Ntama Journal of African Music and Popular Culture

Traditional music remains the pedestal of Nigerian cultural identification. The music has being in existence from the emergence of the nation and is still upheld by its practitioners as well as its patrons as the chief custodian and conduit of Nigerian cultural heritage. In a nutshell, traditional music encapsulates the world-view, philosophy, aspiration, religion, history, lineage, social, economic and political systems of the nation. However, music in Nigeria has never been static, but has consistently been undergoing a process of metamorphosis through a continued exposure to diverse musical styles from foreign cultures. This process of assimilation and integration has left a long trail of musical synthesis between Nigeria and musical idioms from countries such as America, Brazil, Cuba, Europe and other African nations.

The roots of the new idiomatic expressions could be traced back to the mid-nineteenth century with the arrival of American and European missionaries and the centenary reign of the colonial administration. These two imperial forces were responsible for the introduction of Western classical music to Nigerian indigenes. Through the churches, mission and colonial schools established during this era, Nigerians were exposed to Western musical instruments such as the piano, harmonium and organ. They were also taught how to read and notate music. In addition, indigenous budding composer-performers received private lessons in music theory, piano and organ at the homes of European musicians and from the organists and choirmasters at their local churches. All these efforts eventually led to the emergence of ‘neo-African school of music’ that ultimately produced some of the finest modern Nigerian composers. Prominent Nigerian composers of international repute include Thomas Ekundayo Phillips, Fela Sowande, Ayo Bankole, Akin Euba and Joshua Uzoigwe.