University of Ghana http://ugspace.ug.edu.gh UNIVERSITY OF GHANA, LEGON ORIGINAL COMPOSITIONS USING ELEMENTS FROM FUMεFUMε TRADITIONAL MUSIC BY GENEVIEVE ALLOTEY-PAPPOE (10319473) THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF MASTER OF PHILOSOPHY DEGREE IN MUSIC JUNE, 2016 University of Ghana http://ugspace.ug.edu.gh To my late mother, Mary Audrey Ofeibea Adjoa-Akyere Allotey-Pappoe i University of Ghana http://ugspace.ug.edu.gh DECLARATION I, Genevieve Allotey-Pappoe, DECLARE THAT THIS THESIS, WITH THE EXCEPTION OF QUOTATIONS AND REFERENCES CONTAINED IN PUBLISHED WORKS WHICH HAVE ALL BEEN IDENTIFIED AND ACKNOWLEDGED, IS ENTIRELY MY OWN ORIGINAL WORK, AND HAS NOT BEEN SUBMITTED, EITHER IN PART OR WHOLE, FOR ANOTHER DEGREE ELSEWHERE” The Candidate ...……………………………………….Genevieve Allotey-Pappoe Supervisors ………………………………………… Dr. Joshua A. Amuah Head, Dept. of Music University of Ghana Legon …………………………………………. Mr. Timothy E. Andoh Department of Music University of Ghana Legon ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENTS All glory is to the almighty God for seeing me through this project. His grace and mercy endures forever. A very big thank you goes to my supervisors Dr. Joshua A. Amuah and Mr. Timothy E. Andoh for their continuous guidance, support and patience. I would also like to thank those who have one way or the other, helped in shaping my work over the two years that I was an M.Phil student at the Music Department, University of Ghana, Legon. To Prof. Daniel Avorgbedor, Prof. John Collins, Prof. Kofi Agawu, Dr. Harper, Dr. Juan Meneses, Martijn Padding and Kenn Kafui, I say a big thank you. To my friends at the school of performing arts: Kofi Kudonu and Godwin Atsu Sokpor,I am very grateful for all the help and support you gave me. I am very grateful to my father Very Revd. William Allotey-Pappoe for all his prayers and support. Also to my brothers Ebenezer and Solomon Allotey-Pappoe, I say thank you Finally I would like to thank all the staff and students of the Department of Music, University of Ghana, Legon who may have contributed to my thesis in one way or the other. iii University of Ghana http://ugspace.ug.edu.gh ABSTRACT This study is an exercise in creative ethnomusicology as defined by Nigerian composer and scholar, Akin Euba. Bode Omojola (1995) refers to Euba‟s creative ethnomusicology as the “reinterpretation of stylistic tendencies”. It will engage works where materials collected through ethnomusicological methods are used for composition (e.g. the works of Nigerians Joshua Uzoigwe and Ayo Bankole and Ghanaians J. H. K. Nketia and Kenneth Kafui). A major goal of this work is to capture a set of features that characterize Fumεfumε music (a recreational style amongst the Ga people of Accra) through systematic study and transfer them to a different context and instrumental format, which will include western and traditional instruments. I studied the historical background of Fumεfumε music while focusing on its musical elements and creative processes. Information was collected through participant observation and video recordings of performances. After analyzing the patterns of the music I composed three pieces that are highly evocative of Fumεfumε traditional music and falls under the category of African art music. Most Ghanaian composers have created works for vocal music and relatively few for instrumental music. As a consequence many instrumentalists have had to play pieces originally written for the voice. This work contributes to increasing the repertoire of Ghanaian instrumental art music as well as providing knowledge on Fumεfumε music which has very little documentation. iv University of Ghana http://ugspace.ug.edu.gh TABLE OF CONTENTS Title Page i Dedication ii Declaration iii Acknowledgements iv Abstract v Table of contents vi List of Figures viii CHAPTER 1 INTRODUCTION 1.1 Background to the Study 1 1.2 Statement of the Problem 2 1.3 Objectives of the Study 2 1.4 Significance of the Study 3 1.5 Scope 4 1.6 Theoretical Framework 4 1.6.1 Interculturalism 5 1.6.2 Intertextuality 7 1.6.3 Change and Innovation 8 1.7 Literature Review 8 1.8 Methodology 13 CHAPTER 2 HISTORICAL BACKGROUND 2.1 Preamble 16 v University of Ghana http://ugspace.ug.edu.gh 2.2 The Fumεfumε Dance 17 2.3 Relationship between the Music and Dance 18 2.4 The Drum Ensemble 19 2.4.1 The Drums 20 2.4.2 The Drummers 21 2.5 Organization of Fumεfumε 24 2.6 Fumεfumε Music 24 2.6.1 Musical Factors 27 2.6.2 The Distinctive Factors 28 2.7 Costume 30 2.8 Summary 32 CHAPTER 3 FEATURES AND ANALYSIS OF FUMεFUMε 3.1 Preamble 34 3.2 Forms and Technique 34 3.3 Melody 38 3.4 Polyphony 43 3.5 Timeline 45 3.6 Timing 47 3.7 Rhythm 48 3.8 The Fumεfumε Rhythms 51 3.9 Summary 61 vi University of Ghana http://ugspace.ug.edu.gh CHAPTER 4 THE COMPOSITIONS 4.1 The Drummer‟s Dance 62 4.2 African Arietta 72 4.3 Fumlifumli 77 CHAPTER 5 ANALYSIS OF COMPOSITIONS 5.1 Preamble 91 5.2 The Drummer‟s Dance 91 5.2.1 Melody 92 5.2.2 Harmony 93 5.2.3 Rhythm 94 5.2.4 Character 97 5.3 African Arietta 98 5.3.1 Melody 98 5.3.2 Harmony 99 5.3.3 Rhythm 100 5.3.4 Character 100 5.4 Fumlifumli 101 5.4.1 Melody 101 5.4.2 Harmony 105 5.4.3 Rhythm 107 5.4.4 Character 109 5.5 Summary 109 vii University of Ghana http://ugspace.ug.edu.gh CHAPTER 6 SUMMARY, CONCLUSIONS AND RECOMMENDATIONS 110 6.1 Summary 110 6.2 Conclusion 112 6.3 Recommendation 112 REFERENCES 114 APPENDIX A INTERVIEW QUESTIONS 117 APPENDIX B INDIVIDUAL INSTRUMENTAL PARTS 118 viii University of Ghana http://ugspace.ug.edu.gh LIST OF FIGURES Fig. 2.1 20 Fig 2.2 22 Fig 2.3 23 Fig 2.4 23 Fig 2.5 24 Fig 2.6 30 Fig 2.7 32 ix University of Ghana http://ugspace.ug.edu.gh CHAPTER ONE INTRODUCTION 1.1 Background to the Study „Fumεfumε‟ is a Ghanaian traditional recreational musical type that is popular among the 1 Ga-dangme people of Accra in the Greater Accra Region. It is a mixture of social and religious elements from Ga and Ewe people. According to Sokpor (2014:37), The Ga Kple, 2 3 Otu, Amedzro and the Ewe Egbanegba music played a role in the formation of Fumεfumε music. It has gone through a lot of transformation from its original form since Mustapha Tettey-Addy and his brothers created it in the late 1960s. Malian Instruments like the 4 5 djembe and dundun have replaced the Ga-dangme Oblεntεn, Ampaa and Fumεfumε mi . This has led to controversies surrounding the birthplace of Fumεfumε with some people attributing it to Mali. Nowadays, Fumεfumε is performed all over Accra as a recreational music commenting on various social topics ranging from virtues to vices of the society, although it has been infiltrated with some aspects such as the song repertoire, instruments and costumes. In the last two decades the original Fumεfumε has been popular in but not limited to towns such 6 7 as Jamestown , Kwabenya, Avenor and Kokrobite . 1.2 Statement of The Problem 1 Ga-dangme is made of people who speak Ga and Ada in the Greater Accra Region of Ghana 2 Kple, Otu and Amedzro are Ga religious, warlike ritual and recreational music and dance respectively 3 Egbanegba is a recreational dance type among the Northern Ewe 4 Djembe is a Malian instrument while dundun is a cylindrical shaped membranophone that is often struck with sticks 5 Oblεntεn and Ampaa are the names of the supporting drums in the Fumεfumε ensemble while the Fumεfumε mi is the master drum. 6 Jamestown is one of the oldest districts in the city of Accra located east of the Korle Lagoon 7 Kwabenya, Avenor and Kokrobite are towns in Accra, Ghana 1 University of Ghana http://ugspace.ug.edu.gh Fumεfumε is one of the varieties of traditional-recreational music with various elements that can serve as thematic material for composition. Simply picking an element of African traditional music and using it in composition does not qualify as creative ethnomusicology since no ethnomusicological studies have been carried out. The theoretical perspectives and compositional techniques of the group being studied must be employed during contemporary composition. There is a wide repertoire of Ghanaian art music but these are mainly vocal pieces unlike Nigerian art music where there is a wide repertoire of instrumental art music. Although there are many Ghanaian piano compositions under the term African pianism by composers such as Nketia (Volta Fantasy), Kenn Kafui (Akpi Sonata) and Emmanuel Boamah (Welcome), there are very few compositions for other instruments in the strings, woodwind and brass family. An example of music written for an instrument other than piano is Hilarius Wuaku‟s Dzadza Belebele written for Trumpet. Playing a vocal piece on an instrument due to lack of repertoire for that particular instrument is inadequate and should not be encouraged. More compositions are needed for a variety of instruments so that rather than perform for example, a voice piece on the violin, an original composition for violin should be made available for performance. This thesis seeks to make available, more repertoires for instrumental music as well as encourage the practise of composing music for the various instruments at our disposal. 1.3 Objectives of the Study The objective of the project is twofold: first, fuse key elements of Fumεfumε traditional music with western instrumentation to create a new piece that has a new aesthetic form 2 University of Ghana http://ugspace.ug.edu.gh relevant but still retains to an extent, the character of its Fumεfumε origin; second, write a scholarly report with detailed transcriptions and analysis of Fumεfumε music. 1.4 Significance of the Study The significance of this study is to highlight the need for thorough and extensive ethnomusicological studies in composing African art music. Simply taking an element of traditional music and using it in composition without proper analysis and history of where it is coming from should not be encouraged. Secondly, it will give more information on one of the varieties of Ghanaian traditional music, its historical background, detailed transcriptions, and analysis. Also, it draws attention to the variety of indigenous resources as materials for composition and it will add to the limited repertoire on instrumental Ghanaian art music and serve as reference material for students and composers. Furthermore, it encourages the practice of composition among females in Ghana. th Composition of art music dating back to the 17 century was a practise reserved for males and although females such as Fanny Mendelssohn and Clara Schumann were composing music, they were never really encouraged or as renowned as their male counterparts. In recent times, more women in the Western Diaspora are composing. In Africa, very few women such as the Nigerian musician Edna Soyanwo, are engaged in the composition of African art music and they are not as renowned as their male counterparts. 3 University of Ghana http://ugspace.ug.edu.gh 1.5 Scope In this thesis, much attention has been given to the musical features of Fumεfumε rather than the extra-musical. Detailed transcriptions of the Fumεfumε rhythms and seven songs from the repertoire have been analyzed in order to understand the creative processes and compositional techniques employed in Fumεfumε. Nevertheless, the origin, background and organization of Fumεfumε as well were researched into in order to give the reader a brief insight into the background of Fumεfumε music The research has taken place in specific areas in Accra particularly on the families of the supposed creators in the Ga-Mashie area. Theophilus Tettey Bibio Addy who is a Tigari priest, master drummer of Fumεfumε music and a nephew of the creator Mustapha Tettey- Addy served as a key informant, as the creator himself is indisposed. Godson Atsu Sokpor and Akwei Brown were also informants. Performances and interviews held with Theophilus and his group as well as the Kusum band led by Nii Tettey Leno Tetteh will be the main source of data for recording, transcription and analysis. This thesis took a year with data being collected between September 2015 and January 2016. 1.6 Theoretical Framework The theories used for this thesis were chosen based on their links to creativity and analysis. Interculturalism and intertexuality, have strong link to creation and analysis of any artwork. Musicians borrow from different cultures in order to create a new piece and this new piece is usually always connected to the pieces from which the work has been borrowed. Whether the musician has used this borrowed material knowingly or unknowingly, detailed analysis will tie this new work to most of the borrowed materials. The theories of interculturalism and intertexuality are therefore closely related 4 University of Ghana http://ugspace.ug.edu.gh 1.6.1 Interculturalism Interculturalism denotes two or more cultures or aspects of culture coming together to form a whole. According to Cantle, (2012), Interculturalism arose to challenge the „identity politics‟ (ethnocentric and segregation policies) of multiculturalism and its static nature or as Etienne Balibar calls it, “differentialist racism which postulates incompability of lifestyles and traditions”. Interculturalism supports cross-cultural dialogue and challenges self-segregationist tendencies within cultures. How then can interculturalism serve as a theory for music theorists, ethnomusicologists and most especially composers? Interculturalism in music involves using elements from two or more cultures to create new music for appreciation more or less. According to Euba, th “Interculturalism intensified during the closing decades of 20 century”. Too often, interculturalism in music in this part of the world has been associated with African art music but this process has been going on long before it became a theory as cultures continue to borrow from each other. For example, according to an article Halsey Stevens of the Britannica Encyclopedia, Bela Bartok, the Hungarian composer, collected and analysed folk songs from Turkey, Slovakia, Hungary, Romania and Bulgaria and used it in his compositions. Interculturalism can also be found in African popular music and traditional music as well and it is as old as music itself. Bringing it closer to home, another example is that of the „Transatlantic Feedback‟ which was coined by John Collins to describe the movement of music via the African slaves across the Atlantic to the Caribbean and North America and its subsequent return to Africa. The slaves took aspects of their culture especially the music, preserved it in unusual ways body patting, leg tapping and hand clapping. These 5 University of Ghana http://ugspace.ug.edu.gh were in turn fused with other aspects from different cultures, developed and have formed th some of the most amazing world popular music. This happened towards the end of the 19 century and genres such as Jazz, Blues, Reggae, Rumba and Samba emerged. This developed music was re-introduced to Africa and fused with elements from African traditional music to form new popular musical types such as Highlife, Juju, Afro-Jazz, Afro-Cuban music, Reggae music etc. As the world continues to globalize, interculturalism continues to play a role in world music as new musical styles continue to emerge. In our African traditional music also, interculturalism as a praxis has taken place in many traditional and neo-traditional music. Different cultures borrow from each other within nations and across nations in Africa in terms of instruments and certain elements. For example, Fumεfumε is often viewed as having a strong link to the Ewe Egbanegba. The Ewe Egbanegba and Amedzulo, together with some Ga religious dances are often viewed as the foundation for Fumεfumε music and dance. With all these in mind, one might wonder why some Ghanaians only speak of interculturalism when it comes to matters of African art music, as it has been ever present in African popular music and African traditional music as well. It should be noted that theories of intertexuality and change are very closely related to interculturalism. Interculturalism would be used as a guide in the fusion of elements of western art music and Fumεfumε traditional music. Elements from the Fumεfumε rhythm, melody and harmony and performance will be re-interpreted on western instruments using western art music notation while fusing it with elements of art music as well to compose three new pieces for aesthetic listening. 6 University of Ghana http://ugspace.ug.edu.gh 1.6.2 Intertexuality Intertexuality can be defined as the understanding of a text through another text, i.e., the interrelationship between texts and their interpretations. According to Alfaro (1996), this theory was first used by Bulgarian Scholar Julia Kristeva (1941 – date) in her essays Word, Dialogue and Novel (1966)and The Bounded Text(1967). It was based on dialogic ideas of Russian Scholar Mikhali Mikhailowich Bakhtin (1895-1975). According to Dr. Hans Hader (2015), in his online article, A few introductory remarks on Bakhtin and Intertextuality, Bakhtin describes dialogic as a mode of writing, which grants individual voices to characters without the interference of the narrator/author. Kristeva believes that a text can be understood through a horizontal axis (connecting author and reader) and a vertical axis (which connects the text to other texts). It is the vertical axis on which intertexuality is based. Intertexuality is the interrelationship of texts, i.e., an author or creative artist usually creates his art and may be influenced by the works of others. Kristeva argues that “each text is an intersection of other texts where at least one other can be read. (Alfraro 2006) For example, to analyse and understand Nketia‟s Volta Fantasy for piano, one would need to take a look at Agbadza music since it is based on that theme. It is the understanding of a text through another text. The Agbadza bell pattern can actively be heard in the Volta Fantasy and one who is very conversant with the Agbadza bell pattern would easily recognize it. Although this study introduces new compositions, it must have a feel of the Fumεfumε music. To analyse this new work effectively, one would have to understand Fumεfumε. The new pieces in this thesis and Fumεfumε music are interrelated. 7 University of Ghana http://ugspace.ug.edu.gh 1.6.3 Change and Innovation Musical change is a result of the decisions made by music-making individuals to change aspects of their music tradition based on a number of external and internal influences. There are always instances of borrowing and adaptation among various cultures in Africa as music-making individuals who sometimes get tired of the old ones and decide to create new things. According to Nketia (1963:12), innovations can be made in terms of styles of dancing, singing, playing of instruments, making of instruments, costumes and organization of performance. These various scholars such as Bruno Nettl, Gerhard Kubiketc have written on change. Change will help in analysing how different groups perform Fumεfumε i.e, the changes and innovations made by different ensembles that make each performance unique. 1.7 Literature Review Although Euba coined the term creative ethnomusicology, this process has been going on for quite a while. Hungarian composer Bela Bartok, collected and analysed folk music from various places including Turkey, Slovakia, Hungary and used it in his compositions. According to Whittall (1999), Bartok integrated materials derived from folk melodies with atonal techniques of composition. Bartok used it in three ways:  Pieces that matched folk music in style and flavour but did not quote actual songs.  By not changing the original but giving a new setting.  Altered folk material to fit into a new context, creating an altogether new piece. 8 University of Ghana http://ugspace.ug.edu.gh This shows that creative ethnomusicology isn‟t a new thing. Bartok did this in so many ways and one very important one was that he altered folk material to fit into a new context, creating an altogether new piece. Other African composers such as J.H.K Nketia of Ghana and Joshua Uzoigwe of Nigeria have also been engaging in this practise. Omojola (1995) describes Nketia‟s musical career as a desire to compose which anchors on a thorough study and investigation of traditional African music. It was Nketia‟s desire to compose works culturally relevant to African music that developed his interest in ethnomusicology with a view to understanding principles of African music. This shows that simply picking an element from any culture and using it in composition cannot be considered as creative ethnomusicology. The research and analysis of the musical type is also as important as well. According to Agawu (2003), in order to understand ways in which creative musicians assemble their music, we need to pursue in technical detail the processes of composition. According to Omojola (1995), “instead of writing works which only make use of African elements within a predominantly European structural context, African composers who genuinely want to maintain strong links with African culture in their works should take a close look at principles governing African traditional music” Creative ethnomusicology has engendered other terms including African Pianism coined by Euba and African Guitarism coined by ethnomusicologist John Edmund Collins. These two terms mean the application of African principles to the piano and guitar respectively which is often viewed as the Africanisation of western instruments. Creative ethnomusicology has led to African art music, which is the fusion of western theories and African traditional music to create a new work. It is often viewed as the Africanisation of western music but I 9 University of Ghana http://ugspace.ug.edu.gh believe this is misleading as it denotes that a particular western piece is brought and we Africanise it in one way or the other. African art music composers do not Africanise western music but rather use western theories and elements of African traditional music to create a new work for appreciation. Euba (1993), divides African Art Music into four categories:  Music based entirely on western models and in which the composer has not consciously introduced African elements  Music whose thematic material is borrowed from African sources but which is otherwise Western in idiom and instrumentation.  Music in which African elements forms an integral part of the idiom (through the use of African instruments, or texts, or stylistic concepts and so forth) but which also include non-African ideas.  Music whose idiom is derived from African traditional Culture, which employs African instruments and in which the composer has not consciously introduced Non-African ideas According to Ozah (2013), composers such as Fela Sowande and Ayo Bankole have often been associated with the second category and their works have often been viewed as lacking the African element or identity. Sowande adopts a philosophy of cultural reciprocity and a principle of cultural pluralism and believes that uncontrolled nationalism may lead to nationals of one country forgetting that they are all members of one human family with other nationals. Approaching composition of African Art Music with Euba‟s third category not only highlights the African identity but captures the essence of the actual traditional performance and maintains strong links with indigenous African music. Ozah‟s 10 University of Ghana http://ugspace.ug.edu.gh statements make me wonder what exactly the African music identity is. Does such identity reside in the music‟s unique rhythm? Or in the melody and the intervals used? Does it reside in the harmonic structure? Or behavioural patterns or the African‟s conception of music and if so, how is this fused with western music to create music that will fall under the category of African art music. Too often, African rhythm is singled out as the most important element of African music but the rhythm itself is only a fraction of African traditional music with form, structure, intervals, melody and harmony also playing major roles. According to Kofie (1994:69), “African music is well known for the complexities of its rhythm. This is so because rhythm is to African music what harmony is to western music.” Agawu is one of many scholars on the other side of this debate who has “questioned rather then actively countered the portrayal of African music as an essentially rhythmic phenomenon” (Agawu 2003:58). Dr Ephraim Amu researched into traditional music and picked various elements for composition such as melodies, harmonies (unison, thirds, octave), repition, ostinato, polyphony (with every drummer playing his own rhythmic pattern), speech tones and so on. Examples of such works by Amu are Pipes and drums, Miatɔagbelemaa in C etc. Euba‟s third and fourth category will fall under the concept of creative ethnomusicology. Once you choose to use a particular element, you have to immerse yourself in the tradition. You must study and analyse the music of that area thoroughly, pick elements you are drawn too and fuse them with western elements. There must be an in-depth knowledge of the African elements of the traditional area. According to Omojola (1995), the proportion of outside elements that can be integrated in compositions without losing strong links with traditional African music should not be overbearing. Euba is of the opinion that foreign influences should enrich not dominate. Laing (2009) defines creative ethnomusicology as 11 University of Ghana http://ugspace.ug.edu.gh theoretical writing for re-composition of traditional material into music while Amuah (2012) writes about the influence of western music on compositional styles of Ghanaian art music composers to reflect traditional materials, which establishes music appreciated by the community. An example is Akpi sonata composed by Ghanaian composer Kenn Kafui. In composition lectures at the University of Ghana, Kafui often speaks of playing a recording of his Akpi sonata to the indigenous people of Hohoe in the Volta region of Accra and to his excitement they recognised it as their Akpi music but in a very different form. They were astonished and excited as Kafui did not use any of the instruments used in playing the Akpi music but this Akpi sonata was written for and performed on a piano. Kafui had re-interpreted certain elements from the Akpi music on a different and foreign instrument. The sonata still retained some of the character of the Akpi music. There is often some confusion in defining neo-traditional and what kind of music falls under this. After discussing this issue with a few members of staff and students at the music department of the University of Ghana, I realized that there are two opposing views of neo-traditional. While one group of people attributes it to music created after the independence era fostered by Nkrumah‟s nationalistic policies, others define it as traditional music taken out of context and performed on stage. This is what Diane Thram refers to as moving from arts for life sake to art for art sake (Thram 1999). Dratel (2008) defines it as a traditional form of music that is modernized and was created not too long ago. Dratel‟s definition somehow merges the two views together into a single definition but rather than calling Fumεfumε a neo-traditional music based on the first group of musicians view, it opposes the idea that tradition can be invented. If traditions are continually being invented and something is called new tradition, after a couple of years, is it still a new tradition or does it become traditional? I disagree with the view that neo-traditional is 12 University of Ghana http://ugspace.ug.edu.gh music that has been created not too long ago. According to Nketia (1963:11), “the creation of musical types for recreational use is a continuous process, new types spring up through the leadership of creative individuals whenever people begin to get tired of the usual one”. The invention of tradition is a continuous process and creative musicians continue to engage in this process. Traditional music is often being characterized as being orally transmitted, embedded in culture, audience participation and the use of local instruments. Some so-called neo-traditional music such as borborbor, kpanlogo and Fumεfumε also has these characteristics. I believe that the term neo-traditional should be reserved for situations in which traditional music is taken out of the traditional context and brought on stage where there would be a clear performer-audience distinction, addition of other instruments like the guitar and so on. In this sense, Fumεfumε is first and foremost a traditional-recreational music. 1.8 Methodology This section covers the methods used in collecting data for this research and in analyzing the music. Collection of data was done through observation as well as with the use of video and audio recordings of an ensemble led by Theophilus Tettey-Addy in Nungua as well as the Kusum band led by Nii Tete. Library search was carried out at the music department library, University of Ghana to find writings about African art music, neo-traditional music, creative ethnomusicology and Fumεfumε. While there were many books, chapters and articles on African art music, there were none in the library about Fumεfumε. After speaking to a few people, I realized that there was a Master of Fine Arts thesis written by Sokpor submitted in 2014, which in turn 13 University of Ghana http://ugspace.ug.edu.gh led me to an online article, by Jonathan Dratel who wrote about Fumεfumε for his senior project in 2008. Also, I watched various video recordings of Fumεfumε online to become conversant with the music and the different ways in which each group performed it. Groups such as the Ohio University African ensemble directed by Prof. Nii-Tete Yartey, Akrowa dance ensemble (Kokrobite), Saakumu dance troupe and the positive music rhythm group were among the groups who had videos online. Informal discussions were then carried out with Godson Atsu Sokpor and Akwei Brown at the school of performing arts, University of Ghana Legon. Informal unstructured interviews with some members of the Addy family such as Theophilus Addy, were carried out in the last quarter of 2015. Questions on the origins and development of Fumεfumε were asked also. In December 2015, I took a trip to Nungua to meet with Theophilus Addy and his group, as they were to perform Fumεfumε for me. I went along with a Zoom H4 audio recorder, a canon digital camera, a notebook and a pencil. After I had explained to the group why I was there, they started playing the music for me. When they had finished, I realized that the audio recorder was on but hadn‟t recorded anything even though I had pressed the record button on the recorder. I was told that the ancestors should have been informed before anything could take place. Theophilus Addy who is also a Tigari priest, did this on my behalf by pouring some libation, which is a traditional form of prayer, seeking permission from the ancestors for them to let me record his group‟s performance as well as informing the ancestors about my academic and research intentions. Once that was done, 14 University of Ghana http://ugspace.ug.edu.gh the recording went on smoothly. Theophilus and his group were very patient and helpful as I made them play the whole Fumεfumε music for me, individual parts of the different instruments, a slow version of the master drum rhythm, a combination of the bell and supporting drums as well as the bell and the master drum. In February 2016, I went for a concert hosted by the Afro Maestros orchestra and I watched a performance of Fumεfumε music by the Kusum band. After the show, I got the phone number of their leader Nii Tettey Leno Tetteh. He was willing to meet me for an interview to discuss the origins of Fumεfumε music and its development. I met him somewhere in Accra on a Friday evening in February and he came along with one of the members in his group who I recognized as the master drummer from the performance I had watched. The interview went on for a little over two hours and it was indeed a nice time with Nii Tettey Leno Tetteh as he was of great help to me. All attempts to have an interview with Mustapha Tettey-Addy failed, as he has been indisposed for a while after suffering a stroke. This data was then sorted, transcribed and analyzed. I used a manuscript and a piano to manually transcribe the songs, which had been transferred from the audio recorder to my laptop. Bits of these transcriptions were then transformed into a rough sketch for composition. Composition took place using a piano and manuscript before being transferred to the finale software on a computer. Also, regular visits to the Afro Maestros orchestra in Ghana to hear the work being played live by real instruments. Analysis of the three pieces was 15 University of Ghana http://ugspace.ug.edu.gh carried out right after this by careful listening and observation as well as notes taken during the composition process. 16 University of Ghana http://ugspace.ug.edu.gh CHAPTER 2 HISTORICAL BACKGROUND 2.1 Preamble This chapter describes the historical background of Fumεfumε and how it was created. The relationship between the dance and music, the drummers, the drums used, the organization, the lyrics of the songs and the costumes worn were also discussed in this chapter. Fumεfumε is a traditional recreational music and dance type that was created in the late 1960s by Mustapha Tettey-Addy and his brothers and became very popular in the early 1970s. It takes its name from a village in the Volta Region called Fume near Kpeve. According to Issac Akrong (Sokpor 2014:26), Fumεfumε is a religious dance and music with its songs calling down the local god futrema while Pascal Younge (Sokpor 2014:27) believes that since some religious dances such as kple, otu, egbanegba and akɔn were key in Fumεfumε formation, then it must be a religious dance. According to Sokpor (2014), in an interview with Mustapha Tettey-Addy, he clarifies that Fumεfumε is not associated with any particular god or deity but was largely based on amedzro with the other dances incorporated later. According to Theophilus Addy, a nephew of Mustapha, the music of Fumεfumε in terms of its rhythm and songs, is purely original but it is rather the dance that had parts borrowed. Mustapha and his brothers travelled to different places and picked different elements. Nii Tettey Leno Tetteh is of the belief that the main influence on Mustapha Tettey-Addy in 8 creating Fumεfumε was a musical type called Kouye in Cote D‟Ivoire due to similarities in their rhythms. Mustapha Tettey-Addy did in fact spend some time in Cote D‟Ivoire. Akwei 8 Kouye is a traditional music and dance type that is popular in Cote D’Ivoire and Burkina Faso 17 University of Ghana http://ugspace.ug.edu.gh Brown, a percussionist from the Ga community, is of the opinion that Fumεfumε is from the Ga word „futumɔmli‟, which means „mix it inside‟. This denotes the mixing of things together. According to Sokpor, sometimes „futumɔmli‟ is often referred to as „fu mli‟ which is an abbreviation of it. The fact that Fumεfumε borrows from and has been mixed with a variety of musical types, gives weight to Brown‟s meaning of the name. 2.2 The Fumεfumε Dance The Fumεfumε dance is usually performed by youths of both gender in various ensembles such as the Kusum band, the Saakumu troupe, the Ghana dance ensemble, Ayekoo drummers and the Akrowa dance ensemble. Through my research, I found out that it had also been performed at some University dance departments such as the University of Ghana dance department, University of Ohio, USA African ensemble and the Ahenemma group performing at a Princeton University seminar in the USA. Once the music and dance was created, it was taught to the dancers. It is usually danced in a circular formation. According to Sokpor (2014:23), there are various movements in the Fumεfumε dance which have their unique names and meanings such as the ahala movement with its concept of collecting and gathering and the tumelemetu movement reflecting the vices of society. Also, there is the baaye movement denoting sexual invitation and the tekemɔ movement about overcoming hard times. Furthermore, the shwelemo movement about development, the tuumatu movement about good leadership and many other movements are among the various dance movements that can be found in a Fumεfumε dance repertoire. These are standard movements that also have their variations. The duration of the dance varies from ensemble to ensemble and may last from as little as five minutes to thirty minutes. Groups perform the dance but there is usually a period in the 18 University of Ghana http://ugspace.ug.edu.gh performance for solos where each dancer has the opportunity to dance alone. During the dance solos, which are very acrobatic, other rhythms from kple, otu, tigari and so on, are thrown in. The Fumεfumε rhythm itself would not lead to possession. A dancer may get possessed if it is a rhythm from a spiritual dance and if the individual has the tendency to be possessed. In a discussion with Brown, he told me that there have been instances where some dancers have been possessed. A dancer may go into a trance if he or she is from a royal or priest lineage. While the rhythms are going on, a dancer may start acting quite different and onlookers may think it is because of the excitement. According to him, during a performance by the Ayekoo drummers, a mad woman who was observing started dancing once the rhythm was changed. This is why sometimes libation is poured and certain things are said in order to inform the ancestors and gods of those other musical types of the purpose whether it is academic, research or just for entertainment. Also, this is done to ask the gods to guide the performers. According to Brown, at the dance department, University of Ghana, some of these rhythms are taken out in order to avoid any form of possession. 2.3 Relationship between the Music and Dance During a colloquium at the University of Ghana dance department, Prof. John Collins gave his opinion that music and dance is an African‟s first nature. It is no news that music and dance go hand in hand in the African setting. One cannot happen without the other. According to Laing (2009), “a good dance must interpret the rhythms of the music in definite ways”. Definite ways include expressions, dynamics, tempo etc. The various movements in the Fumεfumε dance repertoire take their names from the drum language that communicates to the dancer the specific movement to be performed at that time. The 19 University of Ghana http://ugspace.ug.edu.gh master drummer may decide to vary particular movements and once the dancers recognise bits of it, they go on with that particular movement. If the master drummer decides to improvise, the dancers usually go into a period of rest where they move around the dance floor and this is called transition movement but once there is a recognisable rhythm indicating a switch to the next movement, the dancers swing into action to express this. In Fumεfumε, the whole ensemble follows the master drummer as he sets the pace but when it comes to the solo, the master drummer follows the dancer. Mustapha and his brothers originally created the music but with the solo, different movements from the borrowed dances can be incorporated e.g Tigari, Otu and so on, which fit with the Fumεfumε rhythm 2.4 The Drum Ensemble. The Fumεfumε original drum ensemble is made up of the Fumεfumεmi, which is the master, drum and supported by the Ampaa and Oblεntεn. According to Timothy Andoh, the Fumεfumεmi is quite similar to the fɔntɔnfrɔm drum. It may be possible the Addy brothers fashioned the Fumεfumεmi on the fɔntɔnfrɔm drum. The ŋoŋo which is the name given to the bell, is also part of the ensemble. The rattle and shakers are often added for embellishment. Instruments like the djembe and dundun are not original instruments in the Fumεfumε ensemble but have replaced some of the instruments in terms of the roles they play. For example the djembe sometimes play the role of the Fumεfumεmi in most ensembles today. After watching a performance by the Kusum band, I asked Nii Tettey why his drummers had used the kpanlogo drums instead and he told me that these other drums could do the job so he saw no reason in carrying so many drums and then having to switch drums after one performance. 20 University of Ghana http://ugspace.ug.edu.gh 2.4.1 The Drums Fig 2.1 - The Fumεfumε drums according to Sokpor (from left to right) the Oblεntεn, the Fumεfumε mi, the ampaa. The bell and clappers (On the ground) According to Nii Tettey, these drums are actually Tigari drums. He believes that Mustapha used some of these drums because that was what was available to him not necessarily that anyone playing Fumεfumε must play on the same drums Mustapha used. Any drum can be used as long as they can produce the rhythm and that is probably why the djembe and other drums are used. As stated earlier, the Kusum band prefers to use the Kpanlogo drums while others may use the djembe drum. In a discussion with Sopkor, he clarified some of the points made by Nii Tettey. Indeed the oblεntεn and ampaa were borrowed from the Tigari 21 University of Ghana http://ugspace.ug.edu.gh ensemble but the Fumεfumε mi was created for the Fumεfumε music, i.e, it is an original instrument. He goes on further to explain that the other drums such as the djembe and kpanlogo drums should not take the place of the Fumεfumεmi as different drums have different pitches. The fact that there is a master drum that shares the name of the music and dance shows the importance of that master drum in the ensemble. Fumεfumεmi is not as high pitched as the kpanlogo drums and there is a technique on how to play it that many drummers may not know. This in his opinion, is the reason why the Fumεfumεmi is losing its place in some ensembles that performs Fumεfumε. Brown is of the opinion that the right instrument attaches some sort of force to it and when other instruments replace the main instrument, the music loses its originality and touch. 2.4.2 The Drummers Although most drummers are males, women can also perform this if they are skilled. There are two types of drummers in this ensemble: The master drummer and two supporting drummers. The master drummer who is a very skilled performer cues in the supporting drummers. “The master drummer acquires his training through exposure to the musical situation right from infancy and is always in attendance when the master drummer plays and gradually gains the experience that he needs to step into the shoes of his mentor” (Nketia 1963:156) Theophilus Addy, the master drummer in my recordings of the Fumεfumε performance is a nephew of Mustapha and while discussing with me, he told me that he was just a little boy when Mustapha, his father Ajah and his uncles created this and he learnt from being around them. When you grow up with the music, you have it in you. For example, there will differences in the performance of Fumεfumε mi by someone who grew up in the Ga community and another person who learnt it. 22 University of Ghana http://ugspace.ug.edu.gh On the other hand, the supporting drummers of Fumεfumε do not usually receive long training of any sort. According to Theophilus Addy, these people are already musicians and are quick in learning so the master drummer plays the rhythm by speaking the drum language or clapping his hands. The drummers are also very quick in picking it. The rhythms of the supporting drums of the Fumεfumε ensemble are usually two short motifs that are repeated over and over again. Fig 2.2 - A picture from Sokpor‟s production on the creation of Fumεfumε music and dance. 23 University of Ghana http://ugspace.ug.edu.gh st Fig 2.3 A performance of Fumεfumε music by the Kusum band on the 21 of February, 201 Fig 2.4 - Theophilus Addy and his group performing Fumεfumε music for me at Nungua in December 2015 24 University of Ghana http://ugspace.ug.edu.gh 2.5 Organization of Fumεfumε Two or more dancers usually carry out the Fumεfumε performance and as many as thirty dancers can perform this. The drum ensemble usually engages in the singing of the songs and is joined by the other dancers during the solo. In some cases, there are extra singers who stand behind the drummers to help with the singing. The songs usually start slow with a cantor who calls out a phrase and then the rest of the ensemble reply with the chorus that is exactly the same thing the cantor sang. st Fig 2.5 - The Kusum Dance group on the 21 of February 2016 2.6 Fumεfumε Music As a recreational music, Fumεfumε is not ritually bound but in addition to being performed for entertainment, it can also be performed at “other occasions of a festive or social nature” (Nketia 1963:11). For example, it can be taken out of the traditional setting and performed at other occasions that are not tied to any particular tradition. As a neo- traditional music, various dance groups and students have performed Fumεfumε on a 25 University of Ghana http://ugspace.ug.edu.gh number of stages although it is not as popular as kpanlogo or other musical types outside of the Ga community. Various dance groups such as the Ghana dance ensemble and the University of Ohio African ensemble in Ghana and the USA respectively have performed it. Fumεfumε song lyrics are basically on social values, that is, the virtues and vices of society such as the dangers of alcohol, prostitution etc. They help to check society and control crimes because if you are caught you will be disgraced. Ba Mbaa Ga: Call: εe yoo, ee yo bam baa Response: εe yoo, ee yo bam baa Translation: Call: Yes okay, yes okay, I have come Response: Yes okay, yes okay, I have come Meaning: This song is basically about procrastination. Saying you would do something and not do it or saying you will go somewhere and not go thereby dishonoring agreements. The story behind this is a girl saying she would meet a boy but she doesn‟t come because she knows the boy‟s intentions. This song speaks against procrastination, laziness and dishonoring agreements. 26 University of Ghana http://ugspace.ug.edu.gh Dzulɔni Ga: Call: Dzulɔ ni ee eba ee Lamte oo, dzulɔ ni ee eba ee Response: Dzulɔ ni ee eba ee Lamte oo, dzulɔ ni ee eba ee Call: Yuwε yoo lε ehoɔ ee Lamte oo yuwε yoo lε ehoɔ ee Response: Yuwε yoo lε ehoɔ ee Lamte oo yuwε yoo lε ehoɔ ee Translation: Call: The thief is coming, Lamte the thief is coming Response: The thief is coming, Lamte the thief is coming Call: There he goes, Lamte the rapist, there he goes. Response: There he goes, Lamte the rapist, there he goes. Meaning: He is a thief, Lamte the thief is coming. There he goes, Lamte who touches the girls in their sleep. At that time Lamte was a thief who was popular for his deeds. He is was a thief and used to try and touch the girls while they were asleep. This song is basically to shame and discourage those who engage in robbery and rape. Akpeteshie Call: Oh, Nu kε yoo kaashi akpεtεshie gbe eshi Response: Nu kε yoo kaashi akpεtεshie gbe eshi Call: Ah, Nu kε yoo kaashi akpεtεshie gbe eshi Response: Nu kε yoo kaashi akpεtεshie gbe eshi All: Eefo ee, eefo ee, eefo ee, eefo ee, Nu kε yoo kaashi akpεtεshie gbe eshi 27 University of Ghana http://ugspace.ug.edu.gh Translation Call: A man and a woman are sleeping but alcohol has killed his under Response: A man and a woman are sleeping but alcohol has killed his under Call: A man and a woman are sleeping but alcohol has killed his under Response: A man and a woman are sleeping but alcohol has killed his under All: He is crying, he is crying, he is crying, he is crying A man and a woman are sleeping but alcohol has killed his under Meaning: As a result of too much alcohol drinking, his male organ is not working again. He is crying because he is impotent. This song warns on the dangers of excessive alcohol intake and the problems it can cause for a man. 2.6.1 Musical factors The soloist, who usually has a strong head voice, sings a phrase while the chorus responds. This response, which is a repetition of the soloist‟s call, is usually in two parts, the exact thing sang by the soloist and a parallel third harmony. While the bell player, the rattle player and the supporting drummers play their individual rhythms over and over again in constant ostinato rhythms, the master drummer varies his rhythm in various ways. The songs make use of the Heptatonic scale. The whole performance starts with a slow call but once the drummers come in, it becomes fast. 28 University of Ghana http://ugspace.ug.edu.gh 2.6.2 The Distinctive Factors Dratel (2008) and Sokpor (2014) both refer to Fumεfumε as Ga recreational music but what makes this Ga? Is it the fact that it was created by a Ga person and popular among the Ga community or does it make use of the Ga creative processes? While speaking to Dr. Nii Dortey of the Institute of African Studies, University of Ghana, Legon, He confirmed that Fumεfumε doesn‟t sound Ga and this might be due to the fact that Mustapha often viewed himself as a researcher (Dratel, 2008:14) who travelled a lot and was influenced by various musical types whether knowingly or unknowingly. One particular type where I heard similar rhythms is the Kouye music of the Ivorian people of West Africa. The Fumεfumε rhythm below is almost the same thing as this Kouye rhythm. Fig 2.6 – one of the Kouye drum rhythmic patterns Fig 2.7 – one of the Fumεfumε rhythmic patterns played by the master drummer 29 University of Ghana http://ugspace.ug.edu.gh When a person who is very conversant with Fumεfumε music listens to kouye music, he or she may recognize this particular rhythmic pattern as being similar to a particular Fumεfumε rhythmic pattern. It could be that Mustapha borrowed this rhythmic pattern from kouye music after hearing it during a visit there. It could also be a shear coincidence that these rhythms are alike. Also, most of the songs of Fumεfumε are not in the Ga language but made up of non- lexical vocables. La Ngε 9 Call: La ngε futε ee dele mashi dayama, La ngε futε ee dele mashi dayama La ngε futε ee dele mashi dayama La ngε futε ee dele mashi dayama Fumεfumε futrεma futrεma dayama Fumεfumε futrεma futrεma dayama La ngε futεee dele mashi dayama Chorus: La ngε futεee dele mashi dayama, La ngε futεee dele mashi dayama La ngε futεee dele mashi dayama La ngε futεee dele mashi dayama Fumεfumε futrεma futrεma dayama Fumεfumε futrεma futrεma dayama La ngε futε e dele mashi dayama 9 ‘ee’ is pronounced as the English letter ‘a’ as in bay or lay 30 University of Ghana http://ugspace.ug.edu.gh Zilo Call: Zilo a zina ee, Zilo a zina ee, a zina o Response: Zilo a zina ee, Zilo a zina e, a zina o 2.7 Costume Fig 2.8 – a picture from Sokpor‟s production Raffia is the main material used for the dancers. Both male and female wear raffia skirts but while the men are bare-chested, the women usually wear a bralette made of cowries. The men may also wear body ornaments made of cowries. 31 University of Ghana http://ugspace.ug.edu.gh 32 University of Ghana http://ugspace.ug.edu.gh Fig 2.9 – Costume worn by male and female dancers of the Kusum band 2.8 Summary Fumεfumε is a traditional recreational dance and music still being performed in the Ga community and by various dance ensembles. The Addy brothers led by Mustapha Tettey- Addy created it. Mustapha traveled a lot and was influenced by so many musical types. Some Ga religious dances are often incorporated during the solo section of the Fumεfumε dancing. The different dance movements interpret and express various rhythmic patterns in different ways. These rhythms are played on a master drum, two supporting drums and a bell. The rattle and clappers are often added as embellishments. The Fumεfumε mi is the original master drum created for this music but has lost its place to the djembe drum and kpanlogo drum. The songs usually begin with a slow call, which then speeds up into a faster tempo as the drum ensemble begin to play. The lyrics of the songs in the Fumεfumε repertoire are in the Ga language but also make use of the non-lexical vocables. The songs 33 University of Ghana http://ugspace.ug.edu.gh in Ga are usually on social values dealing with the vices and virtues of society and a way of controlling vices in the society. In this chapter, Fumεfumε is linked to a particular musical type from West Africa that has similar a rhythmic pattern. The costumes worn were also discussed in this chapter as well. 34 University of Ghana http://ugspace.ug.edu.gh CHAPTER 3 FEATURES AND ANALYSIS OF FUMEFUME 3.1 Preamble In this chapter, the basic features of Fumεfumε will be discussed and analyzed in order to understand its characteristics as well as how these features work together. The form and technique, melody, rhythm, timing and polyphonic texture of Fumεfumε are the key features that will be highlighted and analyzed through transcriptions. This analysis is not to only discuss these features as separate entities, but also to discuss how they work together as a whole. These five features are the main premise for this analysis as they are the features that will be incorporated into the compositions. 3.2 Forms and Technique According to Nketia, (1963:29), there are various forms and techniques in vocal music which include the call and response forms, the solo and chorus form and the mixed sectional forms. Each of these three forms has their stylistic variations and is very flexible. The form for vocal music in Fumεfumε is the solo and chorus. The cantor sings the entire verse of the song once and the chorus repeats without variation. This chorus part is usually in two-parts, the first part sang by the cantor and another part which is usually sang a third above or in some cases, a third below. The cantor may also join in singing along of the chorus. In Ex 3.1, the cantor sings the call while the ensemble responds with something different in two-parts. The cantor then goes ahead to sing the main solo and the ensemble rd responds with the chorus. This is the same thing as the solo, but is also harmonized a 3 below to create a second part. 35 University of Ghana http://ugspace.ug.edu.gh Ex 3.1 „Zilo‟- song from the Fumεfumε repertoire as performed by the Kusum band. In Ex 3.2, the cantor sings the whole song from the beginning to the end. The chorus then responds with what the cantor sang but in two parts this time: the solo sang by the cantor and a second part that is a third above this solo. I realized that this song is usually the first song in the repertoire for most groups performing Fumεfumε musicand usually starts slow and in free time with no instrumental accompaniment. The drum ensemble then starts playing and establishes a strict time. 36 University of Ghana http://ugspace.ug.edu.gh Ex 3.2 – „Fumεfumε futrema‟ – song from the Fumεfumε repertoire as performed by the Kusum band. In the Ex 3.1, the song is harmonized a third below while in the Ex. 3.2, it is harmonized a third above. In some particular songs, the cantor sings the call while the ensemble responds with a slight variation of the cantor‟s melody with a third being sung also. Sometimes they might sing something totally different in response to the cantor‟s call, then the whole ensemble sings a chorus that is totally different from the call and response. For example, see Ex 3.3. 37 University of Ghana http://ugspace.ug.edu.gh Ex 3.3 „Akpeteshie song‟ – song from the Fumεfumε repertoire as performed by Theophilus Addy and his group. In bar 3, the cantor overlaps on the last note and comes in on the last note of the ensemble response. This is done twice and then the whole ensemble sings the chorus which is different from the call and response but ends on the same notes as the earlier response of the ensemble. 38 University of Ghana http://ugspace.ug.edu.gh 3.3 Melody In order to compose based on Fumεfumε, I realized that I had to understand the creative processes involved in composing the Fumεfumε songs by analysing three songs out of the Fumεfumε repertoire. According to Nketia (1992), “to understand the structure of the tunes of traditional songs or the processes that go into the creation of a melody, then, one must take into account not only the scales and their modal arrangement but also problems of range and shifts of compass, beginning tones, ending tones and their interrelations in phrases, types of melodic direction, interval sequences that are employed and the patterns that govern their arrangement as well as the relationship between these and tones” Most scholars usually do not give that much attention to African melodies as much as they do the rhythm. The tonal relationships are often viewed as simple, basic or not as advanced as Western melody. Chernoff (1979:42) is of the opinion that African melodies are clear enough, even if African conceptions of tonal relationships are sometimes strange. Nketia identified the maximum tonal range of African music as divided into three as follows: Lower Range Middle Range Upper Range Ex 3.4 – Tonal range of African music 39 University of Ghana http://ugspace.ug.edu.gh Fumεfumε melodies are usually in the lower range and extend to part of the middle range. Ex 3.5a – Range of Fumεfumε songs Fig 3.5b – These are the tones that are mostly used in the Fumεfumε repertoire. In most of the melodies, there was no pitch higher than the „A4‟ of the middle range while the lowest pitch sometimes extended to the „A3‟ below the „C4‟ of the lower range. The scale used in the Fumεfumε songs is the heptatonic scale as stated earlier. In some heptatonic traditions of Africa, you would usually hear a lowered seventh. Fig 3.6 – Heptatonic scale with a lowered seventh In some of the Fumεfumε songs, a lowered seventh can be heard. For example, the song below in Ex 3.7 40 University of Ghana http://ugspace.ug.edu.gh Ex 3.7 – „Baa mba‟ – song from Fumεfumε repertoire as performed by Theophilous Addy and his group. In most of the main songs, an anacrusis is used. The melody usually started just before the first beat or after first the beat in the bar. This makes phrasing quite irregular. When the song started on the first beat, there was usually an irregular accent or stress on an offbeat note. In the Ex 3.7, the call and response usually start on the second beat of a bar and end on the first beat of the next bar. Although the main melody in the solo is usually repeated in the chorus, there can be variations. For example, in Ex 3.8, there is a slight variation of the second bar in the sixth bar 41 University of Ghana http://ugspace.ug.edu.gh Ex 3.8 – „Dzulɔ ni‟ – song from Fumεfumε repertoire as performed by Theophilous Addy and his group. The intervals between two successive notes are usually not more than a fourth in any particular song but are mostly made up of thirds, seconds and unisons. 42 University of Ghana http://ugspace.ug.edu.gh Fig 3.9 – Fumεfumε– Song from Fumεfumε repertoire as performed by Theophilous Addy and his group Melodic movement is predominately downwards but will move up in some cases but quickly goes back down. In all the five songs studied, the melodies all ended with a downward movement and never upwards. 43 University of Ghana http://ugspace.ug.edu.gh 3.4 Polyphony African harmony is, “not based on a system of blocked chords as in western harmony, it arises out of melodic processes and is therefore, closely linked with scales or modal types and melodic movement” (Nketia 1963:54). Songs in African music, most especially those in heptatonic traditions use the parallel thirds to harmonize and among the Ga people, it is usually used to the end of the song. In Fumεfumε, the use of the parallel third (either above or below) in harmony is evident in most of the songs. It usually found in the chorus sections of the songs. This structure of parallel thirds repeats the melody built on any note also on the third above or below. For example, in the „La ngε‟ song, the music which beings on E is harmonized a third above on G while in the „Dzulɔ ni’song in Ex. 3.8, the music which begins on F is harmonized a third below on D. This creates what Nketia calls a „secondary melody‟ rather than melody and harmony texture. These secondary melody and primary melody work together to create a polyphonic texture in the Fumεfumε songs and is usually heard in the chorus. See Ex. 3.10. 44 University of Ghana http://ugspace.ug.edu.gh Ex. 3.10 – showing the secondary melody (top staff) and primary melody (bottom staff) 45 University of Ghana http://ugspace.ug.edu.gh 3.5 Timeline Time line can be defined as “ a constant point of reference by which the phrase structure of a song as well as the linear metrical organisation of phrases are guided” (Nketia 1963:78). In African music, “it is absolutely essential right at the start to determine with exactitude the rhythm of the bells and handclapping because it is on these that the accuracy of the whole music will depend” (Agordoh 1994: 73) In the Fumεfumε repertoire, the timeline is usually emphasized by the pattern of the bell and handclapping of the ensemble that are not drumming. The bell pattern and handclapping are short rhythmic motifs that are repeated in an ostinato technique and go on from the beginning of the performance through to the end and enhancing the rhythm on a whole. In some cases, the bell usually starts with the drums while the handclapping comes in later as the dancers come into the dance grounds, clapping their hands. In other instances, the handclapping may begin at the opening section while the ensemble is singing with no drums. According to Anku, (2006), “there are no external concepts of timing gestures, such as those of the „conductor‟ in Western orchestra, this built-in device is an important one.” These rhythmic patterns may be likened to „conductors‟ that serve the particular purpose of keeping both the dancers and drummers always in time. According to Kofie (1994:71), “since there is no place in African music for a conductor every member of an ensemble “feels” the time, which for a dancer corresponds to his dance steps.” The bell and the handclapping help the drummers and dancers in the Fumεfumε ensemble to feel the time. “It is the bell and the handclapping, the providers of the background rhythm, that unify all 46 University of Ghana http://ugspace.ug.edu.gh sections of the ensemble, thus bringing complete coherence into the whole music”. (Agordoh 1994: 74), The timeline maintains what Anku calls primary relationships in his article, Principles of Rhythmic Integration in African Drumming. According to him, “primary relationships are those that depend directly on the timeline” (for instance in Fumεfumε, the bell and hand clap). According to Anku (2006), “Each performer perceives the timeline in integration with his assigned pattern as a way to facilitate the cue entry process” Sometimes however, these regular beats from the bell and handclapping however, do not determine the tempo of the Fumεfumε repertoire; it is the master drummer who regulates the tempo. The handclapping in Fumεfumε comprises of two equivalent beats with a rest of the same value after each beat. “This handclapping and stamping of feet on the ground, whether deliberate or as a result of dancing, all go into enriching the overall rhythm” (Kofie 1994:69) Ex 3.11 – Hand clap pattern. This is a variant of what Nketia calls the Type “A” form of time line, which is in duple rhythm. “Here the claps emphasize the binary scheme of regulative beats characteristic of the clap” (Nketia 1963:79). A regulative beat is often articulated in some kind of regular bodily movement or tapped as an accompaniment. 47 University of Ghana http://ugspace.ug.edu.gh Against these two beats of the handclap is the triple rhythm of the bell pattern and what Nketia refers to as the Type “B” form of time line (Nketia 1963:79). This is a five-note pattern with the first three notes being of equal time value while the fourth note and fifth note are less and more respectively. Ex 3.12 – Bell pattern 3.6 Timing In Fumεfumε, the handclap pattern and bell pattern, have the same time span. The bell pattern is combined with the regulative beat of the handclap marking regular passing of time. Ex 3.13 - Vertical play of the Bell and Hand Clap patterns The Fumεfumε being in simple quadrupletime, has this emphasis on the first and third beat, nevertheless some might have a problem with the transcriptions in simple quadrupletime as they may feel it in compound quadruple time. According to Kofie, (1994:67), “what is called time signature or time in music is only a yardstick against which the mind organizes sound durations”. Agawu explains that “time signature used in transcriptions should 48 University of Ghana http://ugspace.ug.edu.gh therefore be understood in restricted sense that they indicate primarily grouping, not necessarily accentual hierarchy”. I decided to use a simple time signature with triplets in line with Amu‟s style and method for my transcriptions rather than Nketia‟s style of using compound time signature, because the Fumεfumε had more of a simple quadruple time feel and it enables easier reading of the transcriptions as well as the compositions based on some of these transcriptions. 3.7 Rhythm Many scholars often view African Rhythm as being complex. In his book, African Rhythm and African Sensibility (1979), Chernoff discusses the complexity of African Rhythm. Indeed while listening to Fumεfumε rhythms for the first few times, I was amazed by its „complexity‟. After listening to Fumεfumε a couple of times, I started getting used to it and I had Theophilus Addy‟s ensemble play their individual rhythms for me, lo and behold, I realized that the Fumεfumε rhythm was just three to four simple rhythmic motifs being played at the same time yet when being played together, sounded as one overall „complex‟ rhythm. In his book, Representing African Music, Agawu (2003:58) discusses how westerners and African scholars have “promulgated the notion of a complex African rhythm”. The complexity of African rhythm and so many highlights on it is an invention of scholars “responding to the unfamiliar intricacies of African ensemble playing” (Agawu 2003:58). According to Chernoff (1979:51), “the music is unified by the way the separate parts fit together into a cross rhythmic fabric”. Though the Fumεfumε rhythms are different rhythms, when played together and interlocked they make a harmonious cross-rhythmic texture. (See Ex 3.18 on page 50). 49 University of Ghana http://ugspace.ug.edu.gh The bell pattern was the same till the end of the performance. Ex 3.14 – Vertical play of the Bell and hand clap pattern The two supporting drums played separate ostinato rhythms till the end of the performance. Ex 3.15 - Ampaa (supporting drum in the Fumεfumεdrum ensemble) Ex 3.16 – Oblεntεn (supporting drum in the Fumεfumεdrum ensemble) The only variation was from the master drummer but there were periods he repeated a particular rhythm after every new variation. 50 University of Ghana http://ugspace.ug.edu.gh Ex 3.17 Motif 1 (Master drum main rhythm 1) Ex 3.18 Motif 2 (Master drum main rhythm 2) These two rhythms served as the main motifs on which the master drummer varied subsequent rhythms and were constantly heard before every new rhythmic pattern. In African music, “the master drummer‟s themes and variations are presented as a succession of patterns which establish various orientations with the regulative beats” (Anku 2006). The cantor usually starts the calls in free rhythm and as the percussion instruments start playing, a strict time is established. In a performance by the Kusum band, after the cantor ended his introductory section with the word „fire‟ and immediately the ensemble started clapping while the bell player started playing. This word „fire‟ was a way of telling the bell player to start playing. It also helped in establishing a strict time. 3.8 The Fumεfumε Rhythms 51 University of Ghana http://ugspace.ug.edu.gh Ex3.18 52 University of Ghana http://ugspace.ug.edu.gh 53 University of Ghana http://ugspace.ug.edu.gh 54 University of Ghana http://ugspace.ug.edu.gh 55 University of Ghana http://ugspace.ug.edu.gh 56 University of Ghana http://ugspace.ug.edu.gh 57 University of Ghana http://ugspace.ug.edu.gh 58 University of Ghana http://ugspace.ug.edu.gh 59 University of Ghana http://ugspace.ug.edu.gh 60 University of Ghana http://ugspace.ug.edu.gh 61 University of Ghana http://ugspace.ug.edu.gh 3.9 Summary This characterization and analysis has been done to highlight key features of Fumεfumε for the sake of composition. Efforts have been made to analyse the form, melody, polyphonic nature, timing and polyrhythmic texture of Fumεfumε traditional music with detailed transcriptions. The form in most of the Fumεfumε songs is the solo and chorus form. The melody is based on the heptatonic scale with a lowered seventh and usually moves in intervals of unisons, seconds and thirds. Melodic movement is always resolves downwards. The melody is harmonized a third below or above using parallel thirds. The bell and the hand clapping mark the regular passing of time. The supporting drummers play two separate ostinato rhythms while the master drummer varies different rhythms at different points in time. 62 University of Ghana http://ugspace.ug.edu.gh CHAPTER 4 4.1 THE DRUMMER’S DANCE 63 University of Ghana http://ugspace.ug.edu.gh 64 University of Ghana http://ugspace.ug.edu.gh 65 University of Ghana http://ugspace.ug.edu.gh 66 University of Ghana http://ugspace.ug.edu.gh 67 University of Ghana http://ugspace.ug.edu.gh 68 University of Ghana http://ugspace.ug.edu.gh 69 University of Ghana http://ugspace.ug.edu.gh 70 University of Ghana http://ugspace.ug.edu.gh 71 University of Ghana http://ugspace.ug.edu.gh 72 University of Ghana http://ugspace.ug.edu.gh 4.2 AFRICAN ARIETTA 73 University of Ghana http://ugspace.ug.edu.gh 74 University of Ghana http://ugspace.ug.edu.gh 75 University of Ghana http://ugspace.ug.edu.gh 76 University of Ghana http://ugspace.ug.edu.gh 4.3 FUMLIFUMLI 77 University of Ghana http://ugspace.ug.edu.gh 78 University of Ghana http://ugspace.ug.edu.gh 79 University of Ghana http://ugspace.ug.edu.gh 80 University of Ghana http://ugspace.ug.edu.gh 81 University of Ghana http://ugspace.ug.edu.gh 82 University of Ghana http://ugspace.ug.edu.gh 83 University of Ghana http://ugspace.ug.edu.gh 84 University of Ghana http://ugspace.ug.edu.gh 85 University of Ghana http://ugspace.ug.edu.gh 86 University of Ghana http://ugspace.ug.edu.gh 87 University of Ghana http://ugspace.ug.edu.gh 88 University of Ghana http://ugspace.ug.edu.gh 89 University of Ghana http://ugspace.ug.edu.gh 90 University of Ghana http://ugspace.ug.edu.gh 91 University of Ghana http://ugspace.ug.edu.gh CHAPTER 5 ANALYSIS OF COMPOSITIONS 5.1 Preamble The aim of this chapter is to analyse the key elements of „The Drummer‟s Dance‟, „African Arietta‟ and „Fumlifumli‟. I have chosen to re-interpret certain key elements from Fumεfumε music by fusing them with elements of western music to create these pieces. Elements such as the system of intervals, harmonic structure, melodic movement and polyrhythmic texture have been used in different ways in these three compositions. 5.2 The Drummer’s Dance The Drummer‟s Dance is based on the polyrhythmic nature of Fumεfumε as well as its method of harmony and melodic movement. In the drummer‟s dance, I sought to explore the rhythmic nuances of Fumεfumε and fuse it with elements from western classical music. It is a 73 bar work written for a string quartet and piano in the key of G minor with a simple quadruple time signature. It is regularly phrased with 4 bars for each phrase. The title „the drummer‟s dance‟ is a reflection on the movement of the drummers, most especially the master drummer. The mild body movements, head nods, head twirls, elbow movements and foot tapping as the drummer keeps to time can be viewed as dance moves on their own although they are not as involving as those moves of the drummers. “Those people who have said that drummer‟s dance in a while they play were right in the sense that drummer‟s keep the beat…” (Chernoff 1979:50). While listening to the drummer‟s dance, the audience will most definitely feel the groove and may want to dance but due to the fact that it is art music, he or she will be constrained to mild body movements, head nods, head twirls, elbow movements and foot tapping. 92 University of Ghana http://ugspace.ug.edu.gh It starts as a contrapuntal piece where the different instruments come in one after the other before they all start playing together. Repeated and simultaneous melodies from the violins with supporting ostinato from the viola, cello and piano, are the main structure of this piece. There are periods of rest where some instruments are not playing while others continue the music. This is to show the transition to another melodic or rhythmic idea. 5.2.1 Melody The main melodic ideas using short rhythmic motifs from Fumεfumε are played by the first and second violin with the second violin playing the role of the cantor. The second violin plays the primary melody while the first violin plays the secondary melody. The melody usually moves upwards but always ends with a downward movement. The melody follows the intervallic structure of Fumεfumε, which makes use of unisons, seconds and thirds. The largest interval is an octave in bar 30, 34 and 38 where the cello moves from „D4‟ above middle „C‟ down to the „D3‟ below it. The downward movement of the melody at phrase endings is also a feature of Fumεfumε music that has been incorporated. The viola, cello and piano play an accompaniment role and mimic the 10 repeated ostinato nature of the supporting drums, bells and hand pattern in isomelodies for most of the music. The accompaniment is very simple, reiterated and is limited to the piano, viola and cello. The melodic motif in bar 37 is a retrograde of bar 33 in the first and second violin parts. 10 An isomelody is a series of tones that is repeated one or more times 93 University of Ghana http://ugspace.ug.edu.gh Ex 5.1 - Motif in Violin 2 part Ex 5.2 - Retrograde of Motif in fig 4.1 When all other instruments are silent, the cello plays the melody in bar 41 – 48 with piano accompaniment. Trills were also used for embellishment at various points in the music. 4.2.2 Harmony The harmony from this piece draws from the polyphonic nature of Fumεfumε as well as the western harmonic system of blocked chords. While the first violin and second violin are playing the primary and secondary melody for most part of the music (for example in bar 33 – 40 and bar 53 – 60), the viola, cello and most especially the piano maintain a homophonic parallelism in thirds. From bar 41, the piano makes use of block chords in the form of seventh chords. 94 University of Ghana http://ugspace.ug.edu.gh Ex. 5.3 – Blocked chords being used by the piano This is mainly in the right hand while the left hand alternates between octaves and at a point plays a 2-note octave chord. 5.2.3 Rhythm The cross-rhythms and polyrhythmic texture of Fumεfumε have been utilized heavily in 11 this composition. Isorythms are found in the piano, viola and cello parts. The piano plays the bell pattern rhythm in a constant ostinato from bar 1 – 48 with a variation of it at the last bar of each phrase. There is a quick switch in the piano from bar 49 – 68 in the piano part before returning to the bell pattern in bar 69 to the end. The cello mimics the rhythmic pattern of the hand clapping. This is done in time throughout the piece from bar 5 – 40. In bar 41 – 44, the cello plays a variation of one of the rhythmic motifs of the master drummer and plays the melody with piano accompaniment while the other instruments are silent. When all other instruments resume playing, the cello goes back to its hand clap pattern but this time there is a displacement nd th st rd where the notes are on the 2 and 4 beats rather than 1 and 3 . A new variation of the cello part can be seen in bar 61 – 68. 11 An isorhtyhm is a rhythm that is repeated consecutively i.e, the same rhythm running throughout 95 University of Ghana http://ugspace.ug.edu.gh Ex 5.4 - Main cello line Ex 5.5 - Displacement of the main cello line Ex 5.6- Slight variation of the main cello line The viola mimics the bridge or rest rhythms of the master drum. Coming in after the cello, it plays this rhythm till bar 40. Ex 5.7 – The viola mimicking the bridge rhythms of the master drum There is a long rest from then on till bar 57 where it comes in with a short 4 note motif that nd begins on the 2 beat of each bar from bar – 60. Ex. 5.8 – The short motifs of the viola It then goes on to play a 3-note motif from bar 61 – 68. 96 University of Ghana http://ugspace.ug.edu.gh Ex. 5.9 – the viola These short motifs are not part of the rhythmic patterns of Fumεfumε but were incorporated to create a certain effect. The second violin introduces the rhythmic pattern of the ampaa in bar 13 – 16 with a slight variation in bar 16 before playing an offbeat variation of the handclap patterns in bar 21 – 24. Ex. 5.10 – Ampaa rhythm employed in bar 13 -16 It continues with this offbeat in bar 25 – 28 while the first violin plays the first pattern that was introduced by the second violin. A new rhythmic idea is introduced in bar 29 - 32 and goes on to bar 36. There is a retrograde of this is in bar 37 – 40. In bar 49, the second violin introduces a new motif based on one of the master drum rhythms and then the first violin joins in bar 53 – 60. 97 University of Ghana http://ugspace.ug.edu.gh Fig 5.11 – Violin 1 and 2 In bar 61, the second violin introduces another rhythmic idea and once again the first violin joins in 4 bars later. This rhythmic idea is the final one before the piece ends. Ex. 5.12 – Final rhythmic idea 5.2.4 Character The character of this piece is very dramatic. It makes use of mainly legato playing and it starts off very calm. As stated earlier, due to its rhythmic feature, it has a dance like character. There is no dynamics and expression marks as this has been left to the disgression of the performers or conductor. The tempo although not as fast as the original Fumεfumε, is moderate and always in strict time. 98 University of Ghana http://ugspace.ug.edu.gh 5.3 African Arietta This piece written for piano is based on one of the songs from the Fumεfumε repertoire. Parts of the melody have been used as the main melodic theme and have been varied in different ways. It is a 41 bar piece of music with irregular phrasing and meter changes. The title of the piece „African Arietta‟ is a short song mimicking the atonality of African music. African music is usually based on scales rather than any particular key. In African Arietta, I sought to compose a work that is not based on any key in other not to limit myself. I have based this piece on the chromatic scale beginning on „C4‟. The scale to be used is established in the second bar of the piece. Ex. 5.13 – Chromatic scale used in African Arietta 5.3.1 Melody The main theme is from the futrema song and can be heard at different points in the music. This piece is broken down into three themes that are then individually varied. The first and third themes are then subsequently divided into two motifs each. Ex. 5.14 - Theme 1 99 University of Ghana http://ugspace.ug.edu.gh Ex. 5.15 - Theme 2 Ex. 5.16 – Theme 3 The melody is mostly in the right hand but can sometimes be heard in the left. The intervals of thirds are mostly used. Because of the chromatic nature of the piece, it seems that it is one piece modulating to different keys. 5.3.2 Harmony Octaves are predominant in this piece but you will find parallel thirds, fifths and 3-note chords in some bars. A picardy third is used at the end of bars 4, 13 and 14. Ex 5.17 – Picardy thirds 100 University of Ghana http://ugspace.ug.edu.gh Arpeggio accompaniments are also used in bar 11, 12, 15 – 20 and 29- 31. Ex. 5.18– Arpeggio accompaniment 5.3.3 Rhythm The meter changes in this piece creates very interesting rhythms that are further more irregular by the use of tempo changes and accents placed in different locations as the meter tends to lose centrality. Simple triple, simple quadruple, simple quintuple and compound quadruple time are the time signatures used in this piece. Other rhythms apart from those from the Fumεfumε song have been used. In bar 10, there is a vertical play of duple and triple rhythm. Ex. 5.19 – Vertical play of duple and triple time 5.3.4 Character The piece is a very expressive one and the pianist must be careful not to lose this while performing it. It makes use of a wide keyboard range as well as strong dynamic contrasts moving from loud to soft and vice versa. Each section of the piece has its own character 101 University of Ghana http://ugspace.ug.edu.gh within the overall character of the piece. The tempo is not too fast but very flexible using fermata, ritardando and accelerando at specific points in the music. 5.4 Fumlifumli Fumlifumli is a piece written for the piano, concert flute and African drums. It is based on one of the melody of one of the songs in the Fumεfumε repertoire. The melody has been used as the main melodic theme and has been varied in different ways. It is a 76 bar piece of music in simple quadruple time. The piece is in G minor but the opening section is in the key of C major. The title „fumlifumli‟ is a play on Fumεfumε and the Ga word „futumɔ mli‟ which means „mix it inside‟. The title of this piece denotes the mixing of western and African instruments in this piece as well as the fusion of elements from both western and African music. Various techniques such as call and response technique are used between the flute and the piano at different points in the music 5.4.1 Melody The main theme of this piece is from the „Dzulɔni‟ song. Ex. 5.20 – „Dzulɔ ni‟ as sang by Theophilus Addy and his group This theme is varied in different ways and can be heard at various points in the music. Call and response between the piano and flute is employed in the first few bars as an introductory section. 102 University of Ghana http://ugspace.ug.edu.gh Ex. 5.21 – Call and response between piano and flute in the introductory section The first two bars of the flute part song are used as the response to the piano call in. This is written and played an octave higher than the original song. In bar 10 - 13, the flute introduces a new melodic idea. This same idea is played by the piano from bar 14 – 17 while the flute plays a secondary melody that is a parallel third above. 103 University of Ghana http://ugspace.ug.edu.gh Ex. 5.22 – The flute plays a secondary melody that is a parallel third from the piano‟s primary melody The melody then goes back to the first melodic idea but this time in G minor. It is played twice, first as staccatos from bar 24 -27 and the second time, legato from bar 28 -31. Ex 5.23 – Staccato playing of the main melodic idea from bar 24 – 27. Ex. 5.24 – Legato playing of the same melodic idea from bar 28 - 31. This same melodic idea is heard from bar 38 -45 and bar 66 – 72 in the flute part. It is also heard from bar 52 – 55 in the piano part. While the piano part plays the primary melody in bar 52 – 55 and the secondary melody in bar 56 - 59, a retrograde of this will also be playing in the flute part at the same time. 104 University of Ghana http://ugspace.ug.edu.gh Ex. 5.25a - Retrograde of primary melody from bar 52 - 55 and of the secondary melody in bar 56 – 59. Ex. 5.25b – An example showing a retrograde of notes as well as technique of playing. Intervals of seconds, thirds and fourths are mostly used but the largest interval is in the flute part. The largest interval in the melody can be heard in bar 48 and bar 63 where there th is 7 from C4 to B4in bar 48 and from E4 to Dflat5it can be heard at various points in bars 63. Ex. 5.26b – Examples showing the largest interval in the piece in bar48 Ex. 5.26a -Example showing the largest interval in the piece in bar63 Movement of melodic ideas always resolves downwards except in cases where a retrograde of a melodic idea is being played. 105 University of Ghana http://ugspace.ug.edu.gh Ex. 5.27a – melodic movement always resolving downwards Ex. 5.27b – Melodic movement in the flute resolving downwards. 5.4.2 Harmony African harmony is usually in unison, parallel thirds and octaves. In this piece, this harmonic structure was employed. Parallel thirds formed secondary melodies. For example, In Ex. 5.28, the piano plays the primary melody in the right hand while the flute plays a secondary melody, which is a third above the primary melody. Octaves are also used in the bass staff of the piano. Ex 5.28 – 2-note octave chord in the piano left hand part while the flute plays a parallel third above the piano right hand part. 106 University of Ghana http://ugspace.ug.edu.gh Ex. 5.29 – Octave playing in the piano part while the flute joins in a third above. Chords built on thirds are also used in the piano part. Ex. 5.30 – Chords built on thirds are used from bar 54 - 58 Modes of accompaniment used are blocked chords, broken chords and alternating notes. This is often found in the bass staff of the piano part. Ex 5.31 – Accompaniment using broken chords. Ex. 5.32 – Accompaniment using blocked chords. 107 University of Ghana http://ugspace.ug.edu.gh Ex. 5.33 – Accompaniment using alternating notes 5.4.3 Rhythm The two main rhythmic theme of the master drum of the Fumεfumε ensemble are used here in a constant ostinato without any variation. Ex. 5.34 – Master drum patterns borrowed from Fumεfumε and used in Fumlifumli The first one is mainly used in between melodic ideas as a bridge. It also serves as the introduction to a new section. Ex. 5.35 - Master drum rhythm In bar 60 -62, the first bar of same rhythmic theme taken from the master drum is used in the piano part. See Ex. 5.36 108 University of Ghana http://ugspace.ug.edu.gh Ex. 5.36 – Master drum rhythm being used in the piano part The second rhythmic theme plays along with the flute and piano and serves as an accompaniment. Ex. 5.37 – Master drum rhythm. Polyrhythmic texture is achieved when all instruments are playing together as different rhythmic textures can be heard. Ex. 5.38–Polyrhythmic texture when 4 rhythms are playing against each other. Furthermore, there is a cross-rhythm in bar 64 and 65 between the flute and the piano. 109 University of Ghana http://ugspace.ug.edu.gh Ex. 5.39 – Cross-rhythm between the flute and piano left hand part. 5.4.4 Character The overall character of the piece is like a conversation between the flute and the piano. At one point, there is a call and response section and then a section where both the flute plays the melody and the piano accompanies it. Dynamic contrasts are mainly between soft and loud. The tempo is not too fast. The piece is in a minor key of G and ends on the subdominant chord. 5.5 Summary These three compositions have thematic materials and key elements from Fumεfumε music although instrumentation is western. The polyrhythmic nature of Fumεfumε melodic movement and polyphonic texture is evident in the drummer‟s dance. African Arietta on the other hand has been based on one of the songs of Fumεfumε in no particular key but rather on a scale. Fumlifumli has also been based on one of the songs of Fumεfumε. African Arietta and Fumlifumli also employ melodic, rhythmic and harmonic techniques used in Fumεfumε. 110 University of Ghana http://ugspace.ug.edu.gh CHAPTER 6 SUMMARY, CONCLUSION AND RECOMMENDATION 6.1 Summary Fumεfumε is a traditional-recreational music style that is popular amongst the Ga-adangme people of Accra in the Greater Accra region of Ghana. The Addy brothers created it in the 1960s with Mustapha Tetteh Addy as the figurehead. Fumεfumε borrows from other music and dance styles in the Ga community. Fumεfumε is not as popular as other recreational music to people outside the Ga community but it is gaining popularity in the past decade as various Ghanaian dance ensembles are performing the music more often. It is performed at any traditional setting or event as a source of entertainment and also in a neo-traditional setting as a staged performance. The dancers are usually made up of both males and females who are very skilled in recognizing the various rhythms the master drummer plays and interpreting or expressing them appropriately through movement. Although the master drummer sets the pace during the performance, during the solo the dancers lead. During the solo, the dancer can also incorporate dancers from some Ga religious dances such as Tigari and Otu. The drums in the Fumεfumε ensemble consist of the Fumεfumε mi, Ampaa and Oblεntεn, which are the master drum and supporting drums respectively. While the Fumεfumε mi was created for the Fumεfumε music, the Ampaa and Oblεntεn where borrowed from the Tigari ensemble. The ŋoŋo, which supplies the bell pattern, is also a very important instrument in the ensemble. Other instruments such as rattles and clappers are added for embellishment. Singers in the ensemble consist of both males and females with one person acting as the cantor and the others as the chorus. 111 University of Ghana http://ugspace.ug.edu.gh The melody is based on the heptatonic seventh with a lowered seventh in most of the songs. The intervals between two successive notes are usually not more than a fourth but are predominantly unisons, seconds and thirds. The melody is usually in the lower and middle tonal range and melodic movement usually resolves downwards. Polyphony is employed here and it is very much contrapuntal with the main or primary melody and a secondary melody that is a parallel third above or below the primary melody. There are 4 or more rhythmic patterns that are usually played at a time and this also contributes to the polyrhythmic texture of Fumεfumε. The supporting drums and the bell play a constant ostinato while the master drummer plays varies his rhythm. The timeline is emphasized by the bell pattern and hand-clapping which give the regulative beats to mark the regular passing of time and unify all the various rhythms. Three pieces were created based on key elements that I was drawn to while studying Fumεfumε. The Drummer‟s dance, which is based on the system of intervals, cross- rhythmic textures, the rhythms, melodic movement, limited dynamics and homophonic parallelism in thirds, is written for a string quartet and piano. Other western techniques such as retrograde and trills were used. In African Arietta, I used one of the songs from the Fumεfumε repertoire to create three different motifs, which I varied in different ways. I also based it on the chromatic scale rather than any particular key. Western elements such as dynamic shaping, expression marks and picardy thirds were also used. Likewise, in Fumlifumli, I used one of the songs from the Fumεfumε repertoire as my main theme and varied it with different techniques such as retrograde, inversions, staccatos, trills and many more. 112 University of Ghana http://ugspace.ug.edu.gh 6.2 Conclusion This project shows that traditional elements other than rhythms can also be used in composing African Art music. These elements can only be understood when ethnomusicological studies and analysis are carried out. According to J. Amuah (2001), composition students should “involve themselves with the traditional people and acquire a repertoire of traditional songs and adapt them into art music”. African composers who genuinely want to maintain strong links with African culture in their works should take a close look at the principles governing African traditional music. (Omojola 1995:65). Indeed the underlying principles governing should be understood before composition takes place. This is what creative ethnomusicology is as opposed to composition using elements without any research or scholarly report. 6.3 Recommendation This project is an encouragement to students of composition at the Music department and may also serve as reference for those who want to engage in creative ethnomusicology. It also serves as an encouragement to young female composers who would like to compose music. It adds to the repertoire on African art music that can be performed at any occasion. It encourages others to research into traditional music that has little or no literature and document them. I did not dive too deep into the ethnography of Fumεfumε as my main focus was on the musical features. There is indeed much more to be researched into. I could not meet Mustapha Tettey-Addy as he was indisposed. This has brought up the issue of oral tradition and how creators of music in this century ought to document a few basic things to help researchers who may have difficulties getting important information. A lot of information is lost through oral tradition and a lot of researchers may end up giving 113 University of Ghana http://ugspace.ug.edu.gh distorted information. The new crop of traditional music should not only be transmitted orally but creators should find means of documenting some of these creations. Nevertheless, I did meet his nephew Theophilus Tettey-Bibio Addy who was very helpful. 114 University of Ghana http://ugspace.ug.edu.gh REFERENCES Aboyowa, A. (2006). Nigerian Composers and the search for National Identity. Agawu, V. K. (2003). How Not to Analyze African Music. In K. Agawu, Representing African Music. Routledge Publishing. Alfaro, M. J. M. (1996) Intertexuality: Origins and development of the concept Atlantis Vol. 18, No.1/2 (June – December) pp. 268 – 285 Amakye-Boateng, B. (2006). Blackman's Heritage: An original Composition based on techniques derived from Kpa Songs.M.Phil Thesis Presentation. Amuah, J. (2012). The use of traditional Music Elements in Contemporary Ghanaian Choral music. Perspective from selected works of George Worlasi Dor, Nicodemus Kofi Badu and Newlove Annan. Unpublished Phd Dissertation, University of Ghana, Legon . Anku, W. (2006). Principles of Rhythmic Integration In African Drumming. New Directions; Readings in African Diaspora Music Volume 1 No. 1. Adama Publications 2006 Bankole, A., & Omojola, B. (1994). Contemporary Art Music: An Introductory note on the works of Ayo Bankole. Journal of the International African Institute Vol64 (4) , 533-543. Boamah, E. (2007). Stylistic Traits in African Pianism in works of three art music composers:J.H.K Nketa, Akin Euba and Gyimah Larbi. Unpublished Phd Dissertation, Unversity of Ghana, Legon. Euba, A. (1993). Modern African Music. Iwalewa-Haus. Kofie, N.N (1994). Contemporary African Music in World Perspectives. Ghana University Press Accra. 115 University of Ghana http://ugspace.ug.edu.gh Laing, F. (2009). "odonso", An orignal composition based on techniques derived from Skyi: A recreational music type of the Ashanis. MPhil Thesis Presentation, University of Ghana, Legon. Lwanga, C. (2013). Bridging Ethnomusicology and composition in the first mocement of Justinian Tamusuza's String Quartet ' Mu Kkubo Ery'Omusaaleba'. Mensah, A. A. (1998). Compositional Practises in African Music. The Garland Encyclopedia of World Music Volume 1, Garland Publishing Njoku, A. (n.d.). Art-Composed Music in Africa. Africa: The Garland Encclopedia of World Music by Ruth Stone . Garland Publishing. Nketia, J. H (1963). African Music in Ghana. Northwestern University Press. Nketia, J. H. (1992). The Music of Africa. London: Victor Gollancz ltd. Omojola, B. (1995). Nigerian Art Music. Institut Francais Recherche en Afrique (IFRA). Omojola, B. (2015). Representing Africa through Creative Ethnomusicology: Minimalism and Post Colonia themes in the music of Samuel Akpabot. J.H Kwabena Nketia's Festschrift: Discourses in African Musicology , Omojola, B., & Sowande , F. (1998). Style in Modern Nigerian Art Music: The pioneering works of Fela Sowande. Journal of the International African Institute Vol 65 (4) , 7-15. Ozah, M. (2013). Building Bridges between African Traditional and Western Art Music: A study of Joshua Uzoigwe's 'Egwu Amala'. Sokpor, G. (2014). Fume Fume: Creating a new dance form from Traditional Dances. MFA Thesis Presentation, University of Ghana, Legon. Thram, D. (1999) Performance as Ritual, Performance Art: Therapeutic Efficacy of Dandanda song and dance in Zimbabwe. A PHD Dissertation Bloomington: Indiana 116 University of Ghana http://ugspace.ug.edu.gh University. International Library of African Music, Grahamstown, S. A. Associacion Espanola de studious anglo-americanos. Whittall, A. (1999). Musical Composition in the Twentieth Century. london: Oxford University Press. Wuaku, H. M. (2004). Compositional Techniques of the Egbanegba Musical Type restricted to the Peki Avetile Area. MPhil Thesis Presentation, University of Ghana, Legon. 117 University of Ghana http://ugspace.ug.edu.gh APPENDIX A Questions asked during Interviews with Informants. 1) Can you please tell me what you know about Fumεfumε? a. Who created Fumεfumε? b. What does the name Fumεfumε mean? c. When is it performed? d. Which groups perform it and how many people perform it? e. Since it borrows from Ga religious music, is Fumεfumε religious and so dancers sometimes get possessed? 2) What are the names of the instruments in the ensemble? a. Are they original instruments distinct to Fumεfumε or are they borrowed? b. Why are other drums used instead of the Fumεfumε mi? 3) How many songs are in the repertoire? a. What topics are the lyrics of these songs on? b. What other language apart from Ga, are the lyrics of the songs in? 118 University of Ghana http://ugspace.ug.edu.gh APPENDIX B Instrumental Parts 119 University of Ghana http://ugspace.ug.edu.gh 120 University of Ghana http://ugspace.ug.edu.gh 121 University of Ghana http://ugspace.ug.edu.gh 122 University of Ghana http://ugspace.ug.edu.gh 123 University of Ghana http://ugspace.ug.edu.gh 124 University of Ghana http://ugspace.ug.edu.gh 125 University of Ghana http://ugspace.ug.edu.gh 126 University of Ghana http://ugspace.ug.edu.gh 127 University of Ghana http://ugspace.ug.edu.gh 128 University of Ghana http://ugspace.ug.edu.gh 129 University of Ghana http://ugspace.ug.edu.gh 130