…Also says: ‘I am a man of two worlds –  academic and spiritual.

I tried to study medicine but music haunted me’

Professor Isaac Essiet Udoh is a distinguished scholar in Music Theory, Composition, and Sacred Music at the University of Uyo, where he serves in the Department of Music. He earned his Ph.D. from Nnamdi Azikiwe University, Awka, in 2008.

Professor Udoh recently concluded his tenure as Head of the Department of Music (2018–2023) and Vice Dean of the Faculty of Arts (2019–2023) at the University of Uyo.

His current research focuses on integrating traditional musical elements into contemporary art music composition.

Widely respected for his pioneering contributions, The Very Rev. Sir Professor Isaac Udoh holds several notable firsts: he is the founding and current Conference Director of Music for the Methodist Church Nigeria (MCN) since 2018; the first Professor of Music among Methodist Church ministers; the University of Uyo’s first Indigenous Professor of Music; the first Professor of Music from Ikot Ekpene Local Government Area and Senatorial District; the first Professor of Music in Annang Land; and the inaugural lecturer from the University of Uyo’s Department of Music.

In this special interview commemorating his inaugural lecture, Arts Editor and Deputy Editorial Board Chairman, OSA MBONU-AMADI, engages Professor Udoh in a revealing conversation that takes us on a captivating journey through his musical career, academic achievements, and family life. Enjoy the exploration:

Your specialisation is in music composition and performance. For the 118th Inaugural Lecture of the University of Uyo on September 11, will you be presenting a live performance of your compositions, delivering a lecture, or combining both formats?

My area of specialisation is rather Music Theory, Composition and Sacred Music. For the 118th Inaugural Lecture of the University of Uyo on September 11, 2025, I will be presenting a lecture that will cut across music theory, composition and sacred music. Two of my art music compositions, USEN IBA (A man has two days – day of birth and day of death), a theme taken from Annang music to create art work for the piano and woodblock; and EDI EDISE: A COMPOSITION FOR AFRICAN ORCHESTRA, will be performed through recorded video works.

Other two, JEHOVAH EDI ANDIBOK MI (The Lord is my Shepherd) and AKWA ABASI ANAM ABOHO (The almighty God has done so much) will be performed live by a soloist and piano accompaniment, and live by Groves Memorial Methodist Cathedral Choir, Ikot Ekpene respectively. Other music pieces – traditional and popular- shall be rendered as examples to beef up the lecture.

Could you share the title of your lecture and highlight the central message or theme you intend to convey?

Yes, the title of my lecture is CANDELABRUM AND CRINKUM-CRANKUM IN MUSIC CREATION: AN AUTOPSY. I am a composer and I wish to speak on music creation that should be censored, using Candelabrum and Crinkum-Crankum as metaphors.

Candelabrum simply means a large branched candlestick or holder for several candles or lamps.

Crinkum-Crankum is something full of twists and turns. It is a term referring to ornate or elaborate decoration or embellishment that can be employed in music creation or composition.

Music Creation is the action (art) or process of bringing music into existence. Autopsy, in this context, means the act of dissecting, detailed examination, analysis, and censoring.

Therefore, ‘Candelabrum and Crinkum-Crankum in Music Creation: An Autopsy’ means the different ways/means employed in music creation and the need for detailed examination/censoring of the music so created to ascertain their worth and usage in the society.

Here is the concept of candelabrum:

As a Minister of the Gospel, I am so much in love with light. The Bible states that Jesus Christ is the Light of the World. In the physical, there are different forms of light – sun, electric bulb, torch light, candles, etc. 

My attraction to this work is to the candle – how many different candles are held together by a candle stick, candelabrum. Metaphorically, I see music creation as a Candelabrum. The candles or lamps refer to types and/or kinds of music. Therefore, music creation gives rise to types or kinds of music, for example,  Jazz, Hip hop, Classical, Country, Folk, Blues, Rock, Popular, R & B (Rhythm and Blues), etc.

My Concern is advocating for detailed examination and analysis of every music creation to ascertain whether it is educative, informative, harmless, offensive, poisonous, explicit, controversial, dead, or alive.

Therefore, the yardstick for my analysis will be based on two parameters – broadcasting regulations and community standards (societal norms and values).

How did your journey in music begin, and what inspired you to pursue academic music rather than popular music genres?

Even at my tender age in 1976, everybody in our family was a chorister, except my mother. My father was a strong tenor singer, what can be described as “Tenore rubusto.’ I joined the choir of Methodist Church Nigeria, in same year where we learned how to sing solfa-notation. You know, solfa-notation is an interpretation of staff notation – a path towards academic music.

I tried to subdue my music talents and opted to study Medicine or Accounting, but it could not work out. Music was still haunting me till I got admission in 1989 to read Music at Obafemi Awolowo University, Ile Ife.

At what stage in your musical career did you envision becoming a professor of music?

Since my day one in the university, my desire was to be a lecturer; and not just to be a lecturer, but to reach the zenith of that profession. Even before I started my university education, there was a man who had been calling me Prof.

Could you give us an overview of your body of work? How many compositions have you created, and which ones do you consider your favourites or most significant?

I have up to 300 compositions ranging from arts music compositions for Solo (voice, saxophone, trumpet) and Piano accompaniment; Annang Dances for the Piano (consisting of 6 compositions for piano), works for African orchestra, hymns and anthems for church use.

I am so much in love with hymns; so, I may say, to me, my sacred compositions are my favourites.

How would you assess the influence and acceptance of your style of music composition and performance within academic circles and the broader public in comparison to popular music?

My compositions cut across academics and church use. They gain wide acceptance because the lyrics of my works reflect the minds of the people, and the culture of the people. Many students perform my compositions in their Performance Projects.

For my instrumental compositions, the compositional materials – the theme, motif, ingredients, etc., – are taken from traditional music that reflect the culture of the people. And so the people accept them. My works are published in reputable Journals within and outside Nigeria. People can, therefore, have access to them.

Reflecting on your career so far, do you feel you have achieved the goals you set for yourself? What milestones are you most proud of?

Yes. I am not only a Professor of Music, I am also a Knight of Charles Wesley (KCW), and a Presbyter (Rev. Minister) in Methodist Church Nigeria. In fact, I am a man of two worlds – academic and spiritual.  By God’s grace I have achieved some of my goals. It may interest you to know that The Very Rev. Sir Professor Isaac Udoh has been first in many areas: The first and incumbent Conference Director of Music, Methodist Church Nigeria (MCN), since 2018 till today; the first Professor of Music among Ministers in Methodist Church Nigeria; the first Indigenous Professor of Music in the University of Uyo; the first Professor of Music in Ikot Ekpene LGA and Senatorial District; the first Professor of Music in Annang Land; and the first Inaugural Lecturer from the Department of Music, University of Uyo.

I hope to embark on more researches in the area of sacred music and art music. Though I have reached the apex of my profession, I will still thrive to achieve more and leave indelible marks in the sands of time.

After your inaugural lecture on September 11, 2025, what are your future plans both professionally within music and personally? Are there new directions or projects you aspire to explore?

To me September 11 is very significant. Remember, the twin towers (North Tower of the World Trade Centre in New York and South Tower) of US crumbled on same day. Metaphorically, I will rebuild the twin towers by bringing my two worlds – academic and spiritual – to bear on that day. That day will be a day of rising, not of falling; a day to be remembered positively. My desire is to keep researching for new breakthroughs in the area of music composition and sacred music.

Could you tell us a little about your family? Do you have any children interested in following your footsteps in music, or any reason why others might not pursue it?

Yes, I have a beloved wife and three lovely children. My wife, Dr (Mrs) Eno Isaac Udoh, is a lecturer at the Department of Crop Science, Faculty of Agriculture, University of Uyo. While I compose with music, she ‘composes’ with crops. My first daughter plays the violin as hobby, but she is a medical Doctor in the making. My first son plays the piano and saxophone, but his future ambition is in the area of technology. My second daughter equally plays the violin, but her future ambition is to be a lawyer.

Though they are not following my footsteps wholly in academic music, they can play their chosen musical instruments with ease and with a touch of professionalism. The reason is not far-fetched:  simply allow your ward to study a course of their choice.

Given the many challenges facing Nigerian society today, what role do you believe your music plays in addressing or providing solutions to these issues?

In my inaugural lecture book/pamphlet to be used on September 11, 2025, I have outlined my contributions to the world through music. I have made significant contributions to knowledge in the following areas:

1. Modernity of Traditional Songs

I have bridged the gap between the past and the present; it is my involvement in the migration of Annang music from the oral setting into written literature to gather meanings and purposes originally designed for them, and from them. Such works include, but are not limited to, ‘The Indispensability of Music at Traditional Marriages in Akwa Ibom State: The Annang Experience’ (Udoh, 2008); ‘Annang Women in Music: Ebre, then and now’ (Udoh, 2016d), ‘Music and Dance in Annang Culture’ (Udoh, 2023b), and ‘The Composer’s Involvement in the Modernity of Traditional Songs: The Annang Example’ (Udoh, 2024).

2. Art Music Compositions

I have engaged myself in the area of art music compositions with a view to maintaining the Annang identity in written literature – art music compositions. To engage the identity conventions for musical revival and sustainability of Annang music, motifs, themes, inherent properties, potent ingredients, indigenous musical elements (melodic structure, tonal and rhythmic patterns), and other compositional materials from Annang traditional music are employed for art music compositions. Examples are Usen Iba and Edi Edise: An African Orchestra.

3. Sacred works

I have composed many sacred works ranging from anthems, land hymns to solos and choruses.

I have done great work for the Methodist Church Nigeria. By God’s grace, I led (with four others) in the translation and editing of the Methodist Hymnbook (MHB) from English into Efik; with the same number of hymns and the same number of verses in both. This translated hymnbook is called ‘Nwed Ikwo Methodist’ (Udoh, ed. 2016e).

I have helped Churches (not only Methodist Church Nigeria) through seminars and teachings to raise the standard of sacred music within Nigeria and beyond, cutting across many denominations and Choral Groups: Christ Faith Church, Qua Iboe Church,

Mount Zion Christ Church, AME Zion Church, Catholic Church & their different Dioceses– Ikot Ekpene, Uyo, Port Harcourt, Ikom, Ogoja; Lutheran Church of Nigeria, New Baptist Church, The Apostolic Church, Anglican (Communion) Church, and The Promised Land Chorale is not left out.

4. Suing for Morality and Positive Mentality

I have harnessed the power of music to convey positive messages, evoke uplifting emotions, and build connections within and between communities; and effectively use music to promote morality and cultivate a more positive mentality in our society.

My works in this area include, but not limited to ‘The Place of African Music in New Humanism’ (Udoh, 2006c); ‘Graduate Employability in Nigeria: Towards the Wellbeing of Music Practitioners’ (Udoh, 2016); ‘Moral Implications of High Life Music as Evidenced in Prince Etibas Bassey’s Track: Nne’ (Udoh, 2016c); and ‘Indigenous Music and Human Development’ (Udoh, 2017d).

5.  Speaking the Minds of People

I have used music to speak the minds of people by Reflecting Cultural Identity; Addressing Social Issues;

Capturing Historical Events;

Creating Emotional Resonance;

Empowering Marginalised Voices; and

Encouraging Dialogue and Reflection:

Examples include Jehovah Edi Andibok Mi, (The Lord is My Shepherd)

6. Documentation of Annang Music for posterity

I have documented Annang music for posterity. Such works include the following The historical context of Ukokpan, its role in Annang society, the instruments used, song lyrics, and the rituals associated with its performance. My research sheds light on the rich cultural heritage of the Annang people and ‘Annang Women in Music: Ebre, then and now’ (Udoh, 2016d); ‘The Ethos and Pathos of Traditional Music: The Annang Experience’ (Udoh, 2022), etc.

7. Adding to the Anthology of Academic Music Compositions

I have contributed to the ongoing scholarly and artistic exploration of music, enriching the collective knowledge and repertoire available to students, performers, scholars, and enthusiasts alike.