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.
Description:
A Dissertation in the Department of Music Education, School of Creative Arts,
submitted to the School of Graduate Studies, University of Education, Winneba in
partial fulfillment of the requirements for the award of Doctor of Philosophy
(Arts & Culture) degree