The music “Iya” began with a four-bar introduction played by the piano instrument. This piece, a code mix of Yoruba and English was performed as an Opera in a concert organised by Blessamoss Music School in Owerri, with the theme: “Minstrel sings Mysteries".
IMOTOTO, composed by Ayokunmi Olaoluwa during the COVID-19 pandemic, is a choral work for SATB voices with piano accompaniment. Conceived as a musical response to public health concerns, the piece seeks to sensitise and orient communities toward preventive practices, presenting hygiene and wellness as collective responsibilities.
This paper explores Ezigbo Nne “Good Mother” by Nwaeke Udochukwu, a contemporary African art music piece that bridges indigenous Igbo musical traditions and Western classical compositional techniques. The study investigates six critical aspects of the work, identification and form, scale and mode, melodic structure, rhythmic organisation, text, and expressive dynamics.
The composition Blessed Be God draws its text from the “Canticle of Zechariah” (Luke 1:68–79), traditionally referred
to as the Benedictus. This canticle emerges after the miraculous birth of John the Baptist and the restoration of
Zechariah’s voice, forming one of the three principal canticles of Luke’s infancy narrative: the Magnificat, the
Benedictus, and the Nunc Dimittis.
Ayo Olopon (Board Game), composed by Ademola Adedoyin Oluwaseun in 2024, is a vocal-instrumental work that
celebrates the traditional Yoruba game of Ayo Olopon. The composition not only highlights the cultural beauty of the
game but also narrates the intellectual contest between players through its rhythmic structures and compositional
techniques.