Dr. Ayodamope Stephen Olúrántí
Dr. Ayo Oluranti stands out as a visionary composer, conductor, organist, theorist, and music scholar whose work bridges continents and cultures.
Formerly known as Ayo (Ayodamope) Ogúnrántí, Dr. Olúrántí blends the rich traditions of African music with Western classical influences, creating a sound that resonates globally yet remains deeply rooted in his Yorùbá heritage.
From his childhood in Ibadan, Nigeria, to his international acclaim, Ayo Olúrántí’s journey showcases a relentless drive to redefine African art music.
Who is Ayo Olúrántí, and what fuels his groundbreaking career? In this comprehensive guide, we explore every facet of his musical journey—his story, achievements, and vision.
Early Beginnings: A Musical Childhood in Ibadan
Ayo Olúrántí’s passion for music ignited in Ibadan, Nigeria, where he grew up in a home alive with music and sound.
His father introduced him to music around age six or seven, filling their house with records and tapes spanning countless genres.
Every Friday, a male-voice singing fellowship gathered at their home—an event Ayo Olúrántí eagerly anticipated. That early exposure significantly shaped his musical soul.
Besides his father, many others, like Pastor Oluogunyefun and Ayo Adeusi, influenced him musically.
Later, during his schooling, Mrs. Amorelle Inanga, the Owoajes, and many others further shaped his musical development.
Mrs. Amorelle Inanga, his teacher at the International School, Ibadan, was particularly instrumental.
She taught him piano and served as his music teacher, leaving a lasting impact on him as a young musician.
Other individuals who impacted Ayo Olúrántí’s musical development include the late Ayo Adeusi, the late Christopher Ayodele, the late Kayode Oni, and the late Pa. Olaolu Omideyi.
With the support of these church musicians, Ayo continued developing and practicing his organ playing.
He served in several churches, including St. Peter’s Aremo (now a cathedral), All Saints Church, Jericho, and St. James Cathedral in Ibadan, as well as Christ Apostolic Church (CAC), Olugbode, and Ebute Metta in Lagos.
Much later, as he began formally studying music, he found other significant influences. His teachers, Eric Moe and Amy Williams greatly impacted his journey.
Education: From Engineering to Musical Mastery
Ayo Olúrántí attended the International School of the University of Ibadan, where Mrs. Amorelle Inanga tutored him.
Before music claimed his heart, Ayo Olúrántí excelled in science, earning a BSc and MSc in Industrial & Production Engineering from the University of Ibadan.
Despite initially pursuing Industrial & Production Engineering at the University of Ibadan, Ayọ’s love for music persisted.
Actively involved in the university’s music circle, Ayo balanced his engineering studies with a growing musical curiosity, ultimately laying the groundwork for his transition to formal music studies.
Eventually, he embarked on a transformative journey to study music at the University of Southampton, graduating with first-class honors in Music Composition & Organ Performance.
While studying in the UK, he had the privilege of learning from esteemed musicians and educators.
He studied organ under Sarah Baldock at Winchester Cathedral and David Owen Norris at the University of Southampton.
Michael Finnissy and Michael Zev Gordon served as his composition mentors, while William Drabkin guided him in advanced counterpoint and fugue.
Additionally, Peter White tutored him in refining his conducting skills in the UK.
Ayo Olúrántí continued his academic journey at the University of Pittsburgh, USA, where he earned an MA and PhD in Composition and Theory.
While studying at Pittsburgh, he had the opportunity to deepen his knowledge under distinguished scholars and musicians.
He studied African music under Akin Eúbà and explored Bach studies with Don Franklin.
Eric Moe, Mathew Rosenblum, Amy Williams, and Marcos Balter, who served as a Visiting Professor of Composition in 2008–09, mentored him in composition.
Additionally, Roger Zahab honed his skills in composition and orchestration.
Learning and Studying Dùndún (Yoruba Talking Drum) Music
After studying pre-colonial Yoruba musical forms, including Yoruba folk opera, under Akin Eúbà in the USA, Ayo Olúrántí traveled to Ìrágbìjí, Ọsun State, Nigeria, to research, learn, and record dùndún music, a traditional Yoruba instrumental genre.
He integrates the theoretical principles and instrumentation of dùndún music into his compositions.
He prominently featured the dùndún in Ọmọ Agbẹ and has incorporated it into other works.
In 2022, the opera Ọmọ Agbẹ premiered at the James Madison University Opera Theatre as part of the project Enriching and Decolonizing the Opera.
Dr. Ayo Oluranti’s Journey into Music Composition
Playing the harmonium, not composing, marked Ayo Olúrántí’s starting point in music.
Ayo Olúrántí gave his first public performance at the age of eight at the Juvenile Festival in his church.
Eventually, he joined the choir and started playing the organ for them.
Ayodamope composed his first piece in 1987 after the passing of Chief Obafemi Awolowo during the great siege.
For some reason, he felt moved to write a couple of hymn-like tunes.
Though unsure if they were truly singable, that initial attempt at composition metamorphosed into his current artistry.
Then, in 1990, Ayo Olúrántí wrote another piece in response to James Yankey’s “Ope Lo Ye O,” which he first encountered in Lagos at Christ Apostolic Church, Yaba.
Around the same time, he traveled to Ibadan and came across another of Yankey’s compositions, “Kabiyesi.”
Seeing what a Ghanaian composer had achieved using the Yoruba language in music deeply inspired him.
That was when Ayo Olúrántí wrote his first serious composition.
Dr. Ayo Oluranti’s Composition Milestone
Ayo Oluranti is well known for his top-notch musical pieces that span from solo to choral pieces.
His work masterfully bridges the gap between African musical traditions and Western classical influences, making him a vital figure in the global art music scene.
Most of Ayo Olúrántí’s compositions are choral and written for the church, as he rarely composes secular music.
This focus stems from the fact that, in Nigeria and much of Africa, vocal music serves as the flagship of musical expression.
With his expertise in sacred music, Ayọ Olúrántí has composed over 200 sacred works and arrangements for Christian worship. These covers both liturgical and contemporary worship styles.
However, after moving to England and later the USA to study music, he received encouragement to write instrumental music.
Over the years, Ayo has composed a significant number of instrumental pieces, though they are more recognized outside Nigeria than within.
This is understandable, as instrumental and orchestral music is not as prominent in Nigeria.
Dr Ayo Oluranti as an Organist
Ayo Oluranti began his musical journey by playing the harmonium at a young age.
Over time, he developed his skills as an organist through the guidance of several mentors, including Ayo Adeusi, Christopher Ayodele, Pa Olaolu Omideyi, Pa Kayode Oni and many other respected organists across the country.
Before pursuing formal education in organ performance at the University of Southampton in the UK, Ayo had already built a strong foundation in the craft and had served as an organist in several prominent churches across Ibadan and Lagos.
Consequently, his talent blossomed, making him a highly sought-after organist for important church services and concerts across major cities like Ibadan and Lagos.
However, to deepen his knowledge even further, he later studied the organ with Sarah Baldock while pursuing his Bachelor of Arts in music.
Known for his fluent and skillful playing, Ayo is regarded as one of the finest organists globally (but well known as a composer).
Now, people who have heard him play will tell you, Ayo is truly one of the best organists you can find anywhere.
But Ayo’s passion does not stop at just playing. He also loves to share his knowledge and inspire the next generation.
He took the time to teach and mentor many young, aspiring organists in Nigeria. Names like Biodun Ojo, Paul Oyejide, and Tope Olagunju are just a few of the musicians who learned from his guidance.
His deep passion for the organ led him to explore the Virtual Pipe Organ (VPO) space.
Today, Ayo Oluranti leads Altus Klass, a digital and pipe organ consulting firm.
He even uses his deep understanding of organ music and his sharp mind to design the tonal systems for Sanus Domino, beautifully blending the precision of engineering with the art of music.
Dr. Ayo Oluranti: Defining African Art Music
Ayo Olúrántí is a strong advocate for African art music.
He began his compositional journey within the Western classical tradition, drawing on functional harmony and influences from Western composers.
Over time, he shifted focus and embarked on a mission to define and develop a truly authentic African art music tradition.
However, his first challenge in promoting it has been establishing a clear definition of the term.
He has frequently questioned whether African art music simply refers to classical compositions by African composers performed in the Western art music tradition or if it embodies something deeper.
His inquiries led him to explore fundamental questions: What makes African art music authentically African? How should it be structured?
These reflections ultimately shaped his Ph.D. research, where he arrived at a defining conviction—true African art music must be rooted in traditional African musical structures.
He further asserts that this means utilizing African resources, elements, and compositional techniques while composing for traditional African instruments.
His research led him to explore African musical structures beyond surface-level integration with Western forms.
He delved into the tonality of African languages, particularly Yoruba, and the challenge of incorporating traditional African instruments into formal concert settings.
Most of his recent compositions reflect a deep understanding of African musical aesthetics, moving beyond Western models to embrace indigenous African musical elements.
This approach has made him one of the leading figures in African art music, constantly refining his style to reflect true African identity.
Dr. Ayo Olúrántí’s Compositions Archive
Dr. Ayo Olúrántí is a composer whose work spans sacred, secular, and scholarly music.
His compositions reflect a deep blend of cultural heritage, spiritual insight, and technical mastery.
His creative output, as seen in his collection, showcases a remarkable versatility, demonstrating his deep understanding of diverse musical forms and instrumental combinations.
Sacred Music by Dr Ayo Oluranti
Ayo Oluranti’s voice resonates profoundly within the realm of Sacred Music. His sacred music forms the core of his creative output.
He has actively written a wide range of pieces for choirs, organ, and soloists, and each piece carries a unique message and musical flavor.
His sacred music, deeply rooted in spiritual expression, moves choirs and congregations worldwide.
Vibrant Choral Works by Dr. Ayo Oluranti
Dr. Ayo Oluranti, a gifted Nigerian composer, brings infectious energy to his a cappella compositions for SATB choir, blending Yoruba text sound flair with the universal appeal of polyrhythm and polyphony.
His choral works, such as the exultant “Helele“, and the powerful “Ràbàtà-Rabata (Enormous),” speak to a rich tradition of vocal harmony.
They showcase his flair for writing vibrant SATB choral music.
Hẹlẹlẹ shone at the 2024 World Choir Games in New Zealand, sung by the gold-winning Mountain Top Chorale, and Ràbàtà-Rabata dazzled at the 2018 Interkultur World Choir Games.
Jesus Na Bigi Man, arranged by Oluranti, bursts with lovely melodies that hail Jusus with bold, joyful voices.
Its spirited rhythms make it a standout, captivating choirs and audiences alike.
Ose o Jesu, another of his arrangements, weaves gratitude into rich, layered vocals, creating a warm, uplifting experience that resonates deeply.
Meanwhile, Gbe Gen Ge, composed by Dr. Oluranti, pulses with dynamic choral textures, urging people to lift Jesus high and bow before the King of kings.
The singers raise their voices in triumphant call for all the people to worship and praise the King of kings.
These pieces showcase Oluranti’s flair for infusing African rhythms and gospel energy into choral music, and for crafting a cappella music that is both heartfelt and electrifying, leaving listeners inspired.
Soul-Stirring Choral Music with Accompaniment
Dr. Ayo Oluranti, a masterful Nigerian composer, crafts choral works with organ and piano accompaniment that ignite spiritual fervor and cultural pride.
Notably, “Messiah, Bàbá mi,” a composition for solo, SATB choir, and organ, stands out as a particularly beloved and his most celebrated piece.
The piece has been performed by numerous choral groups across the globe, renowned for its heartfelt praise.
Its melodies and harmonies have deeply resonated with large audiences, solidifying its place as a significant contribution to the sacred choral repertoire.
With their majestic organ accompaniment, pieces such as “Hail (We shall Hail),” “Ìyanu (Miraculous),” and “I Sing the birth” elevate worship through soaring melodies, creating grandeur and reverence.
These compositions further demonstrate his compositional skill rooted in his organ playing background.
Polongo Jesu for SATB choir and organ radiates exuberance, its soaring melodies and robust organ chords proclaiming vibrant praise.
Oluwa Iwo Lo ti nse Ibujoko wa, also with choir, trumpet, and organ, delivers a heartfelt ode to divine guidance, blending rich harmonies with stirring accompaniment.
Iba Aseda Aiye weaves gratitude into intricate choral lines, lifted by the organ’s warm tones, while Olorun Bethel and Olorun Agbaye both exalt with majestic vocal interplay and resonant organ support.
Ọlọrun t’ó l’ayọ sparkles with joyful choir textures, the organ amplifying its festive spirit.
Switching to piano, Asepe pulses with rhythmic energy, its SATB voices dancing over lively keys, and I Go Dance invites choirs to sway with infectious, upbeat grooves.
Gbori soke, arranged by Oluranti, elevates traditional praise with dynamic choir and organ synergy.
These works showcase Oluranti’s gift for fusing Yoruba roots with powerful accompaniment, creating music that uplifts and inspires.
Arrangement of a Known Gospel Tune by Dr. Ayo Oluranti
Dr. Ayo Olúrántí is also renowned for his brilliant arrangements that breathe new life into familiar sacred tunes.
He reimagines classic hymns and gospel tunes such as “The Strife is O’er,” “Help Somebody,” “Heaven Came Down,” and “Peace Be Still,” adding fresh energy while preserving their original spirit.
His interpretation of “Help somebody,” originally by A. B. Androzzo, and his dramatic setting of “The Strife is O’er” for choir, brass, timpani, and organ further demonstrate his skill in adding layers of complexity and emotional depth.
Sacred Piece for Soloist by Dr. Ayo Oluranti
Dr. Ayo Oluranti crafts deeply moving works for solo voices that blend spiritual reverence with musical elegance.
Among his compositions for soloist and piano, Orin Ìyìn (Song of Praise) stands out as a vibrant celebration of gratitude.
The piece invites the soloist to soar with expressive melodies, supported by lush piano chords that echo quartal harmony.
Its uplifting rhythm and heartfelt lyrics make it a favorite for performers seeking to inspire and connect with listeners.
Equally captivating, Ọba Nlá (Great King) showcases Oluranti’s natural skill for conveying majesty through simplicity.
The soloist’s voice carries a regal melody, honoring divine greatness, while the piano weaves a rich, supportive backdrop.
The piece projects a African danceable musical tradition yet resonates well with its bold and tender tone.
It quietly draws audiences into a moment of worship that feels both personal and uplifted.
In Praise Meditation, Oluranti offers a quieter, introspective gem. The soloist navigates serene, flowing lines, paired with delicate piano harmonies that create a contemplative mood.
This piece invites reflection, balancing intimacy with spiritual depth, and showcases Oluranti’s skill in crafting music that speaks to the soul.
Adding to this stellar lineup, Oluwa Mi for voice and piano radiates heartfelt devotion.
The soloist’s expressive and soaring melody, underpinned by the piano’s gentle embrace, conveys a personal praise to the divine.
The piece solemnly tells the story of the death and resurrection of Jesus Christ.
Its emotional clarity and lyrical warmth make it a powerful piece that resonates deeply with audiences.
In “Jérúsálẹmù Títun (And I Saw a New Heaven)”, he skillfully combines choir with organ, brass, timpani, and solo voice to create a rich and the emotional impact of George Frideric Handel’s “The Trumpet Shall Sound” from his oratorio Messiah.
Dr. Ayo Oluranti: Organ Work
Dr. Ayo Oluranti infuses his organ compositions with spiritual vitality and cultural depth.
His instrumental organ works, such as Gbé e ga (Praise Him) for solo organ bursts with exuberant chords, inviting listeners to revel in joyful worship through its bold, uplifting melodies.
Impromptu – Ará ẹ̀ dìde captivates with its spontaneous energy, as the organ weaves intricate patterns that call for awakening and celebration, rooted in Yoruba expression.
Toccata – Ọpẹ́ ló yẹ Ọ́ dazzles with virtuosic flair, its rapid runs and resonant harmonies crafting a triumphant hymn of gratitude.
The work demonstrates his command of the instrument and his ability to bring praise to life through sound.
These organ pieces highlight Oluranti’s skill in transforming the organ into a powerful voice of praise, blending tradition with vibrant creativity.
Dr Ayo Oluranti: Secular Music
Beyond sacred music, Ayo Olúrántí also composes secular works that explore social themes and cultural commentary.
One such piece is “Ilu Baje” (meaning “The Nation is Broken”), which speaks boldly about societal decay and the need for reform.
Another striking composition, “Ona Abuja”, talks about societal short-cut habits.
The title translates to “corner way” or “passing behind the door,” a metaphor for using backdoor methods or unofficial channels to achieve one’s goals.
Through this work, Olúrántí critiques the political and social systems that often reward shortcuts over integrity.
These works and others show his ability to translate real-world themes into thoughtful, artistic expressions.
Dr Ayo Oluranti: Scholarly Composition
In the domain of Scholarly Music, Ayo Oluranti’s compositions take on an experimental and often intellectually stimulating character.
His scholarly compositions reveal a daring, innovative side, blending African rhythms with contemporary techniques.
Indeed, Olúrántí stands out for his innovation and deep cultural roots.
The piece Olómo kìlò f’ómo rè is part of Oluranti’s broader scholarly catalog, which often incorporates African rhythms, tonal language structures, and traditional instruments, adapted here for a Western classical piano duo setting.
The piece features intricate interplay between the two pianos, with melodies and rhythms derived from Yorùbá speech patterns and musical traditions.
The “Double Play” series, encompassing various percussion combinations—Double Play I (Àgbámọ́lẹ̀ & Cowbells), Double Play II (Marimba, Vibraphone+Crotales, Timpani+Cymbals), and Double Play III (Marimbas)—uses African percussion and Western instruments to explore rhythm and dialogue in sound.
In these works, he experiments with percussive textures, showcasing technical brilliance and employing intricate rhythmic interplay and sonic textures.
“Trifecta Yorubana” for flute, clarinet, and piano suggests a fusion of Western classical instrumentation with Yoruba musical ideas.
The introspective “Memorial” for organ offers a different facet of his instrumental writing,
“Another World” in the electroacoustic genre demonstrates his engagement with contemporary soundscapes and technological innovation.
The piece pushes musical boundaries even further, merging digital sound with traditional motifs.
“Omolúàbí“ (for male voice and African percussion) is a choral and instrumental musical work celebrating Yorùbá virtues, with Yorùbá language melodies, rhythmic vitality, and Western harmonic structures.
This piece reveals his dedication to preserving Yoruba language and stories through music.
Memorial, a piece for organ, offers a reflective contrast, grounding his scholarly output in emotional depth.
Scholarly Ensemble Compositions
Ayo Oluranti has created vibrant ensemble pieces that resonate globally.
His ensemble and scholarly works showcase his unique method of blending African rhythms with Western classical structures, each narrating a distinct cultural story.
Ayo Oluranti (Dr): “African Rhythms“
This piece takes an intercultural approach to composition by blending musical elements from both African traditions and Western art music.
The piece Premiered by Alia Musica Pittsburgh in 2008, utilized western instruments like flute, clarinet, violin, cello, piano and percussions to create African percussive sound.
The piece combines the repetitive structures of minimalism, and the rhythmic patterns found in traditional African instrumental music with Western compositional techniques.
It also introduces an innovative twist by using orchestral instruments in ways that reflect African percussion styles.
Ayo Oluranti (Dr): Iná Ràn (Mixed Ensemble)
A mixed ensemble piece commissioned in 2022 by Ensemble Recherche in Freiburg, Germany, pulses with intensity. Oluranti draws inspiration from Yorùbá musical traditions.
Consequently, he crafted a soundscape that feels both fiery and intricate.
The work features layered rhythms and tonal melodies, reflecting the speech-like qualities of Yorùbá language.
Performed under the Goethe-Institut’s aegis, it bridges African and European musical worlds, inviting listeners into a dynamic cultural dialogue.
Ayo Oluranti (Dr): “MandEʋe“
The piece written in 2023 for mixed ensemble and commissioned by Vertice Sonora to mark the centenary of the International Society for Contemporary Music, radiates a sense of global unity.
The piece features nine instruments: oboe, percussion, piano, saxophone, synthesizer, trumpet, viola, cello, and violin.
The title “Lines & Patterns from the Motherland” strongly suggests that the piece “MandEʋe” incorporates and draws inspiration from African musical elements and employs rhythmic or melodic patterns from Nigeria, consistent with Ayo Oluranti’s scholarly approach.
Ayo Oluranti (Dr): Àjùlo Kìnìún”
Ayo Oluranti’s Àjùlo Kìnìún, a vibrant composition from his 2012 doctoral dissertation, bursts with the soul of Yorùbá musical traditions.
Scored for voice, Yorùbá talking drum, àkúbà drums, percussion (temple blocks, agogo, and sèkèrè), piano, and flute, this work celebrates the rhythmic and tonal richness of Yorùbá culture.
Oluranti dives deep into the Yorùbá talking drum’s speech-like capabilities, drawing from the dùndún instrumental genre to create a dynamic interplay of rhythms that mimic spoken language.
The voice weaves through a “speech-chant-song” continuum, showcasing the musicality of Yorùbá’s three tone levels—low, mid, and high (Do, Re, Mi)—which shape the melody with captivating fluidity.
Oluranti pushes the boundaries of African Pianism, coaxing the piano to echo the talking drum’s pitch variations by approximating Yorùbá’s tonal system, transforming it into a percussive storyteller.
The flute adds lyrical flourishes, while the àkúbà drums and percussion pulse with energy, layering textures that evoke a communal celebration.
Translating to “the supremacy of the lion,” Àjùlo Kìnìún roars with cultural pride, blending tradition and innovation to honor the expressive power of Yorùbá music.
Dr. Ayo Oluranti: Opera
An excerpt from the opera “Ọmọ Agbẹ” points towards Dr. Ayo Oluranti’s ability to create larger-scale narrative and dramatic musical structures.
Ọmọ Àgbẹ Tó D’olórin (translated as The Farmer’s Daughter Becomes a musician) is a one-act opera composed by Ayo Oluranti.
This opera, performed in both English and Yorùbá, reimagines a traditional Nigerian folktale, adapted by soprano Miracle Ogbor for her doctoral dissertation, Decolonizing and Enriching the Opera World.
The piece integrates Yorùbá tonal language, where melodies mirror the pitch contours of spoken Yorùbá.
Expect rhythmic patterns inspired by Yorùbá music, possibly hinting at traditional instruments like the talking drum (Dundun).
The score likely balances contrapuntal textures with functional harmony, creating a fusion of African and Western idioms.
Ayọ Olúrántí’s Call to African Composers
In an interview with Fatima Anyekema, Ayo (Dr) expressed his opinion that for African art music to thrive, composers must create works that appeal to African listeners, not just to the Western classical music industry.
He noted that popular musicians have already mastered this approach by producing music that deeply connected with local audiences, and composers should do the same.
“We need to create a product that will draw people to the concert hall,” he emphasized.
He further expressed that if we are talking about African art music, the real challenge is getting Africans who don’t have a Western musical orientation into the concert hall.
He believes it is not just about stylistic or structural issues; it’s about how we write music that truly connects and speaks to African listeners.
Ayo Oluranti further emphasized that one of the greatest challenges African composers face is breaking free from the dominance of global music markets, which are already well established.
He pointed out that these markets are shaped by powerful cultural and genre influences, making it difficult for African composers to carve out a unique space.
“This is precisely what I am advocating against,” he stated. He urged African composers to move beyond these external influences and fully embrace traditional African musical resources.
He posed a thought-provoking question: Our traditional music operates within specific theoretical confines—can we make that the foundation of composition?
To illustrate his point, he referenced Steve Reich’s approach to composition.
“Reich traveled to Ghana to study West African drumming, not just stylistically but structurally, gaining a deep understanding of how rhythms were created and performed. He then incorporated those elements into his compositions.”
Oluranti believes African composers should adopt a similar approach—engaging deeply with traditional music to create works that authentically resonate with African audiences.
Awards and Honors: Celebrating Ayo Olúrántí’s Excellence
Ayo Olúrántí’s talent and creativity have earned him recognition around the world.
In 2024, he received a prestigious commission from Harvard’s Fromm Music Foundation.
He was also the winner of the 2009 Donald Sutherland Endowment Fund Composition Competition (USA).
His other notable honors include the 2019 Morehouse College Sub-Sahara Africa Commission Award, and the Heather Award for his outstanding interpretation of Bach.
His academic and musical excellence also earned him several scholarships, such as the Andrew Mellon Pre-Doctoral Fellowship and the St. Michael’s Organ Scholarship.
Churches in Nigeria and the UK, including Living Faith Connections and the Ibadan Anglican Diocese, have honored Ayo for his impact on sacred music. They have recognized his contribution of over 200 original works that continue to inspire and enrich worship services.
In Nigeria, top choral groups like Viva De Chorale (2019) and Vox Cantus De Chorale (2021) organized special concerts to celebrate Ayo Olúrántí’s brilliance as a composer.
Dr Ayo Oluranti: Legacy and Future Prospects
As Ayọ Olúrántí continues to push boundaries, his legacy grows ever more significant.
His contributions to sacred music, intercultural composition, and African art music have earned him international acclaim.
From premiering Hẹlẹlẹ at the 2024 World Choir Games to receiving the prestigious Harvard University Fromm Music Foundation grant, Ayọ has demonstrated unwavering dedication to his craft.
Despite his accomplishments, Ayọ remains humble and reflective.
He views his journey as an ongoing process of growth and discovery. “I have never felt like I’ve reached the pinnacle of my craft,” he admits, emphasizing the perpetual nature of artistic evolution.
This mindset drives him to continually refine his work, ensuring that each composition reflects his highest aspirations.
Looking ahead, Ayọ envisions a future where African art music takes its rightful place on the global stage.
By fostering greater collaboration between traditional musicians and formally trained composers, he hopes to create a vibrant ecosystem that celebrates Africa’s rich musical heritage.
Through education, innovation, and advocacy, Ayọ Olúrántí is paving the way for a new era of African-inspired art music.
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