By Osa Mbonu-Amadi, Arts Editor

On September 11, 2025, the University of Uyo will host an event steeped in both academic prestige and spiritual significance—the 118th Inaugural Lecture, delivered by Professor Isaac Essiet Udoh. As the first inaugural lecturer from the Department of Music, Professor Udoh brings a unique voice that fuses music theory, sacred music, and cultural heritage in a compelling discourse.

Professor Udoh is indeed a trailblazer of many firsts. He describes himself as “a man of two worlds—academic and spiritual.” His career is defined by numerous milestones: “I am the first Professor of Music among ministers of the Methodist Church Nigeria,” he proudly states, “and also the first Indigenous Professor of Music at the University of Uyo.” His role as founding Conference Director of Music for the Methodist Church Nigeria since 2018 illustrates his pioneering spirit and commitment to music ministry.

Explaining his lecture title, “Candelabrum and Crinkum-Crankum in Music Creation: An Autopsy”, Professor Udoh says, “I use ‘Candelabrum’ as a metaphor for music creation, which holds different types of music like candles held together—Jazz, Hip hop, Classical, and More.” He elaborates, “Crinkum-Crankum refers to the intricate decoration or embellishment in music composition.” His lecture is an “autopsy,” a detailed examination of music creation, urging careful critique:

“My concern is advocating for detailed examination and analysis of every music creation to ascertain whether it is educative, harmless, or offensive.” He plans to evaluate music through “broadcasting regulations and community standards—societal norms and values.”

Professor Udoh reveals his lecture will blend scholarly exposition with artistic expression: “Two compositions, Usen Iba and Edi Edise, will be performed through recorded videos.” Additionally, he shares, “Jehovah Edi Andibok Mi will be performed live by a soloist and piano, while Akwa Abasi Anam Aboho will be performed by the Groves Memorial Methodist Cathedral Choir.”

Reflecting on his journey, especially of his early musical roots and academic ambitions, he shares, “Even at my tender age in 1976, everybody in our family was a chorister except my mother.” His father’s “Tenore rubusto” voice and early involvement with the Methodist Church choir laid his foundation. Although he initially “tried to subdue my music talents and opted to read Medicine or Accounting,” music ultimately “haunted” him until he gained admission to study Music at Obafemi Awolowo University in 1989.

On his academic goal, Professor Udoh says, “Since day one in the university, my desire was to be a lecturer; not just a lecturer, but to reach the zenith of that profession.”

Professor Udoh has up to 300 compositions, covering everything from solo works to African orchestral pieces and sacred music. Yet, he confesses, “I am so much in love with hymns; to me, my sacred compositions are my favorites.”

He emphasises the cultural dimension of his works: “The compositional materials—theme, motif, ingredients—are taken from traditional music that reflect the culture of the people, especially Annang music.” This gives his pieces authenticity and deep resonance with audiences.

“I have compositions that cut across academics and church use,” Professor Udoh explains, nothing that many university students perform his compositions in their Performance Projects. His works are also published in reputable journals within and outside Nigeria.

While humbled by his accomplishments, Professor Udoh remains ambitious: “By God’s grace, I have achieved some of my goals.” In addition to his professorship, he holds titles such as Knight of Charles Wesley and Presbyter in Methodist Church Nigeria. He underscores his unique position: “I am a man of two worlds—academic and spiritual.”

Looking forward, he says, “September 11 is very significant to me. The day when the twin towers of the world crumbled—I will rebuild the twin towers by bringing my two worlds to bear on that day. It will be a day of rising, not of falling; a day to be remembered positively.”

He plans to continue researching breakthroughs “in music composition and sacred music.”

Professor Udoh paints a loving portrait of his family: “My wife, Dr (Mrs) Eno Isaac Udoh, is a lecturer in Crop Science,” he says, “while I compose with music, she ‘composes’ with crops.”

His children share a passion for music but have chosen diverse futures: “My first daughter plays violin as a hobby and is a medical doctor in the making; my son plays piano and saxophone, aspiring for technology; my second daughter plays violin but wants to be a lawyer.” He emphasises, “Simpy allow your ward to study a course of their choice.”

Professor Udoh articulates a profound belief in music’s social power: “I have harnessed music to convey positive messages, evoke uplifting emotions, and promote morality.” He notes his involvement in translating and editing the Methodist Hymnbook into the Efik language, dubbing it ‘Nwed Ikwo Methodist.’

His scholarship also documents and revives Annang traditional music for posterity, reflecting “the rich cultural heritage of the Annang people.”

He concludes with a call for music to speak “the minds of people by reflecting cultural identity and addressing social issues,” citing works like Jehovah Edi Andibok Mi as examples.

Professor Isaac Udoh’s inaugural lecture is poised to inspire an academic and spiritual awakening—an exploration of music’s role as both art and morality beacon. As he envisages, September 11 will be not a day of falling but a profound day of rising.