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The Anatomy of the Solemn in Ezenduka’s “Lee Nnukwu Ukochukwu”
Abstract
Among Igbo liturgical music composers of the last fifty years, Ezenduka has
stood tall like a mountain peak in a range of many mountains. The popularity
of his compositions has provoked unusual interest among sacred musicologists and ethnomusicologists. The search for the basic and unique elements of his compositional style has inadvertently led to the isolation of solemnity as an overriding characteristic. This work is an attempt to analyze both the intra-musical qualities of one of his best, “Lee Nnukwu Ukochukwu” as well as the extra-musical components and endowments that have shaped his style, transforming it into a veritable model for Igbo liturgical music.
stood tall like a mountain peak in a range of many mountains. The popularity
of his compositions has provoked unusual interest among sacred musicologists and ethnomusicologists. The search for the basic and unique elements of his compositional style has inadvertently led to the isolation of solemnity as an overriding characteristic. This work is an attempt to analyze both the intra-musical qualities of one of his best, “Lee Nnukwu Ukochukwu” as well as the extra-musical components and endowments that have shaped his style, transforming it into a veritable model for Igbo liturgical music.
