TOWARDS DECOLONISING PIANO STUDIES IN NIGERIAN TERTIARY INSTITUTIONS: ANALYSES OF TWO ETUDES

Abstract

This article investigates the imperative of decolonizing piano pedagogy within Southeast Nigerian tertiary institutions by embedding indigenous musical practices into formal music education. Drawing on a practice-led research approach, the study introduces two original piano etudes- “Kirijom “and “Surugede”- as creative and pedagogical resources that synthesize African rhythmic idioms, tonal frameworks and performance aesthetics with established pianistic techniques. The work critiques the dominance of Eurocentric paradigms that continue to shape instructional methods, arguing for a culturally responsive curriculum that affirms local identity while maintaining technical and artistic standards. Through detailed compositional processes, structural analysis and interpretative strategies, the research demonstrates how African-derived piano repertoire can simultaneously enhance technical proficiency and promote cultural consciousness. Findings suggest that integrating such repertoire into teaching materials not only diversifies learning resources but also fosters inclusivity, creative and cultural sustainability within music programs. This study also extends the discourse on decolonization in the creative arts, offering a replicable model for transforming piano studies in postcolonial contexts. By bridging indigenous knowledge systems and contemporary pedagogical practices, the work proposes a pathway toward a more inclusive, context sensitive approach to music education in Africa and beyond.