STEPHEN OLU-BUKUN OLUSOJI
Email:stephenolu2002@yahoo.com
Tel: 234-01-8033134137
PERSONAL INFORMATION
1. Born to Rev. J. A. Olusoji and Late Mrs. Susan Olusoji on July 12,
1965 in Lagos, Nigeria.
2. Marital Status: Married
3. Name and Date of Birth of wife and children
(a) Wife: Beatrice Ajike Olusji June, 11 1971
(b) No. of Childern: 3 {Three}
{i} Victor Olumide Olusoji – April 29, 1998
{ii} Gideon Olukorede Olusoji – Dec. 4, 2000
{iii} Margaret Oluwatamilore Olusoji – Dec. 9, 2003
SCHOOL ATTENDED WITH DATES AND QUALIFICATIONS
Methodist Pry School, Mushin Lagos. 1972 – 1978
SCHOOL LEAVING CERT.
Baptist Academy, Lagos 1980 – 1983
WEST AFRICA EDUCATION CERT.
The Polytechnic Ibadan, 1984 – 1988
N.C.E, Music Technical
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University of Nigeria, Nsukka.
1998 -1990
nd
B. A. MUSIC HONS. 2 Class Upper. Area of specialization; composition
Lagos State University, Ojo (M. Ed. EDUCATIONAL MANAGEMENT) 1998
University of Ibadan, Ibadan, Nigeria (Ph. D Musicology, 2009)
PRIZE/CERTIFICATE
 Best final year performance MAJOR student, University of Nigeria,
Nsukka 1990
 Royal Schools of Music, London Grade V Theory Certificate
 Cambridge University IGSCE certificate in Music
WORKING EXPERIENCE
 Lecturer in music at the Adeniran Ogunsanya College of Education,
Lagos. (1992-2001)
 Head of department of Music at the Adeniran Ogunsanya College of
Education, Lagos. (1996-1999)
 Lecturer in Music at the Lagos State University Ojo, Lagos 2001
 Lecturer (Lecturer II ) in Music at the University of Lagos 2002 to
date
 Instructor/Examiner at the MUSON Centre Lagos (1991 to date)
 Examiner Joint Admission Board (JAMB) 2006, 2007, 2008.
 Member, University of Lagos Ceremonies Committee 2005
 Director of Music: Foundation Voices and Orchestra, Lagos
 Adjudicator at Music competitions etc.
PUBLISHED BOOKS/JOURNALS
1.
Olusoji, S. O. 2006. ‘A
Re-Assessment
and
Evaluation
of
Teaching of Music Practicals in Nigerian Tertiary Institutions’, In
Awka Journals of Resarch in Music and Art.
Dan. C. C. (ed.)
Volume 3, University of Azikiwe, Anambra State, pp. 62 – 67.
Comments:
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The paper examines the curriculum and mode of teaching Music
practicals in Nigerian tertiary institutions.
It highlighted the
multifarious problems facing it and proffered solutions to them.
2.
Olusoji, S. O. 2004. ‘A Discourse on Yoruba Folk Music As a
Basis for 21st Century Nationalistic Compositions.’
In Revisiting
History Through the Arts, Peju Layiwola (ed.) Lagos: Talos Press,
pp. 63 – 67.
Comments:
The paper examines nationalism in music and usage of folk
materials by art musicians in their works.
It suggests that for
Yoruba art compositions to truly reflect their tradition – composers
of art music should attune themselves with traditional elements
found in their immediate environment.
3.
Olusoji, S. O. 2006. ‘Music in Contemporary Nigerian Churches:
The Social Commitment of the composer’ in Nigerian Musicology
Journal. Dan, C. C. (ed.) Volume 2, 2006, pp. 176 – 187.
Comments:
The focus of the paper was the development and new roles
associated with music in worship in contemporary Nigerian
churches.
Some of these are:
Dwindling Fortune of Hymns and
Singing of Hymn; Dearth of Quality Indigenous Composition for the
Church; The Emergence of Chemises as Replacement for Anthems
and Hymns and non-availability of well-grounded and tested choir to
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perform works and others.
Solutions were preferred to the
problems highlighted in the paper.
4.
Olusoji, S. O. 2005. ‘Stylistics Trends in Yoruba Popular Music:
A Comparative Analysis of Apala and Fuji.
In Nigerian Theatre
Journal. Duro Oni (ed.), pp. 309 – 315.
Comments:
The paper examines trends in Apala and Fuku music looking at
musical factors such as style of performance, compositional
techniques, forms, song styles, instrumentation and other musical
and extra-musical factors.
5.
Olusoji, S. O. 2000
‘Music in Socio-Cultural Development in
Nigeria.’ In Themes in Social Studies Education and Culture (A
Book of Readings). R. O. Ajetunmo and Z. A. Omolade (ed.) Lagos:
Raytel Communications Ltd. pp. 168 – 172.
Comments :
The paper examines the role of music in the society, tracing its
traditional roles and contemporary values.
It makes some
significant contribution to scholarship in the field of music.
6.
Olusoji, S. O. 2008. ‘Collection of Piano Pieces’ in Nigerian Music
Review. Femi Adedeji (ed.) Ile-Ife: Department of Music, Obafemi
Awolowo University, Osun State.
7.
Olusoji, S. O. 2008. ‘The Relevance of Music Education to the
Nigerian Education System.’ In Artlink. Vol. 1. No. 3 & 4. Lagos, pp.
118 – 123.
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Comments
The paper examines the relevance of music education to the
Nigerian educational system. It discussed important issues such
as content and scope of music curriculum in Nigerian tertiary
institutions.
8.
Olusoji, S. O. 1997. ‘Higher Education and social Relvance.’ In
Journal of Education Research and Development. Vol. 1, No. 1, pp.
111 – 119.
Comments :
The paper focuses on the tripartite roles of the society, government
and educational administrations in solving
the
multifaceted
problems bedeviling tertiary education in Nigeria.
SEMINAR PAPERS PRESENTED
1.
Olusoji, S. O. (2008). ‘The
Contemporary
Nigerian
Music
and
Globalization.’ A paper presented at the Graduate Music Students’
Association Inaugural conference. Department of Music, University
of Alberta, Edmonton, AB, Canada.
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2.
Olusoji, S. O. (2007).
‘Music and National Consciousness: A
Discourse on Waka Music of Western Nigeria.’ A paper presented
at the Pan African Society for Musical Arts Education. Malawi, 26 –
28 Nov. 2007.
3.
Olusoji, S. O. (2008). ‘The Poetic Attributes of Apala and Sakara
Music of South-western Nigeria.’
Paper delivered at the Annual
Conference of Association of Nigerian Musicologists, held at the
Adeniran Ogunsanya college of Education, Ijanikin.
4.
Olusoji, S. O. (2004).
“A Re-assessment and Evaluation of
Teaching of Music Practicals in Nigerian Tertiary Institutions.
Presented at the Musicological Society of Nigeria Conference,
University of Ibadan, 2004.
5.
Olusoji, S. O. (2004). “Stylistics Trends in Yoruba Popular Music:
A Comparative Analysis of Fuji and Apala”, presented at the Society
of Nigerian Theatre Artiste Conference at the University of Lagos,
2004.
6.
Olusoji, S. O. (2005).
Depressed Economy.”
“Sustaining
Music
Business
in
a
Presented at Society of Nigerian Theatre
Artiste Conference, Benue, 2005.
7.
Olusoji, S. O. (2006).
“Music
in
Nigerian
Contemporary
Churches”: The Social Commitment of the Composer.” Presented
at the Musicological Society of Nigeria Conference, Nnamdi Azikiwe
University, Awka, 2006.
6
8.
Olusoji, S. O. (2004).
“Revisiting History through the Arts: A
Discourse on Yoruba folk Music as basis for the 21 st Century
Nationalistic
compositors.”
Presented
at
the
Creative
Arts
Conference, University of Lagos, Akoka, 2004.
9.
Olusoji, S. O. (1998). “Teaching of Instrumental Music.” Presented
at the Workshop for Teachers and Choir Trainers, Muson Centre,
1998.
10.
Olusoji, S. O. (2006). “Compositional Techniques/Arraying of
Vocal Parts.” Presented at the Best Spring 700 Music Workshop.
11.
Olusoji, S. O. (2002).
Musical Instrument repertoire.
Paper
presented at the Musical Society of Nigeria Workshop for Music
Teachers and Choir Trainers, Muson Centre, Lagos.
CREATIVE WORKS
Programme Music
1.
‘Kabiyesi’ Scenes from the Palace.
B. A. Music Thesis.
Performance at the University of Nigeria, Nsukka, 1990.
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Premier
2.
Ere Osupa (Moonlight Play): Scenes from the Village Square. M. A.
Thesis, University of Ibadan, 2001.
Instrumental Works
1.
Eight characteristics pieces for the piano: (a) Fuji
(c) Sakara (d) Waka
(e) Afro Beat
(b) Apala
(f) Highlife
(g) Atilogwu (h) Sewele (i) Ikwokilikwo.
2.
Three Dances for tenor sax and piano.
Wa(1) – Zo(2) – Bia
(3)
3.
Mary had a little lamb, Trio for Violin, Viola and Bb clarinet.
4.
Efe: Who is a mu – si-san (Dialogue for instruments and voices).
5.
Pieces for solo recorder and piano (Dance tribute
and Moslem
chant)
6.
Atilogwu for Bb Clarinet and Piano.
ORCHESTRAL PIECES
(a)
Melorythmic Nigeriana
(b)
Ojo maa ro (Rain drops), also arranged for string quartet.
(c)
Nike Nike
(d)
Amazing grace (for Bb trumpet solo and orchestra).
(e)
Omode Meta nsere (for brass orchestra).
(f)
Sakara for symphony orchestra and indigenous instruments
(g)
Mango walk.
(h)
Waka for symphony orchestra and indigenous instruments
7.
Vocal Pieces
(i)
Harmonious paean, cantata for soprano, Alto, Teno, Bass Solo,
S. A. T. B. and Piano.
(ii)
Yoruba sacred songs, Vol. 1 pages 1 – 200 (in press).
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(iii)
Negro Spirituals
(a)
Little David Play on your Harp (S.S.A.) Arranged
(b)
Roll Jordan Roll Arranged.
(c)
Swing Low, Sweet Chariot, Arranged.
(d)
Nobody knows. Arranged.
(e)
Wonderful excellent (Original spiritual)
(f)
I know Medley S. A. T. B. Arranged.
8. CONTEMPORARY WORKS
Sacred
(i)
Jesus A Child of O’R Time. For Solo, chorus and Orchestra.
(ii)
Beautiful Jesus: For Solo Chorus and Piano.
(iii)
See a New Beginning for choir, S. A. T. B.
Secular
(iv)
Memory of Old
(v)
Love is Everywhere
(vi)
Jingles for Pfizer and other companies.
AREA OF INTEREST/CURRENT RESEARCH:
Collection, transcription and analysis of folksongs from Nigeria and
other countries.
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