African Pianism and the Challenge of Art Music

Abstract

Abstract This chapter explores the challenge of on-paper composing by born-in-the-tradition composers of African art music. While the best-known African repertories fall roughly into two broad categories, traditional music (which emanates from pre-colonial practices and is often associated with rural populations) and popular music (which is a largely urban, commercial and modern activity), there exists a third repertory, art music, that came into being in the nineteenth century in the wake of European Christian missionization and subsequent colonial presence. Although not as prominent as the other two, the practice of art music is far from insignificant; its identity and creative possibilities are topics of growing interest to contemporary composers and critics. This chapter focuses on African pianism, a movement within African art music, and the brainchild of Nigerian composer, scholar, and performer, Akin Euba (1935–2020). African pianism was given further visibility by Ghanaian-American scholar and pianist, William Chapman Nyaho (b.1958). What specific technical challenges does the composition of art music bring to African composers, and how might the steps taken by currently active composers encourage the development of this domain of African creativity? The Oxford anthology prompts reflection on these and related questions and suggests that the choices made by individual composers in regard to key, meter, tonal organization, texture and form affirm the enormous potential of African art music. A detailed analysis of Kwabena Nketia’s Volta Fantasy (1967) allows readers to dig deeper into the compositional process.