Composer and ethnomusicologist, born in 1946 in Umuahia,  Nigeria, died in 2005 in Uyo, Nigeria. He began his studies in  1960 at Nigeria’s premier school, King’s College High School,  an institution based on King’s College, Cambridge. He continued  his studies at the International School in Ibadan and the University of Nigeria in Nsukka from 1970–73. While at the International School, he came to know and perform the works of  prominent Nigerian art musicians Fela Sowande (composer and  organist), Ayo Bankole (composer and organist), and Christopher Oyesiku (singer), which exposed Uzoigwe to the modern  compositional techniques of Nigerian art music that would later  become the basis of his own creative work. Uzoigwe also studied  orchestration and counterpoint, theory and history of European  art music, piano performance and composition.

His compositional ideas continued to form while at the Guildhall School of Music in London, and later at the University of  Belfast. At Guildhall, he wrote several virtuoso piano pieces  and the Lustra Variations and Nigerian Dances for symphony  orchestra. At Belfast he studied ethnomusicology under British anthropologist and ethnomusicologist John Blacking, whose  research and knowledge of the field of African music attracted  many African music students. Blacking’s advocating of studying  music from the perspective of those who own it was an important  influence on Uzoigwe. Following the examples set by Nketia and  John Blacking, Uzoigwe went back to Nigeria to conduct field  research in traditional music amongst his own people, the Igbos,  from 1977–79, focusing on the ritual musical tradition called  ukom. His compositions continued to reflect the influence of this  research into traditional music.

Like Arnold Schoenberg, Charles Ives, and Akin Euba, Uzoigwe  became disenchanted with tonality and, seeking a new viewpoint,  experimented with atonality. Examples of works in this style  include Little Jesus, The Day is Passing and Water Lilly Serenade  for orchestra. Uzoigwe held positions as lecturer of music theory  and piano at the University of Ife in Nigeria, University of Nigeria  at Nsukka (1992–96) and then at University of Uyo in Nigeria  (1996–2005) until his death.

Selected works: Sketches for piano (ca. 1974–76), Nigerian  dances for chamber orchestra (ca. 1975), Lustra variations for  symphony orchestra (ca. 1976), Ritual Procession for African  and European orchestra (1978), Four Igbo Songs for soprano and  piano (ca. 1982, rev. 1985), Watermaid for voice and orchestra  (ca. 1983), Sirene Limits for a cappella choir (ca. 1983), Grand  Little One for SATB voices and piano (ca. 1984), Two Songs for  mixed choir (ca. 1984), Masquerade I & II for iya ilu and piano  (ca. 1984), A Sketch for trombone and piano (ca. 1984), Oja for  wind quartet (ca. 1984), Fanfare for brass ensemble (ca. 1986),  The Talking Drums for piano (1990), The Day is Passing By for  SATB choir (1995), Abigbo for piano (2003).