# Journal of Music Composition

> jomuscom


## Posts

- [Egwu Ndi Chiri Echichi: Rhythm, Ritual, and Intercultural Form in African Art Composition](https://jomuscom.org/egwu-ndi-chiri-echichi-rhythm-ritual-and-intercultural-form-in-african-art-composition/): This article presents an expanded musicological study of Egwu Ndi Chiri Echichi (The Dance of the Titled Men), a contemporary African art-music composition that re-imagines Igbo ritual dance practice within a modern concert framework.
- [‘Tiwa ati Tiwon’ (Ours and Theirs): Interrogating the Intersection Between Western Musical Training and Indigenous Knowledge Systems in Composing African Art Music](https://jomuscom.org/tiwa-ati-tiwon-ours-and-theirs-interrogating-theintersection-between-western-musical-training-andindigenous-knowledge-systems-in-composing-africanart-music/): African art music has generated sustained scholarly interest, particularly regarding its identity, pedagogical foundations, and the creative strategies through which composers negotiate the relationship between Western musical training and Indigenous Knowledge Systems (IKS).
- [Rhythmic Architecture and Tonal Identity in Afrobeats: A Compositional Analysis of Selected Contemporary Nigerian Works](https://jomuscom.org/rhythmic-architecture-and-tonal-identity-inafrobeats-a-compositional-analysis-of-selectedcontemporary-nigerian-works/): Afrobeats, the contemporary Nigerian pop genre that emerged in late-1990s Lagos, draws on jùjú, highlife, hip hop, and electronic production while remaining distinct from the earlier Afrobeat tradition.
- [Negotiating Nigerian Church Melodies Through Contemporary Compositional Practice: Seun Owoaje’s Iyanu l’Oluwa](https://jomuscom.org/negotiating-nigerian-church-melodies-throughcontemporary-compositional-practice-seunowoajes-iyanu-loluwa/): Contemporary Nigerian art music continues to evolve through sustained interaction between indigenous musical traditions and Western compositional techniques.
- [Iya (Mother): A Structural and Compositional Analysis](https://jomuscom.org/iya-mother-a-structural-and-compositionalanalysis/): Iya (Mother) is a contemporary African art-music composition that blends Western melodic instruments with African percussion timbres to create a vivid sonic portrayal of maternal symbolism.
- [Kabiyesi Hossana and the Evolution of Nigerian Art Music: A Structural and Cultural Reinterpretation](https://jomuscom.org/kabiyesi-hossana-and-the-evolution-of-nigerian-artmusic-a-structural-and-cultural-reinterpretation/): Kabiyesi Hossana is a Yoruba nationalistic art composition for solo piano, derived from a 1972 liturgical chorus by the hymnologist Dapo Taiwo
- [Structural and Textual Dimensions of Bolojo Performance in Ogun West Secondary Schools, Nigeria](https://jomuscom.org/structural-and-textual-dimensions-of-bolojo-performance-in-ogun-west-secondary-schools-nigeria/): This study examines how Bolojo, an indigenous Yewa musical genre, functions as a vehicle for cultural identity, social meaning, and musical creativity within secondary schools in Ogun West, Nigeria.
- [Eye Orofo (Green Wild Pigeon): Indigenous ethics and musical semiotics in Yoruba choral composition](https://jomuscom.org/eye-orofo-green-wild-pigeon-indigenous-ethics-and-musical-semiotics-in-yoruba-choral-composition/): This article examines Ẹyẹ Òrófó, a contemporary Yoruba choral composition that employs the green wild pigeon as a metaphor to critique excessive talkativeness within Yoruba society.
- [Music in the Service of Politics of Acrimony: A Textual and Socio-Musical Analysis of ‘B’Oju W’ole’ and ‘Ilé Ologo’](https://jomuscom.org/music-in-the-service-of-politics-of-acrimony-a-textual-and-socio-musical-analysis-of-boju-wole-and-ile-ologo/): The intensification of political intolerance, moral decline, and social fragmentation in contemporary African societies has renewed interest in cultural and religious media capable of fostering ethical consciousness and social reform.
- [Wall Gecko: Translating African Domestic Ecology into Piano Narrative](https://jomuscom.org/wall-gecko-translating-african-domestic-ecology-into-piano-narrative/): Wall Gecko is a short Grade 1 piano character piece inspired by a familiar ecological presence in many African households. Wall geckos, often seen clinging silently to walls and ceilings, play an important role in domestic ecosystems by hunting mosquitoes, spiders, and other small insects.
- [Aran Mupe: A Study in Yorùbá Vocal Expression, Tonal Organisation, and Pedagogical Design](https://jomuscom.org/aran-mupe-a-study-in-yoruba-vocal-expression-tonal-organisation-and-pedagogical-design/): Aran Mupe is a solo voice and piano composition that integrates African tonal organisation with the rhythmic and declamatory qualities of Yorùbá vocal expression.
- [ADURA FUN NIGERIA (Prayers For Nigeria)](https://jomuscom.org/adura-fun-nigeria-prayers-for-nigeria/): Adura Fun Nigeria is a Yoruba vocal-piano composition that engages music as a socio-cultural testimony and artistic critique. Set in F major and structured through a multi-sectional through-composed design, the work integrates polyphonic vocal writing with piano and optional indigenous percussion, including the Dùndún ensemble, to create a timbrally rich and culturally grounded sound world.
- [AYE BAJE (The World Decays)](https://jomuscom.org/aye-baje-the-world-decays/): Aye Bajẹ Tan (“The World Decays”) is a Yoruba art-music composition for solo soprano and piano that reflects on contemporary moral decline and social disintegration. Set in B-flat major and cast in a 6/8 compound metre, the work employs a moderato tempo and monophonic vocal texture to evoke a chant-like introspection.
- [CHINEDUM (God Leads Me)](https://jomuscom.org/chinedum-god-leads-me/): Chinedum (“God Leads Me”) is an Afrobeat-inspired gospel composition for solo voice that integrates a solo–chorus refrain structure with a 12/8 compound metre to create a fluid, devotional sound world. Set in A-flat major and unfolding across 85 bars, the piece employs a moderate tempo and a gentle rocking rhythmic profile that reinforces its themes of divine guidance, protection, and spiritual assurance.
- [EBI NPA WA! (We Are Hungry!)](https://jomuscom.org/ebi-npa-wa-we-are-hungry/): Ebi Npa Wa! (“We Are Hungry!”) is a contemporary Nigerian SATB choral composition that transforms the nation’s current economic hardship into a powerful musical statement. Scored for mixed choir with piano accompaniment, the work draws on Yoruba linguistic expression and communal lament traditions to articulate collective frustration, deprivation, and resilience.
- [FREEDOM SUITE](https://jomuscom.org/freedom-suite/): Freedom Suite is an intercultural orchestral composition that unites Western symphonic instruments with African indigenous idiophones and membranophones to create a dynamic, postcolonial sound world. Structured as a single-movement suite with clearly defined sectional contrasts, the work unfolds through additive layering, evolving textures, and rhythmic intensification.
- [NNE MI (My Mother)](https://jomuscom.org/nne-mi-my-mother/): Nne Mi (“My Mother”) is a programmatic piano composition that transforms an Efik domestic folktale into a vivid musical narrative. Centred on the curiosity of two children questioning mysterious sounds from an earthen pot, the work unfolds through contrasting textures that mirror the emotional and dramatic contours of the story.
- [OUR GOD REIGNS!](https://jomuscom.org/our-god-reigns/): Our God Reigns is an SATB choral composition with piano accompaniment that celebrates the sovereignty and victorious reign of God through a bright, energetic musical language. Set in D major and cast in a rounded binary form, the work unfolds in simple quadruple metre at an Allegretto tempo, creating an atmosphere of joyful proclamation suitable for both concert performance and congregational worship.
- [OYOMA](https://jomuscom.org/oyoma/): Oyoma is a contemporary piano composition that fuses atonality, pitch-cell organisation, and African rhythmic logic to create a distinctive Niger Delta sound world. Structured in an extended binary form, the work unfolds through a sequence of tightly constructed pitch cells that generate tonal ambiguity while enabling motivic transformation.
- [WA SURE FUN WON](https://jomuscom.org/wa-sure-fun-won/): Wá Ṣurẹ́ Fún Wọ́n (“Come Bless Them”) is a six-minute SATB choral composition that blends ceremonial solemnity with expressive warmth, making it particularly suited to wedding celebrations and other rites of blessing. Set in F major and cast in a flowing 12/8 metre, the work unfolds through a predominantly heterophonic texture that allows individual vocal lines to move with gentle independence while maintaining a unified melodic contour.
- [IMUMECHIEEN OKUPMUGWEM](https://jomuscom.org/imumechieen-okupmugwem/): Warigbani’s "Imumechieen Okupmugwem" is a through-composed choral work composed for four voices: Soprano, Alto, Tenor, and Bass with piano and percussive accompaniment: conga, shakers, woodblocks, frame drum, and triangle - including all the repeats and interludes, the entire work is made of eighty-three (83) bars.
- [ỌMỌ LAWORAN ERE](https://jomuscom.org/omo-laworan-ere/): The final scene in the opera entitled “Iyunade” captures one’s offspring as the true essence of life, a common belief among individuals in Yorubaland. It was initially composed in 2016 as the final scene of the opera but was later adapted for piano accompaniment and mezzo-soprano solo in 2018.
- [OJEJE](https://jomuscom.org/ojeje/): Ojeje is a compelling expression of Yoruba oral tradition, where music operates simultaneously as narrative, moral instruction, and cultural memory. Rooted in folklore, the piece recounts the tragic story of a young girl betrayed by her stepmother, whose disobedience leads to the child’s death and subsequent spiritual transformation.
- [JESUS THE TREE OF LIFE](https://jomuscom.org/jesus-the-tree-of-life/): The Tree of Life, a rich theological metaphor, first appears in Genesis 2:9 and Genesis 3:22- 24; representing God's eternal life and divine wisdom.
- [I AM NOT ALONE](https://jomuscom.org/i-am-not-alone/): I Am Not Alone is written in an a cappella style and set in two stanzas. The piece is in B‑flat major and employs a mixed metre of 3/4 and 4/4. It opens with a strong dynamic level, appropriate for its character as a confession of faith, and is marked con moto, giving it a sense of spirited movement within full harmony in 4/4
- [GRACIOUS LORD](https://jomuscom.org/gracious-lord/): The composition, Gracious Lord, is written as an act of thanksgiving to God for His daily show of mercies, forgiveness, consolation, and divine providence towards us. It is the last chorus from the operatic book titled, From Pit to Palace: Joseph's Journey
- [ENYI’NOROSI](https://jomuscom.org/enyinorosi/): The piece begins with an incomplete bar (anacrusis) and delivers the theme with violin 1; while other strings accompany in harmony in a homophonic beginning, which has the cello play some running scale-like sequence of notes.
- [EKWO HALLELUJAH](https://jomuscom.org/ekwo-hallelujah/): Ekwo Hallelujah is a choral work by Nigerian composer Isong Isong Akpan, written for SATB choir with African percussion ensemble.
- [WE LOVE CANADA](https://jomuscom.org/we-love-canada/): We Love Canada, composed by Olufunmilola T. Oladipo and arranged by Adeyeye Adetoyese Oladapo, is a patriotic choral anthem for SATB choir with piano accompaniment. Its strength lies in its simplicity and hymn-like character, which makes it accessible to both trained choirs and community ensembles.
- [ODUN OLOYIN](https://jomuscom.org/odun-oloyin/): Odun Oloyin (“Year of Honey”) is a choral composition for SATB voices with piano accompaniment, written in a tonal, diatonic, and melodic style. Set in E-flat major and cast in a compound duple metre (6/8), the work unfolds in a through-composed design articulated as A–B–C–D–A.
- [NYEM EJIMA](https://jomuscom.org/nyem-ejima/): Nyem Ejima is an Igbo sacred choral composition grounded in the language of supplicatory prayer. Its recurring petition, “Nyem ejima” (“Give me twins”), invokes a culturally resonant symbol within Igbo cosmology, where twins embody abundance, divine favour, continuity, and communal joy.
- [EDUNJOBI](https://jomuscom.org/edunjobi/): Edunjobi (“Eulogy of Twins”) is a vocal composition with piano accompaniment that draws on Yoruba cultural symbolism associated with twin birth. Written in a tonal and melodic style, the work is set in C major and cast in a compound 6/8 metre, whose natural grouping of two sets of three quavers creates a lilting, rolling motion characteristic of many African vocal idioms
- [ECHE ADAMBARA](https://jomuscom.org/eche-adambara/): The composition Eche Adambara draws its inspiration from Palm Sunday celebrations in Ebira-land, where Christian communities undertake processional road rallies through the town, singing a succession of devotional songs as they move.
- [E BA MI GBE JESU YI GA](https://jomuscom.org/e-ba-mi-gbe-jesu-yi-ga/): African Art Music is a hybrid of both Western and African musical idioms. "E Ba Mi Gbe Jesu yi Ga" is a piece of music that possesses the duo. Even though Western musical concepts are truly deployed in terms of polyphony (fugue-like) harmony written for SATB, the deployment of rhythms in depicting Africanism is a point of attraction in the piece of music.
- [BABA MO W’OLE](https://jomuscom.org/baba-mo-wole/): This study presents a musical analysis of Baba Mo W’ole, a choral–instrumental composition by Sunday Olufemi Akande that synthesises African sacred music traditions with Western harmonic and orchestral sonorities
- [ALELLUYA JESU FERAN MI](https://jomuscom.org/alelluya-jesu-feran-mi/): This study examines the structural and formal features of Alelluya Jesu Feran Mi, a choral composition for SATB choir with piano accompaniment by Kayode Olusola, to highlight the artistic, cultural, and musical elements embedded within the work.
- [AFRICA, MY AFRICA](https://jomuscom.org/africa-my-africa/): Africa, My Africa is a lyrical and patriotic choral-orchestral composition for SATB choir and chamber orchestra, with text and music by Isong Isong Akpan. Originally written for voices in 2023 and orchestrated in 2025, the work celebrates the beauty, resilience, and enduring hope of the African continent.
- [THE MAN SPEAKS ROUGHLY TO US](https://jomuscom.org/the-man-speaks-roughly-to-us/): The composition “The Man Speaks Roughly to Us,” is a scene from the opera book, “Joseph and His Brothers,” composed by the author. The dramatic encounter of Joseph’s brothers in Egypt with that of Joseph himself is narrated in a reporting speech to their father Jacob; and Jacob’s reaction to his son’s narrative is the story of this composition.
- [NZA](https://jomuscom.org/nza/): This paper examines The Tale of Nza and Obu, a creative composition inspired by Igbo folklore and arranged as a children’s choral piece. The work draws upon indigenous storytelling traditions and integrates African musical idioms to communicate enduring lessons on humility, pride, wisdom, and survival.
- [JESU TI DE S’AYE](https://jomuscom.org/jesu-ti-de-saye/): The composition Jesu Ti De S’aye draws its inspiration from the biblical narrative of Jesus Christ’s birth. It reflects the journey of the three wise men who followed the star to Bethlehem, capturing the joyous essence of the Nativity.
- [IYA (Mother)](https://jomuscom.org/iya-mother/): 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 (Cleanliness)](https://jomuscom.org/imototo-cleanliness/): 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.
- [EZIGBO NNE (Good Mother)](https://jomuscom.org/ezigbo-nne-good-mother/): 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.
- [Blessed Be God](https://jomuscom.org/blessed-be-god/): 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](https://jomuscom.org/ayo-olopon/): 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.

## Pages

- [JOMUSCOM Volume 2 No 4](https://jomuscom.org/jomuscom-volume-2-no-4/): Journal of Music Composition (JOMUSCOM) proudly presents Volume 2, Issue 4 (2026), a richly curated collection of nine original compositions that reflect the expanding creative, analytical, and cultural horizons of contemporary African art music. This issue showcases works that traverse sacred expression, socio-political commentary, folkloric narrative, intercultural experimentation, and pianistic innovation.
- [JOMUSCOM Volume 2 No 3](https://jomuscom.org/jomuscom-volume-2-3/): The genesis of JOMUSCOM springs from a recognised need. For too long, the rich and diverse tapestry of contemporary art music from Africa has lacked a centralised, formal repository. Composers have often worked in relative isolation, their works disseminated in fragments or remaining within localised circles.
- [JOMUSCOM Volume 2 No 2](https://jomuscom.org/volume-2-2/): The genesis of JOMUSCOM springs from a recognised need. For too long, the rich and diverse tapestry of contemporary art music from Africa has lacked a centralised, formal repository. Composers have often worked in relative isolation, their works disseminated in fragments or remaining within localised circles.
- [JOMUSCOM Volume 2 No 1](https://jomuscom.org/volume-2/): The genesis of JOMUSCOM springs from a recognised need. For too long, the rich and diverse tapestry of contemporary art music from Africa has lacked a centralised, formal repository. Composers have often worked in relative isolation, their works disseminated in fragments or remaining within localised circles.
- [JOMUSCOM Volume 1 No 1](https://jomuscom.org/volume-1/): The genesis of JOMUSCOM springs from a recognised need. For too long, the rich and diverse tapestry of contemporary art music from Africa has lacked a centralised, formal repository. Composers have often worked in relative isolation, their works disseminated in fragments or remaining within localised circles.
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