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African music studies are generally undertaken within the field of ethnomusicology. Instruction in art music composition is, however, almost always based exclusively on Western practice, with the potential of African culture as the foundation for new, experimental work remaining unaddressed. African music traditions feature unique approaches to musical elements, make extensive use of cognitive phenomena in ways different from Western music, and have different relationships with other art forms. Building upon ethnomusicological research and intercultural collaboration, my approach to teaching concepts from African traditions, which is not intended as an antidote to Western cultural practices but as a broadening of horizons, does not promote imitation or appropriation, leading instead to the development of innovative musical ideas through an understanding of African music practices. In this article, I address a curricular innovation in tertiary art music composition pedagogy: experimental music composition based on concepts from African music traditions. I describe my personal experiences in purposefully undertaking sustained activities in this direction; I explain why I believe this course of study to be valuable in decolonisation and enhancing creativity; and I suggest outcomes to which this might lead. I will refer to selected writings by the Austrian ethnomusicologist Gerhard Kubik as a thread connecting my arguments.

Artistic innovation through African concepts: education for art music composers based on African traditions