Akin Euba
Professor Akin Euba is a Nigeria-born pianist, composer, and musicologist. Renowned as one of the most literary Nigerian scholars, he is globally recognized as the father and inventor of African Pianism.
He developed the theory of African Pianism to reinterpret the core structural and rhythmic principles, as well as the performance aspects, of African music. He popularized the term creative ethnomusicology to describe this approach.
Professor Akin Euba is considered one of the foremost authorities on African musicology worldwide, with significant contributions to the field.
His research encompasses various genres, including popular, traditional, church, and art music from diverse nations and ethnic communities across Africa.
Born in Lagos on April 28, 1935, to Mr. and Mrs. Alphaeus Sobiyi Euba, his mother, Winifred Remilekun Euba, was a school teacher.
Both of his parents hail from the Yoruba ethnic group, specifically from Lagos. Akin Euba grew up in Lagos, where he began his journey in music.
Akin Euba Journey Into Music
Professor Akin Euba began his musical journey at the tender age of eight when he started taking piano lessons.
His passion for music was ignited by his father, who was his first piano teacher in 1943. A talented pianist himself, his father aspired for him to become a professional musician.
Mr. Alphaeus Sobiyi Euba was a devoted music lover and an active amateur musician in his youth.
He was also a member of the choir at the Olowogbowo Methodist Church in Lagos, which is now known as The Wesley Cathedral, Olowogbowo.
In addition to his piano skills, Professor Akin Euba’s father was a clarinet player with the Triumph Orchestra, a popular dance band in Lagos. Notably, Fela Sowande, another celebrated African art musician from Nigeria, served as the pianist for the band during that time.
Learning Under Mayor J.G.C. Allen
In addition to his father’s teachings, Akin Euba furthered his piano and music education under Major J.G.C. Allen, his second piano teacher. Major Allen, a British civil servant, began giving Akin private piano lessons in 1948.
Akin’s experience with Major Allen was so impactful that he made rapid progress in his piano playing.
Notably, he won a silver medal at the Nigerian Festival of the Arts, organized by the Ministry of Culture, in 1950. This achievement marked a significant milestone in his musical career.
After 1950, Major Allen felt that Akin had learned all he could offer and recommended another teacher for further development.
Akin’s new instructor was Monsieur Tessier Rémi du Cros, who was the French Consul in Lagos at the time. Akin studied under Monsieur du Cros for a while before returning to Major Allen.
Major J.G.C. Allen had a profound impact on Akin Euba’s music career. In addition to teaching him piano, he facilitated Akin’s award of a Federal Government scholarship.
This scholarship enabled Akin to gain admission to the Trinity College of Music in London, where he continued his studies in music.
The tutelage of both Major J.G.C. Allen and Monsieur Rémi du Cros provided a strong foundation for Akin Euba’s education at Trinity College.
Akin Euba’s Education
Akin Euba began his formal education at C.M.S. Grammar School in Lagos, now known as Anglican Grammar School. There, he received foundational training in Western music and singing.
The school also introduced him to British folk songs and various Nigerian songs, which he enjoyed singing with his classmates.
He gained recognition as a standout student after winning a silver award in 1950.
Akin left the school nine months early to embark on a successful musical journey abroad. In September 1952, he secured a government scholarship to study music at Trinity College, London.
What Did Akin Euba Study?
Professor Akin Euba earned his Bachelor’s degree in ethnomusicology from the University of California, Los Angeles (UCLA), graduating with a B.A. in Music in 1964.
He continued his studies at UCLA, completing a Master’s degree in Composition in 1966. He later obtained his Ph.D. in Ethnomusicology from the University of Ghana in 1974.
The following sections will elaborate on his academic journey.
Akin Euba Life At The Trinity College, London
Professor Akin Euba began a new chapter as a music student at Trinity College, London.
He spent the first two years studying as a typical music student before deciding to shift his focus to a program he believed would greatly benefit his future career.
Euba concentrated on score reading, piano, organ, harmony and counterpoint, composition, and orchestration.
During his time at the college, he studied harmony and counterpoint under the guidance of Eric Taylor. Additionally, he pursued composition with Arnold Cooke, a former student of Paul Hindemith.
Study Under Eric Taylor
Akin Euba had the privilege of studying harmony and counterpoint on a one-to-one basis with Eric Taylor.
At that time, this course was not offered as a standard class, which allowed Taylor to have a significant influence on Euba’s career.
Eric Taylor played a crucial role in shaping Akin Euba’s musical path. Recognizing the great potential in Euba, Taylor encouraged him to pursue composition, particularly after seeing his arrangements of Nigerian folk songs.
As a result, Taylor guided Euba in developing an African voice in his compositions. This mentorship led Akin Euba to create his first arrangements while still a student, marking the beginning of a remarkable journey in his musical career.
Study Under Dr. Arnold Cooke
Akin Euba’s study of composition under Arnold Cooke significantly impacted his music career. Dr. Arnold Cooke was another influential figure he met at Trinity College, providing him with substantial encouragement.
Cooke noted Euba’s excellent first-term grade in composition with a special comment stating, “Akin Euba was a gifted student.” This acknowledgment greatly reinforced Euba’s ambition to become a composer.
Certificate Akin Euba Obtained at the Trinity College
Professor Akin Euba made the most of his time at the Trinity College of Music in London. During his four years at the college, he earned three degrees.
In 1954, he received an Associate of Trinity College London in Piano Performance. The following year, in 1955, he obtained a Licentiate of Trinity College London with a Teachers Training Diploma.
In 1956, he earned another Licentiate of Trinity College London in Piano Performance.
Finally, in 1957, he achieved the Fellowship of Trinity College of Music, London (FTCL) in both piano and composition.
The University of California, Los Angeles (UCLA)
Akin Euba returned to school in 1962 after receiving a Rockefeller Foundation Scholarship to study in the United States.
He chose to pursue ethnomusicology at the University of California, Los Angeles (UCLA). This period proved to be a time of significant compositional discoveries for him.
Studying ethnomusicology had a profound impact on his career, as it exposed him to various musical cultures from around the world.
He particularly focused on the elements of traditional African music and explored how they could be incorporated into his own works.
This experience broadened his perspective and deepened his understanding of African music, especially Nigerian traditional music.
He began to recognize the key to developing an authentic African voice in his compositions. He celebrated this newfound insight by composing Igi Nla for piano and Yoruba drums in 1963.
By the end of the 1963/1964 academic year, Akin Euba graduated with a Bachelor of Arts (Honours) degree in Music.
People Who Impacted His Learning At The UCLA
At UCLA, Akin Euba met influential figures such as Professor J.H. Kwabena Nketia, Professor Mantle Hood, and Klaus Wachsmann.
Professor Hood, the director of the Institute of Ethnomusicology during Euba’s studies, encouraged him to pursue academic degrees.
Klaus Wachsmann, a prominent scholar of African music at UCLA, also played a significant role in supporting Akin Euba’s scholarly efforts and served as a role model for him.
These ethnomusicologists had a profound impact on his career. As a result, Akin Euba studied under Professor J.H. Kwabena Nketia for his doctorate degree.
Master’s Degree At UCLA
In 1965, Akin Euba registered for a Master’s degree program in Composition at the University of California, Los Angeles.
During this time, he had the opportunity to study with esteemed scholars such as Charles Seeger, Mantle Hood, Roy Travis, Klaus Wachsmann, and Professor J.H. Kwabena Nketia.
He completed his master’s degree in 1966, focusing his thesis on a composition for an ensemble consisting entirely of African instruments. The influence of Mantle Hood and Roy Travis on his MA committee made this unique focus possible.
In an interview with The Music Guy, Euba noted that Hood assembled musical instruments from various parts of the world and brought in experts to teach about them at UCLA.
He explained that this practice allowed students to learn how to play the music they were studying.
Euba emphasized that the atmosphere at UCLA during that time fostered intercultural composition, creating an environment that was highly conducive to his development as a composer.
University of Legon, Ghana
Akin Euba did not complete his Ph.D. program at UCLA. Instead, he enrolled as a part-time student in the Ph.D. program in ethnomusicology at the University of Ghana in 1967, working with Professor J.H. Kwabena Nketia.
Euba earned his doctorate degree in 1974 with a thesis on Yoruba dundun music. Professor Nketia significantly influenced Euba’s career and inspired his work in creative musicology.
Euba’s book on creative musicology is largely based on the musical practices of Nketia.
Akin Euba’s Professional and Academic Career
Akin Euba’s career spans both broadcasting and academia, and at every stage, this iconic musician has left an indelible mark of success.
The eminent Nigerian composer and musicologist has worked professionally as a broadcaster and has lectured at various universities around the globe.
He has successfully published a diverse range of academic books and composed various forms of music.
Work at Nigerian Television Authority
After completing his studies at Trinity College of Music in London, Akin Euba returned to Nigeria and joined the Nigerian Broadcasting Corporation (NBC).
The NBC, now known as the Nigerian Television Authority (NTA), was where Euba began to develop an interest in researching Nigerian traditional music.
As a Senior Programme Assistant in the Music and Music Research Unit at the NBC, Euba cultivated a keen interest in this area.
Consequently, he recorded and produced various performances of traditional music from different regions of Yorubaland for broadcast.
During his time at the NBC, Euba composed Six Yoruba Songs for voice and piano and Two Yoruba Folk Songs for an unaccompanied choir.
These compositions, completed in 1959, were inspired by his broadcasting experiences.
In 1960, Euba was promoted to Head of Music at the NBC. He subsequently composed The Wanderer for violoncello and piano, an arrangement of folk songs that explored elements of African music.
Euba leveraged his position at the NBC to perform and record some of his early works.
Towards the end of 1962, he received a Rockefeller Foundation fellowship to pursue a Bachelor’s degree in ethnomusicology at the University of California, Los Angeles, where he further developed his musical intellect.
Lecturing Job At University of Lagos
Akin Euba left the Nigerian Broadcasting Corporation in 1965 to pursue a Master’s degree at UCLA.
He completed his Master’s Degree at UCLA in 1966 and returned to Nigeria. Euba then joined the music department at the University of Lagos as a lecturer.
During his time at the University of Lagos, Euba attended music conferences in both America and Ghana. He also taught at the School of African and Asian Studies, which allowed him more time to focus on creative work and ethnomusicological research.
In 1967, Euba enrolled in the Ph.D. program in ethnomusicology at the University of Ghana. This deeper study allowed him to gain a more profound understanding of his culture’s music.
Euba resigned from his position at the University of Lagos to join the academic staff of the University of Ife (now Obafemi Awolowo University) as a Senior Research Fellow.
In the 1977/1978 academic session, Euba was appointed Director of the Centre for Cultural Studies at the University of Lagos. He became a full Professor of Music there in 1978.
Akin Olatunji Euba served as a Professor of Music at the University of Lagos from 1978 to 1981.
Lecturing Job At University of Ife
Akin Euba joined the University of Ife (now Obafemi Awolowo University) in 1968 as a Senior Research Fellow in the Institute of African Studies.
While at the University of Ife, Euba served as the coordinator of the “Ori Olokun” semi-professional artists group. He also spent the summer of 1969 at Howard University in Washington.
Euba served as an external examiner at both the University of Ife and Makerere University in Uganda.
In addition to his role at the University of Ife, Euba also taught part-time in the Department of Theater Arts at the University of Ibadan during the 1973/74 and 1975/76 academic sessions.
Euba founded and developed the Music Department at the University of Ife (now Obafemi Awolowo University) in 1976.
He was seconded to the International Secretariat of the 2nd World Black and African Festival of Arts and Culture (FESTAC ’77) as Head of Music for Nigeria’s National Participation Secretariat.
Euba headed the Music Department at the University of Ife until September 1977, when he returned to the University of Lagos.
Akin Euba’s Life at the University of Pittsburgh
Akin Euba joined the University of Pittsburgh as the Andrew Mellon Professor of Music in 1993.
Euba’s specialties included African Music, Composition, and Piano Performance. He taught courses such as Music in Africa, World Music, and Introduction to Ethnomusicology.
Additionally, his areas of expertise included Field and Lab Methods, Intercultural Musicology, and Creative Ethnomusicology.
Euba served as the Andrew Mellon Professor of Music until his retirement in 2011. He continued to hold the title of Andrew W. Mellon Professor Emeritus in music until his passing on April 14, 2020.
Other Scholarly Roles Akin Euba Has Held
Akin Euba’s career as a composer and ethnomusicologist extended beyond Nigeria to other continents.
From 1986 to 1992, he served as a research scholar and artist in residence at IWALEWA House, an African studies center at the University of Bayreuth in Germany.
Euba was also the director emeritus of the Centre for Intercultural Musicology at Churchill College, University of Cambridge.
During the 2000-2001 academic year, Professor Akin Euba was an overseas fellow at Churchill College, University of Cambridge.
In the spring semester of 2003, he spent ten days in Toronto as a composer-in-residence with the Ensemble Noir. Many of his works were performed during this time.
Akin Euba’s Compositional Works
Akin Euba began his compositional career at Trinity College and is considered one of the leading composers of African art music.
Euba composed a variety of works throughout his career, ranging from solo piano pieces to operas. His first major orchestral piece, “Introduction and Allegro,” was composed in 1956.
In 1957, Euba wrote a String Quartet and submitted it for a Composition Fellowship. Both of these compositions were experimental in nature, exploring atonality.
Post Trinity College Study Era
Upon returning to Nigeria, Euba composed two works inspired by his experiences:
- Six Yoruba Songs for voice and piano
- Two Yoruba Folk Songs for unaccompanied Choirs
These compositions were completed in 1959.
In 1960, Euba composed “The Wanderer: for violin, cello, and piano.” This was his first composition to explore elements of African music.
Regarding “The Wanderer,” Euba commented:
“Hitherto, it was in arrangements of folk songs that I made use of African material. My original compositions were composed in European terms. The Wanderer was the first composition in which I attempted to explore elements of African music.“
UCLA Study Era
Studying ethnomusicology at the University of California was a turning point in Akin Euba’s career and played a significant role in his development as a composer.
During his studies, he began to develop what he referred to as an “African idiom.”
This idiom was utilized in the composition of Igi Nla So: For Yoruba Drums and Piano in 1963, featuring Yoruba drums such as Gudugudu, Kanango, Iya-ilu, and Kerikeri.
He also applied this African idiom to compose Three Yoruba Songs for Baritone, Piano, and Iya-ilu in the same year. Iya-ilu is a Yoruba dundun, commonly known as the Yoruba “talking drum.”
Additionally, he used the African idiom to write Five Pieces for English Horn and Piano and Dance to the Rising Sun, both completed in 1963.
The latter is an orchestral piece commissioned by conductor Robert Boudreau and the American Wind Symphony Orchestra.
Furthermore, Euba studied the rhythmic nuances of traditional Yoruba music alongside twentieth-century European atonality to create new compositions.
This exploration culminated in Four Pieces for African Orchestra, which he composed for his Master’s degree thesis in 1966.
Akin Euba Piano Work for African Pianism Development
Professor Akin Euba composed several piano works in 1964 to explore the “African” or “percussive” aspects of the piano.
At that time, he was beginning his journey to develop a distinct piano playing style he called “African Pianism.”
One notable piece he composed in 1964, which reflects this African pianism, is Four Pictures from Oyo Calabashes.
Other works he created that same year to further explore this concept include Impressions from an Akwete Cloth and Saturday Night at Caban Bamboo.
In addition to these piano compositions, Euba also wrote pieces for other instruments in 1964, such as Tortoise and the Speaking Cloth for narrator and piano, and Four Pieces for flute, bassoon, piano, and percussion.
University of Ghana Study Era
At this time, Euba had acquired a deeper understanding of the traditional music of his culture. He utilized this knowledge to compose Olurombi, a symphonic tone poem about a Yoruba legend, for symphony orchestra in 1967.
In all these works, Euba explores the rhythmic nuances of traditional Yoruba music in combination with twentieth-century European atonality.
Olurombi was performed in 1967 by the Portland Maine Symphony Orchestra under the direction of Arthur Lipkin.
That same year, he composed Morning, Noon, and Night for Nigerian instruments, as well as a Wind Quintet.
The Theatre Express of Lagos performed Morning, Noon, and Night in Edinburgh, and the Bavarian Wind Quintet performed his Wind Quintet in Nairobi, Kenya.
In 1970, Professor Akin Euba composed Chaka, an opera in two chants. This composition blends West African percussion and atenteben flutes with a twelve-tone technique, and it is recognized as his most ambitious work.
Compositional Works at the University of Cambridge
During the brief time he spent at Cambridge, Professor Euba created a new composition titled “Orunmila’s Voices” in 2000.
“Orunmila’s Voices: Songs from the Beginning of Time” is a music drama for soloists, chorus, chanters, dancers, and symphony orchestra. Notably, the composition employed non-Yoruba musical instruments to depict aspects of Yoruba culture.
“Orunmila’s Voices” was premiered at the second annual International Festival of African and African American Music (FESAAM 2002) on February 23, 2002, in New Orleans. He also delivered a festival talk during the event.
Other Compositions by Akin Euba
Find some other compositions of Professor Akin Euba below.
- Below Rusumo Falls, voice, dancer, kayagum, flute, drums, and piano, 2003
- Wakar Duru: Studies in African Pianism 1–3, piano. 1987
- Black Bethlehem, soloists, chorus, Nigerian drums, and jazz ensemble, 1979
- Ice Cubes, string orchestra, 1970
- Scenes From Traditional Life, piano, 1970
- Alatangana, ballet for singers, dancers, and Nigerian instruments, 1975
Akin Euba’s Achievements
Professor Akin Euba was a highly accomplished individual in his chosen field. His achievements as a composer and music scholar were truly remarkable.
His significant contributions to Africanist music scholarship and the development of African art music are well-known and recognized.
Moreover, he was renowned for his experimentation and development of various theories, including African Pianism, Intercultural Musicology, and creative ethnomusicology.
Creative Ethnomusicology
Akin Euba is a pivotal figure in the field of creative ethnomusicology, a term he both coined and popularized to bridge the gap between musical composition and ethnographic research.
This innovative concept emerged from Euba’s desire to integrate the practices of music composition with the rich cultural insights gained from ethnographic studies.
Euba’s approach emphasizes the importance of understanding the cultural and social dimensions of music.
Traditional ethnomusicology often focused on documenting and analyzing music from various cultures, but Euba advocated for a more dynamic interaction between research and creative expression.
He believed that composers could draw inspiration from the musical practices and contexts of different cultures, thereby enriching their own work and expanding the boundaries of contemporary music.
For Euba, the act of composition is not merely a solitary endeavor but rather a dialogue with the cultural heritage of music.
This perspective encourages composers to immerse themselves in the traditions they study, allowing them to create works that resonate with authenticity and depth.
By doing so, they can honor the original cultural expressions while exploring new artistic possibilities.
African Pianism
African Pianism is a theoretical framework that explores how the Western piano can be used to reinterpret the rich complexities of African music.
Professor Akin Euba is widely recognized as the pioneer of this approach, which he coined to encapsulate his innovative integration of African musical traditions with Western classical piano techniques.
At the core of African Pianism is the understanding that African music is characterized by intricate rhythms, polyrhythmic structures, and modal systems.
Euba’s approach encourages composers to explore these elements through the lens of piano performance, enabling them to translate the nuances of African musical styles into compositions that resonate with both African and Western audiences.
Euba’s work represents a significant contribution to both music composition and ethnomusicology. He sought to create a unique musical language that honors African heritage while utilizing the Western piano as a primary instrument.
This concept goes beyond mere adaptation; it aims to create a dialogue between two distinct musical traditions.
By employing the piano, a traditionally Western instrument, Euba allows composers to express African musical ideas in a new context, bridging cultural divides and fostering cross-cultural understanding.
Centre for Intercultural Music Arts and Elekoto Ensemble
In 1989, Professor Akin Euba founded the Centre for Intercultural Music Arts in London, serving as its first director.
Established as a hub for exploring and celebrating diverse global musical traditions, the Centre aimed to promote understanding and appreciation through education, performance, and research.
Under Euba’s leadership, the Centre organized workshops, concerts, and seminars that brought together musicians, scholars, and students for meaningful exchanges about music’s role in cultural identity and expression.
Euba’s commitment to intercultural dialogue not only enhanced the appreciation of African music but also encouraged a broader understanding of music as a universal language.
The Centre became a valuable resource for musicians seeking to integrate diverse musical influences into their work, fostering an environment of creativity and collaboration.
Euba also founded the Elekoto Ensemble, a groundbreaking musical group that exemplifies his philosophy of intercultural collaboration.
The Elekoto Ensemble brings together musicians from a wide array of countries, including Nigeria, the United States, Germany, Malta, China, and India.
This diverse collective blends various musical traditions, creating a rich tapestry of sound that reflects the global nature of contemporary music.
Performances by the Elekoto Ensemble often feature a mix of traditional and contemporary elements, highlighting the unique characteristics of each musician’s cultural background while also creating a cohesive sound.
This approach encourages audience members to engage with music in a new way, fostering an appreciation for the complexities and nuances of diverse musical traditions
Akin Euba Symposium On Music in Africa
Professor Akin Euba is renowned for his dedication to promoting African music and culture through symposia at prestigious institutions such as Churchill College, Cambridge, and the Central Conservatory of Music in Beijing.
These symposia serve as important platforms for discussing the complexities of African music, bringing together scholars, musicians, and students.
Euba’s symposia focus on various aspects of African music, including its historical context, cultural significance, and contemporary practices.
At Churchill College, Euba has fostered an environment where participants can explore the intricacies of African rhythms, melodies, and instrumentation, while also examining the influences of globalization and cross-cultural interactions.
Similarly, his work at the Central Conservatory of Music in Beijing has facilitated cross-cultural exchanges, allowing Chinese musicians and scholars to engage with African musical traditions.
Through these symposia, Euba raises awareness of African music and promotes intercultural understanding and collaboration among diverse musical communities.
Mentorship and Influence
Professor Euba has been instrumental in mentoring a diverse array of scholars and musicians across Africa and beyond.
His guidance has nurtured the next generation of musicologists, composers, and performers, equipping them with the knowledge and skills needed to succeed in their respective fields.
Euba’s commitment to mentorship reflects his belief in the importance of fostering talent and encouraging artistic expression within African music.
Through personalized mentoring and educational initiatives, he has empowered many individuals to explore their cultural identities and express themselves creatively.
Euba’s influence extends beyond formal education. He inspires his mentees to engage critically with their own musical traditions while also exploring innovative approaches to composition and performance.
Academic and Creative Contributions
Professor Euba’s extensive academic and creative contributions are invaluable resources for students, scholars, and composers alike.
His research on African music theory, performance practices, and intercultural musicology has established him as a leading authority in the field.
Euba’s writings and compositions serve as foundational texts for those studying African music, providing insights into its complexities and rich diversity.
His work underscores the importance of ethical considerations in the creative process. Euba’s compositions often reflect the essence of African musical traditions while incorporating contemporary elements, making them relevant to today’s musical landscape.
This ability to blend traditional and modern influences has positioned Euba as a key figure in the ongoing evolution of African music.
Award And Honours
Professor Akin Euba has received numerous awards and honors throughout his career, both domestically and internationally. One of his earliest accolades was the Rockefeller Foundation Fellowship in 1962.
Since then, several awards and honors have followed. Notably, he was honored to serve as the Emeritus Andrew Mellon Professor of Music at the University of Pittsburgh in the United States
In recognition of his significant contributions, an international symposium was held from January 16 to 18, 2019, to honor Professor Euba. This event was jointly sponsored by the University of Lagos and the Musical Society of Nigeria.
The symposium attracted scholars and music lovers from around the world, including participants from the United Kingdom, United States, Ghana, South Africa, and Nigeria.
It was followed by a concert titled “Akin Euba Tribute Concert” on January 19, 2019, at Agip Hall, MUSON Center, Lagos. The concert featured performances of Euba’s works alongside those of other prominent Nigerian composers.
Musicians from Ghana and the United States, including Ghanaian pianist David Kafui and John Robison from the University of Florida, also participated.
Additionally, Professor Euba’s biography was published in the International Dictionary of Black Composers (1999) and the New Grove Dictionary of Music and Musicians (2nd ed., 2001).
Final Notes
Professor Akin Euba’s distinguished career spanned broadcasting and academia. He produced numerous scholarly publications and musical compositions.
Euba’s music often falls under the umbrella of “modern music,” which prioritizes innovative sounds and experimentation over traditional melodies.
While some may find the dissonant and atonal sections challenging, these elements are central to the genre’s artistic expression.
However, Euba’s true impact lies in his groundbreaking contributions to creative ethnomusicology and African pianism. These concepts revolutionized our understanding of music, culture, and composition. Esse
ntially, Euba championed the fusion of African and Western musical traditions. His works seamlessly blend African traditions, particularly those of his Yoruba heritage, with contemporary classical music.
By advocating for a marriage between musical creation and ethnographic research, Euba provided a framework that enriches both artistic expression and cultural understanding.
He revealed the deep connection between music and the societies that produce it.
His legacy continues to inspire artists across music and ethnomusicology, encouraging them to explore the exciting intersection of diverse musical worlds and push the boundaries of contemporary music.
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