Pedagogical Approaches to African Pianism Models for Beginner to Advanced

Abstract

Most compositions for the piano by African composers have been centred on complex rhythms and movement patterns that allow only pianists who are advanced to be able to play and enjoy them. Such pieces are usually difficult to be given to Beginners and Intermediate players for concert performances and examinations. This thesis then explored and collected samples of such existing piano works to establish the difficulty level, create African piano works for some proficiency levels and which are models for African Pianism. It sought to establish a directional and instructive conceptual model for composing step-to-step African piano works for modern art music composers to create such works intended for wide range of performers. Rooted in the bibliographic, analytic and creative designs, data were collected using theoretical research, and document analysis. 23 existing pieces were explored and collected through bibliographical search from works of purposefully selected African scholar composers whose works have been consistently used for performances and examinations. 18 pieces which were found to be of Advance level through analysis were re created in abridged versions for the Beginner and the Intermediate. The study brought into existence not only a conceptual model for composing pedagogical pieces in African pianism but also reduction of original African Piano compositions which are models from the various proficiency levels - Beginner, Intermediate and Advance. This, it is envisaged, will create more interest in piano playing among many enthusiasts and amateurs. The thesis not only explores or works within the creative musicology paradigm, it also privileges original insight, sensibility, and yet without sacrificing analytical understanding. It highlights and contributes to the process of decolonization in African pianism in context of the African musical tradition and the development of its identity. The reductions are a major resource for expanding the number of piano players in many institutions offering music as a result of usage of short phrases and rhythms and abridged harmonic textures. It is, therefore, recommended that more pedagogical pieces are created using the pedagogical conceptual model for writing African Piano works for the various proficiency levels to aid easy practice and enjoyment