Nzewi, Emurobome Idolor, Ade Adeogun, Chris Onyeji, to mention
but a few who are today masters of art music in different dimensions. The
University of Nigeria, Nsukka must be mentioned and praised for the giant stride
taken to blaze the trail in the country‟s music education.
35
2.5 Dan Agu’s Contemporaries
Agu, (1990) asserts that:
Contemporary music is a new genre that has a completely new
cultural orientation which is not, in any way, committed to the ideals
of the traditional types like the intrinsic socio-political values and
services, religious inclination and functional ethos of the traditional
types (p.82).
In the same vein, Okafor (1987) opines that:
The study of Nigerian contemporary composers, their styles and
techniques is mainly concerned with the study of African academic
musicians and their creativities. The Nigerian and African
contemporary composers incorporate western styles and African
music idioms in their contemporary works (p.19).
However, in the contemporary music, contemporary musicians could be
likened to as modern musicians of the present time/period. Johnson (1779)
asserts:
To judge richly of a composer, author, poet, instrumentalist, we
must transport ourselves to his times, experiences, positions,
contributions, awards, and examine what were the wants of his
contemporaries, and what were his means of supplying them (p. 81).
36
Since “not everything that is contemporary is modern” (Machlis, 1977:5). I
would also argue that not all the present day Nigerian musicians or composers are
modern. Just like Handel and Bach were contemporaries with Vivaldi,
Mendelssohn, Liszt and Berlioz who all lived in the romantic period but all have
diverse regards to the height of the modernity of their work, so also do the
Nigerian present day composers and musicians. However, this research work
does not claim that only a few Nigerian contemporaries of Agu discussed here
are modern.
2.5.1 Samuel Nehemiah Ojukwu
This prolific composer, popularly called, Sam Ojukwu was born in
November, 1940 to Mr. and Mrs. Samuel Obumneme Ojukwu who worked as
Church Teacher at Mbawsi, Imo State but hailed from Nnewi in Nnewi Local
Government Area of Anambra State.
Sam‟s source of musical prowess came from natural endowment which he
inherited from his father who had and played on a harmonium. No wonder, Sam
plays well on the keyboard. His father encouraged, motivated and introduced him
to the instrument at his formative years. His mother was also a very good singer
and a composer who delighted in writing music for the Church‟s Women‟s Guild
and the Mother‟s Union each time they had a performance. Sam started playing
37
on the harmonium at the age of eight (8) and notwithstanding his tender age,
featuring in many musical activities with special emphasis on choral music.
Sam Ojukwu had his primary education around 1945 – 1951, at St.
George‟s School, Mbawsi from where he got his First School Leaving Certificate
(FSLC) before proceeding to Dennis Memorial Grammar School (DMGS),
Onitsha where he was tutored on the piano by British missionaries Mr. and Dr.
Mrs. Povey, in 1952. When Mr. and Dr. Mrs Povey left Nigeria, a German
engineer who came as one of the contractors handling the construction of the All
Saints Cathedral, Onitsha, gave him further piano tutoring. While Sam was still a
student at DMGS, he was admitted as a choir-boy in the All Saints Cathedral by
Professor W.W.C. Echezona. Sam as enthusiastic as ever could not register and
offer music in the West African School Certificates because of lack of music
teacher then at DMGS.
Sam had his Post Secondary Education at the St. Mark‟s Teacher Training
College, Awka and the University of Nigeria respectively where he bagged
Bachelor of Arts (B.A) Music in 1965. His musical ingenuity became so
manifested having passed through different teachers that taught him at different
levels in his academic life. For example Echezona taught him at St. Mark‟s,
Teacher Training College, Awka. Edna Smith taught him improvisation and jazz,
Sam Akpabot taught him highlife composition, Mrs. Toffolon taught him piano
38
techniques while Prof. Laz Ekwueme taught him composition and theory of
music at the University of Nigeria, Nsukka.
Sam served in numerous places as choirmaster/organist since he left the
University. His compositions are outstanding due to his choice of harmonic
vocabulary and chord usage. According to Ekwueme (1973:240), Ojukwu makes
extensive use of the 7th
, 9th
and 13th chords with modulations to show a shift in
key in his compositions. Also the use of sequence, repetition, call and response,
refrain and ostinato movements make his melodies follow the natural tonal rise
and fall of the language that he uses. Combining his work as a lecturer at the
Alvan Ikoku College of Education, Owerri and with the art of composition made
him outstanding as far as art music is concerned in Nigeria.
His major works which are mostly choral are categorized under sacred and
secular music as seen below:
SACRED
1. Atula egwu
2. Psalm 129 (Nyenu Jehova)
3. Tonu Ja
4. Onye ihe na-agara nke oma (Psalm 128)
5. Ma ndi n’ele anya Jehova (They that wait upon the Lord)
6. Otito na nsopuru (Catholic hymn book 210)
39
7. Ma ekele (1st corinthians 15:57).
SECULAR
1. University of Nigeria song
2. Ikemefuna
3. Ahu Ikpeyi Mbakwe (Funeral dirge)
4. Ami yoro ya.
Majority of his works which are Biblical are commissioned mostly by
different religious groups, schools and corporate bodies.
2.5.2 Felix Chukwuemeka Nwuba
“F.C‟‟., as was fondly called by his friends, was born to the family of
Chief Matthias and Jessie Amogechukwu Uwanuakwa on the 22nd
December,
1932 at Nkpologwu, Aguata Local Government Area of Anambra State. His
parents being staunch Anglicans brought Felix up in a Christian way. Developing
much interest in church music, Felix started following his father who was then
their home church‟s choirmaster to choir rehearsal at the age of eight.
Felix had his primary education in Ekwulobia between 1942 – 1950 before
heading for a one-year teacher course at the Teacher Training College, Obosi and
St. Paul‟s College, Awka where he got his Elementary Teacher Certificate in
1954. The quest to know more took him down to St. Mark‟s Teacher Training
College, Nibo-Nise for his Teacher Grade Two Certificate which he bagged after
40
two years in 1956. He also passed the Grade Eight (8), Final Certificate of the
Royal School of Music and Trinity College of Music, both in London by
correspondence in 1958. In 1962, he was admitted to study music at the
University of Nigeria, Nsukka, a three-year study where he obtained a Bachelors
Degree in Music in June, 1965, and his Master Degree in Education in 1977.
Nwuba‟s first teacher in music was the late Prof. W.W.C. Echezona who
taught him rudiments, Rev. David Okongwu, Prof. Laz. Ekwueme, Mrs. Hannah
Hakoen, a German housewife who taught him Piano and Major J.G. Allens who
also gave him piano-lessons. Other lecturers of his worthy of mention included
George Nutting and Edna Smith who taught him advanced theory and African
music respectively at the University of Nigeria, Nsukka.
Felix Nwuba‟s compositions which are mainly choral were adapted from
canticles, psalms including anthems and carols. Felix is also good in using Igbo
native wits in capturing interesting scenes that are seen in daily lives. Nwuba
contributed so much to the growth and development of church music in particular
around Eastern Nigeria. His use of counterpoint, sequences, call and response,
dynamic contrasts in the composition of the indigenous choral music made his
works outstanding, but has the weakness of melodic and harmonic difference
between one piece and the other consequently by his choice of key, tempo and
melodic material (Ekwueme, 1974:12) .
41
Some of his sacred compositions include the following:
1. Gozie Jehova mkpuru obim (Psalm 103)
2. Absalom,my son
3. The Benedictus, Venite, Jubilate Deo.
4. Tonu ja (Praise the Lord)
5. Psalm 67(Deus miserateur)
6. Onye nwe anyi bu onye nenyerem aka (The Lord is my strength).
7. Bilie nwue (Arise and shine)
8. Onu Uzo ama.
Some of his secular works are:
1 Ekworo nwunye di
2. Aye legwuma (Idoma)
3 Odogwu Anata
4 Sopulu Nne gi na Nna gi
5 Good bye Nigeria
6 Ike ka Ike
7 Angelina
8. Ndidi amaka, among others.
75
CHAPTER FOUR
ANALYSIS OF THE COMPOSITION
This chapter provides the analysis of the three sacred choral compositions in
relation to the styles and techniques of Dan C. C. Agu as used by the researcher.
In this analysis, many developmental materials/elements are conspicuous which
form the basis and framework for the three compositions.
According to Achinivu (2003), he states that:
Through analysis, the various materials/elements, musical
architecture become less technical and less dry to music students.
Conversely, by their application of the knowledge they have of
musical elements and concepts in the analysis of a piece of music,
they obtain greater insight into and understanding of musical design
and content of form (p. 55).
4.1 Theme:
Dan Agu‟s compositions are more of sacred works. The compositional
materials/elements evident in the following three works of Agu form the basis for
the researcher‟s compositions.
Fig. 1a
Works Composer Source Date
1 I am the resurrection and life Dan. C.C. Agu John 11: 25 – 26 1998
2 Okwu gi bu Oriona Dan. C.C. Agu Psalm 119:105 2009
3 The spirit of the law Dan. C.C. Agu Luke 4: 18 – 19 2010
76
Borrowing a leaf from the above, the researcher has composed three sacred
works for this research work as seen below:
Fig. 1b
Works Composer Source Date
1 Kelee Jehova Ewulu, J.I. Psalm 136:1 2012
2 Father glorify thy name Ewulu, J.I. John 12: 28 – 32 2012
3 Jehova onye ga-ano Ewulu, J.I. Psalm 15 2012
4.2 Tonality and scalic organization:
From the study of Dan C. C. Agu‟s works, it was observed that is works were
generally based on the major and minor scales. The keys of the pieces are as
follows:
I am the resurrection and life - C Major
Okwu gi bu oriona - G major
The spirit of the Lord - F major
The researcher‟s choices of tonality in his own compositions are as follows:
Kelee Jehova - F major
Father glorify thy name - E flat major
Jehova onye ga-ano - F major
The above keys serve as home keys while in between the pieces has some
modulations and transitions to either the relative minor or other related keys.
77
4.3 Piano introductions/Accompaniment:
In the piece “I am the resurrection and life by Dan Agu, the major form of
accompaniment is the piano. In the tempo of Andante (at a walking pace) at the
crotchet metronome mark of 75, the piano in the first eight (8) bars introduced
the song of what seem to be the refrain of the song in a very soft manner (pp) as
seem below:
Fig. 2a
The researcher has also introduced the piece “Father glorify thy name” with
a piano in a moderately soft (mp) manner. The piano introduction has
twelve (12) bars of a musical sentence before the tutti as seen below:
Fig. 2b
78
4.4 Solo
Dan C.C. Agu started his piece “I am the resurrection and the life” with a
Soprano solo of twenty-nine bars in the home key of C major from bars (9-37).
Below is the excerpt:
79
Fig.2c
This solo section of the piece carries the main idea of the entire song: the hope of
faithful that die in the Lord. In the same manner, the researcher utilized this
material in his three works. The piece “Father glorify thy name” has an
introductory solo section of twenty-two bars as seen below:
81
Kelee Jehova has on introductory Soprano section of twelve (12) bars. The solo
section expresses the main theme of the song as buttressed by other individual
parts. Below is the excerpt:
82
Fig. 2e
While the piece “Jehova onye ga ano” (Lord who shall ascend) has also its
introductory solo section of twelve (12) bars that make a musical sentence. The
solo section by the Soprano came as a rhetorical question on the theme as seen
below:
Fig.2f
83
Just as Dan C.C. Agu in most of his works chooses Soprano as his medium for
introductory solo sections, the researcher has also in his own choice used
Soprano for his solo introductions. From performance, it has been observed that
the dual choice gives clarity in the established theme and also adds aesthetics and
acceptance by the audience in terms of diction and expressiveness.
4.5 Medium
Dan C.C. Agu‟s works are set to full soprano, alto, tenor and bass parts as seen in
the three works under study. The tutti section in the „I am the resurrection and the
life” starts from bar thirty-eight (38) with the affirmation to the question: O yes
by all the parts on the strong beat as seen below:
Fig.3a
84
In the piece “The spirit of the Lord…” the S.A.T.B come in anacrusically but in
full parts as represented below:
Fig. 3b
The researcher also shows the use of the same material in his works as follows:
In Kelee Jehova (O give thanks unto the Lord)
86
4.6 Sequence
This is a musical construction that has the more or less exact repetition of
a passage at a higher or lower level of pitch. Dan C. C. Agu always makes
extensively the use of the harmonic sequence as it involves the use of series of
chords. Example is seen below:
Fig. 4a
In the piece “Okwu gi bu oriona” Agu applied the use of sequence as seen below:
Fig. 4b
The researcher also has made the same use of the harmonic sequence in his
compositions as seen in the piece “The spirit of the Lord” as seen below in bars
one hundred and one to one hundred and six. Below is the excerpt:
87
Fig. 4c
Fig. 4d
4.7 Response repetition
This is the art of responding to the soloist‟s call with a short phrase or word.
This is evident in Agu‟s “The spirit of the Lord” as seen in bars 172 till 175
below:
88
Fig. 5a
In the same vein, the researcher employs the same material in his “O give thanks
to the Lord” as seen in bars seventeen (17) through twenty (20) below:
Fig. 5b
4.8 The Use of Counterpoint
This is the ability, unique to music to say two things at once comprehensibly.
Derived from the expression punctus contra punctum, (point against point or note
89
against note). Agu has successfully utilized this material in his music titled “The
spirit of the Lord” as is seen from bar fifty-eight (58) through (64) below:
Fig. 6a
The researcher has imitated Agu in his attempt to express himself in his
music contrapuntally as seen in the same piece above in bars sixty-three (63) to
sixty-six (66) below:
Fig. 6b
90
4.9 The Use of ostinato and chorus refrain
However, the researcher has tried to digress a bit from the total style and
techniques of Dan Agu. For the sake of varieties, the researcher has used the
material Ostinato in one of his works. Ostinato simply means a persistent musical
phrase or rhythm (Kennedy 2007:555).While (Harman 1962:388) defines it as a
continuous set of variation built on a short recurring motive.
Fig. 7a
94
Conclusively, the analysis of Agu‟s works in comparison to that of the
researcher has shown the interrelatedness of music creativity in terms of
composition. By way of analysis, it has been proved and shown that certain
elements/materials present in these works x-rays the framework of the
compositions so that anyone can have full knowledge and understanding of the
works. Achinivu 2003 supported the above assertion by saying:
95
By analyzing many more works, simple and complicated, the student
broadens his musical horizon and learns and appreciates more and
more the works he studies, plays or sings. Analysis can be a useful
and effective way or means of achieving musical growth and should
be used effectively by students and teachers (p.62).
The same authority in music theory and analysis also buttressed his point
in the following words:
Through analysis, the various elements of musical architecture
become less technical and less day to music students. Conversely, by
their application of the knowledge they have musical elements and
concepts in the analysis of a piece of music, they obtain greater
insight into and understanding of musical design and content of form
(Achinivu 2003:55).
96
CHAPTER FIVE
SUMMARY AND CONCLUSION
In this chapter, the researcher goes a long way to bringing the synopsis of
this research work as exemplified in Dan Agu, his choral styles and techniques
evident in his works.
Many art musicians are yet to be discovered and have their works studied.
The study of Dan Agu‟s styles and techniques of composition has really
broadened the horizon of the researcher in terms of fundamental usage of musical
elements and materials especially as it concerns composition. Yet, it is now
pertinent for us to look beyond the satisfaction that music provides, and take into
considerations what may stand the test of time in terms of taking bold steps to
highlight and showcase the musicians that provide music be it functional or
contemplative. It has been noted that this aspect of documenting the biographies
of our indigenous musicians has not been given its needed attention by our
indigenous researchers in the music profession
Dan Agu is a great art/choral musician of great repute both nationally and
internationally especially when it comes to church music. Dan, as a graduate of
music and a core practicing musician, teaches theory of music, composition and
ethnomusicology at the post-graduate levels. His creative ingenuity manifest in
97
the number of his through composed pieces and arranged works both in English,
Igbo, Hausa, Yoruba, Ibibio, Ijaw and Delta dialects.
Despite the fact that Dan Agu acquired so much of Western compositional
techniques in the course of music study both here in Nigeria and over-seas, most
of his compositions are full of African idiomatic expressions which catch the
taste of his audience. Idamoyibo in his article (2003) states that:
An artiste should be able to stimulate an awareness (that is striking)
of the concrete manifestation of his works in the minds of his
audience both locally and internationally. He must be capable of a
high level of artistic sensibility that is mixed with the order of
beauty (aesthetics) and design that is applicable to his art (p.65).
Dan is not only a music composer but also a music scholar, educator, critic and a
vibrant music director who directs and conducts many private and church choirs.
He is indeed versatile and creative in his performances /output.
In the Nigerian larger society, both academic and non-academic musicians
were variously regarded and described as being wayward, irresponsible and
dishonest. That is why many parents cannot boldly stand to encourage their
children and wards to take up music study as career. On the contrary, Dan is
disciplined, hardworking and respected amongst his peers, colleagues and
contemporaries.
98
Conclusively, this research work is focused on the application of Dan
Agu‟s choral styles and techniques in three sacred compositions, highlighting the
influences and motivational factors that poised him into the study of music as a
career. His impacts, obstacles, contributions as a music composer were
highlighted and finally exploration of his significant compositional elements that
make his music unique, stand the test of time as he has left legacies as far as
music practice is concerned in Nigeria.
99
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102
POST GRADUATE EXAMINATION RESULT
(COURSE WORK)
Name of Student … EWULU, Izuchukwu J................. Reg. No
…PG/MA/07/43607….
Postgraduate Course ……Master of Arts……………… Year of Entry
………2007…………………
Faculty …………Arts……………………………………………….. Department
……Music…………………
Dept. Course
No.
Title of Course Units Grade Points Remarks
MUS 500 Seminar I 2 C 3
MUS 501 Seminar II 2 C 3
MUS 530 Analytical and Stylistic Studies 4 B 4
MUS 531 Advanced Composition 4 A 5
MUS 532 Advanced Harmony and Counterpoint 4 A 5
MUS 534 Advanced Ear Training 4 C 3
MUS 536 Project 8 B 4
Name Signature Date
(i) External Examiner
……………………………………………………………………………………………………
……………
(ii) Internal Examiner
……………………………………………………………………………………………………
……………
(iii) Internal Examiner
……………………………………………………………………………………………………
……………
(iv) Head of
Department………………………………………………………………………………………
………………………
(v) Dean of Faculty
……………………………………………………………………………………………………
…………………
Grading System Points A – Excellent - 5.00
B – Very Good - 4.00
C – Good - 3.00
D – Fair - 2.00
E – Pass - 1.00
F – Fail - 0.00