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151 

OGORO-UGWUOKE: AN EXPLORATIVE RESEARCH 

COMPOSITION ON IKORODO MUSIC OF NSUKKA 
 

Rev. Fr. Dr. Benedict Agbo 

Department of Music 

University of Nigeria, Nsukka 

frbenagbon@yahoo.com 

& 

Ikenna Jonas Eze 

Department of Music 

University of Nigeria, Nsukka 

ikennajonasme@gmail.com 

 

 

Abstract  

Music is an aspect of creative expression by which scholars try to capture and articulate 

their ideology, religious and socio - cultural background through composition. In this era 

of post modernism and post structuralism, composers are bent on thinking in new ways 

and new perspectives. Arguably, Ikorodo traditional music has not been fully explored in 

both the area of vocal and instrumental composition. Ogoro-Ugwuoke is a piano 

composition that derived its compositional materials from the musical elements and 

idioms found in Ikorodo traditional music of Nsukka people. This article examines the 

possibilities of using these materials in a post structural compositional domain leveraging 

on the concept of African pianism as already highlighted in the works of Akin Euba, 

Joshua Uzoigwe, Christian Onyeji and others. Using recordings from the field work, 

discussions/interviews, transcription and analysis of traditional music and library 

reviews, Ogoro-Ugwuoke provides both a theoretical and practical platform that aids the 

study of traditional music which could be adopted for other non-western traditions. It 

exposes selected musical elements and idioms of Ikorodo traditional ensemble to the 

world of composers. The composition adds to the repertoire of art music and is therefore 

envisaged to foster creativity in not only students studying composition but art 

composers who use traditional elements in reconstructing their imaginative ideas in music 

creativity.  

Keywords: Ogoro-Ugwuoke, African-Pianism, Research-composition, Ikorodo traditional 

music 

 

Introduction 

The contemporary era is an era of exploration when scholars (composers inclusive) are 

inclined irresistibly towards the novel; towards the unorthodox and unconventional. The 

movement is against traditional structures, rigid definitions, mental representations, and 

so on (Straus, 1990). In musical theory, analysis and composition, this avant-garde 

movement has not been moribund. Modern compositional techniques have since emerged 

such as pandiatonism, polyrythm, bitonality, minimalism and so on. Post structuralist 

thought has placed a great emphasis on the disruptions and discontinuities in musical 

mailto:ikennajonasme@gmail.com


 

 
  

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structuralism or musical essentialism especially in the areas of musical analysis, musical 

aesthetics and appreciation – a tendency towards developing an intellectual “resistance 

to totalizing explanations” (Straus, 2009). This movement, albeit, has not been without 

oppositions. According to Straus (1990), 

 

It is true that analytic studies during the past 30 years have been directed towards the 

demonstration of organic coherence. It is not true that it need be the case…I often 

describe the kind of musical coherence that is fraught with unresolvable tensions and is 

thus decidedly anti – organic in nature…Traditional elements are incorporated and 

reinterpreted, but not effaced. Rather, the past remains a living, forceful presence (pgs. 

184 -85). 

 

Straus (2009) argues that in the works of “new musicologists”, traditional analytical 

categories, such as the dominant/sub dominant harmonies, sonata form, and so on, 

continue to play essential roles despite the paradigm shift in theoretical/musicological 

freedom. Analysis remains relevant. “One cannot talk about musical structure without 

analyzing them, without theoretical categories. Whatever one’s ideology then, the 

question is not whether or not to analyze, but simply how and towards what end” (p.2). 

In as much as we borrow post – structuralist thinking in other fields like Linguistics and 

Anthropology, we must remain conscious about the peculiar nature of the musical 

endeavor and avoid what Agawu calls “conceptual definitions of unrelatedness” (Agawu, 

1993: 96). We underscore music’s closeness to language, since both have a communicative 

system. Developing post structuralist thoughts in Linguistics naturally overlap into 

musicology (Hongur, 2017). Halle (2015) observes that “the most interesting result of 

this change in the field of music may be the development of a generative theory of tonal 

music by Lerdahl and Jackendoff. The demise of structuralism can be traced to the rise 

of generative grammar initiated by Noam Chomsky’s work of the early 1950s. The paths 

of generative linguistics and music theory have since crossed” (p.8). 

 

In this paper, we have chosen to carry out a compositional research experiment on 

Ikorodo music. Ikorodo is a maiden dance found among Nsukka people of Enugu State, 

Nigeria “with men usually serving as instrumentalists and young maidens as dancers” 

(Opara & Agbo, 2022: 499). Ikorodo is a piece of musical enigma full of explorative 

possibilities in poly rhythmic and poly melodic compositional elements. The hocket 

technique of the horns, the freelance master role of the membrane drum and the 

intricate artistery behind its dance and lyrics, all present a fecund medium for 

experimental research employing the tools of modern compositional techniques. We have 

chosen Ogoro-Ugwoke, the hit track of the typical Ikorodo ensemble in Nsukka 

metropolis for this explorative study for the following reasons: 1. Its hot rhythmic and 

percussive dispositions and effects. 2. Its bitonality features. 3. The possibilities of 

exploration inherent in this track.  Ogoro-Ugwuoke is derived from the name given to one 

of the Ikorodo traditional dance tracks. The paper provides an insight into the thought 

processes of creative ethnomusicology by offering a guide showing how twenty-first 

century composers can use African musical idioms in their creative works. The traditional 

idioms of Ikorodo traditional ensemble were collected and analyzed through melodic, 



 

 
  

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153 

rhythmic and harmonic content. The paper examines the bi-tonality which occurs at the 

horns sections and creatively applied it in the piano composition. Ogoro-Ugwuoke is a 

piano composition that draws its compositional materials and idioms from the Ikorodo 

traditional dance of Nsukka people of Enugu State, Nigeria. It adopted the concept of 

African-Pianism and Research-composition in realizing the compositional work. The music 

is in ternary form and this paper presents a panoramic view and an analysis of the piece.  

 

Concept of African-pianism 

African pianism describes the approach of composition that combines African and 

Western elements for the piano (Boamah, 2012). This concept developed over a period 

of creative search for a new approach to modern African art music composition in general 

and for the piano in particular, by African art music composers of the later part of 20th 

century. The concept of African pianism was pioneered by Akin Euba and subsequently 

endorsed by other African composers. Euba (1989: 151) further states that techniques 

used in the performance of African instrumental music in general would form a good basis 

for an African pianistic style. The ingredients of African pianism include (a) thematic 

repetition, (b) direct borrowings of thematic material (rhythm and tonal) from African 

traditional sources, and (c) percussive treatment of the piano. The idea of African 

pianism is to let the piano act like an African instrument. For composers to adopt the 

African pianistic styles, there is need to have deeper and clearer knowledge of African 

musical elements. Kofi Agawu (1999) argues that for musicians from Africa to compose 

for the piano, they need to study very well, rhythm in African music. In Affirmation to 

Agawu’s opinion, Onyeji (2013) argues that composers need to carry out an in-dept 

ethnomusicological research work on African indigenous music so as to acquire clear 

understanding of the African compositional idiom, principles, theory and logic that would 

guide their art composition. Onyeji (2013) endorsed the adaptation of ethnomusicological 

procedure as a necessary route to the composition of African art music. This article 

endorses Onyeji’s ethnomusicological procedures and tries to leverage on that for 

further exploits. African composers who intend to compose based on traditional idioms 

must carry out ethnographic and musicological studies on the traditional music of their 

choice. They must grasp and keep abreast with the creative theories, principles and 

practices of the music tradition they intend to explore (Onyeji, 2013). A composition can 

only be uniquely African when it is rooted in the traditional idioms and in line with African 

theory and practice. Still on ethnomusicological procedures, Uzoigwe opines: “Most of my 

works have been influenced by my analytical studies of the ethnography of musical 

performance in African societies; they therefore, involve the utilization of traditional 

elements and techniques, as well as a positive assimilation of qualitative and useful 

foreign ideas and creative methodologies”.  Re-echoing the views of Euba, the pioneer of 

African pianism, “an intimate knowledge of the theory and practice of traditional music 

is a key to the discovery of existing new creative and performance techniques based on 

African models” (Euba, 1987: 32). Ethnomusicological procedure is the key to 

understanding the creative norms of African music (Onyeji 2013).  

 

These concepts: African-pianism and the application of ethnomusicological procedure 

were greatly explored by the writers in the compositional work. 



 

 
  

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Research-composition 

Research-composition is a term used to explain the applications of research materials 

gotten from the field work for compositional purposes. Here, the motif used in the 

composition is not just a product of fantasy or imagination, but that gotten from the 

data from field work. The utilization of musical elements and idioms gotten from the 

traditional music, exploring the harmony, scale, rhythm and tonal organization in 

accordance with the African music theory and practice creates the uniqueness and 

identity which makes it African. In affirmation to that, Onyeji (2013) asserts: for 

African composers to command worldwide attention, the advocacy is to systematically 

incorporate uniquely African musical elements in their works and adopt the African 

compositional theory and Practice. 

 

Ikorodo 

Ikorodo is the name given to the Ikorodo traditional dance of Nsukka community. It is 

one of the most popular indigenous music of Nsukka people. Nsukka is a town and Local 

Government Area in South-East Nigeria of Enugu State. It falls into the zoning system 

in Nigeria known as Enugu North Senatorial Zone. Nsukka Local Government Area has an 

area of 1,810km2 and a population of 309,633 at the 2006 census. Ikorodo is a traditional 

dance virtually owned by every community in Nsukka. Ikorodo is one of the oldest 

indigenous music of Nsukka community that is still in existence. According to Ikete 

Onyishi1, one of the oldest men (Onyishi) of Nguru Nsukka Community who happened to 

be among the first set of Ikorodo group of Odoru Community: 

Ikorodo is a maiden dance for the young girls who are not yet married, 

young girls ranging from the age of 15 years and above who have the ability 

to twist their waist while dancing to the rhythm of the music. Once any of 

the girls gets married, she leaves the group. The instrumentalists are 

usually men who are very skilful in playing musical instruments both the 

married and unmarried men are allowed to the play the Ikorodo musical 

instruments. (Personal Communication, February 15, 2021).  

Ikorodo is one of the traditional dances which is performed on special occasions like 

Ofala festivals, funeral ceremonies, burial ceremonies, chieftaincy ceremonies, to 

mention but a few. They have also performed on different occasions round the country 

through invitation. 

  

Methodology 

Traditional idioms of Ikorodo ensemble were collected and analyzed through melodic, 

rhythmic and harmonic content. These are conventional methods of analysis that include 

macro analysis, extensional and intentional analyses. Macro analysis involves transcription 

of recorded Ikorodo traditional music. Details such as musical structure and 

performance style in solo-response form were all noted. Extensional Analysis describes 

the music itself such as tempo, timbre, pitch and language, which made it easier for the 

classification of the Ikorodo traditional music, while intentional analysis highlights the 

                                                           
 



 

 
  

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155 

qualities that make up the Ikorodo traditional music. This includes melodic and rhythmic 

pattern of the Ikorodo traditional music. These traditional elements were analyzed and 

used to create a piano piece, Ogoro-Ugwuoke.  

 

General findings 

Harmonic Principles 

Harmonies in Nigerian traditional music are usually in thirds, fourths, fifths and sixths 

apart. Instrumental music, we know, borrows much from vocal music; but the instrumental 

musicians have more harmonic options open to them. The idea of harmony in fourths and 

fifths is used, but since no vocal inflections are involved, the musicians are free to vary 

their harmonic lines. The harmonic principles which are employed in the Ikorodo 

instrumental music are seconds, thirds, fourths, fifths and sixths apart.   

 

Melodic Organization 

Every melody in Nigerian traditional music is generally controlled either by speech 

pattern or instrumental constraints. With very few exceptions, these melodies are 

usually short, repetitive and in unitary, binary or ternary forms with no modulations from 

one key center. Hocket technique is mostly used in Ikorodo music to produce melodies 

especially at the horn section whereby a horn is capable of producing only three notes, 

while some horns can produce only two notes and others only one note respectively. The 

Oke opu (horn 1) plays the melody with ornamentations on different notes. Una (horn 2) 

supplies the inner part of the harmony in a relatively hocket style. The Tuu (horn 3) lends 

syncopation to the rhythm and produces just one note at strategic rhythmic moments. 

Mgbe (horn 4) is the bass horn, and so supplies the lowest note of the harmony. 

(Nwakaego & Umezinwa, 2015: 130). This technique is prevalent in Ikorodo music. The 

African is certainly conscious of a theory behind his/her musical practice; hence he/she 

may reject or accept certain tones as belonging to his/her musical style and does not 

recognize such thing as tonal center.  



 

 
  

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Rhythmic Principles 

Ikorodo traditional music has a mixture of both duple and triple time. Ekwueme (2004) 

identifies such rhythmic patterns above as typical to the Igbos and calls it the clap 

pattern, bell pattern or standard pattern. Ikorodo music has a rhythmic pattern that is 

very prominent and peculiar to them.  

 
Instrumentation 

African musical instruments are classified into four types namely: idiophones, 

membranophones, aerophones and chordophones. Our traditional musical instruments are 

constructed based on the natural resources available in our environment. This reinforces 

the fact that the traditional-igbo understand that nature is musical. The Ikorodo 

instruments are artistic and it includes wooden-slit (ekwe), drums (igba), local flute (Oja), 

metal gong (ogene), maracas (Oyo/Osha), and horns (Opi). The musical instrument used 

for Ikorodo music involves series of horns as earlier mentioned: first horn known as Oke 

Opu is for melody and rhythm. Second horn known as Akpa or una is for harmony. Third 

horn known as tuu is for leading the vocalist who is the leader. Fourth horn known as 

Mgbe is for bass and balancing the sound of the music. All these are for melody and it 

helps in curing high blood pressure and makes them happy in any given environment 

(Ekwerou, 2003). In the primitive stage, the indigenous instruments were made; to find 

any of these musical instruments today is a major task, since it is not readily available. 

Many of these musical instruments are now reproduced by the blacksmith in metal form. 

Figure 1 below is a picture of the instruments used in Ikorodu dance: 

 



 

 
  

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Performance techniques 

In African performance, the audience is actively involved. Participatory observation is 

what Africans are known for. Through the use of hand clapping, ululations and body 

movements, Igbos make their music performance quite lively and dramatic (Nzewi, 2003). 

Our traditional performance is always lively due to the active participations by the 

audience. Ikorodo music has a unique way of dancing which involves waist movement, 

alternate stepping forward or backward and shaking of the body (Agbo, 2015). Their 

performance costume is artistically decorated to make their performance unique. 

Ikorodo traditional music is lively, rhythmically challenging, melodically interesting and 

over all rich.  

 
Fig. 2 above shows a picture of Ikorodo dancers in action. 

 

 

Scale/Tonal Organization of Ikorodo traditional music 

 

The scale produced by the combinations of the four horns used in Ikorodo traditional 

music is pentatonic scale. There is evidence of bi-tonality in the horns section, the horns 

were moving around keys namely: g minor and b flat minor. The music frequently falls on 

the sub-mediant. 

 



 

 
  

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Musical Except from the piano piece “Ogoro Ugwuoke” 

 



 

 
  

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The music captured the essence of Ikorodo traditional dance music of Nsukka people, 

for the piano. The piece is structured in ternary form ABA, utilizing the pentatonic scale 

produced from the polyphonic melodies by the horns. The piano simulates the harmonic 

and melodic style of the horns, as well the percussive instruments of the Ikorodo 

ensemble. The reference pattern by the wooden block is one of the distinctive features 

of Ikorodo ensemble that makes it unique from other traditional music of Nsukka people. 

The right hand simulates the polyphonic melodies from the horns. At section A, the first 

four bars of the piece formed the theme of the composition, which was repeated with 

variations at bars 5-16. The left hand maintained the reference pattern which is 

captured from the wooden block instrument of Ikorodo ensemble with little variations 

at bars 6-7, 9-11, 14-15, 17-19, 21-28 respectively. A conversation was established 

between the right hand (treble clef) and left hand (bass clef) at bars 21-24 in a form of 

call-and-response style which is one of the distinctive features of African music. There 

is a repetition of the theme at bars 29-32 which marked the end of section A. The 

developmental section B started at bar 33 with entirely different rhythmic movement 

by the left hand while the right hand maintained the reference pattern from bars 34-

46. The drum improvisation is captured at bars 37-46. From bars 47-54 is a conversation 

between the treble and bass clef in a call-and-response style. The B section end at bar 

57 with a sign of fermata. There is recapitulation of A section at bar 58 which runs till 

the end of the piece. 

T 

here is evidence of bi-tonality at the Ikorodo horns section which was captured in the 

composition. The music was moving in two keys namely; g minor and b flat minor 

respectively. The evidence of these two keys created some sort of atonal sense in the 

music.    

 

The harmony and texture of the song are conceptually linear but multilinear polyphony 

that characterizes the traditional music is dominantly used. Harmonic style of 2nd, 4th, 

5th and 6th were used in the composition. The scale used for the composition is pentatonic 

which is derived from the horns instrument.  



 

 
  

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Conclusion 

African pianism has become one of the unique ways by which composers explore the 

traditional music around us by harnessing the creative features and compositional 

materials that are embedded in our traditional music. For composers to utilize the 

traditional musical elements and idioms in their compositional works, there is need to 

embark on ethnomusicological research-composition. There is need for African 

composers to have a clear understanding of the theories of African music and its 

application so as to compose a music which can be authoritatively African in all 

ramifications. And beyond this, there is even more need today, from a post structuralist 

mind set, for a freelance reinterpretation of the essence, structure and medium of every 

musical genre or idiom and to project variant nuances of musicality beyond the traditional 

context. This allows a musical composition to go beyond its original purpose to serve other 

multiple unstructured purposes. This is the experimental task which this paper has tried 

to address, taking a track from an Ikorodo ensemble away from its original home, so to 

speak, and its original structures, to create a new world of entertainment and 

contemplative appreciation. Post structuralism, like other contemporary movements in 

music, the wider arts and humanities encourage the visit of many and much more vistas 

or domain. 

 

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