1

TITLE PAGE

DOXOLOGY: THREE SACRED WORKS BASED ON DAN

CHRISTIAN CHIKPEZIE AGU’S CHORAL STYLES

BY

EWULU, JOHN IZUCHUKWU

REG. NO: PG/MA/07/43607

A THESIS SUBMITTED TO

THE DEPARTMENT OF MUSIC,

UNIVERSITY OF NIGERIA, NSUKKA

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE AWARD OF MASTER OF ARTS (MA)

DEGREE IN MUSIC COMPOSITION

MAY, 2011

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APPROVAL PAGE

This thesis has been read and approved for the award of Master of Arts

(M.A.) degree in Music.

By

___________________ ___________________

Dr. Ade Adeogun Dr. Ade Adeogun

(Head of Department) (Supervisor)

_______________________

Prof. Emurobome Idolor

(External Examiner)

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DEDICATION

To Gladys Ewulu, my sweet Mother

4

ACKNOWLEDGEMENTS

It is my pleasure expressing my profound gratitude to the Almighty God

for His loving kindness throughout my course of study and the successful

completion of this research work. Thank you, Lord, for what you have done. My

special thanks go to my dear and ever ready supervisor, Dr. A. O. Adeogun, for

his critical and objective attitude to the supervision of this work.

I vividly remember the numerous contributions made by my parents,

lecturers, friends, brothers and sisters, colleagues, and well wishers, in diverse

capacities both physically, morally and otherwise towards the completion of this

thesis. It is my earnest hope and prayer that God in His infinite mercy shall

continually prosper all of you in your respective lives‟ endeavours. I sincerely

owe all of you my heart- felt appreciation.

To my loving mother, Gladys, the Lord will reward you abundantly for

being there for me at all times. My beloved brothers and sisters: Pauline,

Chukwuka, Tony, Alex, I. K. and Chinwe you worth millions of my thanks. It is

my utmost heart desire that God Almighty will reward all of you for your moral

and financial support throughout my years of study. I must also thank God for the

life of Mrs. Rose Igwe my landlady for her untiring encouragement and support.

Ejike Igwe, the Lord will bless you the more for your brotherly care and love.

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I remain ever grateful to my colleagues; Ikenna, Lizzie, Rev. Fr. Ben,

Peter, Mrs. Anya- Njoku, Mrs. Obiekwe, Mrs. Forchu, Mr. Onyekwelu, Rev. Sr.

Keke, Ken, Emma, C. J., Professor Onyeji and Dr. Sam Cee for their pieces of

advice and criticism for a better output. To Nnaemeka Nnaji (Bawo) and

Emmanuela Ugwu my typists, I am really grateful for your dedication and

sincerity. God shall reward you both accordingly. My sincere gratitude goes to

my wife Nkechinyere Izuchukwu for your untiring effort in encouraging me even

when it seems tough and unbearable. Thanks my dear.

Finally, I must thank Sir (Professor) Daniel Chikpezie Christian Agu

whose creativity, forms, styles and techniques I have adopted in writing this

composition. Prof. thanks for granting me audience during interviews, material

findings and above all, allowing me to study your works as basis for my own

compositions. May the good Lord bless you all.

Ewulu, Izuchukwu J.

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ABSTRACT

The art of composition is an approach to creative writing which brings out a

synthesis of musical ideas, motifs and sonorities, to get at that which originally

will not be reachable. African art music, also known as academic music in the

context of this thesis, is that unique, stylized art; formalized kind of music that

emerges from the fusion of Western musical idioms with that of African

traditions of musical concepts and practices. In the present academic enquiry, the

researcher has critically studied the life, times and works of Prof. Dan Chikpezie

Christian Agu, exploring the unique features of his works, the analysis of his

musical compositions, approach to his choral music compositions, and his

general contributions to the art, history, and management of academic music in

Nigeria. A remarkable feature of this documentation is that it has given the

studied musician a chance to clarify the claims of the researcher, due to the fact

that the musician is studied while he is still alive. This using the descriptive and

historical methods explores Agu‟s styles and techniques in the composition of

three sacred works by the researcher.

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TABLE OF CONTENTS

Title Page - - - - - - - - - - i

Approval Page - - - - - - - - - ii

Dedication - - - - - - - - - iii

Acknowledgments - - - - - - - - iv

Abstract - - - - - - - - - - vi

Table of Contents - - - - - - - - vii

CHAPTER ONE

INTRODUCTION - - - - - - - - 1

1.1 Research Background and Statement of the Problem - 5

1.2 Aims and Objectives - - - - - - - 6

1.3 Significance of the Study - - - - - - 7

1.4 The Scope of the Study - - - - - - 7

1.5 Methodology - - - - - - - - 8

CHAPTER TWO

REVIEW OF RELATED LITERATURE - - - - 9

2.1 Composition- - - - - - - - - - - - - - -

2.2 Art composed music - - - - - - - 10

2.3 History of art composed music in Nigeria - - 10

2.4 University music education, art music in Nigeria and the

Department of Music, UNN- - - - - - 10

2.5 Dan Agu‟s contemporaries - - - - - 11

2.5.1 Samuel Nehemiah Ojukwu - - - - - - 11

2.5.2 Felix Chukwuemeka Nwuba - - - - - 12

CHAPTER THREE: THE COMPOSITIONS

3.1 Father glorify thy name (John 12:28&32) - - -

3.2 Kelee Jehova (O give thanks) (Psalm 136:1) - -

3.3 Jehova onye ga-ano (Lord who shall ascend) (Psalm 15)

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CHAPTER FOUR: ANALYSIS OF THE COMPOSITIONS

4.1 Theme

4.2 Tonality and scalic organization

4.3 Piano introductions/Accompaniment

4.4 Solo

4.5 Medium

4.6 Sequence

4.7 Response Repetition

4.8 The use of counterpoint

4.9 The use of Ostinato and Chorus refrain

CHAPTER FIVE

Summary and Conclusion - - - - - - - 101

References - - - - - - - - 104

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CHAPTER ONE

INTRODUCTION

Background of the study

Man /woman through the ages has been known to be creative, innovative

and artistic in one form or the other, and one of the most practical means of

exposing this natural or acquired skill is through music. Music, in its content and

styles, represents significant aspects of social reality, which is therefore, an

important means of information on the consciousness of a people.

The effectiveness of musical gift differs from one individual to the other.

Hence, the differences in the levels of performance, appreciation, participation

and creativity may be due to cultural and social disparities. These differences

ultimately give rise to the various kinds of music that we have today which are

broadly classified as: the traditional, popular and art music. The traditional and

pop genres are functional as they play diverse functional roles in areas such as

funerals, marriages, wrestling, festivals etc. Art music is somewhat generally on

contemporary art music and particularly the art music of Daniel Chikpezie

Christian Agu, a prolific composer, performer, scholar and music educator of our

time.

A composer is one who writes music for theatre, television, radio, film,

computer games and other areas where music is needed. According to Echezona

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in Achinivu (1979), a composer is anyone who writes a piece of music regardless

of the length, originality, or artistic achievement of the piece. About a good

composer, he notes:

… but the world, fortunately, does not admit a lax view. A composer

is expected to show some skill in handling his materials (technique)

and some degree of originality. The first of these requirements,

technique, may be learned or acquired, provided the composer has a

basic minimum of musical ability. That branch of music is called

theory and includes harmony, counterpoint, orchestration, etc. The

second, the requirement of originality can scarcely be learned,

though it may be developed and cultivated (Achinivu, 1979:120).

The main task of a composer is to write an original composition for a specific

project. His music should be properly written so as to guide the musicians

properly in its performance. Hence, Idamoyibo (2003) states that:

What makes a musician to be distinct is the originality of his work

and his ability to create interest and to arouse emotion in his

audience. This can only be achieved through musical competence,

creativity and expertise (p. 12).

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A good composer should be able to create his own songs with different

fascinating rhythms for both voice and instruments. A composer makes sure that

his music suits his project, as in the case of film scores where the music should

help move the story without overpowering the scene. The music a composer

writes may be instrumental or vocal. It may be in various styles such as classical,

jazz, country or folk and so on.

Most Nigerian composers are of Western background in music theory,

composition, orchestration and harmony. Certain aesthetic essentials such as

clarity of theme, introduction, contrast, repetition, balance, variation, elaboration,

proportion, connexion, transition, and many others are applicable regardless of

style or idiom. However, there are many composers who do not have school

training; instead theirs remain a natural endowment. For instance composers like:

Edward Elgar, Karl Lawrence King, Witty Amy Beach, Dizzy Gillespie,

Philemon Okoye, Christian Ilo, Nwaogbamgbada Paul and Heitor villa-lobos

were mostly self-taught.

A good composer has fresh ideas, is creative, versatile, not afraid to

experiment, willing to collaborate with fellow artiste and, of course, passionate

about writing music. Although a road to becoming a composer may be hard and

highly competitive, once you get your foot in the right door, composing can

generate good income for you, not to mention the experience and exposure one

will get along the way. At the same time, music can bring consolation, hope and

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joy to all who need it. However, it remains pertinent that to vividly grasp and

appreciate Nigerian art music, much better in all angles, one needs to have an in-

depth look at the past, the origin and the upsurge of the genre. The essence of this

is clearly stated by Aristotle, who says „he who considers things in their first

growth and origin will obtain the clearest view of them‟ (Aristotle: 1929 Politics

1, 2). Sequel to this, studying Agu and his choral styles of composition at this

point in time gives the researcher the inspiration to gather first hand information

vividly from Agu himself in order to put on paper what Agu was and is for the

wider audience to be directed aright.

1.1 Statement of the problem

Research according to Mark (1978):

Music is a thing that delighteth all ages and beseemeth all states, a

thing as seasonable in grief as joy, as descent being added to actions

of greatest solemnity, as being used when men sequester themselves

from action (p. 7).

Music is a highly valued creative art, that is, it is an expression of various aspect

of life in every community. Music emanated as a means of communication and

self expression and then gradually develops into a form of entertainment in which

others could share. Before now, strong scholarly interest was shown by

ethnomusicologists such as A.M. Jones, J. Blacking, A.P. Merriam, Bruno Nettl,

W. Bascom, J.H.K. Nketia, Meki Nzewi, Sam Ekpe Akpabot, Richard C. Okafor,

13

Akin Euba, Dan C.C. Agu, Joshua Uzoigwe and many others in discovering and

bringing to the fore music genres in various societies of the world especially in

Africa.

Dan Agu has really distinguished himself in music in the area of composition

which has brought him fame and honour from different people, religious groups

and corporate bodies. The problem still lies in the performance of his works

which are generally tough to interpret. Dan Agu‟s compositions have really posed

a lot of problems too many choirs in times of performance. This is because of his

style and choice of techniques evident in his compositions. Also his constant use

of syncopations and other complex rhythms has scared many music directors and

choir masters from performing his music. The researcher has critically studied

most of his works as a choirboy under Agu. This singular opportunity motivated

him (the researcher) to undertake composing in the same styles and techniques of

Agu.

However, exposing his styles and techniques through analysis by the

researcher will pave way for up-coming musicians to critically study Agu‟s

works without bias or inferiority complex but with full zeal of getting to that

which is unreachable through compositions as embedded in Dan Agu‟s numerous

works.

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1.2 Aims and objectives

The wider Nigerian society has the misconception that it is a mark of

irresponsibility for one to study music as a profession. Even, many parents,

guardians see music as a profession for never- do- wells, way- ward and school

drop-outs. But ever since Dan Agu excelled in music right from the primary to

the tertiary levels, his name commands respect from all and sundry as far as

African art music is concerned. Of course, he remains one of the well known

Nigerian art/ choral musicians. Hence he composes all kinds of music – secular,

sacred, dirge, ode, and arrangements to mention but few.

Dan Agu, as an icon in the Nigerian art music, stands tall in the society especially

after the composition of the Anambra State song which gave him fame. Today,

he is respected among his peers, colleagues and the wider society that some

parents now want their children, wards to study music just to be like Dan Agu.

These achievements, fame, and his ability to influence the society

positively with music therefore prompted the researcher‟s interest in discovering

more about Dan‟s life, approach in terms of composition as regards his choice of

styles and techniques.

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1.3 Significance of the study

This research work would go a long way in contributing to the preservation

of art music and its development in Nigeria. This will be feasible when most of

the works of other Nigerian art musicians like Dan Agu are studied and the styles

and techniques utilized in further compositions by some other growing

composers. This research will also serve as an avenue for musicologists to

acquaint themselves with Dan Agu‟s techniques and styles of composition. It will

also boost creativity and seriousness amongst students as they will see the

importance and usefulness of their course of study. This research work will serve

as a source of inspiration to many who think that the study of music is a waste of

time and for the way- wards. It will open up a topic to correct further research on

the misconception about the study of music and serve as a reference point for

further researches.

1.4 The scope of the study

This research is mainly confined to Nigeria, especially within the Nnamdi

Azikiwe University, Awka where the Dan Agu currently teaches, University of

Nigeria, Nsukka, Enugu State, precisely the Department of Music that avails the

researcher the opportunity to carry out the research.

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Due to the financial constraint of the researcher, he could not travel to other

institutions of higher learning in the country that offer e music to find out their

own views about Agu. Instead, he sought the opinion of some music experts at

the Department of Music, University of Nigeria, and Nsukka where he teaches.

He also interviewed some members of staff of the Departments of Music, UNN,

and the Nnamdi Azikiwe University, Awka where the Dan teaches. The artiste

Dan Agu availed himself for interviews by the researcher. This singular

opportunity helped a great deal to alleviating most of the problems the researcher

would have encountered. The research was also faced with unfavourable

conditions and situations, which include the following:

- Very busy schedule of most of the interviewees.

- Difficulty in fixing appointments with Prof. Agu, who was on his sabbatical

leave at the University of Uyo as at the time of this research work.

Nevertheless, the researcher was not demoralized by all these odds instead he

devised alternate means of making both ends meet and has not claimed to have

exhausted all that could be said or written on this topic.

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1.5 Research methodology

Research according to Olaitan (1988):

…is best conceived as the process of arriving at dependable

solutions to problems through the planned and systematic collection,

analysis and interpretation of data (p.1).

Merriam (1964: 37) in his own theory of method and techniques believes that

method depends upon theoretical and basic assumptions particularly those which

concern the aim of the discipline. Generally, the reliability of any research output

depends largely on the method used in data collections.

In carrying out this research, the researcher drew materials from

interviews, the researcher‟s personal experience having been under Dan Agu as a

student and a choir boy respectively. Although an uphill task, the researcher

relied mostly on oral information he got from Agu, some of the members of St.

Cyprian‟s Cathedral Church Choir, Abakpa – Nike, Enugu State, where Agu

started as a choirmaster.

Finally, information gathered from few relevant journals, articles, the

internet, and the library were of great help during the process of this study.

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CHAPTER TWO

REVIEW OF RELATED LITERATURE

Music is a developmental activity in cultivation of the senses and

expression. It is one of the most effective vehicles for the growth and

development of customs and traditions of a given area. Music, is a universal form

of expression that is as old as man and is usually appreciated by people of

different culture. Hence Banks (1976) asserts:

Speculations about the singing of the arts and especially music are of

very ancient date. All primitive literature is filled with legends

describing the creation of the universe, and very early in these

stories, long before the other arts, music appears (p. 38).

In this chapter, the researcher discusses composition, art composed music,

the history of art composed music in Nigeria, university music education, art

music in Nigeria and the Department of Music, University of Nigeria, Nsukka.

Discussions about some of Agu‟s contemporaries in Nigeria form the concluding

part of this chapter.

2.1 Composition

Composition today forms a basic discipline in music study both at the

undergraduate and the post-graduate levels. The questions here are “What

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composition is and who is a composer? To do justice to these pertinent questions,

Achinivu (1979) quoting Riemann says:

Nowadays, composition in music is generally an elaborate, notated

piece of work, the successful outcome of which presupposes creative

musical aptitude and extensive training and which reckons with live

performance for the study of composition, instruction in the

elements of composition, (harmony, counter-point, twelve-tone

technique, rhythm, metre, form and orchestration/instrumentation is

of use; nevertheless, the composer begins, above all, with the work

of those masters whom he chooses in certain details and

fundamentally) as his models. The composition itself must, in order

to be valid, satisfy the requirement of newness, and of originality

(p.115).

To buttress the point on composition more, Achinivu (1979), quoting the

encyclopedia Musik in Geschichte and Genenwart states:

According to the present-day usage in the field of music

composition, the creative process by which a more or less clearly

and permanently fixed and meaning conglomeration of sounds (a

musical composition) is produced and is, as a rule, recorded in

notation whereby a certain degree of originality is presupposed in

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the product. The creator of such a meaningful (well formed) sound

formation is called a “composer” (p.115).

In drawing a live of distinction between two kinds of composers, Geoffrey

Nutting as cited in Achinivu (1979) says:

One can make music in an instinctive way, that is to say, without

any conscious or knowledge of the theory of music at all. That is a

kind of composition and such a person is a composer (p.116).

Such a composer‟s work will be one that is full of blunders and lapses because of

lack of the basic knowledge of the rudiments and theory of music as mentioned

earlier on. With regards to who should be called a composer, Nutting in Achinivu

still goes on and added:

I am thinking of a composer in the sense that Sam. Akpabot,

W.W.C. Echezona, Fela Sowande and Bankole are composers: that

is, men who consciously plan in advance the music they want to

hear, and who are fully conscious intellectually of the qualities and

relations of the sounds which they choose (p.116).

To be a composer, one must have the basic knowledge of the rudiments of

music as well as grounded in the theory of music. Echezona in Achinivu (1979)

went further to explain who a composer is as he says:

21

Anyone who writes a piece of music is a composer, regardless of the

length, originality, or artistic decorations of the piece which can

stand and fulfill the needs of the rudiments and of theory (p.120).

Can we now say that anyone who composes can term the outcome of

his/her work “composition”? Going by the already generated ideas and findings,

there are two schools of thoughts of who a composer is. First, from the western or

academic point of view, that sees a composer as one who must be knowledgeable

in the theory of music as well as have the impetus to compose using the needed

elements of composition which must conform to originality in the work. Still

from the western angle, a composer must be one that is very serious with

composition and must be able to notate his music following the laid down rules,

styles and techniques. His compositions must be able to stand the test of time.

Olaniyan (2000) in Idamoyibo (2003) opines that:

A traditional musician is a non-literate entertainer who is naturally

endowed, acquired or inherited his musical prowess through oral

tradition from the foremost and elderly colleagues (p.66).

From the above findings, it seems clear that there is no formal training in

the traditional phase. This does not really mean that musicians under this

category do not know their bearing. They do because they are being instructed

and guided by their masters. Agu has the fusion of both the naturally endowed

22

and of the educated phase. On the side of the naturally endowed, he took after his

father Samuel Okonkwo Agu of Ugamuma village in Obosi who was a great

singer and a well-known dancer in the whole of Obosi and its environs. His

mother, Esther Ochamba Agu, (nee Ikedionwu) of Ire village, Obosi, was also a

great dancer and singer in her village. She arranges songs for her group in the

church especially the Mothers‟ Union of the Anglican Communion of St.

Andrew‟s, Obosi. On the other hand, Agu is a trained musician as he has attained

the climax in his career: A Professor of Music.

Pioneers of the Nigerian art music include: Akin Euba, Ayo Bankole,

W.W.C. Echezona, and Samuel Akpabot who studied music abroad and later

came home as trained musicians in the 1960s after Nigeria gained her

independence. Thus, they realized the urgent need to preserve their nation‟s

musical heritage. Both Akin Euba and, Samuel Akpabot, who had the opportunity

of working under the research unit of the Nigerian Broadcasting Corporation,

(NBC) served there as music producers. They were able to collect and broadcast

traditional music to the public and this spurred their interest in documenting this

music for fear of it disappearing.

This was followed by the stimulation of writings on topics in music, music

education, performance and scholarship by Government who encouraged and

promoted socio-musical activities. After the national crises that culminated in a

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civil war, many more music scholars returned home with higher degrees in music

and there was a shift from documentaries to what is known as composition today.

By the middle of 1970, composition in this part of the country became a pre-

occupation with scholars till date. According to Ogisi, (1996:66) the first full

documentation and study on a renowned musician/composer was written by

Achinivu, Kanu Achinivu in 1979. This was a systematic study that explains the

origin, development, biography and analysis of a composer in the person of Ikoli

Harcourt Whyte.

A task such as writing on Dan Agu‟s compositional styles and techniques

is not an easy one. It becomes even more difficult when one has to search for

relevant information regarding the personality being researched on. This is

because such information is not readily documented for easy reference. Mbiti

(1984) observes this much earlier when he states that:

Most African people did not know how to read and write. Therefore,

they could not keep written records of their history. Instead, they

passed on information from one generation to another by words of

mouth (p.4).

This is not the case with Dan Agu because his music has been written

down and preserved in scores and discographs. There is no doubt that Africa has

produced talented musicians (composers and performers) whose great

24

contributions, activities and creations were never documented over the centuries.

African music has travelled far and wide. It has also influenced a lot of music of

other cultures of the world. This was possible because of the slave trade and

colonial rule. Mbiti, (1984) was right when he states that:

The famous „Negro Spirituals‟ of the United States of America are

based on African musical and religious feelings. In recent times

many of the great artistes of Europe and America have studied and

copied African art (p.3).

In the opinion of Okafor (1987), he writes:

The study of Nigerian composers is mainly concerned with the study

of African academic musicians and their styles, techniques and

biographies. These Nigerian and African composers incorporate

western styles and African musical idioms in their works (p.19).

Onwuegbuna, (2009:99) outlines the necessary points that must be mentioned

while doing an analytical research. These include:

1. The musician‟s name, style of music, and natal records;

2. Remarkable events that marked the musician‟s time of birth;

3. The musician‟s pedigree;

4. The exerting influences on the musician-musical and otherwise;

25

5. The musician‟s experiences within his nuclear/extended family circles;

6. The musician‟s education and apprenticeship/training;

7. His professional career, growth, and development;

8. Remarkable turning points in the life of the musician;

9. Patronage of his works and services;

10. Contemporaries, collaborations, and controversies arising from his person

and/or his works;

11. Works and contributions, and

12. His philosophy and general world-view;

All these form the researcher‟s format while studying Dan Agu‟s choral styles

and techniques in composition. Here, the definition of composition as an art

becomes necessary. Orton (1992) defines composition as:

The act of notating musical ideas before the performance of an

identifiable and usually titled musical work. It is commonly

understood to be slow, steady and painful process, taking weeks,

months or even years for the gestation and maturation of ideas to

crystallize to the point where they can be written down in a fully

coherent and ordered form (p.762).

Composition is of two main categories: vocal and instrumental. Risset (1992:583)

states that: traditionally, composition consists of putting together pre-existing

26

elements: notes as they will be played or sung by the instruments (and or

vocalists) from a score where they are assembled. Vocal compositions are

referred to as choral music. Funk and Wagnall (1973) in the explain choral music

as:

Music sung by a group of people as a unit. Usually the term choral

music implies two or more for each part …. Most choral music is

written for a chorus or choir, consisting either of women and men, of

boys and men, or solely of men, women or children (p.179).

“Instrumental music refers to as that which is specifically composed for an

orchestra or a given instrument and free from the burden of words‟‟ (Ferris,

1995:38). According to Honigshein (1963):

The simplest instrumental music is based on only one instrument or

part, in contrast to that with a more or less logical structuring of

multiple parts. Another simple form is composed of only one

movement, which many combine several instruments or parts

(p.206).

The study of Dan Agu‟s music falls under these two categories namely: vocal and

instrumental. The researcher lays more emphasis on the former which is multi-

functional because it serves many purposes which are evident in his works. These

compositions are for diverse occasions like: marriages, birth and burials. Others

27

include compositions such as school anthems, diocesan anthems, jubilee songs,

songs of patriotism and jingles. Agu‟s works are more of sacred than secular.

2.2 Art Composed Music

Art music as a new tradition of musical practice in Nigeria represents a

significant change within the context of Nigerian musical tradition if we take into

consideration the nature of evidences as well as the context of performances. Art

composed music involves generally, the application of literary tools in the

conception, composition and documentation of otherwise orally conceived,

documented and disseminated. In the opinion of Onyeji:

Art music or art composed music can be defined, as those

compositions that are literary form, literary, in the sense that they are

written down. It also dominates music traditions in contemporary

music education especially as introduced by Europe (Onyeji,

2003:148).

Most art music is contemplative and is referred to as music of the matured

minds. Hoffer (2003:3) maintains that art music is that music created for the

intellectual and psychological satisfactions it provides, usually composed for

performance in concert halls and opera houses. Works in this genre may be

sacred or secular, vocal or instrumental depending on the choice of a composer.

28

In contrast to folk music, the origin of art music is usually known. Even if

the individual composer is not identified, the group from which the music

originates is known. We may not know the specific composer of the rhythmical

accompaniment for the name of the Benedictine‟s father who composed the

recitatives sung by the members of his order, but we can identify their special

group and consider that group as sociologically different from others. Art music

has normally been produced for a specific and differentiated audience rather than

for everyone in the tribe or community. It generally presupposes some knowledge

of rules/musical conventions that are accepted as valid within the producing

group.

Finally, all art music: Classical cum Neo-Classical is purely non-Nigerian

musical expression that came into the country through Nigeria‟s colonial

heritage: Western education and Christian Evangelizing activities (Okafor,

2005:5).In the same vein, according to Omojola (1987), the Nigerian

contemporary art musicians include all those that are:

Trained in Universities and conservatories both at home and abroad,

writing works which are conceived along the lines of European

music but which often employs a considerable degree of African

elements (p. 13).

Miller (1979) on the other hand, observes that:

29

Those who take music seriously say that it beautifully expresses and

communicates ideals and emotions and that they return again the

fulfillment and revitalization they may have found at a concert, in

church, or wherever they as individuals were touched and moved to

a different feeling about life (p. 32).

Omibiyi (1976) opines that:

Academic musicians are highly qualified professional men

producing music based on western idioms in order to develop what

might be regarded as Nigeria‟s or indigenous contemplative music

(p. 80).

Nigerian composers in this genre include: Laz Ekwueme, Akin Euba,

Okechukwu Ndubuisi, Joshua Uzoigwe, David Okongwu, Sam Ojukwu, Felix

Nwuba, T.K.E. Phillips, Dan Agu, Ade Adeogun and Chris Onyeji to mention but

few.

2.3 History of art composed music in Nigeria

Little is known about the country‟s music history prior to European

contact, although bronze carvings dating back to the 16th

and 17th

centuries have

been found depicting musicians and their instruments. The Nigerian musical

landscape changed significantly following the advent of Christian missionary

30

activities and British colonial administration in the later nineteenth century.

Adegbite (2001) notes that:

The history of art music in Nigeria dates back to the first half of

nineteenth century, when Christian missionaries set their feet on

Nigerian soil. The Anglican came in 1842, the Methodist in 1845

and the Baptist in 1850 (p. 78).

Since then the musical landscape in Nigeria has continued to witness the

emergence of new musical idioms that range from those that are practiced within

the Christian and Islamic settings to those that are performed as part of social

ceremonies and in concert halls. It is to this latter trend that Nketia (1963) refers

to art music as: “That new form of an art, designed for the church, educational

institutions, entertainment arenas and the concert hall” (p. 5).

Art music is composed music that can be visually observed, studied and

appreciated based on the norms and idioms of its expressions. Kinds in Nigeria

include many types of folk, popular and the art composed music; some of which

are known worldwide.

Nigeria has been called “the heart beat of African music” because of her

role in the development of West African highlife of palm wine music which fuses

native rhythms with techniques imported from the Western world. Nigeria‟s

musical output has achieved international acclaim not only in the fields of the

31

folk and popular music but also in art composed music written by many prolific

composers such as: Fela Sowande (The father of modern Nigerian art music),

Akin Euba, Sam Ojukwu, Joshua Uzoigwe, W.W.C. Echezona, Ade Adeogun,

David Okongwu, Chris Onyeji, Okechukwu Ndubuisi, and Dan Agu whose life

and works as a composer form the basis of this research work.

2.4 University music education, art music in Nigeria and the Department

of Music, UNN

Music, like language, is an accomplishment that distinguishes us as human

(Blacking 1976: 42). Music education is a field of study associated with the

teaching and learning of music. It touches on the development of the effective

domain, including music appreciation and sensitivity. The incorporation of music

training from preschool to postsecondary education is common in most nations

because involvement in music is considered a fundamental component of human

culture and behaviour.

Music education also takes place in individualized, life- long learning, and

community contexts. To the African, as to many other peoples of the world,

music remains a veritable way of life, and no occasion, whether sad or joyful, is

without its attendant musical expression (Okafor 2005: 190). Music education

generally is that which trains the learner on the process of acquiring musical

32

knowledge and skills with the sole aim of producing music educators. Uzoma

(2001) has this to say to support the above thought:

Music education has, as one of its cardinal objectives, the provision

of experiences and training of learners. Such experiences when

acquired would help learners to live and contribute positively

towards the progress of their society (p. 1).

Because music does not exist in isolation, its social relevance cannot be

over emphasized. This concurs with the views of Hoffer (1985: 28) which

regards music education as part of a subject that has the power to awaken in us

sensation and emotions of a spiritual kind. On the other hand, he still opined that

music education is not only an abstract art, but a force which affects the lives of

the people who acquire it. Bessom (1980) further adds that:

Music education must adhere to the philosophy that our foremost

purpose is to foster an understanding of music that leads to lasting

appreciation of and participation in music activities that through

aesthetic experiences life is enriched and its beauty is intensified (p.

54).

Music education in the traditional Nigerian society was, is and still a

comprehensive educational system geared towards a functional and artistic

33

career. This involves an informal exposure to musical situations from birth

through the mother to adulthood through age – groups and various associations.

According to Okafor (2005: 198) he stated that formal music education

started with some teacher training colleges and secondary schools which enlarged

their curriculum to add lessons in the rudiments of music to singing and concert

shows. One of the pioneer advanced teacher training colleges ( college of

education), the Alvan Ikoku College of Education, Owerri, also introduced music

in its curriculum and began producing music teachers (trainer) for secondary

schools and teacher training colleges.

At the University level, music as a course is taken seriously following a

laid down curricula for both the theoretical and applied aspect s respectively.

Like every other professional course like medicine, law, engineering,

architecture, mass communication, fine and applied arts, languages etc. music has

played its role in the academic circle distinguishing itself as the most vocal of the

arts in Nigeria.

Music education in Nigerian Universities has gone a long way in training

undergraduates in Diploma programme in Music Education with the sole aim of

training practicing musicians and music educators. The degree programme is for

the academically minded and the potential trainers of trainers. The general

objective of music education is to equip the individual student to perform music

34

in the society and to contribute to the economy may be as an artist or a teacher, to

work in the entertainment industry, the educational institutions or in the public

service (Okafor 2005: 124).

The University of Nigeria, Nsukka, the first autonomous University in

Nigeria, established the first college of music in Africa (Okafor: 2005:198). Since

the inception of the Department of Music in 1961 it has been at the fore front in

training of graduates who may have distinguished themselves in certain areas of

specialization including: theory and composition, music education,

ethnomusicology and the like.

The Department of music, University of Nigeria, Nsukka has trained

academic musicians of national and international repute. In the records are

notable names: Sir. Sam Ojukwu, Felix Nwuba, Achinivu kanu Achinivu, Dan

Agu, Meki Nzewi, Emurobome Idolor, Ade Adeogun, Chris Onyeji, to mention

but a few who are today masters of art music in different dimensions. The

University of Nigeria, Nsukka must be mentioned and praised for the giant stride

taken to blaze the trail in the country‟s music education.

35

2.5 Dan Agu’s Contemporaries

Agu, (1990) asserts that:

Contemporary music is a new genre that has a completely new

cultural orientation which is not, in any way, committed to the ideals

of the traditional types like the intrinsic socio-political values and

services, religious inclination and functional ethos of the traditional

types (p.82).

In the same vein, Okafor (1987) opines that:

The study of Nigerian contemporary composers, their styles and

techniques is mainly concerned with the study of African academic

musicians and their creativities. The Nigerian and African

contemporary composers incorporate western styles and African

music idioms in their contemporary works (p.19).

However, in the contemporary music, contemporary musicians could be

likened to as modern musicians of the present time/period. Johnson (1779)

asserts:

To judge richly of a composer, author, poet, instrumentalist, we

must transport ourselves to his times, experiences, positions,

contributions, awards, and examine what were the wants of his

contemporaries, and what were his means of supplying them (p. 81).

36

Since “not everything that is contemporary is modern” (Machlis, 1977:5). I

would also argue that not all the present day Nigerian musicians or composers are

modern. Just like Handel and Bach were contemporaries with Vivaldi,

Mendelssohn, Liszt and Berlioz who all lived in the romantic period but all have

diverse regards to the height of the modernity of their work, so also do the

Nigerian present day composers and musicians. However, this research work

does not claim that only a few Nigerian contemporaries of Agu discussed here

are modern.

2.5.1 Samuel Nehemiah Ojukwu

This prolific composer, popularly called, Sam Ojukwu was born in

November, 1940 to Mr. and Mrs. Samuel Obumneme Ojukwu who worked as

Church Teacher at Mbawsi, Imo State but hailed from Nnewi in Nnewi Local

Government Area of Anambra State.

Sam‟s source of musical prowess came from natural endowment which he

inherited from his father who had and played on a harmonium. No wonder, Sam

plays well on the keyboard. His father encouraged, motivated and introduced him

to the instrument at his formative years. His mother was also a very good singer

and a composer who delighted in writing music for the Church‟s Women‟s Guild

and the Mother‟s Union each time they had a performance. Sam started playing

37

on the harmonium at the age of eight (8) and notwithstanding his tender age,

featuring in many musical activities with special emphasis on choral music.

Sam Ojukwu had his primary education around 1945 – 1951, at St.

George‟s School, Mbawsi from where he got his First School Leaving Certificate

(FSLC) before proceeding to Dennis Memorial Grammar School (DMGS),

Onitsha where he was tutored on the piano by British missionaries Mr. and Dr.

Mrs. Povey, in 1952. When Mr. and Dr. Mrs Povey left Nigeria, a German

engineer who came as one of the contractors handling the construction of the All

Saints Cathedral, Onitsha, gave him further piano tutoring. While Sam was still a

student at DMGS, he was admitted as a choir-boy in the All Saints Cathedral by

Professor W.W.C. Echezona. Sam as enthusiastic as ever could not register and

offer music in the West African School Certificates because of lack of music

teacher then at DMGS.

Sam had his Post Secondary Education at the St. Mark‟s Teacher Training

College, Awka and the University of Nigeria respectively where he bagged

Bachelor of Arts (B.A) Music in 1965. His musical ingenuity became so

manifested having passed through different teachers that taught him at different

levels in his academic life. For example Echezona taught him at St. Mark‟s,

Teacher Training College, Awka. Edna Smith taught him improvisation and jazz,

Sam Akpabot taught him highlife composition, Mrs. Toffolon taught him piano

38

techniques while Prof. Laz Ekwueme taught him composition and theory of

music at the University of Nigeria, Nsukka.

Sam served in numerous places as choirmaster/organist since he left the

University. His compositions are outstanding due to his choice of harmonic

vocabulary and chord usage. According to Ekwueme (1973:240), Ojukwu makes

extensive use of the 7th

, 9th

and 13th chords with modulations to show a shift in

key in his compositions. Also the use of sequence, repetition, call and response,

refrain and ostinato movements make his melodies follow the natural tonal rise

and fall of the language that he uses. Combining his work as a lecturer at the

Alvan Ikoku College of Education, Owerri and with the art of composition made

him outstanding as far as art music is concerned in Nigeria.

His major works which are mostly choral are categorized under sacred and

secular music as seen below:

SACRED

1. Atula egwu

2. Psalm 129 (Nyenu Jehova)

3. Tonu Ja

4. Onye ihe na-agara nke oma (Psalm 128)

5. Ma ndi n’ele anya Jehova (They that wait upon the Lord)

6. Otito na nsopuru (Catholic hymn book 210)

39

7. Ma ekele (1st corinthians 15:57).

SECULAR

1. University of Nigeria song

2. Ikemefuna

3. Ahu Ikpeyi Mbakwe (Funeral dirge)

4. Ami yoro ya.

Majority of his works which are Biblical are commissioned mostly by

different religious groups, schools and corporate bodies.

2.5.2 Felix Chukwuemeka Nwuba

“F.C‟‟., as was fondly called by his friends, was born to the family of

Chief Matthias and Jessie Amogechukwu Uwanuakwa on the 22nd

December,

1932 at Nkpologwu, Aguata Local Government Area of Anambra State. His

parents being staunch Anglicans brought Felix up in a Christian way. Developing

much interest in church music, Felix started following his father who was then

their home church‟s choirmaster to choir rehearsal at the age of eight.

Felix had his primary education in Ekwulobia between 1942 – 1950 before

heading for a one-year teacher course at the Teacher Training College, Obosi and

St. Paul‟s College, Awka where he got his Elementary Teacher Certificate in

1954. The quest to know more took him down to St. Mark‟s Teacher Training

College, Nibo-Nise for his Teacher Grade Two Certificate which he bagged after

40

two years in 1956. He also passed the Grade Eight (8), Final Certificate of the

Royal School of Music and Trinity College of Music, both in London by

correspondence in 1958. In 1962, he was admitted to study music at the

University of Nigeria, Nsukka, a three-year study where he obtained a Bachelors

Degree in Music in June, 1965, and his Master Degree in Education in 1977.

Nwuba‟s first teacher in music was the late Prof. W.W.C. Echezona who

taught him rudiments, Rev. David Okongwu, Prof. Laz. Ekwueme, Mrs. Hannah

Hakoen, a German housewife who taught him Piano and Major J.G. Allens who

also gave him piano-lessons. Other lecturers of his worthy of mention included

George Nutting and Edna Smith who taught him advanced theory and African

music respectively at the University of Nigeria, Nsukka.

Felix Nwuba‟s compositions which are mainly choral were adapted from

canticles, psalms including anthems and carols. Felix is also good in using Igbo

native wits in capturing interesting scenes that are seen in daily lives. Nwuba

contributed so much to the growth and development of church music in particular

around Eastern Nigeria. His use of counterpoint, sequences, call and response,

dynamic contrasts in the composition of the indigenous choral music made his

works outstanding, but has the weakness of melodic and harmonic difference

between one piece and the other consequently by his choice of key, tempo and

melodic material (Ekwueme, 1974:12) .

41

Some of his sacred compositions include the following:

1. Gozie Jehova mkpuru obim (Psalm 103)

2. Absalom,my son

3. The Benedictus, Venite, Jubilate Deo.

4. Tonu ja (Praise the Lord)

5. Psalm 67(Deus miserateur)

6. Onye nwe anyi bu onye nenyerem aka (The Lord is my strength).

7. Bilie nwue (Arise and shine)

8. Onu Uzo ama.

Some of his secular works are:

1 Ekworo nwunye di

2. Aye legwuma (Idoma)

3 Odogwu Anata

4 Sopulu Nne gi na Nna gi

5 Good bye Nigeria

6 Ike ka Ike

7 Angelina

8. Ndidi amaka, among others.

42

THE MAN DAN CHIKPEZIE CHRISTIAN AGU

43

CHAPTER THREE

THE COMPOSITIONS

44

45

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

CHAPTER FOUR

ANALYSIS OF THE COMPOSITION

This chapter provides the analysis of the three sacred choral compositions in

relation to the styles and techniques of Dan C. C. Agu as used by the researcher.

In this analysis, many developmental materials/elements are conspicuous which

form the basis and framework for the three compositions.

According to Achinivu (2003), he states that:

Through analysis, the various materials/elements, musical

architecture become less technical and less dry to music students.

Conversely, by their application of the knowledge they have of

musical elements and concepts in the analysis of a piece of music,

they obtain greater insight into and understanding of musical design

and content of form (p. 55).

4.1 Theme:

Dan Agu‟s compositions are more of sacred works. The compositional

materials/elements evident in the following three works of Agu form the basis for

the researcher‟s compositions.

Fig. 1a

Works Composer Source Date

1 I am the resurrection and life Dan. C.C. Agu John 11: 25 – 26 1998

2 Okwu gi bu Oriona Dan. C.C. Agu Psalm 119:105 2009

3 The spirit of the law Dan. C.C. Agu Luke 4: 18 – 19 2010

76

Borrowing a leaf from the above, the researcher has composed three sacred

works for this research work as seen below:

Fig. 1b

Works Composer Source Date

1 Kelee Jehova Ewulu, J.I. Psalm 136:1 2012

2 Father glorify thy name Ewulu, J.I. John 12: 28 – 32 2012

3 Jehova onye ga-ano Ewulu, J.I. Psalm 15 2012

4.2 Tonality and scalic organization:

From the study of Dan C. C. Agu‟s works, it was observed that is works were

generally based on the major and minor scales. The keys of the pieces are as

follows:

I am the resurrection and life - C Major

Okwu gi bu oriona - G major

The spirit of the Lord - F major

The researcher‟s choices of tonality in his own compositions are as follows:

Kelee Jehova - F major

Father glorify thy name - E flat major

Jehova onye ga-ano - F major

The above keys serve as home keys while in between the pieces has some

modulations and transitions to either the relative minor or other related keys.

77

4.3 Piano introductions/Accompaniment:

In the piece “I am the resurrection and life by Dan Agu, the major form of

accompaniment is the piano. In the tempo of Andante (at a walking pace) at the

crotchet metronome mark of 75, the piano in the first eight (8) bars introduced

the song of what seem to be the refrain of the song in a very soft manner (pp) as

seem below:

Fig. 2a

The researcher has also introduced the piece “Father glorify thy name” with

a piano in a moderately soft (mp) manner. The piano introduction has

twelve (12) bars of a musical sentence before the tutti as seen below:

Fig. 2b

78

4.4 Solo

Dan C.C. Agu started his piece “I am the resurrection and the life” with a

Soprano solo of twenty-nine bars in the home key of C major from bars (9-37).

Below is the excerpt:

79

Fig.2c

This solo section of the piece carries the main idea of the entire song: the hope of

faithful that die in the Lord. In the same manner, the researcher utilized this

material in his three works. The piece “Father glorify thy name” has an

introductory solo section of twenty-two bars as seen below:

80

Fig.2d

81

Kelee Jehova has on introductory Soprano section of twelve (12) bars. The solo

section expresses the main theme of the song as buttressed by other individual

parts. Below is the excerpt:

82

Fig. 2e

While the piece “Jehova onye ga ano” (Lord who shall ascend) has also its

introductory solo section of twelve (12) bars that make a musical sentence. The

solo section by the Soprano came as a rhetorical question on the theme as seen

below:

Fig.2f

83

Just as Dan C.C. Agu in most of his works chooses Soprano as his medium for

introductory solo sections, the researcher has also in his own choice used

Soprano for his solo introductions. From performance, it has been observed that

the dual choice gives clarity in the established theme and also adds aesthetics and

acceptance by the audience in terms of diction and expressiveness.

4.5 Medium

Dan C.C. Agu‟s works are set to full soprano, alto, tenor and bass parts as seen in

the three works under study. The tutti section in the „I am the resurrection and the

life” starts from bar thirty-eight (38) with the affirmation to the question: O yes

by all the parts on the strong beat as seen below:

Fig.3a

84

In the piece “The spirit of the Lord…” the S.A.T.B come in anacrusically but in

full parts as represented below:

Fig. 3b

The researcher also shows the use of the same material in his works as follows:

In Kelee Jehova (O give thanks unto the Lord)

85

Fig.3c

In Father glorify thy name the chorus came on the strong beat:

Fig. 3d

86

4.6 Sequence

This is a musical construction that has the more or less exact repetition of

a passage at a higher or lower level of pitch. Dan C. C. Agu always makes

extensively the use of the harmonic sequence as it involves the use of series of

chords. Example is seen below:

Fig. 4a

In the piece “Okwu gi bu oriona” Agu applied the use of sequence as seen below:

Fig. 4b

The researcher also has made the same use of the harmonic sequence in his

compositions as seen in the piece “The spirit of the Lord” as seen below in bars

one hundred and one to one hundred and six. Below is the excerpt:

87

Fig. 4c

Fig. 4d

4.7 Response repetition

This is the art of responding to the soloist‟s call with a short phrase or word.

This is evident in Agu‟s “The spirit of the Lord” as seen in bars 172 till 175

below:

88

Fig. 5a

In the same vein, the researcher employs the same material in his “O give thanks

to the Lord” as seen in bars seventeen (17) through twenty (20) below:

Fig. 5b

4.8 The Use of Counterpoint

This is the ability, unique to music to say two things at once comprehensibly.

Derived from the expression punctus contra punctum, (point against point or note

89

against note). Agu has successfully utilized this material in his music titled “The

spirit of the Lord” as is seen from bar fifty-eight (58) through (64) below:

Fig. 6a

The researcher has imitated Agu in his attempt to express himself in his

music contrapuntally as seen in the same piece above in bars sixty-three (63) to

sixty-six (66) below:

Fig. 6b

90

4.9 The Use of ostinato and chorus refrain

However, the researcher has tried to digress a bit from the total style and

techniques of Dan Agu. For the sake of varieties, the researcher has used the

material Ostinato in one of his works. Ostinato simply means a persistent musical

phrase or rhythm (Kennedy 2007:555).While (Harman 1962:388) defines it as a

continuous set of variation built on a short recurring motive.

Fig. 7a

91

92

93

Fig. 7b

94

Conclusively, the analysis of Agu‟s works in comparison to that of the

researcher has shown the interrelatedness of music creativity in terms of

composition. By way of analysis, it has been proved and shown that certain

elements/materials present in these works x-rays the framework of the

compositions so that anyone can have full knowledge and understanding of the

works. Achinivu 2003 supported the above assertion by saying:

95

By analyzing many more works, simple and complicated, the student

broadens his musical horizon and learns and appreciates more and

more the works he studies, plays or sings. Analysis can be a useful

and effective way or means of achieving musical growth and should

be used effectively by students and teachers (p.62).

The same authority in music theory and analysis also buttressed his point

in the following words:

Through analysis, the various elements of musical architecture

become less technical and less day to music students. Conversely, by

their application of the knowledge they have musical elements and

concepts in the analysis of a piece of music, they obtain greater

insight into and understanding of musical design and content of form

(Achinivu 2003:55).

96

CHAPTER FIVE

SUMMARY AND CONCLUSION

In this chapter, the researcher goes a long way to bringing the synopsis of

this research work as exemplified in Dan Agu, his choral styles and techniques

evident in his works.

Many art musicians are yet to be discovered and have their works studied.

The study of Dan Agu‟s styles and techniques of composition has really

broadened the horizon of the researcher in terms of fundamental usage of musical

elements and materials especially as it concerns composition. Yet, it is now

pertinent for us to look beyond the satisfaction that music provides, and take into

considerations what may stand the test of time in terms of taking bold steps to

highlight and showcase the musicians that provide music be it functional or

contemplative. It has been noted that this aspect of documenting the biographies

of our indigenous musicians has not been given its needed attention by our

indigenous researchers in the music profession

Dan Agu is a great art/choral musician of great repute both nationally and

internationally especially when it comes to church music. Dan, as a graduate of

music and a core practicing musician, teaches theory of music, composition and

ethnomusicology at the post-graduate levels. His creative ingenuity manifest in

97

the number of his through composed pieces and arranged works both in English,

Igbo, Hausa, Yoruba, Ibibio, Ijaw and Delta dialects.

Despite the fact that Dan Agu acquired so much of Western compositional

techniques in the course of music study both here in Nigeria and over-seas, most

of his compositions are full of African idiomatic expressions which catch the

taste of his audience. Idamoyibo in his article (2003) states that:

An artiste should be able to stimulate an awareness (that is striking)

of the concrete manifestation of his works in the minds of his

audience both locally and internationally. He must be capable of a

high level of artistic sensibility that is mixed with the order of

beauty (aesthetics) and design that is applicable to his art (p.65).

Dan is not only a music composer but also a music scholar, educator, critic and a

vibrant music director who directs and conducts many private and church choirs.

He is indeed versatile and creative in his performances /output.

In the Nigerian larger society, both academic and non-academic musicians

were variously regarded and described as being wayward, irresponsible and

dishonest. That is why many parents cannot boldly stand to encourage their

children and wards to take up music study as career. On the contrary, Dan is

disciplined, hardworking and respected amongst his peers, colleagues and

contemporaries.

98

Conclusively, this research work is focused on the application of Dan

Agu‟s choral styles and techniques in three sacred compositions, highlighting the

influences and motivational factors that poised him into the study of music as a

career. His impacts, obstacles, contributions as a music composer were

highlighted and finally exploration of his significant compositional elements that

make his music unique, stand the test of time as he has left legacies as far as

music practice is concerned in Nigeria.

99

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POST GRADUATE EXAMINATION RESULT

(COURSE WORK)

Name of Student … EWULU, Izuchukwu J................. Reg. No

…PG/MA/07/43607….

Postgraduate Course ……Master of Arts……………… Year of Entry

………2007…………………

Faculty …………Arts……………………………………………….. Department

……Music…………………

Dept. Course

No.

Title of Course Units Grade Points Remarks

MUS 500 Seminar I 2 C 3

MUS 501 Seminar II 2 C 3

MUS 530 Analytical and Stylistic Studies 4 B 4

MUS 531 Advanced Composition 4 A 5

MUS 532 Advanced Harmony and Counterpoint 4 A 5

MUS 534 Advanced Ear Training 4 C 3

MUS 536 Project 8 B 4

Name Signature Date

(i) External Examiner

……………………………………………………………………………………………………

……………

(ii) Internal Examiner

……………………………………………………………………………………………………

……………

(iii) Internal Examiner

……………………………………………………………………………………………………

……………

(iv) Head of

Department………………………………………………………………………………………

………………………

(v) Dean of Faculty

……………………………………………………………………………………………………

…………………

Grading System Points A – Excellent - 5.00

B – Very Good - 4.00

C – Good - 3.00

D – Fair - 2.00

E – Pass - 1.00

F – Fail - 0.00