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ỤBỌ-AKA MUSIC IN IGBO CULTURE: A VALUABLE MUSICAL HERITAGE 
 

Mabel N. Okoye 
Department of Music, 

 Nwafor Orizu College of Education Nsugbe 

 

ABSTRACT 

Traditional music is a vital and beneficial aspect of Igbo culture. All activities ranging from 

birth to death are integrated with music making. The presence of the western culture in 

Igboland and beyond influenced the traditional music in such a way that some aspects are 

gradually becoming extinct. For instance, some of the makers and players of indigenous 

musical instruments like ụbọ-aka have died without the youths (who are interested in white 

color job) taking over. As a result of this fact, gradual extinction of ụbọ-aka in Igbo culture is 

discussed. The discussion is based on the following headings:  Introduction, generic names of 

ụbọ-aka, ụbọ-aka music, roles of ụbọ-aka music, problems facing ụbọ-aka and its music, 

recommendations and conclusion.  

 

INTRODUCTION 

The word ụbọ refers to musical instruments that are either plucked (like ụbọ-aka) or bowed 

(like ụbọ-akwara). The English name for ụbọ-aka is thumb piano. This name may be derived 

as a result of the playing technique. Okoye (2002) described the playing technique of ụbọ-

aka as follows:  

The ụbọ-aka is held horizontally in both hands in such a way that the thumbs can play 

the keys or prongs conveniently.  As the thumb plays, other fingers are generally 

hooked behind the wooden lid through the two holes in order to hold the instrument 

firmly (p. 39). 

From the above statement, one can say that the thumbs play major roles in the playing of 

ụbọ-aka , while other fingers give support by holding the instrument firmly. Nzewi (1991:70) 

called ubọ-aka, “a two-thumb keyboard instrument.” 

Culturally, ụbọ-aka is grouped under male instruments. It is played by males from the age of 

puberty. The Igbo classify their musical instruments according to their playing techniques. 

  Thus: 

 Iku - to strike 

 Ifu - to blow 

 Ikpọ - to pluck 

Iti - to beat or strike 

Iyọ - to shake. 

 

From the above classification, ụbọ-aka is plucked, so it is placed under ikpọ. Chukwu 

(1999:97) grouped ụbọ-aka under mannerphone as a result of its manner of playing. Based 

on the sound production, Sachs and Hornbostal (1940) classified ụbọ-aka under idiophones. 

Nketia (1975: 69-76) sub divided the idiophones according to their playing techniques. These 

include: 

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 9 2013 



242 

 

 Shaken idiophones 

 Struck and concussion idiophones 

 Scraped or friction idiophones 

 Stamped idiophones 

 Tuned idiophones 

 

Ụbọ-aka belongs to the tuned idiophones. It is tuned by the maker by pushing the prongs 

forward and backward until the desired pitch is achieved. Ezegbe (1977:79) states, “bearing 

this principle in mind, the maker tunes the instrument to imitate the tonal inflexion of human 

voice with the result that the instrument can talk.”  

Ụbọ-aka is made of calabash or wooden box (as resonator) on which is mounted from about 

four (4) to eighteen (18) metal prongs. It plays rhythm, melody as well as harmony. Agu 

(2000:93) classified it as a melo-rhythmic instrument. It appears in various sizes and shapes. 

It is played either sitting or standing. 

 

Generic names of Ụbọ-aka. Ụbọ-aka bears various generic names which differ from one 

ethnic group to another depending on the organological structure. In some of the areas where 

ụbọ-aka exists, it is named after the resonant material. For instance, in Nise (Igbo tribe), ụbọ-

aka with gourd resonator is called ụbọ-aka, while that with wooden box resonator is called 

opanda. 

 The table below shows, generic names of ụbọ-aka in various countries and tribes, 

number of keys or prongs in the instrument, and type of resonant material used.  

 

NAME COUNTRY TRIBE NO OF KEYS RESONANT 

MATERIAL  

Ụbọ-aka Nigeria Igbo 8 Gourd 

Ogume  Nigeria Igbo 8 Gourd 

Ikpa Nigeria  Igbo 8 Gourd 

Opanda Nigeria  Igbo 4-10 Wooden box 

Agidigbo Nigeria Yoruba 5 Wooden box 

Molo Nigeria Yoruba 11 Gourd 

Ekpe 

mbutu 

Nigeria Ibibio/Efik 4 Wooden box 

Akembe Uganda Lango 12 Wooden box  

Sanza Uganda Alur 8 Wooden box 

Likembe Uganda Alur 8-12 Wooden box 

Kadogo Congo Logo 10-12 Wooden box 

Malimba Tanzania Wagogo 22,23,32 Large wooden 

box 

kowangan Indonesia Javanese 5-8 Hat-like bowl 

etc 

 



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The table above shows that the existence of ụbọ-aka cuts across various countries and tribes. 

In Igboland, ụbọ-aka is also called Ikpa, Ogume and Opanda. Okafor (2000:164) mentioned 

other names of ụbọ-aka and their peculiar areas. For example, “ubọ-agbugba (Imezi ọwa), 

ogume (Nsukka) and okume (Anambra LGA). 

 

 

Ụbọ-aka music 
In most cases, the ụbọ-aka music is performed solo. Ụbọ-aka player can sing while playing 

the instrument. He does this as he tells stories or casts news. Agu (2000:93) is of the same 

view when he notes, “the thumb piano is a portable solo instrument used for accompanying 

solo singing.” Apart from solo performance, it combines with other instruments like ogene 

(clapperless bell or metal gong), ọkpọkọlọ (wood block), udu (pot drum/percussion pot) and 

ekwe (slit drum) in small group performance, such as duet, trio, quartet and quintet. Small 

groups of raconteur-singers could be accompanied by one or two ụbọ-aka players (Nzewi, 

1991:70). 

 

The role of ubọ-aka music.   

Ụbọ-aka music performs various roles in Igbo culture which include: entertainment, 

relaxation, communication to mention but a few. Before the advent of the Europeans in 

Igboland, ụbọ-aka music was very popular. Once the music is played in the evening (after the 

day’s work) in the arena or partrilocal guest house (obu), people move towards the place to 

relax and listen to the latest news. From investigation, I was told by one of my informants 

that ụbọ-aka music was used as signature tune to the news broadcast of radio Nigeria in 

about late fifties and early sixties.  

The lyrics of ụbọ-aka music cut across various activities in Igbo, culture. They are used for 

greetings, praying, consoling the bereaved, correcting social ills, to mention but a few. At 

Nise, some of the lyrics rendered by Ezealor (ụbọ-aka player) include: 

Payọsue, ụbọ m kenelu gi 

meaning 

Pious, my thumb piano greets you. 

Greeting is an aspect of Igbo culture which is incorporated in ụbọ-aka music. The performer 

on the ụbọ-aka plays various combinations of notes which reproduce either the real names or 

title names of certain people and greets them. See below, the language of ụbọ-aka. 

 

 
 

In praying, the following lyrics are used  

Igwe, ọ diraa Chukwu mma, ndi ichie kwu gi n’azu etc. 

Meaning  

Igwe, if it pleases God, the ancestors are solidly behind you.  

Here, the ụbọ-aka player and singer, prays for God’s approval on the installation of the Igwe 

as shown in the music below. 



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Satirical songs are used for correction of social ills. The text of such song include: 

Nwakuta, ebee ka: na-eje, Nwakuta? 

Meaning: 

Nwakuta, where are you going, Nwakuta?  

The above text condemns waywardness. The accusing finger is not directed to Nwakuta alone 

but to anyone that is wayward, see music below. 

 

 
  

When somebody dies, ụbọ-aka music is performed to console the bereaved. The lyrics of 

such song include: 

 Amode Enu, gi dibenu 

Meaning 

Amode Enu, you should take heart.  

The above text is used to console the bereaved with words of advice to relieve them of their 

sorrow. As shown in the music below. 

 

 
 

Ụbọ-aka music is used by the night watchmen to ward off sleep and also to scare away 

thieves. This is peculiar to those that can play the instrument. There are other instruments 

which they also use to ward off sleep like Ngedegwu (xylophone). 

 

Problems Facing Ụbọ-aka Music. 

The ụbọ-aka music is not written but passed from generation to generation through oral 

tradition. That is why researchers found it difficult to lay hands on the works of late ụbọ-aka 

makers and players. Those that are still alive cannot play their music in its exact form when 

asked to repeat a performance; the singer renders words as they occur to him, not initially 

performed. Even in the playing of the instrument, there are still slight differences. 



245 

 

Presently, ụbọ-aka music is gradually disappearing in Igbo culture as a result of the influence 

of the western culture. From the statistics I conducted on ụbọ-aka makers and players at Nise 

in the year, 2001, out of twenty-five ụbọ-aka makers and players, twenty-one have died 

leaving four without some younger people replacing them. When I extended my study to 

other towns around Nise, the story was the same and even in some towns, none is alive. The 

problem of this important instrument is not even a gradual disappearance but almost 

becoming extinct. Chukwu (1999:97) had the same view at Ihitte Ụbọma when he remarked 

that “ụbọ-aka is not common in my locality. I discovered that it was just one elderly man 

who used to play solo with it as people gathered for one ceremony or the other. He was 

called “Dee Theo” who is now late.” 

 

From the above statement, Dee Theo was the only ụbọ-aka player they had at that time in 

their town. Now, that he is late, it means that ụbọ-aka has ceased to exist there. Sequel to this 

fact, the present generation finds it difficult to understand what ụbọ-aka is all about. More so, 

the instrument is rarely seen in any indigenous ensemble. The very few players could only be 

seen in the towns where they exist.  

 

Recommendations: 

There is need to reactivate the existence of this very important musical instrument and its 

music. This could be done by the inclusion of the playing skills and construction of ụbọ-aka 

and other indigenous musical instruments in the scheme of work from pre-primary to tertiary 

level. Since professionals in ụbọ-aka are lacking, master musicians could be employed to 

help in the teaching. Although in some of the tertiary institutions where music is taught, ụbọ-

aka is one of the indigenous musical instruments a student (irrespective of sex) could play in 

African music practical. This is not enough; ụbọ-aka music should be included in small 

group performances during music concerts within or outside the school. 

 

In addition to small group performances, ụbọ-aka should be included in the indigenous 

orchestra that accompanies voice in choral music. If the instrument is amplified, the sound 

will be clearly heard among other instruments. Such inclusion was made in the former St 

Mark’s T.T.C. Nibo-Nise choral music group, directed by Nwafor H.C. Ụbọ-aka with gourd 

and box resonators of various sizes were used and they performed various musical roles in 

the orchestra. 

 

Ụbọ-aka could be used as teaching aid, when teaching some aspects of rudiments in music as 

well as African music. In as much as playing of recorder is included in junior secondary 

school scheme of work, ụbọ-aka should not be left out because it is also portable and could 

be owned and played by individual student. Ụbọ-aka and its music (score and tape) should be 

preserved for posterity in the museum or documentation centre. This will be of great benefit 

to researchers, educationists, technologists, the mass media among others. 

 

Conclusion 

Ụbọ-aka is an idiophone which is capable of playing both rhythm and melody. That is why it 

is called a melo-rhythmic instrument. It is played either sitting or standing with two thumbs, 

while other fingers hold the instrument firmly. Ụbọ-aka is found not only in Igboland but in 



246 

 

various parts of Nigeria and other countries with generic names. Even within the tribes, the 

names differ as a result of dialectical differences, more so, on the resonant materials too. The 

music is not written but passed from generation to generation orally. That is why ubọ-aka 

players and singers find it difficult to perform exactly what they have performed initially. 

The preservation of the music score and tape is very important, to enable future performers 

(professionals) to perform as scored or taped. Most of the makers and players of ụbọ-aka are 

late without the youths taking over. It is very important that the youths who are the future 

hope and culture bearers should be encouraged to participate actively in the construction and 

playing of ụbọ-aka (as well as other indigenous musical instruments) for continuity. 

 

References 

 

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Akosa, A. N. (1962). Ibo musical instruments. Nigeria Magazine, 75, 4-14. 

Akpabot, S. E. (1986. Foundation of Traditional Music. Ibadan: Spectrum Books. 

Basden, G. T. (1938). Among the Ibos of Nigeria. London: Frank Cass. 

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 of Ihitte- Uboma Instrumental Resources. M. A. thesis, University of Nigeria, 

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Echezona, W. W. C. (1963). Ibo Musical Instruments in Ibo Culture. Ph.D. Dissertation. 

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Kubik, G. (1964). Generic names for Mbira. African Music Society Journal, 3(3), 25-31. 

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-------- (2008). Ogene instrument and its music in Igbo culture: A focus on the musical and 

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Sachs, C. and Hornbostel, E. V. (1940). History of Musical Instruments. London:  J. M. Dent. 

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