“SANKU” CONCERTO (An African Concerto for Piano and Indigenous Ghanaian Percussion)

Abstract

The main focus of this project was on how an artist familiar with both traditional music and western contemporary practices can produce a novel Piano Concerto that is a fusion or hybrid of the two world, so far as interculturalism in Art music is concerned. The project adopts the set theories of Anku and African pianism theories of Euba as well as Webster’s creative thinking model as its conceptual framework. The first movement, structured in the classical sonata form, is in the style of Gabada (A type of music performed by the Northern Ewes of the Volta Region of Ghana). The second, which is crafted in the style of Adowa (Performed by the Twi speaking people of Ghana in the Ashanti region) is based on the rondo form whilst the third movement is in the style of Kpanlogo (from the greater Accra region of Ghana) in free fantasy. This project can be described as an African Concerto with the techniques of twentieth century music displayed. The selected instruments (Indigenous Ghanaian percussions) are based on sounds that appeals to the composer to be able to achieve his craft, rather than the original ensembles specifically chosen for the genres. Some techniques involved in the work include the use of shifted accents, the twelvetone lines, nonharmonic materials, systematic modification of rhythms, nontertial sonorities, polychords and tall chords, changing meters, free relation of quality, superimposed thirds, clusters, direct and modified imitations, and many other traditions of the twentieth century compositional techniques. The report also provides an insight into the thought processes of the composer, offering a guide for listeners to think creatively through the music. It also presents an analysis that gives a panoramic view of the Concerto. Finally, the perspectives highlight all the social, moral and educational relevance of the project.