Paul Archibald Sounding Out

Classical music is a rich global tapestry, and African composers have added their own vibrant threads to it. By blending traditional rhythms, melodies, and stories from their cultures with European influences, they’ve created something truly special. Pioneers like Nigeria’s Fela Sowande and Ayo Bankole, with works such as African Suite for Strings and African Suite, introduced fresh, cross-cultural sounds to classical music. Looking into their lives, musical styles, and lasting influence shows how African heritage continues to shape and broaden the world of classical music.

Fela Sowande (1905-1987)
African Suite (1944) V. Akinla
Menhuhin School Senior Orchestra
Otis Enikidu (conductor)

Ayo Bankole (1936-1976)
Ya Orule (1957)
Rebecca Omordia (piano)

Christian Onyeji (b. 1967)
Amuworo ayi otu nwa (approx. 1992)
Chicago a Cappella

Nkeiru Okoye (b. 1972)
Voices Shouting Out (2002)
Central Washington Symphony Orchestra
Wesley Hunter (conductor)

Kwaku Boakye-Frempong
Sinfonietta Sub-Sahara (approx. 2010) , Movement III
Kwaku Boakye-Frempong Ensemble

Fela Sowande (1905-1987)
African Suite (1944) V. Akinla

Fela Sowande, whose full name was Olufela Obafunmilayo Sowande, was born in May 1905 in Abeokuta, Nigeria. His father, an Anglican priest, played a major role in shaping Nigerian church music, and it was through him that young Sowande was introduced early on to both European classical and Yoruba church music. He later earned a Fellowship Diploma from the Royal College of Organists while in Lagos.

In 1934, Sowande moved to London to deepen his musical studies. He earned a Bachelor of Music degree from the University of London, became a Fellow of Trinity College of Music, and immersed himself in both classical and popular music scenes. During this time, he worked in a variety of roles – as a church organist, BBC theatre organist, dance pianist, bandleader, and choirmaster. In 1936, he even performed as the solo pianist for George Gershwin’s Rhapsody in Blue.

During World War II, Sowande composed for the British Ministry of Information and later joined the BBC Africa Service. When he returned to Nigeria in 1953, he became the musical director of the Nigerian Broadcasting Service and lectured at the University of Ibadan. Two years later, in 1955, he was honored with an MBE (Member of the Order of the British Empire). He was also among the six judges who helped select the Nigerian National Anthem in 1960.

In 1968, Sowande moved to the United States, where he held teaching positions at Howard University, the University of Pittsburgh, and Kent State University until his retirement in 1982. Throughout his career, he composed for organ, choir, and orchestra, skillfully weaving Nigerian melodies and rhythms with European classical forms. Sowande passed away in 1987 in Ohio, leaving behind a legacy as a pioneering composer, scholar, and ambassador for African art music.

One of his most celebrated works, The African Suite, was written in 1944 during his years in London. Scored for string orchestra and harp, it features five movements, each evoking a distinct mood. Akinla – the  lively finale – is driven by a Highlife dance rhythm, merges African, Caribbean, and European influences into a joyful celebration. The African Suite beautifully unites West African melodies from Nigeria and Ghana with the lush orchestration of Western classical music. Originally broadcast by the BBC for African audiences, the work perfectly embodies Sowande’s vision of blending African folk heritage with classical traditions to create a truly cross-cultural sound.

Ayo Bankole (1936-1976)
Ya Orule (1957)

Ayo Bankole was born on May 17, 1935, in Jos, Nigeria, into a deeply musical family – his father was both an organist and choirmaster. With such a rich musical background, it was no surprise that Bankole pursued music seriously from an early age. He studied at the Guildhall School of Music and Drama in London on a Federal Government scholarship, where he also served as organist and choirmaster at St. James-the-Less Church. He later continued his studies at Clare College, Cambridge, and the University of California, Los Angeles (UCLA). After returning to Nigeria in 1966, Bankole became Senior Producer in Music at the Nigerian Broadcasting Corporation in Lagos. Three years later, he joined the University of Lagos as a lecturer, where he played a key role in developing music education and fostering talented choral groups.

Bankole became well known for his distinctive style, which blended traditional Yoruba music with Western classical techniques, particularly in his liturgical and choral works. He founded and conducted several choirs, including the Choir of Angels and the Lagos University Musical Society, inspiring a generation of performers and musicians. His compositions include Ya Orule, Nigerian Suite, and several pieces of Christian liturgical music in Yoruba. Ya Orule – one of his earliest major works, composed for piano while studying in London — beautifully captures his early fusion of Nigerian and Western musical idioms. Other highlights from his output include Nigerian Suite (piano, 1957), Three Yoruba Songs (1959), Toccata and Fugue (organ, 1960), Cantata No. 1 in Yoruba, and Sonata No. 2: The Passion (piano, 1959).

Tragically, Ayo Bankole’s life was cut short when he was murdered in Lagos in 1976. Despite his untimely death, his influence endures through his pioneering work in Afro-classical fusion and his lasting contributions to Nigerian choral and art music traditions.

Christian Onyeji (b. 1967)
Amuworo ayi otu nwa (approx. 1992) For unto us a child is born

Christian Onyeji was born on August 15, 1967, in Imo State, Nigeria, into a family deeply connected to the country’s musical traditions. His roots in indigenous Nigerian music have shaped his lifelong commitment to blending traditional sounds with modern artistic expression. He holds a Doctor of Music degree from the University of Pretoria in South Africa, along with a Master of Arts in Composition, a Bachelor of Arts in Music, and a Diploma in Music Education – all from the University of Nigeria, Nsukka.  Onyeji began his academic journey there as a Graduate Assistant in 1992 and rose through the ranks to become a full Professor of Music in 2009.

Internationally recognized as a composer, educator, and scholar, Onyeji is best known for his innovative Research-Composition approach, which merges ethnomusicological research with contemporary African art music. His compositions cover a wide range – from symphonic works and choral pieces to piano music and vocal solos – and often weave African traditional rhythms and styles into modern classical frameworks. Beyond composing, Onyeji’s research has focused extensively on traditional African music, especially the musical forms of the Botswana people in South Africa.

Throughout his career, he has served in several leadership roles at the University of Nigeria, including Dean of the Faculty of Arts, Head of the Department of Music, and Associate Dean of Postgraduate Studies. He is also active internationally, participating in music organizations, editing scholarly journals, and contributing to important discussions on decolonizing African music and advancing contemporary African art music.

One of his best-known works, Amuworo ayi otu nwa (meaning For unto us a child is born in Igbo), was written around 2007 as a choral anthem for modern Nigerian church worship. It features lively polyrhythms, layered textures, and dance-like energy typical of Igbo music, merging traditional and classical techniques. Scored for SATB choir, the piece draws on call-and-response patterns and tonal language influences, and is often performed either a cappella or with traditional African instruments for a fuller sound. Culturally, Amuworo ayi otu nwa represents the spirit of hybridity in Nigerian choral music – joyfully blending Igbo musical expression and Western harmony to celebrate Christmas in a distinctly African way.

Nkeiru Okoye (b. 1972)
Voices Shouting Out (2002)

Nkeiru Okoye was born on July 18, 1972, in New York City to an African American mother and a Nigerian Igbo father. After her parents’ separation, she grew up on Long Island, where her love for music began early. She started learning piano at age eight and was already composing by thirteen. Okoye went on to study at the Manhattan School of Music’s Preparatory Division, earned her Bachelor of Music in Composition from Oberlin Conservatory in 1993, and later completed her PhD in Music Theory and Composition at Rutgers University under the mentorship of Noel Da Costa. She is a Guggenheim Fellow and the winner of the 2023 American Prize in Vocal Chamber Music for her work We Met at the Symphony. She also received the first International Florence Price Society award. In addition to composing, she has taught at Norfolk State University, Morgan State University, and SUNY New Paltz, and serves on the board of Composers Now!

Okoye’s music defies genre boundaries, blending elements of classical, gospel, jazz, R&B, folk, and African diasporic traditions. Her works often highlight improvisation and carry strong social and historical messages, exploring themes of identity, resilience, and justice. Among her most celebrated pieces are the opera Harriet Tubman: When I Crossed That Line to Freedom and orchestral works such as Voices Shouting Out and Charlotte Mecklenburg. Her compositions have been performed by major ensembles including the Philadelphia Orchestra, Baltimore Symphony, Houston Grand Opera, and the Moscow Symphony Orchestra. Okoye’s music frequently honors African American stories and voices, shedding light on figures like Phillis Wheatley and Trayvon Martin. Her research into Black composers has helped her develop an authentic and powerful artistic voice that bridges history and activism through sound.

One of her standout orchestral works, Voices Shouting Out (2002), was written in the months following the events of 9/11. As a native New Yorker, Okoye began sketching the piece on New Year’s Eve of 2001–2002, channeling her emotions into a vibrant, five-minute work for full orchestra. Instead of mourning, the piece celebrates resilience and renewal, bursting with energy through bold brass fanfares, pulsing polyrhythms, and soaring string melodies. Since its premiere by the Virginia Symphony Orchestra, Voices Shouting Out has been performed by ensembles such as the Louisville Orchestra and Triangle Wind Symphony, and featured in festivals spotlighting composers of African descent. It stands as a musical statement of defiant hope – reflecting Okoye’s signature blend of classical form, African diasporic rhythm, and an activist’s heart.

Kwaku Boakye-Frempong
Sinfonietta Sub-Sahara (approx. 2010) , Movement III

Kwaku Boakye-Frempong was born on March 22, 1995, in Nelspruit, South Africa, to Ghanaian parents. His father, Yiadom Boakye-Frempong, was a college lecturer who encouraged his early love for music. Kwaku began composing and arranging at just fifteen, quickly developing a passion for blending tradition and innovation through sound. He earned his Bachelor of Arts in Music from Wisconsin International University College in Accra, Ghana. Over more than nine years, he has built a career as a Ghanaian composer of art music, arranger, and orchestral composer for films, short features, and documentaries. His growing catalogue includes an oratorio in 41 movements, a mass, and several creative mashups of works by Ghanaian composers.

Kwaku’s music often reflects Ghana’s history, culture, and natural environment. He writes both instrumental and vocal pieces that cross classical and contemporary styles and frequently collaborates with other artists as an arranger, including composers like Victor Manieson. His works have been featured at events such as the Chorale and Composer’s Festival, and his Stabat Mater premiered on April 10, 2022, at the Holy Spirit Cathedral in Accra. He has also been invited to share his insights in masterclasses and on podcasts exploring the future of classical music in Africa.

One of his standout compositions, Sinfonietta Sub-Sahara, captures his signature intercultural approach. The orchestral piece merges Ghanaian traditional rhythms and folk melodies – drawing from Apatampa and Agbadza musical traditions –  with Western symphonic structure. The piano part, inspired by Akin Euba’s theory of African pianism, evokes drumming textures to reflect the vibrant pulse of Sub-Saharan music. Through this fusion, Sinfonietta Sub-Sahara creates a dynamic narrative of African heritage and modern artistry, designed for both performance and study.

Culturally, the piece pays tribute to Ghana’s rich musical legacy, standing alongside works like Boakye-Frempong’s Sankofa Symphony in honoring pioneers such as Philip Gbeho and N.Z. Nayo. Together, his compositions continue the mission of bringing indigenous Ghanaian sound worlds into the modern orchestral space.