Abstract:
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.
