Ph.D. Student in Ethnomusicology (First year)
As a musician born and raised in Lagos, I started my music journey in my home church, Mountain of Fire and Miracles Ministries Lagos, Nigeria (MFM), before traveling to the United States for further studies. At MFM, I had the opportunity to engage in an intense level of musical training and activities, with several opportunities to participate in international examinations such as the Associated Board of the Royal Schools of Music (ABRSM), London, and other musical activities in the music ministry. After some advancement in my music learning process at MFM, I received a fully funded music scholarship at the Musical Society of Nigeria (MUSON), proudly sponsored by the MTN Foundation (MTNF) and MUSON. At MUSON, I received lessons in piano playing, and theory of music, as well as engaged in master classes with visiting international artists, etc. Even though I had these opportunities during these times, I did not have many opportunities to play music written by Nigerian art music composers because the music was either unpublished or not accessible.
Contrary to my musical exposure, many Lagos musicians and music students who cannot afford music lessons and do not have the same experience and free access to music lessons as I did, learned music by rote methods, i.e., memorization of information based on repetition and others by being self-taught. Some factors that have affected the lack of free and affordable access to music lessons, Nigerian music compositions, music materials, Etc., are associated with the social class in Nigeria, where the working and underclasses or proletariat collectively make up the greater proportion of the Nigerian population. So, most Nigerians cannot afford to pay for music lessons with low income. Hence, some composers could not publish their music, and musicians could not get good revenue for their services. These social and economic imbalances within Nigeria that have affected “The Place for Music” triggered my intention towards the summer immersive project. By “The Place for Music,” I mean the representation of music as a subject in Nigeria government-funded primary and secondary schools (middle school-high school), the availability of sufficient and affordable music schools that satisfy all social classes, and creative investments around music learning, opportunities for musicians to perform music and get good revenue for their works.
During the summer immersive project, I embarked on a journey to Nigeria to work directly with Àkójopò, a 501(c) (3) non-profit organization aimed at creating free, easy, and voluntary music lessons for Nigerian classical musicians to support their artistic development and for the promotion of Nigerian classical music and musicians. Àkójopò over the years has, filled the gap in creating “The Place for Music” through different channels like virtual mentorship programs, free book delivery, instrument supply, and concert focused on African Art music and the publication of African art music compositions.
I featured in two major events in Lagos, Nigeria; to give back to the community through free and open music lessons at Kunbi’s Music Company and Goody Tunes Music School in collaboration with Àkójopò and secondly, as the rehearsal coordinator for Àkójopò’s project for the summer of 2023 themed “African Art Music Commissioning Project (AAMCP)." The AAMCP aims at premiering works written in the style of African Art Music. As Kofi Agawu, one of the leading scholars of African music, described art music in a lecture as; “music self-consciously composed by individuals, often notated, usually rehearsed and performed by skilled practitioners for non-participating or minimally participating audiences in designated modern spaces churches, concert halls, community theatres, and private homes.” For the AAMCP project, Àkójopò announced a “Call for Composition” and received 53 applications worldwide. Ten diverse composers representing six different countries (Nigeria, the United States of America, Ghana, Brazil, Mexico, and Poland) qualified for the final stage. These composers received master classes and seminars on writing in the African art music style of composition, after which Àkójopò contracted them to write newly composed music in the African art style—summing up to a concert on July 22nd, 2023.
As the rehearsal coordinator for this project, I built friendly relationships with musicians, scheduled general and one-on-one rehearsals with musicians, acted as an intermediary between the musicians and the composers by coordinating virtual meetings, played the role of a music conductor, and finally, I played music with the musicians and shared part of their experiences. I provided solutions to some of the technical difficulties the musicians encountered in playing some technical passages in their music. I gave music lessons and solutions concerning rehearsal challenges. This experience allowed me to learn the attributes of working with musicians and understand the economic and social factors contributing to their music-making process.
As an ethnomusicologist, my research interest is in music and sustainability, with concern for the sustenance of African art music, music in Africa, musician’s level of performance in performing and expressing African art music, i.e., and the economic factors affecting music practice in Nigeria, hence, creating “The Place for Music” (concerned with African Art music). I am interested in the sustenance of music and musicians' well-being. However, the highlighted factors affecting music and musicians must be solved to sustain music and musicians. So, as an ethnomusicologist, going to the field, interacting with musicians, and engaging with the community renewed my experience of the Lagos music scene and provided me with an immersive experience. I have emerged with the economic and education structure factors affecting “The Place for Music” and addressed some of these factors.
I am thankful to the Humanities Engage Summer Immersive Fellowship, as it provides me an unequaled opportunity to experience the gaps affecting “The Place for Music” in Lagos, Nigeria, and to apply my musical skills in projects and events concerned with my core interest in music; allowing me to apply practical and humanitarian skills as a researcher. This summer gives me an opportunity to give back to my community and have a clearer understanding of what interests me and gives me diverse career options during and after my doctoral studies.