Profile: Akin Euba

[funmilayo]

Akin Euba: Nigerian Composer, Professor & Author

Theories Include African Pianism

Audio Sample: Music Research Institute MRI-0001CD (1998); Chaka: An
opera in two chants; City of Birmingham Touring Opera; Simon Halsey,
Conductor Part VI - "Why do you not dance"

1 Birth

Akin Euba was born in Lagos, Nigeria on April 28, 1935 and spent his
early years there. He is a member of the Yoruba ethnic group. His
biography is Akin Euba: An Introduction to the Life and Music of a
Nigerian Composer by Joshua Uzoigwe. It is a 1992 publication of the
Bayreuth African Studies Series, edited by Prof. Eckhard Breitinger.
It explains that his father was an amateur
musician:

Akin Euba's father, Alphaeus Sobiyi Euba, was in his youth an active
musician (although music was not his profession). He was a chorister
at the Olowogbowo Methodist Church (now Wesley Cathedral) Lagos and
also played the clarinet in the Triumph Orchestra, a Lagos dance band
in which Fela Sowande (who later became internationally famous as a
composer)was the pianist.

Akin Euba's mother, Winifred Remilekun Euba, née Dawodu, was a teacher
by profession.


2 Traditional Music

The author refers to a 1974 dissertation for examples of the types of
traditional music which were common in the composer's childhood:

In his dissertation on Dundun Drumming of the Yoruba (Euba 1974) he
gives an account of some of the traditional music types and events
that were popular in those early periods of childhood. These include
types such as waka and apala. Akin Euba describes waka as a socio-
religious song, of Islamic origin, which later became entertainment
music, accompanied on dundun drums. This music (in which female
singers are supported by male instrumentalists) is
usually employed in marriage, child-naming, and funeral ceremonies.
Apala, which is performed only by men, also has some links with Islam.
Like waka it is very much influenced by dundun drumming.


3 Piano Lessons

Akin Euba received his first piano lessons from his father, beginning
in 1943. His father clearly expected him to make music his
profession. Euba's second piano teacher was Major J.G.C. Allen, a
British civil servant with whom he began instruction in 1948. Euba won
first prize at the First Nigerian Festival of the Arts in 1950. Josua
Uzoigwe continues:

After 1950 Major Allen sent Akin Euba to a Monsieur Tessier Rémi du
Cros, the then French Consul in Lagos, who taught him for a while,
following which he returned to Major Allen before travelling to the
United Kingdom in September 1952. He had left the C.M.S. Grammar
School nine months earlier.


4 Trinity College of Music

After two years of study at Trinity College of Music, Euba changed his
program to allow himself to concentrate on courses he considered of
more value to his future career. His biographer recounts:

These subjects included piano, composition,harmony and counterpoint,
orchestration, organ and score-reading.

One teacher who influenced him a great deal at the College was Eric
Taylor, with whom he studied harmony and counterpoint for some time.
Taylor saw much potential in Akin Euba's arrangements of Nigerian folk
songs and encouraged him to do them. The first of
such arrangements were, therefore, done when Akin Euba was a student.

...
Another person who gave him much encouragement at the College was his
composition teacher Dr Arnold Cooke, a pupil of Paul Hindemith. The
report which Cooke gave Euba at the end of the first term as his
teacher bore the grade 'excellent' with the comments that Akin Euba
was a gifted student. This, in Euba's opinion, reinforced in no small
way his desire to become a composer.


In four years at Trinity College of Music, Akin Euba earned three
degrees:

They are Associate of the Trinity College
London (Piano Performance) 1954; Licentiate of the Trinity College
London (Teacher's Training Diploma) 1955; and Licentiate of the
Trinity College London (Piano Performance) 1956.


5 Early Works

Uzoigwe tells us Akin Euba regarded his first major composition to be
a 1956 work, Introduction and Allegro for Orchestra. He earned
Fellowship diplomas at the College in 1957 in Composition and Piano
Performance. Euba submitted a string quartet for the Composition
Fellowship. He went back to Nigeria in 1957 and served as a Senior
Programme Assistant (Music) at the Nigerian Broadcasting Corporation
until his promotion to Head of Music in 1960. The author
continues:

Two works which were written as a result of his experiences at this
time are Six Yoruba Songs for voice and piano, and Two Yoruba Folk
Songs for unaccompanied choir. They were both completed in 1959.

In the same year that he was promoted as Head of Music (1960), Akin
Euba wrote another work entitled The Wanderer for violoncello and
piano.

The biography quotes Akin Euba's comments on The
Wanderer:

"Hitherto," he confirms, "It was in arrangements of folk songs that I
made use of African material. My original compositions were composed
in European terms. The Wanderer was the first composition in which I
attempted to explore elements of African music."

His position in broadcasting contributed to performances and
recordings of some of Euba's early compositions.

6 UCLA

In 1962 Akin Euba received a fellowship in ethnomusicology which had a
major impact on his development as a composer, as we learn from the
biography:

While still in the employ of the Nigerian Broadcasting Corporation, he
received a Rockefeller Foundation fellowship in 1962 to study
ethnomusicology at the University of California, Los Angeles. His
arrival at UCLA towards the end of that year marked, according to Akin
Euba, a turning point in his career. He was to be introduced to
different musical cultures from many parts of the world, and, as time
went on, he was to acquire a deep theoretical knowledge of African
music.
...
After an incubation period of one year or so, during which he absorbed
the 'theoretical means' mentioned above, Akin Euba began to seek to
develop what he considered an African idiom.


7 Developing an Idiom

Joshua Uzoigwe tells us of the works Akin Euba composed while trying
to develop an African idiom:

The earliest works in this new attempt include Igi Nla So for piano
and four Yoruba drums, and Three Yoruba Songs for baritone, piano and
Iyaalu (Yoruba 'talking drum' of the dundun tension drum family).
Other works written in 1963 include Five Pieces for English horn and
piano, and Dance to the Rising Sun. The latter is an orchestral piece
which was commissioned by Robert Boudreau, who conducted the American
Wind Symphony Orchestra at the work's premiere that same year.

According to Akin Euba, in spite of these
early efforts at composing in an African idiom, he could "not find the
key to this idiom". But he felt all along that the key was being
gradually revealed by his continued study of the theoretical basis of
African traditional music and exposure to the traditional music of
other peoples, and, especially, by his interaction with other
composers at UCLA who were also involved with the study of non-Western
music.


8 Composing for Piano

The author points out that the composer focused on works for piano in
1964:

His last academic year as an undergraduate at UCLA was that of
increased influx in creative activities, particularly in writing for
the piano. Akin Euba explains the reasons for this as follows:

"I believe that my producing many works for the piano in 1964 resulted
from (1) my need to have things which I could play by myself and (2)
my wish to explore the 'African'/percussive aspects of the piano. I
was at that time just beginning to develop the idea of 'African
pianism', a style of piano playing which is as distinct as a jazz
pianism or a Chopinesque pianism."
...
The piano works that he wrote in 1964 include Four Pictures from Oyo
Calabashes, Impressions from an Akwete Cloth, and Saturday Night at
Caban Bamboo. The other works of this same year in which piano is
combined with other instruments are Tortoise and the Speaking Cloth
for narrator and piano, and Four Pieces for flute, bassoon, piano and
percussion.


9 Bachelor's Degree

Euba graduated Cum Laude with a B.A. degree in Music, and returned to
Nigeria, at the end of the 1963-64 school year, Uzoigwe writes, but
registered at UCLA again in late 1965, this time in the Masters degree
program in Composition. During the interim, Euba had written Abiku I,
to be performed on Nigerian instruments. The author
continues:

According to Akin Euba, it was written for a dance-drama
(choreographed by Segun Olusola), involving a solo dancer, which was
video-taped by the Nigerian Television Authority (formerly NBC-TV) and
presented at the Salzburg Congress of the International Music Centre
on "Dance, Ballet and Pantomime in Film and TV" in 1965.

The music and dramatization of Abiku I were based, he says, on J.P.
Clark's poem on the theme of abiku (a child "born to die"), although
the text itself was not used. J.P.Clark is a Nigerian poet and
playwright and a contemporary of Akin Euba.


10 Master's Degree

Akin Euba left his position with the Nigerian Broadcasting Corporation
when he returned to UCLA to earn a Master's degree. Uzoigwe
adds:

He now set out to compose another series of pieces for an African
orchestra as part of his thesis for a Master's degree in 1966.


The new collection was called Four Pieces. The book
continues:

On completion of his Master's degree at UCLA in 1966, Akin Euba joined
the University of Lagos as a lecturer in music, and within that same
year he attended two music conferences in Bloomington, Indiana, and
Legon, Ghana.


11 Research

His biographer tells us Akin Euba's teaching duties were light enough
that he was able to do research in
Ethnomusicology:

While at the University of Lagos, Euba was attached to the School of
African and Asian Studies, where his teaching duties were minimal. He
was therefore able to concentrate on research and creative work.
...
In fact, in 1967, he registered with the University of Ghana as a
Ph.D. student in
ethnomusicology.

From 1967 onwards, Akin Euba began to
acquire, through his research, a deeper knowledge of the music of his
culture, which he in turn employed as an aid to his creative
experiments. A piece of work which marks the beginning of this phase
is Olurounbi, a tone poem for symphony orchestra. In 1966 he had
written what appears to be a prelude to this work. The earlier work
was titled Legend, and scored for violin, horn, piano, and
percussion. The symphonic tone poem of 1967 is based on a Yoruba
legend (see explanation in Chapter 4), and was performed in that year
by the Portland Maine Symphony Orchestra conducted by Arthur Lipkin.


12 Articles

Akin Euba composed two other works in 1967, Uzoigwe tells us: (1)
Morning, Noon and Night for Nigerian instruments, performed in 1967 in
Edinburgh by Theatre Express of Lagos. (2) Wind Quintet, performed in
Nairobi in 1967 by the Bavarian Wind Quintet. Music was not all Euba
produced that year; he also published two theoretical articles on
music in Africa. Multiple Pitch Lines in Yoruba Choral Music appeared
in the Journal of the International Folk Music Council, XIX. In Search
of a Common Language of African Music was published in Interlink,
III,iii. Akin Euba was founder and editor of the journal Nigerian
Music Review, and established a series called Ife Music Editions to
publish music composed by Africans. Joshua Uzoigwe tells us Euba
subsequently wrote a number of music journal articles on his
ideas:

They include such titles as "Creative Potential and Propagation of
African Traditional Music" (Euba 1972), "Traditional Elements as the
Basis of New African Art Music" (Euba 1970c), "Music Adapts to a
Changed World" (Euba 1970a), "The Potential of African Traditional
Music as a Contemplative Art" (Euba 1974), and the "Criteria for the
Evaluation of New African Art Music" (Euba 1975a).


13 Books

Prof. Akin Euba's curriculum vitae says he is the author of four books
and the co-editor of another three volumes:

Euba is the author of four books, including Yoruba Drumming: The
Dundun Tradition, and co-editor of three books in the series titled
Intercultural Music.


14 African Pianism

His curriculum vitae also includes autobiographical notes which begin
as follows:

Akin Euba, who comes from Nigeria, divides his time between
composition and scholarly work and considers himself to be a disciple
of Bela Bartok. Since 1970, he has pioneered several theories of
composition, the best known of which is that of African pianism. This
concept has been adopted by some of the most important contemporary
African composers, such as J.H. Kwabena Nketia, Joshua Uzoigwe and
Gyimah Labi. The concept is articulated in several of Euba’s works for
the piano, including Scenes from Traditional Life (1970) which has
been performed extensively in various parts of the world.


15 Creative Ethnomusicology

Dr. Euba's autobiographical notes continue with a definition of his
theory of creative ethnomusicology:

Another of Euba’s theories, creative ethnomusicology, was the subject
of an inaugural lecture which he delivered in the University of
Pittsburgh in March 2000, in his position as the Andrew W. Mellon
Professor of Music at the University. As defined by Euba, creative
ethnomusicology is a process whereby information obtained from music
research is used in composition rather than as the basis of scholarly
writing.


16 Chaka CD

Akin Euba's curriculum vitae observes that his creative concepts have
no better representation than the opera Chaka. He explains in the
liner notes of Chaka, MRI 0001CD (1999):

This recording is a revised version of the
opera that was premiered in a semi-staged format by the City of
Birmingham Touring Opera in September 1995, during Africa 95, a three-
month long celebration of African arts that took place in various
parts of the United Kingdom.
...
Briefly stated, Chaka is a fusion of 20th century techniques of
composition with stylistic elements derived from African traditional
music, particularly the music of the Yoruba of southwestern Nigeria.
Moreover, the orchestra is a combination of African and Western
instruments.


17 Narrative

The liner notes by Akin Euba give this account of the events portrayed
in the opera Chaka:

The epic poem by Senghor is based on the real life story of Chaka, a
19th century king of the Zulu who achieved fame as a brilliant
military strategist and empire builder but was also notorious for
crimes against humanity.

The poem is in two parts, subtitled Chant 1 and Chant 2 and in
designating Chaka as an opera in two chants (rather than two acts) I
follow Senghor's example. The vocal parts of the opera are in any case
written in a style that is akin to that of the chant mode of Yoruba
music (in its free rhythm, but not speech-song, aspects).

In the prelude to Chant 2, I include "Man and the Beast," also a poem
by Senghor (but not part of the Chaka poem).

Senghor's poem covers the last moments of Chaka's life. In Chant 1,
the hitherto
invincible Chaka has been assassinated by some of his own people and
lies dying from his wounds. He is cross-examined by a White Voice (who
is a dual symbol of the missionary and colonial presence in Africa).

The White Voice denounces Chaka as ablood-thirsty tyrant who murdered
Noliwe, his wife-to-be, in order to gain absolute power, and also
caused the slaughter of millions, including pregnant women and
children. Chaka's defence is that every act of his was performed for
the love of his black-skinned people.

Chant 2 is a love song in which Chaka remembers tender moments with
his beloved Noliwe, while a chorus chants in praise of Chaka.


Further information on Chaka is available in the author's notes at the
Website AfricanChorus.org: http://www.africanchorus.org/Voam/Voam643.htm

18 References
The liner notes of the Chaka recording list these references for the
opera:

Euba, Akin. Essays on Music in Africa 2: Intercultural Perspectives.
Bayreuth: Bayreuth African Studies Series. (1989)

Uzoigwe, Joshua Akin Euba: An Introduction to the Life and Music of a
Nigerian Composer. Bayreuth: Bayreuth African Studies Series. (1992)

Léopold Sédar Senghor, first president of
Senegal and doyen of modern African writers, originally published
"Chaka" and "Man and the Beast" in French. The English translations
used in the opera are not included in these notes and may be found in
the OUP publication cited above. The Yoruba texts of the opera were
written or derived from various traditional sources by Akin Euba. They
are included here with parallel translations in English.


19 Nigerian Art Music

Nigerian Art Music is an overview of classical music by Nigerian
composers. The author is Olabode Omojola, Ph.D. Artists featured
include Samuel Ekpe Akpabot, Fela Sowande and Akin Euba. All three are
profiled at this Website. Dr. Omojola begins his analysis of Akin Euba
with these words:

Like Sowande, Akin Euba's ideas on the need for African composers to
maintain a strong link with traditional African traditional music have
been reflected both in his compositions and research work. Clear
parallels often, therefore, occur between his writing and his
composition. The writing shows Euba's strong commitment, far beyond
that of any of his colleagues, to a search for a contemporary African
society.


20 Positions

Dr. Euba has been a lecturer, visiting fellow, and external examiner
at a variety of universities in Africa and North America. His first
position as Lecturer at the University of Lagos in Nigeria extended
from 1966-68. From 1968-75, he was a Senior Research Fellow at the
University of Ife in Nigeria. He spent the Summer of 1969 at Howard
University in Washington, D.C. Assignments as External Examiner
involved both the University of Ife and Makerere University in
Uganda. Dr. Euba was a Professor at the University of Lagos from
1978-81. He spent five years as a Research Scholar at the University
of Bayreuth in Germany, from 1986-91. Among other appointments, he
was Director of the Center for Intercultural Music Arts in London,
which he founded, in 1988. Subsequent positions listed on his
curriculum vitae include:

1992-94 External Examiner, University of
Ghana, Legon.

1992-94 Secretary-General of the Commonwealth Music Association

1993 (October) - 1996 (September)Honorary Visiting Professor,
Department of Music, City University, London.

1993 (January) - 1996 (April) Visiting Andrew Mellon Professor of
Music, University of Pittsburgh

1994 Appointed by the Center for Black Music Research, Chicago, as a
member of the Advisory Board for a Dictionary of Black Composers being
published by the St. James's Press.

1996 (September) Appointed Andrew Mellon Professor of Music,
University of Pittsburgh

1996-97 External Examiner, University of
Ghana, Legon.


21 University of Cambridge

His curriculum vitae recounts his work on a new composition while he
was an overseas fellow of the University of Cambridge in the 2000-2001
academic year. It also gives the time and circumstances of the work's
subsequent premiere in New Orleans:

Euba spent the 2000-2001 academic year as an overseas fellow of
Churchill College, University of Cambridge. While at Cambridge he
worked on a major new composition, Orunmila’s Voices: Songs from the
Beginning of Time, a music drama for soloists, chanters, chorus,
dancers and symphony orchestra, which received its world premiere in
New Orleans on 23 February 2002, during the
second annual international festival of African and African American
music (FESAAM 2002).


22 Ensemble Noir

Ensemble Noir is a professional organization in Toronto which is
devoted to "cultural diversity in contemporary classical music", as
indicated at its Website, http://www.EnsembleNoir.org In his
curriculum vitae, Dr. Euba recounts his 10 days as a composer-in-
residence with the group:

During the spring semester of 2003, Dr Euba spent ten days in Toronto
as a composer-in-residence with the Ensemble Noir, during which
several of his works were performed, including three movements from
Orunmila’s Voices, in new arrangements for various chamber ensembles.


23 University of Pittsburgh

Akin Euba is the Andrew W. Mellon Professor of Music at the University
of Pittsburgh. His fields are African Music, Composition and Piano
Performance, according to his faculty Web page:
http://www.pitt.edu/~musicdpt/faculty/euba.html

The page adds that Dr. Euba's biography has been published in the New
Grove Dictionary of Music and Musicians, 2d ed., 2001; and in the
International Dictionary of Black Composers, 1999.

24 Africa and the Diaspora

Prof. Euba's curriculum vitae recounts his change of concentration in
the past several years from global interculturalism to connections
between Africa and the Diaspora:

In recent years Euba has moved away from general issues on world
interculturalism (with which he has been involved since 1988) to focus
on links between Africa and the Diaspora. This new orientation is
reflected in most of his recent and current projects, for example the
international symposia and festivals on African pianism (Pittsburgh
1999) and on composition in Africa and the Diaspora (Cambridge 2001)
which were organized by him.


25 A Bridge Across

AfricanChorus.org has published Profile: Akin Euba at its Website:
http://www.africanchorus.org/Voam/Voam644.htm It touches on a
project Euba started in 1993:

Since joining the University of Pittsburgh in 1993, Euba has initiated
a new project, entitled A Bridge Across: Intercultural Composition,
Performance, Musicology, which is an extension of Euba’s London
activities and is designed to spotlight the works of composers,
performers and musicologists through recitals, workshops, lectures,
residencies and so forth.


26 Acknowledgment

The Webmaster gratefully acknowledges permission to use the Works
List, Bibliography and Electronic Resources compiled by Dr. Dominique-
René de Lerma, Professor of Music at Lawrence University in Appleton,
Wisconsin. Prof. De Lerma has been publishing on Black Classical Music
for four decades, and is a former Director of the Center for Black
Music Research at Columbia College, Chicago, http://www.CBMR.org

27 Works

Collections:
Towards an African pianism; collected works for the keyboard,
1964-1997. Projected.
Individual titles:
A Yoruba folksong, for flute, harp, viola & percussion.
Àbíkú, no. 1, for African instrumental ensemble (1965)..
Àbíkú, no. 2, for textless chorus & African instrumental ensemble
(1968).
Alatangana, ballet. for singers, dancers & Nigerian instruments
(1975).
Amici, for string quartet.
Below Rusumo Falls, for voice, dancer, kayagum, flute, drums & piano.
Text: Olusola Oyeleye. Commssion (poetry): Barbican Education.
Première: 2003/VIII/3, University of Cambridge, Churchill College,
Wolfson Hall Auditorium; Dawn Padmore, soprano; Hee-sun Kim, kayagum;
Laura Falzon, flute; Darryl Hollister, piano; Radiu Ayandokun, drums;
Omotolani Sarumi, dancer; Bongani Ndodana, conductor.
CD: Dawn Padmore, soprano; Laura Falzon, flute; Hee-sum Kim, kyagum;
Anicet Mundundu, drums; Darryl Hollister, piano (2003/VIII/03;
Churchill College, University of Cambridge).
Black Bethlehem, for soloists, chorus, Nigerian drums & jazz ensemble
(1979).
Chaka, opera in two chants, for 2 sopranos, tenor, 2 basses, chorus
and orchestra with African instruments (1970, rev. 1999). Text:
Léopold Sédar Senghor, after the novel, Shaka the Zulu, by Thomas
Mofolo (1925)?== Première: 1995/IX; Birmingham UK; Symphony Hall.
Dedication: Morenike, the composers daughter. Duration: 61:16.
CD: Daniel Washington (Chaka); Richard Halton (White voice); Mauren
Brathwaite (Noliwe); Jæláadé Pratt (Praise chanter); Sarah Jane Wright
(Leader of the chorus); Olúêọlá Oyèléyę (Isanussi); City of Birmingham
Touring Opera; Simon Halsey, conductor. Music Research Institute
MRI-0001 CD (1999). Liner notes unsigned.
----- Noliwe's aria
CD: Dawn Padmore, soprano; Darryl Hollister, piano (Churchill College,
University of Cambridge, 2003/VIII/4).
----- Themes from Chaka, no. 1 (1996 == or 1966?). Duration: 5:50.
CD: Eric Moe, piano (2001/VIII/06).
CD: Darryl Hollister, piano (2001/III). Interntional Consortium for
the Music of Africa and its Diaspora. FESAAM 2001.
----- Themes from Chaka, no. 2, for piano. Première: 2003/VII/02;
Churchill College, University of Cambridge; Darryl Hollister, piano.
CD: Darryl Hollister, piano (2003/VIII/02; Churchill College;
University of Cambridge).
Dirges, for speakers, dancers, soloists & African instruments (1972).
Première: 1972; Munich; Olympics.
Festac 77 anthem, for chorus & jazz ensemble (1977). Première: 1977;
Lagos; Second World Festival of Black and African Arts. Text: Margaret
Walker.
Ice cubes, for string orchestra. (1970).
Igi n/a so, for 4 Yoruba drums & piano (1953). ==oriki scores
Impressions from Akwete cloth, for piano (1964).
Introduction and allegro, for orchestra (1956).
Legend of Olurounbi, for orchestra. Première: by 1967; United States.
Morning, noon, and night, for singers, dancers & Nigerian instruments
(1967).
Music for horn, violin, percussion & piano.
Olurombi, [2] for orchestra (1967). Première: 1967; Portland Symphony
Orchestra [ME] Arthur Bennet Lipkin, conductor.
Orumillas voices; songs from the beginning of time (2002).
4 Pictures from oyo calabashes, for piano (1964).
4 Pieces, for flute, bassoon, Nigerian instruments & piano (1964).
4 Pieces for African orchestra (1966).
Quartet, strings (1957).
Quintet, winds (1967).
Saturday night at Caban Bamboo (1964).
Scenes from traditional life, for piano (1970). Ile-Ife: University of
Ife Press, 1970. Contains 3 movements. Dedication: J. G. C. Allen.
CD: Glen Inanga, piano (2003/VIII/1, Churchill College, University of
Cambridge).
Study in African jazz, no. 2; a song for Darelee (2000)
CD: David Keberle, clarinet; Eric Moe, piano (2001/VIII).
Study in African jazz, no. 3, for piano. Commission: Eric Moe.
CD: Eric Moe, piano.
The wanderer, for violoncello & piano
----- for piano trio (1960).
2 Tortoise folk tales, for narrator & Nigerian instruments (1975).
Wakar duru; 3 Studies in African pianism (1987). 1. Study 1; 2. Study
2. Première: 1993/I/29, Nigeria; University of Ilorin, Performing Arts
Courtyard; Godwin Sadoh, piano.
----- 1.
CD: Darryl Hollister, piano (2001/VIII/06, Universty of Cambridge).
DSL 003.
----- 3.
CD: Darryl Hollister, piano (2001/VIII/06, Universty of Cambridge).
DSL 003.
2 Yoruba folk songs, for chorus (1959).
6 Yoruba folksongs, for voice & piano (1975 == or 1959?). 1. Mo lè
jiyán yo; 2. Òré méta; 3. Mo já wé gbé gbé; 4. Omo jòwó; 5. Agbe; Ó se
gbé na?
CD: Joyce Adewumi, soprano; Darryl Hollister, piano (2001/VIII/06).
6 Yoruba songs, for voice & piano (1959).
3 Yoruba songs, for baritone, lyalu & piano (1963). ==? Oriki scores
==

28 Bibliography
1971 prize winners; Dance, music, drama in African arts, v5n3 (1972/
winter) p8-11.

Alatangana in African arts, v5n2 (1972/winter) p46-47.

Dr. Éubàs tours in Music rap, v2n6 (1985/III) p15-16.

Adégbìé, Adémçlá. The present state of development of African art
music in Nigeria in African art music in Nigeria, ed, by Mosúnmợlá
A Omíbíyì-Obidike. Ibadan: Stirling Horden, 2001, p77-92.

Baldacchino, John. An analytical review of Akin Éubàs Modern African
music and Joshua Uzoigwes Akin Éubà; An introduction to the life and
music of a Nigerian composer in Commonwealth music (1966) p2-5.

Black music research journal, 1981-1982, p147

Black perspective in music, v4n1, p105; v5n1, p105; v6n1, p99.

Bull, Storm. Index to biographies of contemporary composers, vol. 3.
Metuchen: Scarecrow Press, 1987. xxiv, 854p. ISBN 0-8108-1930-9.

Carter, Madison H. An annotated catalogue of composers of African
ancestry. New York: Vantage Press, 1986.

Clague, Mark. Éubà, Akin in International dictionary of Black
composers, ed. by Samuel A. Floyd, Jr. Chicago: Fitzroy Dearborn,
1999, v1, p424-432.

Éubà, Akin. An introduction to music in Nigeria on Nigerian music
review, n1 (1977) p1-38.

Éubà, Akin. Concepts of neo-African music as manifested in the Yoruba
folk opera in The African diaspora; A musical perspective, ed. by
Ingrid Mondon. New York: Routledge, 2003, p207-241.

Éubà, Akin. New idioms of music-drama among theYoruba; An introductory
study in 1970 yearbook of the International Folk Music Council, ed. by
Alexander L. Ringer. Urbana-Champaign: University of Illinois Press,
1971.

Éubà, Akin. Nigerian music in Nigerian magazine (1960).

Éubà, Akin. Text setting in African composition in The landscape of
African music, ed. by Abiola Irele. Special issue of Research in
African literatures, v32n2 (2001), p119-132.

Éubà, Akin. The interrelationship of music and poetry in Yoruba
tradition in Yoruba oral tradition, ed. by Wandé Abímbæçlá. Ilé-Ifè:
University of If`, Department of African Languages and Literature,
1975.

Éubà, Akin. Themes from Chaka; A pianistic realization of African
polyrhythm in Towards an African pianism, v1, ed. by Akin Éubà and
Cynthia Tse Kimberlin. Point Richmond: MRI Press, 2002.

Éubà, Akin. Traditional elements as the basis of new African music in
African urban notes, n5/4.

Éubà, Akin. Yoruba music in the church; The development of a neo-
African art among the Yoruba of Nigeria in African musicology; Current
trends, vol. 2; A Festschrift presented to J. H. Kwabena Nketia, ed.
by Jacqueline C. DjeDje. Atlanta: Crossroads Press, 1992.

Eubà, Akin. Bridging ethnomusicology and composition; A study of J. H.
Kwabena Nketia. In progress.

Éubà, Akin. Essays on music in Africa 2; Intercultural perspectives.
Bayreuth: Bayreuth African Studies Series, 1989.

Éubà, Akin. Modern African music; A catalogue of selected archical
materials at Iwalewa-Haus, University of Bayreuth. Bayreuth: Iwalewa-
Haus, 1993.

Éubà, Akin. Yoruba drumming; The dundun tradition. Bayreuth: Bayreuth
African Studies Series, 1990.

Graham 1988, pix, 72

Holohan, Meghan. Musical safari in Pitt magazine [University of
Pittburgh] (2004/winter) p30-33.

Horne 1996
Horne, Aaron. String music by Black American composers. Westport:
Greenwood Press, 1991 (Music reference collection, no. 33). xx, 327p.
Foreword by Dominique-René de Lerma. ISBN 0-313-27938-1.

Horne, Aaron. Woodwind music by Black American composers. Westport:
Greenwood Press, 1990.

Lerma, Dominique-René de. Black concert and recital music; A
provisional list. Bloomington IN: Afro-American Music Opportunities
Association, 1975.

Lerma, Dominique-René de. Black music in our culture; curricular ideas
on the subjects, materials, and problems. Kent: Kent State University
Press, 1970. (Akim)

Lerma, Dominique-René de. Reflections on Afro-American music. Kent:
Kent State University Press, 1972.

Morton, Brian, ed. Contemporary composers, ed. by Brian Morton and
Pamela Collins. New York: St. James Press, 1992.

Nwosu-Lohámijókò, Joy. Art singsing in Niegria; The composers and the
perforners in African art music in Nigeria, ed, by Mosúnmợlá A Omíbíyì-
Obidike. Ibadan: Stirling Horden, 2001, p70-76.

Ọmọjọlà, Olabode. African pianism as an intercultural compositional
framework; A study of the piano works of Akin Éubà in The landscape of
African music, ed. by Abiola Irele. Special issue of Research in
African literatures, v32n2 (2001), p153-174.

Ojehomon, Agnes. Catalogue of recorded sound. Ibadan: University of
Ibadan, Institute of African Studies, 1969 (Institute of African
Studies, Occasional publications, 30). 39p.

Roach, Hildred. Black American music, past and present. Miami:
Krieger, 1985.

Roberts, John Storm. Black music of two worlds; African, Caribbean,
Latin, and African-American traditions. New York: Schirmer Books,
1998. xxxvii, 330p. Previously issued by Prager Publishers in 1972.

Southern, Eileen. Éubà, Akin in Biographical dictionary of Afro-
American and African musicians. Westport: Greenwood Press, 1982,
p128. (The Greenwood encyclopedia of Black music).

Southern, Eileen. A biographical dictionary of Afro-American and
African musicians. Westport: Greenwood Press, 1982.==

Spradling, Mary Mace. In black and white; Afro-Americans in print. 3rd
ed. supplement. Detroit: Gale Research, 1985. Detroit: Gale Research,
1980.

Stow, Betsy, ed. 2nd International Symposium and Festival on
Composition in Africa and the Diapora, including Dialogue Africa meets
Asia. Cambridge UK: Churchill College, 2003. 107p.

Thomas 1989, p5.

Uzoigwe, Joshua. A cultural analysis of Akin Éubàs musical works in
Odu; Journal of West African studies, v24 (1983) p44-60.

Uzoigwe, Joshua. Akin Éubà; An introduction to the life and music of a
Nigerian composer. Graduate paper (M.A.) Queens University, Belfast,
1978.

Uzoigwe, Joshua. Akin Éubà; An introduction to the life and music of
a Nigerian composer. Bayreuth: Bayreuth African Studies Series, 1992.
Waterman 1990

29 Electronic Resources
Contemporary African database http://people.africadatabase.org/people/data/person16618.html
(2003). 2p. Consulted 2003/X/10.

Nyaho http://www.nyaho/com/rep.html 2p. Consulted 2003/VI/02.

Profile Akin Euba http://www.africanchorus.org/Voam/Voam644.htm
(2004). 4p. Consulted 2004/IV/2.

Hayman, Graham. Blakes triple for new SA
http://www.chico.mweb.co.za/mg/art/music/9911/991118-blake.html
(1999). 3p. Consulted 2003/VI/02/

Bauer, Kerstin. Das Musikarchiv des Iwalewa-Hauses
http://www.uni-bayreuth.de/Afriknologie/iwalewa/musikarchiv.htm

Okoli, Tunde. Colours of African music across cultures
wysiwyg://74/http://www.thisfayonlhive/20021014art01.html 3p.
Consulted 2003/VI/02.

Music; Ontario musicans around us in concert
http://www.toronto.cbc.ca/musiciansaroundus/ensemble_noir.html 2p.
(2003). Consulted 2003/VI/02.

www.indigokafe.com
www.cafeafricana.com