Thursday, 15 December 2016

Happy Birthday to my dearest self!

To quote my famous Author Dr. Seuss:
“I am what I am.
That’s a great thing to be.
If I say to myself, 
“Happy Birthday to me!”
It means a great deal to me!
It’s my favorite kind of day!
I can’t wait for lots of laughs,
Lots of cakes, and lots of love!
Happy Birthday to my dearest self!
Inocent Igiri



Wednesday, 14 December 2016

Igiri Innocent: Again, Again, and Again, Trump has done it. Bang. Rex Tillerson for Sec. of State

Igiri Innocent:     Again, Again, and Again Trump has done it.  Bang.  

Another fascinating, deep, insightful choice –

Exxon CEO Rex Tillerson has been picked for Secretary of State. 

What should everyone know about this pick? 

Exxon’s Chairman and CEO, Rex Tillerson is another novel choice, as edgy in diplomacy as he is proven in business.  First, Rex Tillerson is an engineer by trade. He is also an accomplished manager.  That is two legs up on most of the State Department.

For almost two decades Tillerson has managed Exxon’s holdings in Russia and the Caspian Sea.  That alone suggests potential negotiating depth needed to resolve the Ukraine/Crimea problem with Russia, emphasis on economic variables and mutually agreed geopolitical and sovereignty considerations.  The wider world would celebrate it.

What else is knowable and what might it mean for American diplomacy?  Tillerson’s age and depth in global “big picture” and “big power” sensitivities may, in fact, dovetail exceptionally well with former General Officers likely to lead Defense, Homeland Security, and the National Security Council.  Those who have been around the block, albeit in different directions, tend to know the block.

In favor of balance when it comes to preserving pro-United Nations international trade relationships – and avoiding any sudden tips toward runaway protectionism Tillerson is obviously close to Russia and his ties include the Center for Strategic and International Studies, Business Roundtable and Business Council; but in an age where strains and miscommunication have been the hallmark of American diplomacy, with Russia and the world, there is room for improvement in that relationship, as there is with others globally.

Anyone who has spent time on the 7th floor of the U.S. State Department knows that being Secretary of State is about one-on-ones, personal and unblinking, detailed and bilateral connectivity.  That is how you get results in diplomacy, whether on that floor or flying around the world.

John Foster Dulles used to command attention – and get significant results – with presence and wit, focus on person and detail.  Colin Powell did the same thing.  One-on-one is where proverbial rubber meets road, where trust forges agreements, and the agreements do not get broken.


 John Kerry, Mrs Clinton and the likes are the real cause of major problems in the world following their dengarous policies as cited by Rep leaders. 


Igiri Innocent: Garbage for Cash, send them to Sweden; Trash turns Treasure in Sweden

Igiri Innocent: Garbage for Cash, send them to Sweden; Trash turns Treasure in Sweden
The biggest performer when it comes to sorting and recycling waste is Sweden. Right now, Sweden is in the rare situation of lacking garbage at its incineration centres, which produce enough electricity to supply 250,000 homes and heating for 950,000 homes
It is well known that Sweden is so good at recycling that, for several years, it has imported rubbish from other countries to keep its recycling plants going. Less than 1 per cent of Swedish household waste was sent to landfill last year or any year since 2011.
A lot of countries in the world can only dream of such an effective system which is why they end up paying expensive transport costs to send rubbish to be recycled overseas rather than paying fines to send it to landfill. In Nigeria for instance, it is a crime to drop trash in peoples’ land anywhere.
Nigeria has made strides in the proportion of waste recycled under an AU target of 50 per cent by 2020. This has underpinned hundreds of millions of Dollars of investment into recycling facilities and energy recovery plants in Nigeria, creating many jobs. We’re not quite at that target yet. Recycling in Nigeria peaked at around 20 per cent of all waste in 2015. 
In the UK, provisional figures from the ONS have shown that figure has dropped to 44 per cent from above 45 per cent in 2014 as austerity has resulted in budget cuts. The decision to leave the EU could be about to make this situation worse. While Europe is aiming for a 65 per cent recycling target by 2030, the UK may be about to fall even further behind its green neighbours.
Why do we have to send waste to Sweden? Sweden has a culture of looking after the environment; that’s why their system is so far ahead. Sweden was one of the first countries to implement a heavy tax on fossil fuels in 1991 and now sources almost half its electricity from renewables. 
Anna-Carin Gripwall, director of communications for Avfall Sverige, the Swedish Waste Management’s recycling association said that they firstly worked on communications for a long time to make people aware not to throw things outdoors so that they can recycle and reuse,
Undoubtedly Swedish people are quite keen on being out in nature and they are aware of what they need do on nature and environmental issues.
Ms Gripwell says “Over time, Sweden has implemented a cohesive national recycling policy so that even though private companies undertake most of the business of importing and burning waste, the energy goes into a national heating network to heat homes through the freezing Swedish winter. “That’s a key reason that we have this district network, so we can make use of the heating from the waste plants. In the southern part of Europe they don’t make use of the heating from the waste, it just goes out the chimney. Here we use it as a substitute for fossil fuel.”
Ms Gripwall says the aim in Sweden is still to stop people sending waste to recycling in the first place.
“Miljönär-vänlig” movement, a National Campaign body has for several years promoted the notion that there is much to be gained through repairing, sharing and reusing. 
Ms Gripwall describes Sweden’s policy of importing waste to recycle from other countries as a temporary situation. She says “There’s a ban on landfill in EU countries, so instead of paying the fine they send it to us as a service. They should and will build their own plants, to reduce their own waste, as we are working hard to do in Sweden.” “Hopefully there will be less waste and the waste that has to go to incineration should be incinerated in each country. But to use recycling for heating you have to have district heating or cooling systems, so you have to build the infrastructure for that, and that takes time,” she added.
Swedish municipalities are individually investing in futuristic waste collection techniques, like automated vacuum systems in residential blocks, removing the need for collection transport, and underground container systems that free up road space and get rid of any smells.
Sweden’s heating network is not without its detractors. They argue that the country is dodging real recycling by sending waste to be incinerated. Paper plant managers say that wood fibre can be used up to six times before it becomes dust. If Sweden burns paper before that point it is exhausting the potential for true recycling and replacing used paper with fresh raw material.

And what will Sweden do if countries stop sending it rubbish to feed its heating system? Ms Gripwall says the Swedes will not freeze – they have biofuels ready to substitute for their exported waste.



Igiri Innocent: A Country in North Africa facing severe dust storms

Igiri Innocent:  A Country in North Africa facing severe dust storms

Sudan a country in Africa, which is home to over 40 million people could become an uninhabitable desert in the next 100 years.
The North African country is facing desertification and severe dust storms.
A report from the United Nations Office for the Coordination of Humanitarian Affairs found that the poor quality of farmland and lack of access to water has already seen over  1.9 million people facing reduced agricultural and livestock production. And a whopping 3.2 million are found to be facing water shortages.

Sudan's Minister of Environment Hassan Abdel Gadir Hilal in the country's adaptation plan wrote "Climate change is not merely an environmental issue that is defined by precipitation and temperature changes; it represents a serious sustainable development problem that affects everyone in our country,"

Kordofan is home to about Thirty million people; the region is vulnerable to erosion and drought.

Already, a total of 4.6 million people in Sudan are currently facing food insecurity. And that's just very little to what will happen if the effects of climate change continue to ravage the region.
Climate scientist Jos Lelieveld told CNN that "North Africa in general is hot and is strongly increasing in temperature, at some point, part of North Africa region will become uninhabitable,"

Sudan ranks at 98 out of 113 countries on The Economist's Global Food Security Index.

Sudan Academy of Sciences Journal reported that the region's temperature is expected to rise by as much as three degrees Celsius by 2060. According to that report, two thirds of Sudan's population live in rural areas, which are likely to be the hardest hit by any temperature increases.



Sunday, 11 December 2016

IT BEGAN WITH what he saw in the bathroom mirror


Alzheimer’s  A LIFE-CHANGING MUSIC




IT BEGAN WITH what he saw in the bathroom mirror. One early morning, Chief Okwukwe Chris padded into the shiny bathroom of his Onitsha apartment. He casually checked his reflection in the mirror, doing his daily inventory. Immediately, he stiffened with fright.

Huh? What?

He gazed saucer-eyed at his image, thinking: Oh, is this what I look like? No, that’s not me. Who’s that in my mirror?

This was in late 2012. He was 79, in his early months getting familiar with retirement. For some time he had experienced the sensation of clouds coming over his mantling thought. There had been a few hiccups at his job. He had been a Doctor who climbed the rungs to health care executive. Once, he was leading a staff meeting when he had no idea what he was talking about, his mind like a stalled engine that wouldn’t turn over.

Then there was the day he got off the subway at Obinna Street and Iweka Avenue unable to figure out why he was there.


Chief Okwuke didn't recognize the face looking back at him. It was just one sign that something was going wrong.
So, yes, he had inklings that something was going wrong with his mind. He held tight to these thoughts. He even hid his suspicions from Mrs Chris, His wife who chalked up his thinning memory to the infirmities of age. “I thought he was getting like me,” she said. “I had been forgetful for 10 years.”

But to not recognize his own face! To Mrs. Chris, this was the “drop-dead moment” when he had to accept a terrible truth. He wasn’t just seeing the twitches of aging but the early fumes of the disease.

He had no further issues with mirrors, but there was no ignoring that something important had happened. He confided his fears to his wife and made an appointment with a neurologist. “Before then I thought I could fake it,” he would explain. “This convinced me I had to come clean.” “Do you know that I nearly took someone to be someone at the classical music concert yesterday?” he said to his wife.

In November 2012, he saw the neurologist who was treating his migraines. He listened to his symptoms, took blood, gave him the Mini Mental State Examination, a standard cognitive test made up of a set of unremarkable questions and commands. (For instance, he was asked to count backward from 100 in intervals of seven; she had to say the phrase: “No ifs, ands or buts”; she was told to pick up a piece of paper, fold it in half and place it on the floor beside her.)

He told him three common words, said he was going to ask him all the words in a little bit. He emphasized this by pointing a finger at his head — remember those words. That simple. Yet when he called for them, he knew only one: Eze. In him mind, he would go on to associate it with the doctor, thinking of him as Dr. Eze.

He gave a diagnosis of mild cognitive impairment, a common precursor to Alzheimer’s disease. The first label put on what he had. Even then, he understood it was the footfall of what would come.

Every 60 seconds, with monotonous cruelty, Alzheimer’s takes up residence in another African. Degenerative and incurable, it is democratic in its reach. People live with it about eight to 10 years on average, though some people last for 20 years. More than five million Africans are believed to have it, two-thirds of them women, and now Chief. Chris would join them.

The disease, with its thundering implications, moves in worsening stages to its ungraspable end. That is the familiar face of Alzheimer’s, the withered person with the scrambled mind marooned in a nursing home, memories sealed away, aspirations for the future discontinued. But there is also the beginning, the waiting period.


Right now, he remained energized, in control of his life, the silent attack on his brain not yet in full force. But what about next week? Next month? Next year? The disease would be there then. And the year after. And forever. It has no easy parts. It nicks away at you, its progress messy and unpredictable.

“The beginning is like purgatory,” he said one day. “It’s kind of a grace period. You’re waiting for something. Something you don’t want to come. It’s like a before-hell purgatory.”
But there is a confirmed solution to that, “MUSIC THERAPY”, musically known as musical-bath.

In Chief Chris health care career, he had seen Alzheimer’s in action. Now he would live it, in high resolution. Those who learn they have the disease often sink into a piercing black grief, try to camouflage their symptoms from a dismissive world as they backpedal from life. Chief Chris was wired to absorb adversity, and he pictured Alzheimer’s differently, with gumption and defiance and through a dispassionate, unblinking lens, but yet he summoned courage to confront it with classical music therapy.




Igiri Innocent

Wednesday, 7 December 2016

Life of the Africanist….in Music of the Trump-rule (by Igiri Innocent)

Life of the Africanist….in Music of the Trump-rule (by Igiri Innocent)
Thanks to Time Magazine… The tradition has been the same.. evergreen

@TIME doesn’t honour its favourite person of the past year but recognises the individual(s) who have had the biggest political and/or cultural impact.
The profile covers whichever person, group, idea or object that “for better or for worse...has done the most to influence the events of the year”. It has great influence in the mindset of Africans, most especially those who are classical music oriented.
I guess people can be forgiven for missing this clarification, but a quick look at previous winners ought to tell you it’s not about picking positive world influences….  
For example: in 1938, Adolf Hitler was named Person of the Year (then 'Man of the Year'), followed the next year by Joseph Stalin.
Moreover, with a couple of exceptions, every President of the United States of America has been named Person of the Year, almost always in the year they are first elected.
Learn to love and cherish classical music in African society.

Trump, who delivered one of the biggest shock election victories in history, has caused a seismic shift in politics that will be felt all around the world.
He was chosen by TIME from a shortlist that also included Hillary Clinton, Vladimir Putin, Simone Biles, Beyoncé Knowles and Mark Zuckerberg.
Thanks to @TIME #TIMEPOY #TIMEMAGAZINE





Igiri Innocent

Tuesday, 6 December 2016

Darkness & Water that fills the Earth before Creation! Pieces by Igiri Innocent

3 most cherished organ pieces

First is      -             “LOVE DIVINE, ALL LOVE EXCELLING”

Apart from the spiritual connotation which richly accords this piece, it is apparently designed with joys of sounds which echoes “live” this live is seen in all around us; in contest, love is live. So where we display love, live inevitably is created. What am I saying? Now, through the windows of classical music, study of organ sounds and music psychology teachings- humans grabs an important communication through sound than sight. Thus I can see someone running but if I do not hear shouts like; Thief! Thief!! I will only presume that you are doing excises. But if I hear shouts like; Thief! Thief!! Without even seeing any one on the run I will adjust myself and take some certain measures. Or maybe I hear shouts like; Fire! Fire!! Without seeing any smoke or seeing people running, I will definitely take some actions. So it is that some persons do not require physical expressions of love to begat live, but they earnestly wait for the right force which has the key of turning their precious persons into live transmitting agents. Those type of people prefer to judge a musical competition not by sight (fineness of the performer) but by sound (the quality of the artistic skill and level of reasoning). 

Now, some music writers like; C. Wesley was so blessed with great minds that their imaginations surpass what we call monogamous text in music literature. Their music is entirely mature for marriage in tonology. Their sounds and lyrics remain undisrupted no matter the tunes used to present them. Some people don’t need a preacher man to speak to them about love or any people to show them love in the presence of these sounds which accompanies these lyrics. They want you to allow the sounds to do its job. And trust me; they get every bit of that message even more than they would have grabs spoken word. 

Happily there are good Church organs in African Churches today listeners can depend on when it comes to nature mellowed sounds that will depict a communication that exist before reason. And more, happily, African has produced many renowned, seasoned, potential and well-trained organ recitalists who understands and sees beyond black & white keys or five lines & four spaces. Performers who always tend to communicate the hidden message of the art in clarity. These young & old women and men took their art in suptuum and endeavors  to study the history, symbolism & science of every phase of structural piece before performance, to technically extract points and intent of the writer or composer; and as well show some level of their human comprehension ability in their performance. These People are “able to tell stories without making use of spoken words” they are able to explain, yet without words, they are able to make vivid the intention of a theorist or a philosopher. I can go on and on… 

These aforementioned synopses are what usually ignite every tropism into being addicted to certain melodies; like “LOVE DIVINE ALL LOVE EXCELLING”. 

Permit me to recommend this wonderful piece for your perfect meditation tune. As a German trained organist whose performance experience spans over 10 years now, I see myself qualified to present and recommend sound musical works based on my tendentious analysis of their components and divisional proportion. 
Performing this very piece with 3 manual organ @ Ave Maria Cathedral Anvil, Conakry, Guinea; I was aware of the story I was about to tell. “A STORY OF THE CREATION AND DIVINITY” 

In the Intro (prelude) - I spoke of darkness & water that fills the earth before time and the Mighty Spirit of Yahweh that dwells upon it. Just try to imagine the depth of that water, her purity that made her suitable for Magnificent Spirit of Yahweh. I did not need tremulants effects to achieve a clear communication. All I did was 32, 16, 8, 4 of Bourdons + Flutes.

In Verse 1   -   I spoke with tenderness of the created things; LIGHT, DAY & NIGHT, EVENING & MORNING, FIRMAMENT HEAVEN, DRY LAND (EARTH), SEA, GRASS, HERB, TREE, TWO GREAT LIGHTS, STARS, ABUNDANCE OF LIVING CREATURES, WINGED BIRDS, MAN IN THE IMAGE OF GOD; and I spoke with humility of their groaning to salute (worship) their Maker in tongues that could only be understood by the Spirit of their Maker.  I carefully progress to tutti A, B with new foundations involving 8, 4, 2, mixtures of Principal + Flutes of well-structured mind and body.

In Verse 2   -  I spoke of man with confidence and boldness which the Spirit gives; asserting his authority over other created things that be. I equally spoke of the Maker’s grace, tolerance and punishment for man’s disobedience. I recognized the openings of various scenes of life; of good & evil; of death, suffering in childbirth & earnings; and finally, of a great promise of a Messiah to come, whose birth, life, death, and resurrections will surely deliver man into life everlasting through his graces. I built a special sequence of what looks like Fibonacci Mathematical progression to illustrate the stages with immutaions 1’ 2’ 9th of Strings in solo. 

In Verse 3   -   I spoke of man moving on in life after a very grievous fall. He was sent out of Paradise but his journey was never ended, he moved on. He finally ends up dying a death in obedience to the law of his Maker; dust you are and unto dust you must surely return. I muted the pedals to give credence to the grandeur of all things yielding to its final rest through Him and in Him. Making use of simple foundations of 8, 4, 2 of Principals & Flutes coupled.

I invite you to sit and listen to this work via my youtube channel @ INNOCENT IGIRI

TO BE CONTINUED WITH THE SECOND & THIRD…. CHECK IT OUT



Tuesday, 8 November 2016

SECRETS OF HAVING SOUND MINDSET ALWAYS: listening to classical music just once a week is enough to boost sound mindset and brain performance levels.

SECRETS OF HAVING SOUND MINDSET ALWAYS


If you're worried you're not having sound mindset and brain composure as an African, fear not.






A recent study by Palm House of Opera & Creativity suggested that listening to classical music just once a week is enough to boost sound mindset and brain performance levels.

Obviously listening to just more than once a week will increase the level of healthy performance of mind and brain, including how happy you'll feel.


Led by learned and experience professionals of classical music the report analyzed data from two surveys - including a 10-year study of over 1,000 people - to draw these conclusions. Participants were drawn from different works and levels of life.

While the professionals discovered associations between classical music, brain and mind activities, and happiness levels, the most interesting conclusion they drew was that the benefits of classical music leveled out at listening at least once a week to that genre of music.

Study leader Professor Dan Udo told Palm Team: I do think Africans can end up feeling sense of belonging, responsible, and inventive only by engaging in classical music as frequently as possible. Once a week is maybe a more realistic plan to set than thinking you have to listen to classical music every day, and that feels overwhelming, and you avoid it.
He added that once a week was an average, and so Africans having more frequent classical music engagements should not be inclined to "cut down".

"Certainly there are Africans for whom listening to classical music or engaging in it less frequently will be fine to their happiness, and there are Africans who will get increases in happiness, brain/mind activities if they listen or engage in classical music  more than once a week."

Africa is Music!
Music is Africa









IGIRI INNOCENT

Sunday, 30 October 2016

Women and their rightful place: “Women have a vital role to play in conserving the good values of classical music in Africa" (By Igiri Innocent)


Women and their rightful place in Classical music in African continent




Since the beginning of 20th century, the drive to bring/include women into their rightful place at the heart of every human affair has grown so powerful ever since then.

“Women have a vital role to play in conserving the good values of classical music in Africa, preventing decay of the art and building/maintaining the reverend culture. But although this is now widely recognized, far too often, women are prevented from full participation in some classical music fares”.

The observation – which was addressed by the Executive Director of Empowerment of Women (UN Women), Phumzile Mlambo-Ngcuka – was on ‘women and peace and security’ on 31 October 2000.

Rita Lopidia, Executive Director of EVE Organization for Women Development, South Sudan, also addressed the point on behalf of the Non-Governmental Organizations (NGO) Working Group on Women.

Far too often, women are prevented by some believe or by their parents from full participation in some classical music fares in Africa. The observations reaffirms the important role of women in the preservation and promotion of classical music culture in Africa and stress the importance of their equal participation and full involvement in all aspect of it.

The truth is that some progresses already made on this area of art are under threat of being destroyed if serious action is not been taken to amplify women’s actives participation and engagement in classical music in Africa.

Furthermore, I have observed that women’s presence and/or participation in classical music performances/fares are highly welcomed as a promising factor for music architectural development in African society.

When I organized a concert at the University of Lagos Nigeria in 2014, there were 40 women between ages 8-30 from 27 states in performance at that event for the purpose of promoting African women classical music skills. Today, various music centres have embraced the idea of always including women in performance at all classical music concerts.

Hundreds of thousands of women and girls are being helped and supported by UN, AU, and other NGOs programs in different training in Africa. Such training includes musical instrument skills and other musical training. Despite all these trainings, African women remain underutilized in that area.

In every classical music concerts in Africa, there may be one woman in performance and ten in audience. And all this is not a good record judging from all other records across Europe.
By failing to constantly include enough women in the activities of classical music or by failing to allow them to actively participate in classical music events in Africa ‘we are failing the World in general”. 

To carry this campaign forward, I would like to advocate few steps

First, all reports and briefings on classical music activities in African continent should seek information on women and girls participation. “Without relevant information, growth in that sector as it relate to Africa will never meet the expected target. Too often, what is not counted, does not count.

Second, all African classical music professionals should be held accountable for putting women and girls at the centre of their work.

Third, the members of African musicologist association must listen to women’s groups, in all deliberations on classical music issues.


We must never stop campaigning for women to take up their rightful place at the heart of classical music activities in Africa. Our commitments must not be simply plans on paper but actions.


Africa is Music!
Music is Africa!

By IGIRI INNOCENT

Tuesday, 25 October 2016

Changing the perception of Classical music in African Society (By Igiri Innocent)

Changing the perception of Classical music as music for only the elite in African Society (By Igiri Innocent)








For a long time, foreign music in Africa has been widely celebrated beyond any other music in African continent mostly amongst Churches and elite of the African society; and the perception has been that that type of music is meant for only elites. The reason is not far from the explanation that foreign classical music by the virtue of its solemn and touch is highly valued and possibly reserved for learned persons and scholars amongst others, and therefore making the ordinary mind to chase other forms of music as their only choice or least level. From East to West, or from North to South, classical music is often a one-sided affair which is a proxy for African progress.

Little exceptions have been from South Africa, Kenya, Nigeria, Ethiopia, and Cape Verde and some other neo-German African countries that have recognized the depth of classical music tradition and the opportunity and the need for earnest implementation of certain regulations in schools to encourage local community participation and growth in classical music knowledge. To that effect, more attention has been drawn to the recent rise of African classical music composers and high level of ambition for proper participation amongst every 7 in 10 African children with the capacity to even expand more and more. As I have illustrated, the real value of classical music is yet to be fully understood by various economies in African continent.

Harnessing this value requires a new approach to classical music practicing; it requires a shift from a narrow focus on a complicated interpretation to broader elements of classical music system that includes African understanding of the logic and style; a new approach which will present classical music as a veritable support tool in achieving the “African developmental dreams” holistically. And quite frankly, a lot of African children from different regions are at risk of being left behind in this area as others expand and deepen their knowledge, love and acceptability of classical music throughout some other Africa regions.
This year alone, Universities across 7 African countries celebrated the graduation of about 1,377 classical music students in a great feast, and presented them to the general society positively with their classical music skills.

As I have buttressed; with all the efforts by professionals in the field, to change the perception of classical music in Africa and indeed into the future, and further to all generations of Africa, we should consider two goals for promotion and sustainability of the overall endowment of it to humans.

First, we need to identify those areas where classical music can help Africans capitalize on opportunities to rise and develop in global businesses rather than indoor possibilities. Second, create a competitive platform for African musicologists or classical music performers to build strategic, long-term performance engagement in other to ensure continuous vigorous participation and thereby generate more acceptability of the tradition amongst Africans.

As a musicologist, recitalist and a passionate classical music lover, the question I am most often asked by my peers abroad is not whether I should organize classical music festivals or concerts in Africa, but how to do it to ensure active public participation. To achieve maximum audience in any classical music gathering in Africa one needs to work extensively across value chains -- and create new focus towards that particular gathering. For example, instead of directing the public focus to lives of G.F. Handel, Mozart, or any other European composer simply because you are going to perform their works on a planned concert, you should instead direct their focus on the result you intend to achieve through the concert, and other things respectively. Like focusing on the goals and targets of the SDGs, commercial interests of persons, and values attached to it.
Investing in classical music shows in Africa is not a business wise decision at this point however it is best done under some kind of insurance policy to back up the overall return on investment.

I will agree that value-added classical music show investment is necessary due to several trends shaping Africa today: the growing population of working-age adults, rapid urbanization, a growing consumer class, smarter age, stronger technology and increasing agreement that the private sector should lead Africa's economic growth. These trends combine to increase taste for leisure and entertainment can generate high growth for classical music sector.

The good news is that diversification is well under way as policymakers across the continent strive to build the capacity for strategic sectors to move up the value chain.

The Church and private institutions in Africa have an important role to play in this transformation by rethinking their own approach to classical music practice and development as it will surely have a place in the future of Africa. This sector needs their assistance to focus more on nurturing African youths to play a more productive role and change their ill-perception of classical music for good.

I would plead with every well-meaning African to support classical music fares anytime any day by helping to turn these write up into concrete action. This will lead to a meaningful and lasting change that benefits Africans.

Africa is Music!
Music is Africa!


By IGIRI INNOCENT

Changing the perception of Classical music in African Society (By Igiri Innocent)

Changing the perception of Classical music as music for only the elite in African Society (By Igiri Innocent)








For a long time, foreign music in Africa has been widely celebrated beyond any other music in African continent mostly amongst Churches and elite of the African society; and the perception has been that that type of music is meant for only elites. The reason is not far from the explanation that foreign classical music by the virtue of its solemn and touch is highly valued and possibly reserved for learned persons and scholars amongst others, and therefore making the ordinary mind to chase other forms of music as their only choice or least level. From East to West, or from North to South, classical music is often a one-sided affair which is a proxy for African progress.

Little exceptions have been from South Africa, Kenya, Nigeria, Ethiopia, and Cape Verde and some other neo-German African countries that have recognized the depth of classical music tradition and the opportunity and the need for earnest implementation of certain regulations in schools to encourage local community participation and growth in classical music knowledge. To that effect, more attention has been drawn to the recent rise of African classical music composers and high level of ambition for proper participation amongst every 7 in 10 African children with the capacity to even expand more and more. As I have illustrated, the real value of classical music is yet to be fully understood by various economies in African continent.

Harnessing this value requires a new approach to classical music practicing; it requires a shift from a narrow focus on a complicated interpretation to broader elements of classical music system that includes African understanding of the logic and style; a new approach which will present classical music as a veritable support tool in achieving the “African developmental dreams” holistically. And quite frankly, a lot of African children from different regions are at risk of being left behind in this area as others expand and deepen their knowledge, love and acceptability of classical music throughout some other Africa regions.
This year alone, Universities across 7 African countries celebrated the graduation of about 1,377 classical music students in a great feast, and presented them to the general society positively with their classical music skills.

As I have buttressed; with all the efforts by professionals in the field, to change the perception of classical music in Africa and indeed into the future, and further to all generations of Africa, we should consider two goals for promotion and sustainability of the overall endowment of it to humans.

First, we need to identify those areas where classical music can help Africans capitalize on opportunities to rise and develop in global businesses rather than indoor possibilities. Second, create a competitive platform for African musicologists or classical music performers to build strategic, long-term performance engagement in other to ensure continuous vigorous participation and thereby generate more acceptability of the tradition amongst Africans.

As a musicologist, recitalist and a passionate classical music lover, the question I am most often asked by my peers abroad is not whether I should organize classical music festivals or concerts in Africa, but how to do it to ensure active public participation. To achieve maximum audience in any classical music gathering in Africa one needs to work extensively across value chains -- and create new focus towards that particular gathering. For example, instead of directing the public focus to lives of G.F. Handel, Mozart, or any other European composer simply because you are going to perform their works on a planned concert, you should instead direct their focus on the result you intend to achieve through the concert, and other things respectively. Like focusing on the goals and targets of the SDGs, commercial interests of persons, and values attached to it.
Investing in classical music shows in Africa is not a business wise decision at this point however it is best done under some kind of insurance policy to back up the overall return on investment.

I will agree that value-added classical music show investment is necessary due to several trends shaping Africa today: the growing population of working-age adults, rapid urbanization, a growing consumer class, smarter age, stronger technology and increasing agreement that the private sector should lead Africa's economic growth. These trends combine to increase taste for leisure and entertainment can generate high growth for classical music sector.

The good news is that diversification is well under way as policymakers across the continent strive to build the capacity for strategic sectors to move up the value chain.

The Church and private institutions in Africa have an important role to play in this transformation by rethinking their own approach to classical music practice and development as it will surely have a place in the future of Africa. This sector needs their assistance to focus more on nurturing African youths to play a more productive role and change their ill-perception of classical music for good.

I would plead with every well-meaning African to support classical music fares anytime any day by helping to turn these write up into concrete action. This will lead to a meaningful and lasting change that benefits Africans.

Africa is Music!
Music is Africa!


By IGIRI INNOCENT

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Judging the cultures of School Music in Africa: Urgent solutions are needed in the areas of providing a competitive platform: ( By Igiri Innocent)



Judging the cultures of School Music in Africa









Palm House of Opera & Creativity study report of 2014 indicates that school music tradition in Africa can be linked to every genre of music; of both local and foreign interpretation. Some number of African schools adhering to just one particular type of music can be difficult to find.

The curriculum method have always been to teach the pupils all types of music and allow them develop interest in a particular type of their choice along the line.

Students from Orthodox Church background had always preferred classical form, while those from Pentecostal church or from secular/traditional background would always go for jazz/hip-pop/ethno-musical forms.

Generally, Africans enjoy songs with drum beats that is danceable with laud sounds of local instruments. English/classical methods are perceived to be for the elites or learned.

However, that perception is seriously changing and Africans are beginning to understand the real benefit of classical music and the ways of enjoying it. They have grown to know that it is the type of music needed for healthy brainy activities and sound mind boggling. They have embraced the study findings about classical music impart in human life.

Today, schools in Africa are changing their curricular in respect to music in other to ensure that pupils are taught pure classical music form at all levels. They have shown more focus in topics like:

1.     Rudiments of music
2.     Musical notation
3.     Staff
4.     Sight reading
5.     Musical composition
6.     Etc


A lot of colleges have learned to engage musicologists instead of secular musicians for the position of music teacher in their various schools. And these have helped to breed sound performers of classical music in the African society today. The old trend is fast given way for the new trend.

Today in the African society one can easily see and feel the benefit of that single move in our young people.  You can easily find:

1.     Violinist (young and old)
2.     Pianist (young and old)
3.     Flutist (young and old)
4.     Organist (young and old)
5.     Composer (young and old)
6.     Cellist  (young and old)
7.     Trumpeter (young and old)
8.     Saxophonist (young and old)
9.     Trombonist (young and old)
10.  Etc   

My Judgment

Here is important note:  What is lacking now is a veritable platform to showcase these enormous talents of African musicologists and performers. A unique means of keeping artistes up to date in that line of classical music and make most use of them where it matters.
For instance; after acquiring the tedious classical music trainings, one either plays for church which happens to the highest employer of classical musicians or choral groups which are rear to find, or may be teach same from home to home, and vise vasa. There are no mapped channels for proper engagement or attachment for continuous advancement for the young talent.
One needs to always practice, perform, get challenged and work in line with rules of the profession. By so doing the performer will grow in wisdom and experience and the society will benefit in that regard.

The demerit; due to none availability of such programs, good hands of classical music has in some cases abandoned the profession for the type that keeps them on the spotlight or that challenge them and gives them money and firm. So, we see a situation where schools labor to train students in a healthy and proper formation in music and in no time see that person going back to the other system which schools seems to amend.

My plea:

Urgent solutions are needed in the areas of providing a competitive platform for the purpose of keeping African classical musicians active and sounds in other not to continue to lose them to the other system as the case is right now.

This should not be left for the government to do rather African orthodox Churches should come to the rescue of this “classical music tradition in African Society” for the benefit of their liturgy and entire African faithful.

Catholic, Anglican, Methodist, First Baptist, Presbyterian, and CAC Church heads should as a matter of urgency devise a plan to rescue this great endowment in Africa. Let’s continue to encourage more participation and ensure its sustainability.

Africa is Music
Music is Africa


By: IGIRI INNOCENT