School of Performing Artshttp://ugspace.ug.edu.gh:8080/handle/123456789/47082024-03-28T17:50:10Z2024-03-28T17:50:10ZA Study Of The Ghanaian Classics Recording Project By The Ghana National Symphony OrchestraDe-Souza, D.E.E.http://ugspace.ug.edu.gh:8080/handle/123456789/396802023-08-14T16:43:23Z2020-07-01T00:00:00ZA Study Of The Ghanaian Classics Recording Project By The Ghana National Symphony Orchestra
De-Souza, D.E.E.
This study examines service brand avoidance within the business market. Specifically, it assesses the applicability of the drivers of brand avoidance within the business-to-consumer (B2C) market in business-to-business (B2B) relations and assesses dissimilarities in customer responses to service brands based on customer business type. Employing an explanatory research design and a quantitative research approach, data for the study was attained through self-administered questionnaires and a uniform resource locator (URL) through Google forms. The population of interest was businesses within the Accra metropolis of Ghana avoiding a telecommunication network brand. Respondents were selected using a purposive sampling technique. 346 out of the 398 questionnaires administered were used to analyse hypothesised relationships using partial least squares structural equation modelling (PLS SEM) technique. The findings revealed that unmet expectations, symbolic incongruence and failed communications have direct significant influences on brand avoidance, while ideological incompatibility has a significant influence on symbolic incongruence. Additionally, unacceptable trade-offs and ideological incompatibility though not directly, influence brand avoidance when symbolic incongruence acts as a mediator. Further, the study revealed that customers’ business types account for some disparities in their responses to Telecommunication brands. This study contributes to literature new knowledge regarding brand avoidance within the business market from an emerging economy perspective. It provides empirical evidence as well as makes recommendations to brands and organisations on what to do and stay away from in order not only to ensure a purchase, but secure repeat purchases and loyalty. Future studies may consider examining brand avoidance by business clients within other industries as well as the impact it may have on co-branding agreements.
MPhil. Music
2020-07-01T00:00:00ZLibation Chant For NiiLartey, S.A.http://ugspace.ug.edu.gh:8080/handle/123456789/371742021-11-19T11:27:52Z2002-01-01T00:00:00ZLibation Chant For Nii
Lartey, S.A.
The present composition, written for wind band, brass and percussion, IS meant to explore
ways of Africanizing military band repatriates by blending African elements With western
techniques. It shows an awareness of pioneer works by Amu. Nketia and Akan Euba
among others African composers who paved the way in which African music can be
adopted for global advantage and use The rhythmic and melodic motives Implemented in
the 5 Sections of the work Consist of childhood reminiscences related to Labadi (Ga)
traditions as well as to Practices and behaviors inherited from scholarly exposure to
Adagme and Ewe music
What is Illustrated by this approach IS that effectiveness In African Art music may be considered as arising at the intersection between experience of organized knowledge. Learned techniques and a solid traditional background with an extreme tolerance in the process of implementation.
MA. Music
2002-01-01T00:00:00ZPost Independence Playwriting in Ghana: A Critical Comparative Appraisal of the Dramatic Works of Asiedu Yirenkyi & Ben AbdallahAkenoo, M.K.http://ugspace.ug.edu.gh:8080/handle/123456789/371702021-11-19T11:24:37Z2002-01-01T00:00:00ZPost Independence Playwriting in Ghana: A Critical Comparative Appraisal of the Dramatic Works of Asiedu Yirenkyi & Ben Abdallah
Akenoo, M.K.
Post-independence playwriting in Ghana is mainly characterized by experimentation and “avant-gardism” that can be geared towards the development of professional theatre.
These characteristics are portrayed in the plays of new emergent playwrights like Efua Sutherland, Joe De Graft, Ama Ata Aidoo, Bill Marshall, Martin Owusu, Asiedu, Yirenkyi, and Ben Abdallah as compared to the pre-independence playwrights like Kobina Sekyi, F.K. Fiawoo and J.B. Danquah whose works were mainly patterned on Western direction and orientation. To this end, the works of the pre-independence playwrights constitute what can be aptly described as “closet drama” from the critical standpoint.
Efua Sutherland pioneered and laid the foundation for professional playwriting and professional theatre in Ghana. This era saw the rapid development of professional theatre in Ghana. The first play written by Efua Sutherland, titled Foriwa, was produces shortly after Ghana’s independence in 1957. This was followed up later with Edufa and The Marriage of Anansewa respectively by the same playwright.
The evolution and development of professional playwriting and professional theatre in Ghana came to its full apogee with the emergence of Asiedu Yirenkyi and Ben Abdallah on the Ghanaian playwriting scene. Their works, in terms of subject, theme, and style, are clear manifestation of playwriting, which is unique and distinct from their predecessors ‘of the pre-independence days.
Basically, the two playwrights blend traditionalism with modernism in their writings; and furthermore, whilst Asiedu Yirenkyi searches for audience awareness, Ben Abdallah, an avant-garde playwright, is steeped in portraying, the “Abibigoro” concept in this persistent search for an African theatre.
MPhil.Theatre Arts
2002-01-01T00:00:00ZA Study of the Ghanaian Classics Recording Project by the Ghana National Symphony OrchestraDe - Souza, D.E.http://ugspace.ug.edu.gh:8080/handle/123456789/369792021-10-29T10:55:19Z2020-07-01T00:00:00ZA Study of the Ghanaian Classics Recording Project by the Ghana National Symphony Orchestra
De - Souza, D.E.
The Ghana National Symphony Orchestra (GNSO) has been in existence since 1959. It is
one of the oldest symphony orchestras in Ghana. Set up on the directive of Dr. Kwame
Nkrumah, first President of the Republic of Ghana, the aim was to introduce Western
classical music to Ghana and also to show the competence of Africans in playing both
African Airs and Western classical music. Despite being in existence for over fifty years,
the GNSO had not embarked on any recording project. However, in 2015, the idea of the
Ghanaian Classics recording project was conceived and realised. This project veered off
the usual practices of the GNSO and there is some curiosity as to what this album was all
about and what it set out to achieve.
This study therefore examines the Ghanaian Classics album project, focusing on the
recording process, how selected pieces for the album were recontextualised, and the
commercial dimension of the project and how the album contributed to a sense of
Ghanaian nationalism.
Ethnographic approach was employed in the methodology. Between 2010 and 2013, I
served as an intern and national service person with the orchestra. During this time, I was
a participant-observer and became acquainted with the repertoire, performance practices
and the general organisation of the GNSO. For this project, I listened to the album
purposively and did a musical and textual analysis of the songs and the album design.
Using Hannenin’s theory of recontextualisation, I examined the changing context of the
songs as compared to the original forms. I also did analysis of the instrumentation,
arrangement and the choice of repertoire and guest musicians. Other primary data sources
included interviews with the director of the GNSO, the project coordinator, the producer,
the artist, some members of the GNSO and selected patrons. Secondary sources included
previous studies of the GNSO, music scores, and information gathered from libraries and
internet sources.
The research reveals that this project was to enliven the cultural memories of Ghanaians
and to honour highlife legendary artistes. The recontextualisation of selected pieces was to
link old performance styles to the new ones and for a better appreciation of the songs on
the album. It concludes the GNSO has exhibited their versatility in performing art,
traditional and popular musical types and most significantly projecting Ghanaian culture
and heritage.
MPhil. Music
2020-07-01T00:00:00Z