Abstract
This essay investigates the development of European-style military music as practised in Nigeria with regard to the influence of its indegenization processes by its practitioners on the Nigerian soil. The areas in which the development is discussed include the new roles and functions of performance, the new thematic sources of military music arrangers, instrumentation, the stylistic and technical bases for orchestration as well as the overall institution of military music in Nigeria. It also raises an argument on the parameters for judging the African identity in a contemporary Nigerian military music composition and those of its allied genres. The essay concludes that, by virtue of its new contexts of performance as well as performance structure, Nigerian military music has shifted from being a substratum of the European music tradition in Nigeria to being a substratum of contemporary music on the Nigerian music scene.
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