This
pandiatonicism is a characteristic of much of the prairie music in the cycle to follow.
Rather, they made use of traditional musical forms, procedures, and techniques (e.g., symphony, concerto, counterpoint, motivic development) while employing an expanded, flexible conception of tonality (including polytonality and
pandiatonicism) that frequently resulted in high levels of dissonance.
Pandiatonicism, for example, is simple to teach, provided there is applicable repertoire to work with.
Only the absence of characteristic melodic and harmonic functions sets it apart from conventional diatonic music, so pandiatonicism is used sparingly by contemporary composers.
Once a student has mastered all the notes from low C (in the secondo part) to high E, he or she could learn the entire A section and experience pandiatonicism before ever learning a B-major scale.
In terms of tonal organization, this group of Nigerian composers was tutored in the Western theoretical principles of the early twentieth century such as the twelve-tone-row method, atonality, dodecaphony, dissonance,
pandiatonicism, serialism, octatonic scales, and so forth.
Several employ the ingenuous
pandiatonicism and nondirectional harmonic successions characteristic of contemporary popular music, especially appealing to young ears.