Abstract

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. Its harmonic language is shaped by drones, chromatic inflexions, modal colouring, and intervallic emphasis on simple and compound thirds.

Rhythmic design forms the core of the piece’s identity, featuring imitation, diminution,
syncopation, hemiola, and a striking episode of rhythmic phase shifting that produces subtle
temporal displacement. Drawing inspiration from Udje dance patterns and Urhobo percussive aesthetics, the composition integrates indigenous rhythmic vocabulary with contemporary pianistic techniques. Through its interplay of cellular construction, evolving textures, and culturally grounded rhythmic processes, Oyoma offers a sophisticated and intellectually engaging contribution to modern African piano repertoire, demonstrating the expressive potential of intercultural compositional practice.

Keywords: Atonal Pitch-Cell Design, Intercultural African Pianism, Niger Delta Rhythmic
Aesthetics, Phase-Shifting Techniques, Urhobo Musical Idioms

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References

Agawu, K. (2016). The African imagination in music. Oxford University Press.

Bankole, A. (2010). Perspectives on African art music. Ibadan University Press.

Euba, A. (1992). Modern African music: A catalogue of selected writings. Iwalewa-Haus,
University of Bayreuth.

Nwamara, A. (2019). Modern Nigerian composition: Trends, techniques, and aesthetics. Enugu:
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Omibiyi, M. (1987). African rhythm and contemporary composition. Lagos: Centre for Cultural
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Author

‘Wole Aro