For many musicians and listeners, "African music" conjures a specific, often narrow, auditory landscape: the rhythmic thunder of drums, the communal call-and-response of a village gathering, or the vibrant pulse of highlife and Afrobeat. While these are vital threads in the continent's rich tapestry, there is a magnificent, scholarly, and deeply moving genre that often remains in the shadows of global perception: African Art Music.
Scholars like J.H. Kwabena Nketia and Akin Euba have long defined this genre as a sophisticated synthesis of African traditional elements and Western classical techniques. It is a music born of the "intercultural encounter": where the rigorous structures of the conservatory meet the fertile soil of indigenous melody and rhythm. Yet, because it sits at this intersection, it is frequently misunderstood.
Whether you are a conductor, a musicologist, or a curious listener, here are seven common mistakes people make when approaching African Art Music, and how you can reimagine your perspective.
1. Viewing it as "Simple" or "Folk Music"
One of the most persistent errors is the assumption that African art music is merely "notated folk music." This minimizes the intentional, academic craft behind the compositions. As Nepomuk Riva argues in The Invention of African Art Music, this genre is a deliberate intellectual project. It transforms traditional musical traits: what Bateye calls the core "Traditional Musical Traits": into a formal concert idiom.
The Fix: Approach these scores with the same analytical rigor you would apply to a Bartók string quartet or a Stravinsky ballet. These works are not "simplistic"; they are refined extractions of culture, reimagined for the concert hall.
2. Assuming Tonic Sol-fa is "Lesser" than Staff Notation
In many Southern African choral traditions, Tonic Sol-fa is the primary language of the singer. A common mistake among Western-trained musicians is to view Sol-fa as a "crutch" or an amateur system. On the contrary, Tonic Sol-fa allows for an incredible level of tonal precision and rhythmic flexibility within the African linguistic context.
The Fix: At African Composers Edition, we provide dual staff-solfa notation. Recognize that Sol-fa is a sophisticated tool that bridges the gap between oral tradition and the printed page, especially in works by masters like Joshua Pulumo Mohapeloa.
3. Thinking African Composers Only Write Choral Music
While the choral tradition is undeniably a "blanket of greenery" covering the continent’s musical landscape, it is far from the only medium. African composers have written magnificent works for orchestra, chamber ensembles, and solo instruments. Wendy Hymes Onovwerosuoke’s dissertation on African Art Music for Flute highlights a vast repertoire of instrumental music that remains criminally underperformed.
The Fix: Explore the "African Pianism" movement. As pianist Rebeca Omordia discussed in Gramophone, the piano becomes a percussive, melodic vessel for African rhythmic structures. Check out the intricate piano works of Surendran Reddy to see how the genre extends far beyond the choir loft.
4. Believing it’s Only for African Audiences
There is a lingering misconception that African art music is "ethnic" music intended only for a specific cultural group. This ignores the "universal" aspirations of composers like Michael Mosoeu Moerane. His works, like Fatse La Hešo (My Country), utilize a harmonic language that speaks to the global human experience while remaining rooted in the soil of Lesotho.
The Fix: Program these works in standard concert series. African art music is not a "special interest" category; it is a vital part of the global classical canon that deserves a place on every stage.
5. Thinking You Need to Be an Ethnomusicologist to Perform It
Many performers are intimidated by the cultural specificities of African music, fearing they lack the "authentic" background to perform it. While understanding the cultural context is essential, the music is written to be performed.
The Fix: Use the resources provided in critical editions. Our publications include lyrical translations and historical introductions that act as a "drifting cloud" of guidance, allowing any musician to approach the work with respect and technical accuracy.
6. Assuming There’s No "Canon" of African Art Music
Because this music was often excluded from Western textbooks, some assume it lacks a documented history or a set of "standard" works. However, scholarship like Patrick Smith’s thesis on Ghanaian art music composers proves the existence of a robust, well-defined tradition. From the pioneering work of Ephraim Amu to the contemporary innovations of Justinian Tamusuza, a clear lineage exists.
The Fix: Dive into Complete Scholarly Volumes. Treat these composers with the same historical reverence you would afford the "Great Masters" of Europe.
7. Dismissing it as Purely Sacred or Missionary-Influenced
It is true that the early history of African art music is intertwined with missionary education. However, many composers used those foundations to "reimagine" a secular and nationalistic identity. Works range from anthems and barcarolles to experimental avant-garde pieces that have entirely discarded missionary harmonic constraints.
The Fix: Look for the "spirit" of the work beyond the surface. Even in sacred settings, the "onomatopoeia" of the language and the "fertile" rhythmic shifts often subvert Western hymnody, creating something entirely new and indigenous.
Bringing the Music to Life
African Art Music is a living, breathing tradition. It is a music of the "magnificent" and the "intimate," bridging the gap between the archival past and the digital future. By avoiding these seven mistakes, we can begin to see these works for what they truly are: masterpieces of human creativity that belong to the world.
Whether you are looking for individual scores or complete collections, the journey begins with a single note. Let us move past the misconceptions and listen to the true voice of the continent.
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