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CONTEMPORARY PERIOD OF CHORAL ART MUSIC 

COMPOSITION IN THE CHURCH OF NIGERIA, ANGLICAN 

COMMUNION, PROVINCE OF THE NIGER: 1960-2014                                                                                                                                                                                                                                                                                 
 

Ifeanyi Onyedika Okafor                                                                                                          

Nnamdi Azikiwe University, Awka                                                                 

if.okafor@unizik.edu.ng                                                                                                                      

And                                                                                                                                               

Emmanuel Chukwuemenam Umezinwa (Ph.D)                                                                     

Nnamdi Azikiwe University, Awka                                                           

ec.umezinwa@unizik.edu.ng 

 

Abstract 

Choral Art music composition in the Anglican Communion, Province of the Niger, Nigeria, 

according to historical records, began with the experimental works of its early 

composers in 1930s, in their bid to create musical works with African flavour for 

Christian worship. It has unarguably developed to a world class musical art. However, 

various researches on Art music in Nigeria took a broader scope, resulting to complete 

omission or partial capturing of some important events that occur in some areas, hence 

the limiting of this study to the Anglican Communion, Province of the Niger, Nigeria by 

the researcher. This paper focuses on the period between 1960 and 2014, which the 

author termed the Contemporary period. The aim of this study is to identify the 

characteristic features of contemporary choral Art compositions in the Province of the 

Niger as well as provide the musical backgrounds of nine selected contemporary 

composers whose works were prominently used for music festival/competition within the 

period under study. This work is hinged on the theory of development as freedom, 

propounded by Sen (1999). The research data was collected through oral interview, 

observation, active participation, and analytical study of compositions of various 

contemporary composers of choral Art music in the province of the Niger. This study 

concludes that with the exposure of the composers to professional study of music as well 

as modern technologies available within the period under study, choral Art music in the 

Anglican Communion, Province of the Niger, Nigeria, has developed to a near perfect art. 

It recommends that further studies on the subject be carried out subsequently in the 

province of the Niger, other Anglican Provinces as well as other Christian denominations. 

 

Introduction 

Choral Art music composition in the Province of the Niger was spurred by the strong 

desire of its early composers to create music that would satisfy their indigenous musical 

taste, which the translated hymns and chants brought by the Church Missionary Society 

(CMS) could not adequately meet. The early converts were meant to abandon everything 

associated with their indigenous arts, which were tagged devilish by the missionaries. 

However, the eurhythmic body movements that usually occur either spontaneously or 

intentionally in response to African songs were deprived by the hymn tunes. Also, the 

strophic structure of the hymns most times defies the speech rhythm as well as the 



 

 
  

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tonal inflections of the Igbo texts. “The hymn tunes offered them (the early converts) 

no opportunity for polyrhythmic improvisation. Repetition, which constitutes a 

stimulatory factor in Igbo choral music practices was also lacking in the hymns” (Agu, 

2022:32). 

 

These consequently led to experimentation with compositions of indigenous songs for 

Christian worship by the early composers, which according to Agu (2002), started around 

early1930’s and gained prominence in the Anglican Diocese on the Niger in 1940s. The 

experimentation began with fixing of religious texts gotten from the translated hymns 

and canticles to existing Nigerian folk melodies. Subsequently, new texts were created 

for existing hymn tunes as well as original melodies with new texts.  

 

Conversely, the Contemporary Period in the development of choral Art music composition 

in the Anglican Communion, Province of the Niger, Nigeria started in the 1960s after the 

establishment of Music Department of the University of Nigeria, Nsukka and some other 

tertiary institutions which offer music programmes. These institutions provided 

opportunity for the then young talented composers to study music professionally at 

tertiary levels. 

 

The Province of Niger 

The Province of the Niger is one of the Provinces that make up the Church of Nigeria, 

Anglican Communion. It comprises nine Dioceses within Anambra State, namely: Diocese 

on the Niger, Diocese of Awka, Diocese of Nnewi, Diocese of Aguata, Diocese of Ogbaru, 

Diocese of Ihiala, Diocese of Niger West, Diocese of Mbamili and Diocese of Amichi. 

The Province of the Niger, Anglican Communion, was created in 2002. It was within 

Province Two of the Church of Nigeria, which was created in 1997, when the Church of 

Nigeria was divided into three Provinces. Province Two covered the whole South-eastern 

region of the country before it was split. It is pertinent to note that the various Dioceses 

that make up Province Two and Niger-Delta Province were a spin-off of the old Niger 

Diocese. The old Niger Diocese was created in 1920 from the Eastern part of the Diocese 

of Equatorial West Africa. It was the old Niger Diocese that produced the pioneers of 

art songs in Igboland.  

 

Theory of Development as Freedom by Sen (1999) 

In his ‘theory of development as freedom’, Sen (1999) explores the relationships between 

freedom and development, the way in which freedom is a basic constituent of 

development in itself and enabling key to other aspects. Sen’s suggestion focuses on what 

he calls capabilities – substantive human freedom. Sen, though an economist, did not limit 

his understanding of poverty to low income rate; however, he viewed poverty from the 

perspective of deprivation of capabilities. He states that “poverty must be seen as the 

deprivation of basic capabilities rather than merely a lowness of income, which is the 

standard criterion of identification of poverty” (Sen, 1999, p. 87). Sen explains that 

development concerns expanding the choices people have, to lead lives that they value, 

and improving the human condition so that people have the chance to lead full lives. (Sen, 

1999)  



 

 
  

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The missionaries’ rejection of the music and musical instruments of the sub-Sahara 

Africa, in which the Igboland of Nigeria is a part, which they tagged ‘works of the devil’ 

could be seen as deprivation of human capability. The missionaries imposed their own 

music to the converts as the only music acceptable to God. The longing/efforts made by 

the pioneer composers of church music, on the other hand, marked the beginning of 

freedom which culminated to the development of contemporary Art music in Igboland. 

The development was made possible as the pioneer African music scholars started 

studying, redefining the concept of African music and propounding theories which are 

more culturally relevant to Africans than the theories evolved by European 

anthropologists.    

 

Choral Art Music in the Province of the Niger 

Art music is a term that refers to a musical tradition implying advanced structural and 

theoretical considerations and a written musical tradition (Okafor, 2022). It could be 

vocal (solo or chorus), instrumental or a combination of both. For this study, emphasis is 

on choral Art music. Agu (2002, 2012), informs that the experimentation of Igbo choral 

Art music came under experimentation from the 1930’s, and gained prominence in the 

Anglican Communion of the Niger Diocese in 1940s. It has developed over the years to a 

near perfect art. However, Okafor (2019) identified two historical moments in the 

development of this genre of music in the Province of the Niger: the Early Period (1930-

1960) and the Contemporary Period (1960-2014) but this study focuses on the later. The 

basis for this classification is on the structural features of the works of composers of 

both periods. 

 

Structural and Technical Qualities of the Contemporary Period 

The contemporary period of choral Art music in the Anglican Communion, Province of the 

Niger, saw the development of the music genre to high level of sophistication and relative 

artistic peak. The development in style of music composition in Africa as a whole was 

brought about by the exposure of the Africans to Western musical concepts, and the 

systematic study of the music of the Africans. African musicology, broadly defined, 

encompasses the scientific study of musical expressions in Africa and its diaspora in all 

its complex manifestation (http://musicology.ucla.edu). Adedeji (2014) elucidates thus:  

Musicology as a field of study in Africa started with the pioneering works of European 

anthropologists in the nineteenth century… The foundation of what is known as African 

musicology is laid by Western ethnomusicologists…. It entailed the propounding of initial 

universal theories and methods. On the other hand and at the same time, African 

musicologists such as T. K. E. Philips (1920s), Fela Sowande (1940s-1970s), Ephraim Amu 

(1920s-1940s), Nketia (1950s-1970s), Francis Bebey (1960s-1970s), etc. evolved 

theories that are more culturally relevant to Africa. (pp. 85 & 86)       

 

The story of the Igbo experience in this development saga in music composition could 

not be comprehensive without making mention of William Wilberforce Echezona, a 

renowned ethnomusicologist, who was the first Igbo man to study music abroad and the 

first Nigerian to earn a Doctorate degree in Music. Echezona’s effort in encouraging 

composers, organizing seminars, music competitions during the time he was the music 

http://musicology.ucla.edu)/


 

 
  

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director of the Diocese on the Niger and his contribution in founding the Department of 

Music, University of Nigeria, Nsukka, aroused the interest of the then young talented 

composers to study music professionally at the university level. Two, out of four of the 

first set of graduates produced in Music Department of the University of Nigeria, 

Nsukka, were among the leading figures of contemporary art music composition in the 

Anglican Church, Province of the Niger, Nigeria. They are Sir Sam Ojukwu and Late Felix 

Nwuba. 

 

These contemporary composers are mainly music graduates. Although there are some 

non-academically trained contemporary composers, who by dint of hard work developed 

the art of composition through direct or indirect mentorship by some academically 

trained composers, this study concentrates on those who are graduates of music. With 

their exposure to Western and African music concepts in the university/tertiary 

institutions, they intentionally blend the idioms of the two music cultures in their 

compositions and took care of the flaws identified with the works of the composers of 

the early period. They make use of folk music material; derive the texts of their songs 

from biblical stories, Bible verses, canticles and other religious texts that are liturgically 

meaningful, and are conscious of the adherence of the melodies of their songs to the 

inflections and speech rhythm of their chosen texts. They also composed some secular 

songs which are morally edifying, such as Humphrey Nwafor’s Gịnị Ka Madụ Bụ. The 

contemporary composers have written works in different Nigerian and other African 

languages such as Hausa, Yoruba, Efik, Ibibio, Kalabari and others, and also in 

European/American languages like English, German, Latin and so on. Their works are 

performed globally. Their works are often used for music festivals/competitions 

organized by various dioceses in the Province of the Niger and beyond, either as set 

pieces or choice pieces. 

 

The contemporary composers also develop their music to appreciable lengths (works that 

could last for about three to ten minutes) by making use of some of the developmental 

devices in African music such as internal variation technique, sequence and imitation, 

antiphony and Western musical forms and techniques like binary, ternary, rondo, fugue 

and so on. They use Western classical harmonic techniques and write modulatory 

passages. The rhythmic features of the works of the contemporary are purely African: 

syncopation, cross-rhythm, mixed rhythm and polyrhythm.  

 

More so, the contemporary composers compose pieces for solo voices, duets, and trio; 

and introduced the use of indigenous instrumental accompaniment. They also write 

piano/organ lines to accompany the voice(s). They improved on some of the indigenous 

music instruments to enhance their performances, such as constructing xylophones or 

ogene phones that are tuned, based on the equal temperament system, or to a particular 

scale that suits their music. 

 

Furthermore, it is worthy of note that exposure to photocopying machines and awareness 

of Information and Communication Technology (ICT) in the mid-1990s and 2000s 

respectively, have contributed immensely in the documentation and preservation as well 



 

 
  

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as dissemination of works of the contemporary composers, both nationally and 

internationally. In spite of the fact that some contemporary composers are still stuck in 

the analogue system, many of them utilize music notation software such as Sibelius, 

Finale, Noteworthy Composer and others effectively to enhance their compositions. 

Apart from making their works look very neat and attractive, these music notation 

software enable the composers to listen to their works first hand and correct any flaw 

identified.  

 

Contemporary Composers and Their Musical Background 

Rev. David Okongwu  

Reverend Okongwu was a native of Nnobi in Idemmili LGA of Anambra State. Born in the 

mid-20’s into a family of musicians, his interest started when he was very young. He was 

a member of both the school and church choirs. After leaving school, he became a 

choirmaster and was inspired to read music theory with the aid of the Smallwood Tutor, 

and later by postal tuition from the Trinity College of Music, London. He also received 

assistance from the then Dr. W. W. C. Echezona, who had then returned from Great 

Britain. He passed the Higher Local Grade of the Trinity College of Music, London. He 

composed music almost exclusively for the Church, using larger forms such as anthems. 

Some of the notable Igbo composers like Felix Nwuba, Sam Ojukwu and Nwokolobia Agu 

passed through his guidance during their formative years as composers. His Church music 

was written in both homophonic and polyphonic styles. According to him, the polyphonic 

style eliminates the problems created by tonality of the Igbo language. A number of his 

compositions utilize the ‘Call and Response’ technique, which does not use the same 

melody for all the verses of a song, because the words and tonal patterns change from 

one solo part or verse to another. It is because of his style of composition that his music 

is widely sung by Church choirs.  

 

Rev. Okongwu’s contribution to the ecumenical movement is remarkable. Though an ardent 

Protestant, he composed several hymns and a Mass in Igbo for use in the Roman Catholic 

Churches. For an example, the St. Patrick’s Church Choir, Ogbete, Enugu, was his 

inspiration for such compositions. Some of his most popular sacred compositions include 

Benedicite Ominia Opera in Igbo; Jubilate Deo in Igbo; Nalụ, o Chukwu, achịcha na 

mmanya (Accept, O God, bread and wine); Abụ Ọma 15 (Psalm 15); K’ayị nye Chineke ekene 

(Let us give thanks to God); Ịhụnanya Chineke hụrụ ụwa (The love of God to the world); 

Bịanụ ka ayị je Bethlehem (Come let us go to Bethlehem); Amụlụ Kristi (Christ is born); 

Chukwu bụ Mụọ (God is a Spirit); Venite in Igbo and Te Deum Laudamus in Igbo. All these 

were written in both homophonic and polyphonic styles with a lot of imitative 

counterpoint. David Okongwu retired from Radio Nigeria, Enugu, before he took to Holy 

Orders. (Okafor, 2015) 

 

 

 

 

 

 



 

 
  

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Sir Samuel Nehemiah Ojukwu 

Samuel Ojukwu, a native of Uruagu Nnewi in Nnewi North Local 

Government Area of Anambra State, was born on 12th November, 

1940 into the musical family of Mr. and Mrs Obumneme Ojukwu. 

His father, who was a Church Agent (Catechist) in the Anglican 

Church, owned and played the harmonium and his mother also sang 

and composed songs for the Women’s Guild, mostly for mothering 

Sundays, hence his early exposure to music. 

 Sir Sam Ojukwu attended St. George’s primary school, Mbawsi, 

Imo State from 1945 to 1951 and proceeded to Dennis Memorial Grammar School 

(DMGS), Onitsha for his secondary education. During his secondary school days, he 

assisted W. W. Echezona as the organist of the All Saints Cathedral, Onitsha. He also 

attended St. Mark’s Teacher Training College, Awka. He studied music at the Department 

of Music, University of Nigeria, Nsukka, and was among the pioneer graduates of the 

Music Department in 1965.  

 

Sam Ojukwu is a prolific composer whose works are performed globally. His musical talent 

was first nurtured by his parents. His father exposed him to keyboard playing in his early 

days and at the age of eight; he started playing on the harmonium. He inherited 

composition talent from his mother who sang and wrote songs for the Church women. 

During his days in DMGS Onitsha, “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” (Ewulu, 2011, pp. 36 & 37). Ojukwu 

was mentored in music composition by W. W. Echezona as well as David Okongwu before 

he proceeded to study music professionally in UNN. His creative prowess is unimaginable. 

Sometimes, he writes two or more compositions simultaneously using the same text; yet 

the works bear no semblance with each other but still capture the mood of the text.   

Ekwueme (2004) rightly describes Sam Ojukwu’s style of composition. He informs that 

Ojukwu prefers vertical harmonic progressions to contrapuntal writing. His regularly 

employed harmonic vocabulary includes chords of the seventh, ninth, eleventh and 

thirteenth. He can set the mood of a song in purely harmonic terms. He utilizes call and 

response pattern, modulation, theme and variation, fugue and other styles. Some of his 

popular sacred compositions include Ọbụrụ na Jehova ewughị ụlọ (Except the Lord builds); 

Teta gị onye na-ararụ ụra (Awake, you tha sleeps); Jehova emeworo anyị ihe uku (The 

Lord has done great things for us); Nyenụ Jehova nsọpụrụ na ike (Ascribe to the Lord 

honour and power); Unu ekwela ka unu yie ajọ oge a (Do not conform to this world); Ma 

ndị na-ele anya Jehova (They that wait upon the Lord); Ọ ga-adịkwara gị mma (It shall be 

well with you) and so forth. 

 

Felix Chukwuemeka Nwuba  

Felix Nwuba was born on the 22nd December, 1932, to the family of chief Matthias and 

Mrs. Jessie Amogechukwu Uwanuakwa. He was a native of Nkpologwu in Aguata Local 

Government Area of Anambra State. His parents who were devout Christians of the 

Anglican Church trained him to become a committed Christian. Felix had good musical 



 

 
  

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191 

background because his father was the choirmaster of their home Church choir. He 

joined the choir when he was eight years old.  

 

Felix had his primary education in Ekwulobia from 1942 to 1950 before heading for a 

one-year teacher training course at the Teacher Training College, Obosi and St. Paul’s 

College, Awka where he got his Elementary Teacher Certificate in 1954. He later 

proceeded to St. Mark’s Teacher Training College, Nibo-Nise, for his Teacher Grade Two 

Certificate which he bagged after 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. He was also taught by 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 include 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 include anthems and carols derived their texts from 

canticles and psalms. 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 choral Art music, especially, around Eastern Nigeria. His use of 

counterpoint, sequences, call and response, dynamic contrasts in his compositions 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) . Gozie Jehova mkpụrụ obim (Psalm 103); Absalom, nwa m (Absalom, 

my son); The Benedictus, Venite, Jubilate Deo; Tonu ja (Praise the Lord); Psalm 67 (Deus 

miserateur); Onyenweanyᴉ bụ Onye n’enyere m aka (The Lord is my helper);  Bilie nwue 

(Arise and shine); Ọnụ Ụzọ ama. (Ewulu, 2011).   

 

Prof. Dan. C. C. Agu  

 Daniel Chikpezie Christian Agu is a professor of 

ethnomusicology and composition, music director, conductor, 

performer and organist. He was born on 18th January, 1949, at 

Iyienu Hospital, Ogidi, Anambra State, to the family of Mr. and 

Mrs. Samuel Agu. He is a native of Obosi in Idemili North Local 

Government Area of Anambra state, Nigeria. His father died 

when he was six months old. He experienced so many difficulties 

in childhood because of his father’s early death but he overcame 

them through determination and hard work. 

 



 

 
  

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Dan Agu joined the St. Andrew’s Anglican Church Choir, Obosi, at the age of seven and 

he did his first composition when he was eleven years old. Onwuekwe (2006b) informs 

that: 

 

Agu’s motivation and inspiration came from within. This is because no musician gave him 

any foundation or early musical training except the little he got as a chorister. According 

to him, “My musical talent is inborn. I inherited music from my father who also inherited 

from his own father and both of them were great musicians popularly acclaimed in the 

various communities they lived. (p.168) 

 

He attended Central School, Obosi, from 1955-1960, and later gained admission into Ika 

Grammar School, Agbor. In 1970, he entered the Teachers' Training College Nnewi, 

where he studied music through self-sponsorship and offered it in the Teachers’ Grade 

II Certificate Examinations. He obtained his Bachelor of Arts in Music from the 

University of Nigeria, Nsukka (UNN) from 1973-1977, and his Doctorate Degree in 

Ethnomusicology at Queen’s University of Belfast (QU.B) Ireland, United Kingdom, 

(1982-1984). He came back to Nigeria and taught for many years at the Anambra State 

College of Education, University of Nigeria, Nsukka, and Nnamdi Azikiwe University, 

Awka, where he gained his professorship in 2003 and retired in January, 2019. 

 

Agu’s music career could be seen as a divine call. According to him, two institutions, the 

University of Ibadan and the University of Nigeria, Nsukka (UNN) offered him admission 

the same year, to study Geology and Music respectively. He preferred studying music to 

geology as opposed to the wish of his people, who insisted that they would not sponsor 

him in music. It was a cousin of his who lived in Canada with her husband that encouraged 

him to pursue his musical career. His first school fee in UNN was paid by his cousin’s 

husband. Though the money was refunded to him when he gained scholarship but his in-

law refused to take back the money and asked him (Agu) to take care of other needs of 

his with the money. 

 

Agu has performed in many parts of the world. He has composed over six hundred and 

(650) music, and served as a commissioned composer to many bodies and associations. 

These include the British Broadcasting Corporation (BBC), London, Nigerian Television 

Authority (NTA), and churches at various levels, Anambra State Government, film 

production, and lots of corporate bodies. His works include anthems, solos, keyboard 

music and religious pop. He also did the composition of all theme and background music in 

Chinua Achebe’s Things Fall Apart and Nnamdi Azikiwe University Anthem, Nike Diocesan 

Anthem, Nsukka Diocesan Anthem, Paul’s University Anthem, and so on. 

 

Agu’s style of composition is a unique one. This makes his compositions easily identifiable 

whenever they are performed. His works are characterized by dolce melody lines, 

especially his special treatment to the alto part. His melodies are guided by the speech-

tone and rhythm and mood of the text. He utilizes call and response pattern, homophony 

and counterpoint, as well as complex rhythmic patterns such as syncopation and mixed 

rhythm, sequence, repetition and modulation. His desire for tonal inflection and for his 



 

 
  

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works to sound African makes him sometimes write parallel harmony, which defies the 

Western rule of harmony. He sometimes combines Igbo and English languages in one song. 

He also employs some elements of pop music in his compositions. Some of his sacred 

compositions include Ka anyị na-eto site n’amara Gị (That we may grow in grace), I am the 

Resurrection and Life, Nọgidenụ nime ịhụnanya m (Remain in my love), Kiribenụ Jesu 

(Behold Jesus), Ndị nwụrụ nwe ngọzị (Blessed are the dead), Jehova bụ ihe m na nzọpụta 

m (The Lord is my light and my salvation), Okwu Gị bụ Oriọna (Your Word is a lamp), 

Gọzienụ Chineke (Bless God), Amụworo anyị otu Nwa (Unto us a child is born), Chineke nye 

anyị udo (God grant us peace), and so forth. Many of his compositions have been 

documented either in published or recorded forms, and are available for utility of 

everyone who wishes.  

 

Sir Humphrey Nwafor 

Humphrey Nwafor was a music composer, educator, choral 

director, organologist and a singer. He hailed from Ndikelionwu 

in Orumba North Local Government Area of Anambra State. He 

was the second son of his parents from whom his musical talent 

was inherited. His father, Maazị Nwafor Ọkpaeti, was a farmer 

by profession and also a renowned village musician in Umudim, 

Ndikelionwu. His mother also was the song leader of women in 

their village and the Church at almost every occasion. 

H. C. Nwafor joined the church choir of St. Margaret Anglican Church, Ndikelionwu at an 

early age. His musical apprenticeship was under Humphrey Ugolo of Ogidi town, Anambra 

State and Ben. Anegbu of Eziagu, also in Anambra State. In 1957, he was appointed the 

choirmaster and in the same year he composed his first two works, Nwamgbe and Ozioma 

for a singing competition and the CMS Anniversary respectively.  

 

Nwafor attended the Ndike/Ndiowu Central School, Anambra State, from 1951 to 1956, 

Luke’s College Ngwo, Enugu State, 1960-1961, where he received his first formal music 

lesson from Late Felix Nwuba, who also influenced him greatly during the period he 

understudied Nwuba. In 1962, he started a postal tuition lesson of the Wolsey College, 

London. He attended St. Andrew’s Teacher Training College, Nnewi, from 1965 to 1966, 

the Alvan Ikoku College of Education, Owerri (1975 to 1978) and the University of 

Nigeria Nsukka, where he obtained his Bachelor of Arts Degree in Music Education. 

 

Nwafor wrote over two hundred choral music compositions including sacred, secular and 

quasi sacred music in English, Igbo and other Nigerian languages. Some of his sacred 

choral compositions include Ọnụ ụzọ ama, bulienụ isi unu elu (Lift up your heads, O ye 

gates); Mụọ Onyenweanyị dị n’arụ m (The Spirit of the Lord is upon me); Ọ bụrụ na Chineke 

dịrị anyị (If the Lord be for us); Lee ka ha si ma mma (How beautiful are they); Bịakutenụ 

m (Come unto me); Nanụrịnụ ọnụ (Rejice) and so forth. He immensely contributed to the 

growth and development of art music in the Anglican Church, Province of the Niger. He 

handled so many church choirs where he trained many singers, choirmasters and 

composers. Many of his compositions are homophonic and polyphonic in texture. He 

introduced his works with one part or solo line and utilised antiphonal technique (call and 



 

 
  

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194 

response, call and refrain etc.), repetition imitation to develop his work. The melody of 

his works reflects the tonal inflection of the Igbo text. Sir H. C. Nwafor died on May 1, 

2019.   

 

Dr. Ugochukwu Amara Onwuka   

Ugochukwu Onwuka was born on May 15, 1951 to the family of 

Reverend Canon and Mrs Samuel C. Ononobi. He is a native of Oka 

autonomous community in Isiala-Mbano Local Government Area of 

Imo State.  

Ugochukwu’s musical talent is inborn. According to him, the talent 

was spiritually acquired and graciously endowed by God because 

none of his parents was musical. He was enrolled in the church 

choir at the age of four; where he received the rubrics of voice 

training and also learnt to sing as a choirboy. He attended St. Augustine’s Grammar 

School, Nkwerre, where he started studying music under Mr. S. I. Ikeazota, who also 

introduced him to the keyboard. In 1967, as the Nigerian Civil War broke out and 

disrupted his study, Ugo fashioned a dummy keyboard since his father never owned a 

keyboard, and with this he practised sight-reading and fingering exercises to sustain his 

musical interest. Later, his father introduced him to Pa N. C. J. Chukwura, a renowned 

organist and veteran choirmaster, from Onitsha, who was taking refuge at St. Michael’s 

Church, Eziama-Osuh. Pa Chukwura offered great assistance and encouragement to him, 

which took him to the next level on keyboard playing and choral practice. With his 

acquired musical knowledge, he began teaching and conducting Church choirs in 1969. It 

was at this period that Ugo started music composition. He was influenced by the works 

of Harcourt Whyte.       

 

In 1971, after his secondary education, Ugo proceeded to Bishop Lasbrey Teacher 

Training College, Irete, where he furthered his musical knowledge under Mr. J. K. Kamalu. 

While his training lasted, he served as the college organist, and at the end of his studies, 

in 1973, took his first external examination in music. In the same year, he registered for 

a correspondence course in rudiments of music with the Royal College of Music, London, 

and completed its Stage V before gaining admission into the University of Nigeria, 

Nsukka, to study Music in 1975. Luckily, he enjoyed the sponsorship of the Federal 

Government of Nigeria via its Bursary Award Scheme. Apart from his general music 

lessons, Ugo particularly learnt to notate African rhythm from Prof. R. C. Okafor, who 

was then a Junior Fellow; African compositional style from Prof. W. W. C. Echezona and 

Mr. Okechukwu Ndubuisi. He learnt the American style from Dyll Bonner, while Mr. John 

Furse gave him a very strong base in theory and harmony of Western music. He graduated 

in 1979 with a First Class Honours, and emerged the best graduating student both in the 

Department of Music and in the Faculty of Arts, stressing in Composition. Onwuka 

acquired his Master’s Degree in African Music at the University of Ibadan in 1987, and 

a Doctor of Philosophy (Ph.D.) in Ethnomusicology from Nnamdi Azikiwe University, Awka, 

in 2011. In 1980, Onwuka joined the services of the Anambra State College of Education, 

Awka, as a Lecturer III, and by dint of hard work, he rose to become the first Reader 

in the Department of Music, Nwafor Orizu College of Education.  



 

 
  

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Dr. Onwuka has composed over two hundred and twenty (220) musical works and 

arrangements in African as well as mixed idioms, which include sacred and secular songs. 

Some of his sacred works include Zite udo Gị (Bring peace), Onye dịka Gị? (Who is like 

You?), Ịhe anya na-ahụgh (What the eyes have not seen), Na-echenunche (Do watch), 

Amụworo anyị otu Nwa (Unto us a child is born), Jehova za m ekpere (Lord answer my 

prayer), Ekele dịrị Jehova (Thanks be to God), Gịnị ka mmadụ ga-eme m (What can man 

do to me?), Eziokwu Jehova (The truth of the Lord)  and numerous others. The melody 

of his songs adhere to the tonal inflection of the Igbo texts. The harmonies of his 

compositions are mainly homophonic in texture and less contrapuntal. He employs 

antiphonal technique and usually applies modulation in most of his works. 

Ugo Onwuka has served in the Music Festival Committees of the Dioceses of Awka and 

Niger West as Secretary and Chairman, respectively. He has also been a regular resource 

person at the capacity building Seminar Workshops for musicians and choirmasters in 

the Anglican Dioceses of Aguata, Niger, Amichi Awka, Nnewi and Niger West. Because 

of his contributions to the growth and development of Church music, he was invested 

Knight of the order of Saint Christopher.  

 

 

                          Dr. Chuma Chukwuka 

                                  Dr. Sir Chuma Chukwuka was born on the first day of December,                 

                        1954,  at Ufuma in Orumba North Local Government Area, Anambra  

                                  State, to the family of Late Reverend and Mrs C. I. N. Chukwuka.  

                                  He is a native of Nkwelle-Ezunaka in Oyi Local Government Area  

                                  of Anambra State, Nigeria. 

 

Chuma had his primary education at Christ Anglican Church Primary School and Saint 

John’s Anglican CMS Primary School Fegge, both in Onitsha 1961-1962 and 1963-1966, 

respectively. He attended Agulu Boys Grammar School and Christ the King College, 

Onitsha, from 1967-1973 and 1973-1975, respectively. In 1978, he gained admission to 

study music at the Department of Music, University of Nigeria, Nsukka, and graduated 

in 1982. He acquired his Master of Arts (MA) Degree in African Music in 1986 and Doctor 

of Philosophy (Ph. D) in Ethnomusicology in 2021 both at the University of Ibadan. 

 

Dr. Chukwuka joined the choir when he was eight years old as a treble singer at Saint 

John’s Anglican Church, Fegge. He took interest in organ and eventually became the 

assistant chapel organist in his class three in 1971, and later organist of Saint Andrew’s 

Anglican Church, Odoakpu, Onitsha, while yet in secondary school. In the University of 

Nigeria, Nsukka, Chuma did wonderfully well on the piano and was awarded the best 

graduating piano student by the Department of Music. 

 

Also, Chuma’s interest in music composition started growing and yielded him into 

becoming a prolific composer, for which he is best known. He has composed too many 

works, both vocal, which include sacred and secular songs in English, Igbo and other 

Nigerian Languages, and instrumental. He has also coached many church choirs that did 

so well in music competitions, composers, choirmasters and organists. Some of his sacred 



 

 
  

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196 

compositions include M ga-agọzi Jehova mgbe nile (I will bless the Lord at all times) 

Jehova bụ Onye na-azụ m (Psalm 23); Dube m, Chineke (Lead me, God); Le, gọzienụ Jehova 

(Bless the Lord) and many others        

 

Chukwuka’s works are in both homophonic and polyphonic textures. He employs African 

rhythm in his compositions but the melodies of his works are mostly conceived 

stylistically and instrumentally, thereby not strictly guided by the speech tone and 

rhythm of the text. Consequently, this has sometimes led to lack of adherence of the 

melodic lines of his compositions to the tonal inflections of the text, thereby distorting 

the textual meaning.  

 

Prof. Alvan-Ikoku Nwamara 

Prof. Alvan-Ikoku Nwamara, a prodigiously talented composer, 

performer, music producer, prolific writer and researcher was 

born on the 30th day of July 1975 at Uzuakoli, to the family of 

Chief Christian Iheanyichukwu Nwamara (the Ebubedike 1 of 

Umumba-Nsirimo) and Lolo Emily Uloma Nwamara of Umumba-

Nsirimo, Umuahia L.G.A. of Abia State. Young Alvan-Ikoku 

Nwamara was named after a foremost Nigerian educationist, 

Late Dr. Alvan Ikoku of blessed memory, who was his father’s 

English and Latin teacher and Principal, many years ago, at Aggrey Memorial Grammar 

School, Arochukwu.  

 

He had his primary education at the United Primary School, Nkpor, Anambra State 

(1982-1987), secondary education at the Dennis Memorial Grammar School Onitsha 

(1988-1993) and, in 1998, obtained a Diploma in Music Education (Dip. Mus. Ed.) with 

Distinction, followed by a Bachelor of Arts degree, Music (2nd Class Honours, Upper 

Division) in 2001, both at the University of Nigeria, Nsukka. In 2006, he obtained a 

Master of Arts (M.A.) in Music Theory and Composition at the Nnamdi Azikiwe 

University, Awka, and, in 2007, obtained another Master of Arts (M.A.) in African Music 

at the University of Nigeria, Nsukka. In 2008, he crowned his academic attainment with 

a Doctor of Philosophy (Ph.D.), Music Theory and Composition, Nnamdi Azikiwe University, 

Awka. This made him the first Nigerian musicologist to attain this height at the age of 

thirty three (33) in the history of Nigerian musicology and at the age of forty four (44), 

in 2019, he became a music professor.  

 

Prof. Nwamara joined the choir of St. Mark’s Anglican Church, Nkpor, at a very tender 

age. He started composing at the age of twelve years and has composed over three 

hundred music works which include operas, church anthems, solos and duets. He informs 

that he delved into the world of serious music making as a young chorister, later a band 

boy and finally advanced into music scholarship where he had the opportunity of being 

tutored in various aspects of musicology with majors in composition and African music. 

In the course of his training and work experiences, he had the rare privilege of getting 

in contact and working with many big names in Nigerian musicological scene such as the 

late Felix Nwuba, late Okechukwu Ndubisi, late Prof. Richard Okafor and the living Sir 



 

 
  

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197 

Sam Ojukwu, Prof. Christian Onyeji, Prof. Dan Agu, Prof. Laz Ekwueme and Prof. Meki 

Nzewi, and so on.  

 

Nwamara’s contact with these great masters and his love for pop music has a great 

influence on his style of choral compositions. Some of his sacred choral compositions 

include Mụ Onwe M bụ Mbilite n’ọnwụ (I am the resurrection); Ịhe adịwo mma (Things 

have become good), Tonụ Ja (Praise God); Yoke Nke m (My yoke); Akwụkwọ iwu (Book of 

Law); Nwunye gị ga-adị ka osisi vine (Your wife shall be as a fruitful vine - composed for 

his wedding), Ka m si yọọ nna (dedicated to his son, Kamsiyonna) and numerous others. He 

is also a commissioned composer for different Anglican Dioceses and organizations in 

Nigeria, such as Diocese on the Niger, Diocese of Asaba, Diocese of Ndokwa, Emeka 

Offor Foundation, Anambra State Government, Nigerian Bar Association and numerous 

schools.    

 

Prof. Alvan is the author of Soloist’s Companion volumes one and two, and other books. 

He has numerous academic publications and recorded works to his credit. He has also 

contributed greatly to the growth and development of Church music by encouraging and 

mentoring many young talented musicians/composers and performers. He also has been a 

source of inspiration to the upcoming composers. 

 

More so, Prof. Nwamara is a member of several national and international professional 

bodies including ANIM – Association of Nigerian Musicologists, CWB – Conductors 

Without Boarders, IFCM – International Federation of Choral Music, MUSON – 

Musicological Society of Nigeria, SONTA – Society of Nigerian Theatre Artistes, 

PASMAE – Pan-African Society for Musical Art Education, COMEN – Conference of 

Music Educators of Nigeria, ISA – Igbo Studies Association, KAMAE – Kenya Association 

for Musical Arts Education, SNC – Society of Nigerian Composers, PATAG – Performing 

Arts Teachers Association of Ghana, among others. His research interest is basically on 

Ethnomusicological approaches to African Art Music Composition, Theory, Practice and 

Performance. 

 

Chukwudi Ezeokoli  

Chukwudi Ezeokoli was born into the family of Late Herbert 

Ezeokoli on September 1, 1969. He is a native of Ekwulobia in 

Aguata Local Government Area of Anambra State. He had a 

good musical background, as his father, who was a choirmaster, 

organist and composer, exposed him to the piano at a very 

tender age. Some other persons like late Honourable Jonathan 

Ezeudegbunam (Jecca Whyte), a renowned organist and Sir 

Gabriel Okafor (Witty), who is also a choirmaster and 

composer, motivated him.  

 

Ezeokoli attended Bishop Crowther Junior Seminary, Awka. He became the school 

organist. There in the seminary he had more musical exposure, as they were subsequently 

taught music by many great music masters such as Mr. Dan. C. C. Agu, who taught them a 



 

 
  

Awka Journal of Research in Music and the Arts (AJRMA) Vol. 16, September 2023 

198 

little while before travelling to Ireland for his Doctorate degree programme; Mr. 

Chukwuemeka Mbanugo (later became a professor), who raised the school orchestra and 

later left for his postgraduate programme in America and Sir. Humphrey Nwafor (late), 

who raised their school choir. Others were Mr. Godwin Akpadolu and Mrs. Odukwe. 

Chukwudi later proceeded to the University of Nigeria, Nsukka, to study music. He 

majored in composition, piano and euphonium. He did wonderfully well in his 

undergraduate days at Nsukka and graduated as the best student of their set. He did 

his postgraduate studies at the Department of Music, Obafemi Awolowo University 

(OAU), Ile-Ife. 

 

According to Chukwudi, his compositional talent is inborn. Academics nurtured the talent 

and made him more theoretically balanced. His music compositions are influenced by the 

compositional styles of Sir Sam. Ojukwu, Felix Nwuba, Prof. Dan Agu, more especially 

Agu’s sweet melodies. He also employs some elements of pop music in his musical works 

such as highlife, reggae, disco, and so on, since his father prohibited him from going fully 

into pop music. A majority of his musical compositions are commissioned works. He 

prefers writing music for the audience; that is simple music which the audience can easily 

connect with than one that is so elaborate and technical. Some of his compositions include 

Ngọzị nile dịrị Chineke (All blessings be to God); Ma ekele dịrị Chineke (But thanks be to 

God); Detụnụ ire (O taste and see); Halleluia! ịfe ọnụ emego (Halleluja! Joyful thing has 

happened) and so on. He also composed numerous chants. Ezeokoli established a music 

academy, where he trained so many musicians. 

 

Conclusion  

Choral Art music composition in the Anglican Communion, Province of the Niger, Nigeria, 

was borne as a result of the eagerness of its early composers to create music for 

Christian worship that could elicit desired responses from the Igbo congregation. This 

is as a result of the inability of the Western hymns and chants to satisfy the indigenous 

musical needs of the Igbo worshippers. The experimentation of this genre of music in 

the old Niger diocese began in the 1930s. However, the establishment of the department 

of music, University of Nigeria, Nsukka and other tertiary institutions that offered 

music programmes in the 1960s and the subsequent advancements in technology 

revolutionalized choral Art music practices in the Province of the Niger from 1960 to 

2014. With the exposure of the contemporary composers to academic study of music and 

modern technology, choral Art music composition in the Province of the Niger from 1960 

to 2014 developed to a world class art. The author thereby recommends that further 

research on this subject be carried out subsequently for update of the information 

provided in this work. More so, research of this nature could be replicated in other 

Christian denominations in order to increase the repertoire of historical materials of 

music in Igbo land.  

 

 

 

 

 



 

 
  

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http://musicology.ucla.edu)/

