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SCHOLARLY FEATURE ARTICLE:
Samuel Akpabot: Profile of a Nigerian Modern Composer
--by
Godwin Sadoh
The original publication includes
a photo portrait of Akpabot
with native instruments.
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Instead of reproducing the Feature Article in its entirety here, we are presenting some outstanding (and enticing) excerpts from the article--
| Similar to the practice of most Nigerian musicians, be it traditional, popular, or art; Akpabot seeks to unite Nigeria as a nation in his music, that is, an intra-cultural experience. |
Samuel Ekpe Akpabot was born on 3 October, 1932, in Uyo, Akwa Ibom State of Nigeria. He went
to Lagos in 1943 for his high school education at the renowned King's College, a school well-known
for its tradition in European classical music. Akpabot received significant
introduction to European classical music as a chorister at the famous Cathedral Church of Christ
Choir, Lagos, under the leadership of Thomas Ekundayo Phillips (1884-1969).
In 1954, Akpabot proceeded to the Royal College of Music, London, to study organ and
trumpet. His teachers included John Addison, Osborn Pisgow and Herbert Howells. He later went
on to study at the Trinity College of Music. On his return to Nigeria with two British diplomas,
Associate of the Royal College of Music (ARCM) and Licentiate of the Trinity College of Music,
London (LTCL), he was appointed as broadcaster at the Nigerian Broadcasting Corporation, Lagos.
It was also in 1959 that his compositional career begun. The 'highlife' idiom (West African popular
dance band music style) dominated his musical compositions despite his exposure to European
classical music in England.
At the age of thirty, Akpabot left the Nigerian Broadcasting Corporation for the University
of Nigeria, Nsukka, to become one of the founding faculty members of the Department of Music.
Between 1962 and 1967, Akpabot wrote four works which can be considered as the epitome of
nationalistic creativity. The works are Scenes from Nigeria for Orchestra (1962), Three Nigerian
Dances for String Orchestra and Timpani (1962), Ofala, a tone poem for wind orchestra and five
African instruments, and Cynthia's Lament, a tone poem for soloist, wind orchestra and six African
instruments (1965).
Akpabot studied at the University of Chicago where he obtained a Master's degree in
Musicology and later went on to Michigan State University, Ann Arbor, where he received his Ph.D.
degree also in musicology. He was a Visiting Scholar at the international programs of Michigan State
University where he taught courses in African music at the music department. He also taught at the
College of Education at Uyo, Nigeria, where he was Chairman of the Division of Arts and Head of
the Department of Music. At the end of the civil war in 1970, Akpabot became a senior Research
Fellow at the Institute of African Studies, University of Ife (now Obafemi Awolowo University). He
was later appointed senior lecturer at the Institute of African Studies, University of Ibadan. Akpabot
was appointed Professor of Music at the University of Uyo in 1995.
There are three major categories of orchestra compositions in Nigeria: (a) orchestra works
with only Western instruments; (b) orchestra works in which Nigerian traditional instruments are
combined with Western instruments; and (c) orchestra works written for only Nigerian traditional
instruments. Akpabot belongs to the second category.
Three Nigerian Dances
In the composer’s note to the Three Nigerian Dances, Akpabot writes, “the Three Nigerian
Dances is an attempt at fusing what the Nigerian musician learns at Western schools with the music
of his own land. The Slovanic Dances of Dvorak inspired these, which are intended to be “jolly good
fun” for players and for audience. Each of the dances consists of an opening, middle, and closing
section. The middle section does not modulate; modulation is very foreign to African instrumental
music.” Akpabot is right about the issue of modulation in African music. In fact, there is no such
thing as modulation in both instrumental and vocal African traditional music. Paradoxically,
Akpabot contradicted himself in making this statement because he injected a modulation in the
second dance. The Three Dances is scored for 2 violins, viola, violoncello, contrabass, and timpani.
The first dance is the longest of the three with ninety six measures in length. Structurally, the
piece is in three distinct sections like an ABA. In the opening introduction, the cello and contrabassanticipate the first phrase of the principal theme which is a popular Ibibio folk song from the deep
southeast region of Nigeria, Akpabot’s ethnic area. The return of the A is very brief but marked
Presto from mm. 85 to 96. The song is figured in the first violin again with canonic imitation
observed in the second violin and viola. The cello, contrabass, and timpani only joined the group in
m. 95 and 96 to close the B section in fff. The three sections are in E-flat major.
Example 1. Akpabot, Section A (from the Three Nigerian Dances), mm. 19-29.
(Score sample included in original publication)
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The second dance is very short in length compared to the other two pieces with only 76
measures. It is also in a three part-form like an ABA with a short introduction. Similar to the
opening of the first dance, the introduction consists of an anticipation of the principal theme that is
an Igbo folk song from the southeast region of Nigeria. The
return of the A section consists of the Igbo song in the first violin with a steady accompaniment
from the other strings and drum rolls provided by the timpani to heighten the spirit of closure.
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Example 2. Akpabot, Middle Section (from the Three Nigerian Dances), mm. 51-64.
(Score sample included in original publication)
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The third piece is a very lively dance based on a Yoruba wedding song titled, “awa l’egbe
oniyawo” (We are the members of the bride’s group). The Yoruba ethnic group is located in the
southwest region of Nigeria. Similar to the practice of most Nigerian musicians, be it traditional,
popular, or art; Akpabot seeks to unite Nigeria as a nation in his music, that is, an intra-cultural
experience. Nigeria is primarily made up of three major ethnic groups (Yoruba, Igbo, and Hausa)
and several minority groups. Each group speaks different languages and has its own musical genres.
One of the ways that composers attempt to unite these groups is to borrow ideas, rhythms,
instruments, and melodic phrases from several groups in their compositions.
Example 3. Akpabot, A Section (from the Three Nigerian Dances), mm. 13-32.
(Score sample included in original publication)
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The Three Nigerian Dances for String Orchestra and Timpani is one of the few compositions
by Akpabot written entirely for Western instruments. However, Akpabot uses the Western
instruments to imitate African traditional instruments. Hence, the strings and timpani if played as
intended by the composer will sound like African drums and idiophones. Akpabot uses various
compositional devices and expression marks to make the Western instruments to simulate African
traditional instruments. Other elements of African music featured in the Three Dances are parallel
harmony, as well as call-and-response techniques.
(Specific resources are included in the original hard-copy article.)
| "There are three major categories of orchestra compositions in Nigeria: (a) orchestra works with only Western instruments; (b) orchestra works in which Nigerian traditional instruments are combined with Western instruments; and (c) orchestra works written for only Nigerian traditional instruments."
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Three Questions Before the First Night:
Meira Warshauer speaks to Carson Cooman
about her work Symphony No. 1, “Living,
Breathing Earth”
(Meira Warshauer at the piano)
| "My music is inspired by my living. In this case, I was very moved by the image of the rainforests as “lungs of the earth,” and I began to imagine the earth breathing."
|
Meira Warshauer (b. 1949) is an active
American composer based in South Carolina.
She studied composition with Mario
Davidovsky, Jacob Druckman, William
Thomas McKinley, and Gordon Goodwin.
Her works have been performed and recorded
to critical acclaim throughout the United
States and in Israel, Europe, South America,
and Asia. She has received numerous awards
from ASCAP as well as the American Music
Center, Meet the Composer, and the South
Carolina Arts Commission. She was awarded
an Artist Fellowship in Music by the S.C. Arts
Commission in 1994, and in 2000, received
the first Art and Cultural Achievement Award
from the Jewish Historical Society of South
Carolina. She is a graduate of Harvard (magna
cum laude), holds three degrees from the New
England Conservatory of Music, and earned
her doctorate from the University of South
Carolina, Warshauer is an associate music
faculty member at Columbia College,
Columbia, SC. Her innovative course, “The
Healing Art of Music,” is a cross-cultural,
multidisciplinary approach to the experience
of music as a source of healing.
Warshauer’s Symphony No. 1, “Living,
Breathing Earth” will receive four
performances, a world premiere from each
member of the commissioning consortium.
On 3 February 2007, the Western Piedmont
Symphony under the direction of John
Gordon Ross will perform the work in
Hickory, North Carolina. On 24 March 2006,
the South Carolina Philharmonic and
Nicholas Smith will perform the work in
Columbia, South Carolina. The final two
initial performances will take place on 26 and
28th April 2007 by Neal Gittleman and the
Dayton Philharmonic in Dayton, Ohio.
CC: You’ve written many orchestral works
before but this is your first “symphony.” What
made you decide to call the work that, and what
connotations does it have to you?
MW: ‘Symphony’, to me, means a major
work for orchestra. The closest thing I have to
that is my “Jerusalem, Open Your Gates,”
which is in three movements, about 16
minutes long. My other orchestral
compositions are shorter (Like Streams in the
Desert is 8 minutes, Revelation is 8 minutes,
As the Waters Cover the Sea is 11 minutes,
and YES! is 10 minutes.) Some use chorus as
well as orchestra (Shacharit, Ahavah). I felt I
had matured enough in my orchestra writing
to attempt writing a “symphony.” It seemed
more significant to actually call it a symphony.
This one turns out to be about 25 minutes
long.
CC: In the program notes for this work, you
discuss a message that the work has of seeking
healing for the earth. Do you find yourself
coming often to these sort of subject when writing
music?
MW: Yes. My music is inspired by my living.
In this case, I was very moved by the image of
the rainforests as “lungs of the earth,” and
began to imagine the earth breathing. I felt I
wanted to really honor the amazing experience
of living on the earth, being part of this huge
ecosystem, and I wanted the music to be a
vehicle for the audience members to connect
with their own love of the earth. The healing
image accompanies the hope that by
recognizing what is precious to us, we will be
moved to protect it.
CC: Has having three orchestras in the premiere
consortium made you think about the work any
differently than you would have otherwise?
MW: I wanted it to fit each orchestra, and
was in close contact with the conductors when
making decisions about orchestration. These
three conductors, Neal Gittleman, John
Gordon Ross, and Nicholas Smith, took on
what felt like roles of guardian angels. They
really tried to say “yes” whenever they could. I
am so grateful to them for the trust they put
in me. They had each performed my music
before, but commissioning is still a risk.
I hope they’ll find it worthwhile!
Having three orchestras waiting for this
symphony was tremendously motivating. It
helped sustain me to know that all the work of
writing (and it was a huge amount of work,
even though a labor of great love), would be
rewarded by four performances (one each in
Hickory, NC and Columbia, SC, and two in
Dayton, Ohio). Although any performance is
great, it can be a let-down to have only one
performance of such a major work. Of course,
I hope there will be more performances after
this season. But at least I know there are four
performances waiting for this new baby.
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Live Concert Review: More Music for MIDI
Trombone: Rodney Oakes
by Dwight Winenger,
Founder of the Living Music Foundation
We use the title “More Music for MIDI
trombone” because in Y2K another reviewer
audited Innova Recording 542 and found that
the works on MIDI Trombone by Rodney
Oakes “hold interest” and are “worthy of
audition,” but he had one criticism, not
offered dogmatically, but firmly, “Many tracks
contained fairly recognizable commercial
synth sounds.” More on that later.
After reading the above mentioned review and
overhearing a comment by a fellow-composer,
“Who can listen to an hour-and-a half of
MIDI Trombone?” your reviewer vowed to
hear for himself this controversial distinction
called MIDI Trombone. His first reaction is
to rename the genre. “MIDI Trombone,” to
your reviewer, suggests trombone music
executed on a MIDI instrument but sounding
like trombone. This is not what we found in
Oakes’s case. Rodney Oakes plays a real tenor
trombone (Bach M-15). It has a microphone
attached to the bell used in connection with a
battery of foot pedals as controller for a Pitch-
To-MIDI converter (Musical Instrument
Digital Interface). The result is a combination
of acoustic trombone and constantly
moderated synth sounds. It seems to your
reviewer that MIDI Trombone as performed
by Rodney Oakes would more accurately be
termed MIDI-enriched Trombone.
We listened carefully. We heard few, if any,
“recognizable commercial synth sounds,” no
“pizzicato string settings,” no presets as they
are sometimes called. In fact, what we
experienced was a daring and totally unselfconscious,
yet intricate and spontaneous
performance. It took place at Rosalie & Alva’s
Performance Gallery at 1417 W. 8th Street,
San Pedro, CA, on Saturday, April 29, 2006.
The program notes included “Random
Comments” overheard at previous
performances by Rodney Oakes:
“Who the hell is Rodney Oakes?” – Barney
Child at a Society of Composers concert in
Las Cruces, New Mexico.
David Raskin, composer of "Laura" after
hearing Erotic Rhapsody, “Tell Rod
Oakes that his Erotic Rhapsody is about as
erotic as picking a nose.”
A young Dutch composer at a composers
workshop by the Italian composer, Franco
Donatoni, in Sienna, Italy, asked the
composer, “Are you "The" Rodney
Oakes?”
Enough preliminaries. Erotic Rhapsody,
mentioned above, was first on the program.
The rather long description in the program
boils down to inspiration by a fictitious
meeting of political figures and television
evangelists strongly opposed to any kind of
government support of the arts. While
clandestinely viewing contemporary art
banned by the National Endowment of the
Arts for the purpose of planning a scenario for
discouraging such manner of art, they become
affected by its decadence, resulting in a
frenzied orgy. The piece, Oakes confesses, was
created without support by any government
agency or private foundation and is dedicated
to the participants of the 1992 Republican
Convention.
After listening carefully to Erotic Rhapsody,
your reviewer found himself agreeing with
David Raskin as to the erotic nature of the
piece, but the lack of lasciviousness may be
planned since the work’s inspiration deals,
after all, with the NEA and the Republican
Party.
Greco-Roman Songs is for sampled voice and
MIDI trombone (Oakes’s definition). The
poems sampled are by the Greek poetess
Sappho and by the Roman Poets Catullus and
Martial. The sampled voice was that of
Oakes’s wife, Krysia, reading the chosen
poetry translated to English.
Mazurka for Krysia is a short work in the spirit
of Chopin and dedicated to the trombonist’s
wife.
Threnody for the Victims of My Lai expresses a
degree of revulsion for the systematic killing
of 583 Vietnamese men, women, and children
in 1968, a kind of behavior that happens in
war “when adults send armed children,
indoctrinated to kill or to pretend to be
warriors.”
Threnody uses a number of techniques, but it
is heavily jazz influenced. The MIDI augmented
trombone improvises around a
stated melody.
Homage to Chopin uses a software program,
Metasynth. Metasynth uses digital pictures
and interprets visual images into sources of
sounds and sources to control sound. Oakes
used images he photographed during the
summer of 2003 in and around Chopin’s
home in Poland. The resulting music
does not, however, resemble the music of
Chopin.
Bone of Contention combines three sources: 1)
trombone, 2) software synthesizer controlled
by the trombone via a pitch-to-MIDI
converter, and 3) a recorded accompaniment.
The piece was created without a title. The title
sprang to the composer’s mind during a music
conference discussion. The word “Bone,” of
course, has a double meaning…maybe triple.
The Blue Bridge uses Metasynth to develop
synthetic music from visual night images of
the Vincent Thomas Bridge that connects the
San Pedro section of Los Angeles to Long
Beach. Blue lights were installed on the
bridge in 2005, thus The Blue Bridge.
The last work on the program was Variations
on the Krakow Fanfare using Metasynth and
digital images of the ancient city of Krakow,
Poland. In 1241, a watchman standing guard
in the tower of St. Mary’s Cathedral played a
plaintive fanfare to warn the citizens of
Krakow of the approach of invading
Tartars. In the middle of the fanfare, an arrow
was shot through the watchman’s neck. There
has been a trumpet player in the St. Mary’s
tower playing this fanfare four times every
hour since 1241, except during the Nazi
occupation during World War II. The fanfare
stops abruptly at the point the guard was
fatally wounded.
At the reception, following the concert, your
reviewer was able to corner Rodney Oakes and
ask him point-blank about the disputable
preset synth sounds. Oakes fervently claims
that he uses no presets.
One must recognize the singular bravery of
Rodney Oakes. Your reviewer once composed
a work for solo trumpet and computer
program for a New York premiere. The
concept was rejected because the “soloist
would not share the stage with a computer.”
Oakes shares his stage with two or three
computers, a music stand, a trombone stand,
and a pedal keyboard. Strangely, all that
paraphernalia does not detract from the soloist
and his music. It amplifies and enriches it;
however your reviewer must add to the
random comments heard at Oakes concerts:
the multiplicity of audio, visual, and historical
sources for musical materials moved one
member of the audience, an attorney, to
remark that the concert was remarkably
“manipulation of manipulation.”
Oakes has pioneered the use of the trombone
combined with electronic devices. He has
performed throughout the United States and
Europe. A number of his works are available
on the Cambria, the Living Artist, and
Innova labels. His recent CD, “Rod Plays
Oakes Plays Rod” (III Records) features the
jazz quartet OGOGO, with Oakes on
trombone, performing a collection of his
works for jazz ensemble.
Members' News
Members of the Living Music Foundation are
encouraged to send news of their activities to the
editor for inclusion in this section of the journal.
Daniel Adams's Concerto for Marimba and Percussion
Ensemble was performed in Flushing, New York by
the Aaron Copland School of Music Percussion
Ensemble, conducted by Michael Lipsey on November
16, 2007.
Adams's Two Antiphonal Portraits for percussion
ensemble was performed in Tampa, Florida by the
University of South Florida Percussion Ensemble,
conducted by Robert McCormick November 19 and
in Baton Rouge by Hamiruge, the Louisiana State
University Percussion Ensemble, conducted by Emory
Blake on November 28.
Daniel Adams is the author of an article entitled "2007
PAS Composition Winners" published in the October
2007 issue of Percussive Notes, the journal of the
Percussive Arts Society.
Adams also received an Award from the American
Society of Composers, Authors, and Publishers for his
music composition activities in 2006-07.
Three recent releases from
Living Artist Recordings
Vol. 10: Semantemes
featuring music by Jeremy Beck, Carson Cooman,
Dorothy Hindman, Ed Robertson, and Erich Stem
Vol. 11: A Still Subtler Spirit
music of Monroe Golden
Vol. 12: I Am In Need of Music
The Gregg Smith Singers sing music of Ned Rorem, Charles Kulis, Dale Jergenson, Edmund Najera, Ralph Swickard, Andrew Bonacci, Geoffrey Kidde, and Dick Thompson
order from dwightwinenger.net/discpage.htm
or from CDemusic.org or Amazon.com
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online edition
INDEX:
- Late-breaking news that arrived between issues.
Hard-copy synopses:
- Latest issue: "Samuel Akpabot: Profile of a Nigerian Modern Composer by Godwin Sadoh (Vol. 22, #1, fall 2007/spring 2008)
- Last issue: "Traditional Cultural Resources in Electro-acoustic Music" by Robert Gluck (Vol.21 #2, Fall 2006/Spring 2007)
- : "Understanding Akin Euba's Wakar Duru: Studies in African Pianism Nos. I-III" by Godwin Sadoh (Vol.21 #1, Spring 2006)
- Vol.20 #2:, Fall 2005, "R. Murray Schafer" by Gordon Rumson
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From here on occasional links may result in your jumping to "the edge of the internet." Deleted pages may be obtained for the incurably curious by request of the webmaster.
|
- Vol. 20 #1, spring 2005, "The Creative Experience of a Nigerian Composer" by Godwin Sadoh, Joshua Uzoigwe issue of LMJ...
- Vol. 19 #2, spring/summer 2004, "George Walker's Visit to Miles College" by Phillip Ratliff.
- Vol.19 #1, fall/winter 2003, "Getting High" by Greg D'Alessio, Pop/Corn issue of Living Music...
- Volume 18, Number 2: Beyond Words, spring 2003, Edwin C. Robertson issue of Living Music... "Text setting"
- Volume 18, Number 1, fall, 2002, David Del Tredici issue of Living Music... "One Composer's Way"
- Volume17, Number 4, spring, 2002, Lukas Foss issue of Living Music... "Music of a Chameleon" by Phillip Ratliff
- Volume 17, Number 3b, fall, 2001, "No New Format" by Rusty Banks
- Volume 17, Number 3, spring, 1999, Aaron Rabushka issue of Living Music...
- Volume 17, Number 2, winter, 1999, Rodney Oakes issue of Living Music...
- Volume 17, Number 1, fall, 1999, Paul Rudy issue of Living Music...
- Volume 16, Number 4, summer, 1999, Ben Johnston issue of Living Music...
- Volume 16, Number 3, spring, 1999, Pat Long issue of Living Music...
- Volume 16, Number 2, winter, 1998, Charles Norman Mason issue of Living Music...
- Volume 16, Number 1, fall, 1998, Modern Opera issue of Living Music...
- Volume 15, Number 4, summer, 1998, Mickie D. Willis issue of Living Music...
- Volume 15, Number 3, spring, 1998, Rusty and Christy Banks issue of Living Music...
- Volume 15, Number 2, winter, 1997, Haubenstock-Ramati issue of Living Music...
- Volume 15, Number 1, fall, 1997, LaDONNA SMITH issue of Living Music...
- Volume 14, Number 4, summer, 1997, Pauline Oliveros issue of Living Music...
- Volume 14,Number 3, spring, 1997, P.Q. Phan issue of Living Music...
- Volume 14,Number 2, winter, 1996, Dorothy Hindman issue of Living Music...
- Volume 14, Number 1, fall, 1996, Computer Research In Music issue of Living Music...
- Volume 13, Number 4, summer, 1996, Craig Hultgren issue of Living Music...
Back issues are available at reasonable cost back to Vol. 1, #1, fall 1983.
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LIVING MUSIC
Volume 22, No.1
copyright 2008
Charles Norman Mason
(Executive Director) cmason@bsc.edu
ISSN: 8775-092X
P.O. Box 549033, Birmingham, AL 35254
internet:dwightwinenger.net/
Editor: Carson Cooman
Submission Guidelines:
Living Music is seeking lucid prose on topics pertaining to contemporary music. Articles should range in lenght from 1000 to 2000 words. LM is also seeking reviews of concerts, scores, and recordings and commentaries on competitions, recording opportunities, and residencies. To send submissions or for information contact Carson Cooman: 422 Franklin St., Cambridge, MA 02139-3114;
carson @carsoncooman.com
Living Music is published twice yearly by Living Music Foundation, Inc.
Living Artist Recordings is owned by Living Music Foundation. Inquiries regarding LMF recording series should
be sent to Charles Mason (cmason@bsc.edu).
Executive Director Charles Norman Mason
Founder and Webmaster Dwight Winenger
Vice-President of Programs Robert Voisey
Journal Editor Carson Cooman
Advisory Board
George Crumb
Greg D'Alessio
David Del Tredici
Orlando J. Garcia
Dorothy Hindman
Syd Hodkinson | |
Craig Hultgren
Ladislav Kubik
Dennis Kam
Hye Kyung Lee
David Liptak
Tom Lopez | |
Pauline Oliveros
Bruce Reiprich
Andrew Rindfleisch
Gregg Smith
Augusta Read Thomas
David Vayo
Olly Wilson
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|
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New Releases from Living Artist Recordings
 Volume 6 Like Shining The Gregg Smith Singers
Volume 7 All About Time dennis KAM (Bergonzi String Quartet, Margaret Donaghue Flavin, Alan Ngim, Amy Tarantino)
Volume 10 Semantemes (works by Jeremy Beck, Carson Cooman, Dorothy Hindman, Edward Robertson, Erich Stem)
Volume 11 A Still Subtler Spirit (works of Monroe Golden)
All volumes of Living Artist Recordings are available on Amazon.com, CDemusic, and Living Music Foundation.
To request information about inclusion on future LAR recordings write cmason@bsc.edu.
Note:
Members receive the hard copy issue of this information weeks before we are able to get it revised and uploaded. Sorry if you got any of this information too late.
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03/05/08