Feyi Raimi-Abraham interviews Dr Paul Konye, Nigerian Violinist, Conductor, Composer and Associate Professor of Music – Siena College, New York
FRA Can you please describe what you do?
PK I am an Associate Professor of Music, Orchestral Conductor, a scholar (I write and publish papers and books), a Composer (I write, perform, and publish my compositions) and a Violinist ( I give performances as a violinist and play in string quartets and other chamber music groups).
FRA What does an orchestral conductor do?
PK A conductor gives musical realization and interpretation to orchestral compositions. The conductor does this by convening and rehearsing the orchestra to perform compositions as one unified body though comprising of a wide variety of components and elements.
FRA Are there any other academically trained Nigerian conductors:
PK None that I know of at this point.
FRA What was your upbringing in Nigeria like?
PK I had a very fortunate upbringing in Nigeria in that I was raised by exceptionally loving parents who instilled proper values in me.
FRA How did you start playing the violin?
PK Though my love of music started in the Catholic Church, I had always wanted to play the violin but I did not get to study the violin formally until I declared to study Music (instead of the Sciences) as a teenager, during my A-level years at the Ibadan Polytechnic.
FRA You studied with prominent Nigerian musicians like Prof. Laz Ekwueme, Ada Fiberesima, Akin Euba, and Sam Akpabot – what was that like?
PK My interaction with the named icons of Nigerian art music was and remains invaluable. Each one of them provided me with uniquely different perspectives on music, and that has significantly shaped as well as added to the totality of who I am today, professionally.
FRA You attended the Guildhall School of Music?
PK Yes. I received lessons from anybody who would spare me any time of day and I was fortunate enough to have some faculty members give me instructions informally as it was usually while I was there visiting.
FRA Why did you leave Nigeria?
PK I left Nigeria essentially to pursue the study of music in the United States.
FRA Have you been back to Nigeria since then?
PK Yes, I have been back a number of times, though I have not been back as frequently as I probably should. I spent my entire sabbatical year 2005-2006 at Muson in Lagos as their Artistic Director during which time, and with the financial backing of Muson, I founded the Muson Symphony Orchestra in Lagos.
FRA Who or what inspires you?
PK The beauty of uplifting music, highlighting Nigerian art music, and the furtherance of our world.
FRA Has the fact that you are Nigerian hindered or helped your work as a violinist, composer, and conductor living in the USA?
PK Yes, yes, yes. The perception is always that of a person who is working in a “wrong” or “misplaced“ field. The expectation is always that I should have been in jazz or African music.
FRA How important is it to have music on the curriculum/syllabus in Nigerian schools?
PK I could not over emphasize its importance. I personally find it very frustrating that educators often overlook the importance of the artistic development of our young ones and of our nation as well.
FRA Who is teaching the current set of music undergraduates at Nigerian universities? Some would say that you would have better served them, your country, and perhaps invariably, music, by remaining in Nigeria - what would you say to that?
PK That is actually a great question. My initial goal was to contribute to the artistic growth of my country, Nigeria. However, experience has taught me otherwise. In a nutshell, there are no facilities to teach classical (art) music, no interest, and there are no opportunities. If I was a very rich man I would create music schools. I spent my sabbatical year in Lagos teaching and conducting. My goal was to explore the possibilities of broadening and strengthening the teaching of art music in Nigeria. But the reality, by virtue of my one year experience in Nigeria, was that the country was not yet ready for that. Thus I returned to the US disappointed.
FRA What would you say to the view that classical music is not African or that it is elitist?
PK I actually addressed this question extensively in my book on African Art Music. Every culture has its own unique classical (art) music tradition. While some are written, others are transmitted orally. One of my major objectives of being in music is to amplify the presence of African classical (art) music. That classical or art music is sometimes perceived or seen as elitist is not only an African perception, but simply because, relatively speaking, it tends to be a more refined art, whether African or Western.
FRA I read that you’ve said that there is no difference between Western and African musicology—what do you mean by that?
PK By this I mean the following: if musicology is the study of music from many perspectives including stylistically and or analytically, there is therefore no need to approach the subject any differently whether it is African or Western. For that reason, I also meant that I am able to navigate seamlessly between both worlds by virtue of my training and experience in African and Western musicology.
FRA What influences your musical composition?
PK The need to give expression to my creative imaginations and also to highlight the essence of African art music.
FRA Debate &Review is about refocusing the Nigerian psyche by engaging in a higher discourse on Nigerian issues; members of the forum have higher expectations of Nigeria, its leaders and its people - the debate is about Nigeria as we desire it and Nigeria as we want it to be! If you could be president of the country for one week what would your priorities be?
PK I’d like to preface my answer to this question by first establishing that the issue is one of declining morality and that this is world-wide and only more pronounced in so called third world countries. To put it simply, there are two major axis or polarities that guide human activities and interactions. One is of the intellectual nature and the other is of creative energy. But unfortunately, so far the intellectual pursuit and considerations have smothered the creative juice which comes from the core of humanity. Thus, the prevailing condition is now one which is devoid of creative perspective. So if I was to be the president for one week, I would do all I could to promote, encourage, and support the growth of creativity. You can only have a great nation when its citizens are more intuitive than intellectual. I would therefore offer incentives for the development and appreciation of different kinds of art and nature.
FRA With the advent of Nigerian hip-hop, reggae/ragga, and other more indigenous sounds, how is classical music going to survive through future generations of Nigerians? What can be done to encourage the next generation of career classical musicians in Nigeria?
PK Classical or art music has been in decline all over the world including Nigeria. To stem this decline one needs to address and highlight the difference between art that appeals to the intellect and that which appeals to the soul; and that also reflects and expresses the moral and cultural dignity of a people and therefore is of lasting value.
FRA If you had remained in Nigeria, what do you think you would have been doing at this present time?
PK I would definitely be teaching and practicing my music but most likely I would be very frustrated and miserable, given the lack of interest and facilities for doing this in Nigeria today.
FRA I recently commented that in Nigeria, Art has been betrayed "by its own". By Art, I include musicians of all genres as well as visual artists and writers. With graduates of Theatre Arts and Music seeking jobs in banks and oil companies - do you agree with my view? Has Nigerian Art been betrayed by its own? If so, why?
PK I could not agree more with you, quite clearly from my experiences the most of the leading exponents and icons of Nigerian art music that I interacted with, spent quite a great deal of time undercutting if not actually sabotaging each other and their work and this in many ways stunted the funding and growth of art music in Nigeria. Unfortunately this was also the case when I returned to Nigeria to explore the possibilities, as is also the case here in the United Stated amongst Nigerians. We could have made more progress if only we were able to keep a united front. It is indeed a very sad situation.
FRA How do you feel when you hear negative publicity about Nigeria?
PK I used to instinctively jump to the defence of Nigeria, until I realized the futility of such efforts in the face of the glaring disappointments about that very gifted country. Unfortunately, most of the negative comments are true, and so I now just admit it and hope that the country makes a fresh start someday.
FRA My favourite classical music composers are Mozart, Handel, Monn, Vivaldi and Boccherini. Who are yours?
PK I have to say that you have quite a broad taste in music, mine are Ekwueme, Euba, and Ayo Bankole - for Nigerians. And Mendelssohn, Brahms, and Bruch amongst others for Western composers.
FRA What is the most important lesson life has taught you?
PK That one should only invest one’s resources and energy on those things that really matter (of value to the spirit) they stand the test of time, and that one should therefore be grateful of every experience and regard them as a process of growth.
FRA Apart from being the founder and conductor of the Clifton Park Community Orchestra and the Siena Chamber Orchestra, you are also founder and conductor of the Muson Symphony Orchestra - is that affiliated to Muson in Nigeria? What have you done by way of "giving back" to the country of your birth?
PK Yes the Muson Symphony Orchestra was (and hopefully still is) affiliated with Muson. My sabbatical in Nigeria was a way of giving back to the country and exploring the possibilities of further development. But my experience was that Nigeria was not ready for my contribution at that time. I hope this will change in the future.
FRA: Has the fact that you are Nigerian hindered or helped your work as a violinist, composer, and conductor living in the USA?
PK: Yes, yes, yes. The perception is always that of a person who is working in a “wrong” or “misplaced“ field. The expectation is always that I should have been in jazz or African music.
FRA Dr Paul Konye, thank you.
