Department of Music

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A Study Of The Ghanaian Classics Recording Project By The Ghana National Symphony Orchestra
(2020-07) De-Souza, D.E.E.
This study examines service brand avoidance within the business market. Specifically, it assesses the applicability of the drivers of brand avoidance within the business-to-consumer (B2C) market in business-to-business (B2B) relations and assesses dissimilarities in customer responses to service brands based on customer business type. Employing an explanatory research design and a quantitative research approach, data for the study was attained through self-administered questionnaires and a uniform resource locator (URL) through Google forms. The population of interest was businesses within the Accra metropolis of Ghana avoiding a telecommunication network brand. Respondents were selected using a purposive sampling technique. 346 out of the 398 questionnaires administered were used to analyse hypothesised relationships using partial least squares structural equation modelling (PLS SEM) technique. The findings revealed that unmet expectations, symbolic incongruence and failed communications have direct significant influences on brand avoidance, while ideological incompatibility has a significant influence on symbolic incongruence. Additionally, unacceptable trade-offs and ideological incompatibility though not directly, influence brand avoidance when symbolic incongruence acts as a mediator. Further, the study revealed that customers’ business types account for some disparities in their responses to Telecommunication brands. This study contributes to literature new knowledge regarding brand avoidance within the business market from an emerging economy perspective. It provides empirical evidence as well as makes recommendations to brands and organisations on what to do and stay away from in order not only to ensure a purchase, but secure repeat purchases and loyalty. Future studies may consider examining brand avoidance by business clients within other industries as well as the impact it may have on co-branding agreements.
Libation Chant For Nii
(University of Ghana, 2002) Lartey, S.A.
The present composition, written for wind band, brass and percussion, IS meant to explore ways of Africanizing military band repatriates by blending African elements With western techniques. It shows an awareness of pioneer works by Amu. Nketia and Akan Euba among others African composers who paved the way in which African music can be adopted for global advantage and use The rhythmic and melodic motives Implemented in the 5 Sections of the work Consist of childhood reminiscences related to Labadi (Ga) traditions as well as to Practices and behaviors inherited from scholarly exposure to Adagme and Ewe music What is Illustrated by this approach IS that effectiveness In African Art music may be considered as arising at the intersection between experience of organized knowledge. Learned techniques and a solid traditional background with an extreme tolerance in the process of implementation.
A Study of the Ghanaian Classics Recording Project by the Ghana National Symphony Orchestra
(University of Ghana, 2020-07) De - Souza, D.E.
The Ghana National Symphony Orchestra (GNSO) has been in existence since 1959. It is one of the oldest symphony orchestras in Ghana. Set up on the directive of Dr. Kwame Nkrumah, first President of the Republic of Ghana, the aim was to introduce Western classical music to Ghana and also to show the competence of Africans in playing both African Airs and Western classical music. Despite being in existence for over fifty years, the GNSO had not embarked on any recording project. However, in 2015, the idea of the Ghanaian Classics recording project was conceived and realised. This project veered off the usual practices of the GNSO and there is some curiosity as to what this album was all about and what it set out to achieve. This study therefore examines the Ghanaian Classics album project, focusing on the recording process, how selected pieces for the album were recontextualised, and the commercial dimension of the project and how the album contributed to a sense of Ghanaian nationalism. Ethnographic approach was employed in the methodology. Between 2010 and 2013, I served as an intern and national service person with the orchestra. During this time, I was a participant-observer and became acquainted with the repertoire, performance practices and the general organisation of the GNSO. For this project, I listened to the album purposively and did a musical and textual analysis of the songs and the album design. Using Hannenin’s theory of recontextualisation, I examined the changing context of the songs as compared to the original forms. I also did analysis of the instrumentation, arrangement and the choice of repertoire and guest musicians. Other primary data sources included interviews with the director of the GNSO, the project coordinator, the producer, the artist, some members of the GNSO and selected patrons. Secondary sources included previous studies of the GNSO, music scores, and information gathered from libraries and internet sources. The research reveals that this project was to enliven the cultural memories of Ghanaians and to honour highlife legendary artistes. The recontextualisation of selected pieces was to link old performance styles to the new ones and for a better appreciation of the songs on the album. It concludes the GNSO has exhibited their versatility in performing art, traditional and popular musical types and most significantly projecting Ghanaian culture and heritage.
The Contributions of George Worlasi Kwasi Dor to the Musical Tradition of the Evangelical Presbyterian Church, Ghana
(University Of Ghana, 2019-07) Dzisah, A.
This study examines the contributions and influence of George Worlasi Kwasi Dor to the musical traditions of the Evangelical Presbyterian Church, Ghana in the style of prominent composers such as Ephraim Amu, N.Z. Nayo and R.N Ndor within the rubrics of Interculturalism in music theorized by Akin Euba (Dor, 2013). For more than a century and a half, the Evangelical Presbyterian Church, Ghana has continuously followed the Bremen model for the celebration of the Eucharist. This practice continued until the inclusion of some compositions of George Worlasi Kwasi Dor into the Eucharist format. Over the years, G.W.K. Dor has since remained the only Ghanaian composer in the E. P. Church, Ghana whose compositions have had a significant impact on the format for celebrating the Eucharist. G. W. K. Dor’s compositions continue to feature prominently at the West Volta Presbytery Church Choirs’ Union (WVPCU) conferences as compared to other composers. Apart from satisfying the liturgical, theological and the linguistic needs of churches such as E. P. Church, Ghana, the A. M. E Zion, Methodist Church Ghana and Roman Catholic Church Ghana, other governmental agencies have also benefited from G. W. K. Dor’s compositions. Methods of collecting data included primary and secondary sources. Primary data was gathered during an interview section with G. W. K. Dor, selected Rev. Ministers of the E. P. Church, Ghana, the paramount chief of Peki traditional area, choir directors and instrumentalists etc. Secondary sources included library search, internet and analysis of media content. Analysis of formal and LaRue’s Quadrant Framework for Style Analysis were some of the analytical tools that were used to examine the building blocks of the compositions. The compositions are made up of indigenous and Western musical idioms, recurring themes and coherent melodic structures. The research clarifies the fact that G. W. K. Dor is the first choir director to have started the concept of Praise Band in the E. P. Church, Ghana. This thesis argues that the contributions made by George Worlasi Kwasi Dor to the musical tradition of the E. P. Church, Ghana were achieved through intercultural musical practices and that they are significant musical additions to the church repertoire.
Military Band Music Composers in Ghana: Frank Hukporti and John Doe Afornorpe in Perspective
(University Of Ghana, 2019-07) Adzroe, E.
This research examines the creative ideologies of Frank Hukporti and John Doe Afornorpe in the context of military band music-making. It also surveys the traditional military band music format, the evolution of military band in Ghana, and life events of the two exponents. The process of their creativity was critically scrutinized using two theoretical frameworks that seem to be appropriate to the study. These frameworks examined the contributions of some selected elements of music and their functions in the analytical process. Even though the research focuses on analytical issues, it also brought to light the contributions of the two exponents to military band music in Ghana through their initiatives, compositions, arrangements, and their advocacy for the use of indigenous traditional folk tunes for military bands to perform in Ghana. Arguably, these initiatives and arrangements for instance, have placed their respective bands at the lead among the various military bands in Ghana. The study also reveals that the environment or community in which a composer lives can easily influence his style of compositions and arrangements, which is directly associated with the two exponents. Their arrangements speak well about their influences and what interests them the most as composers. Analytical methods were applied to achieve the results from the data collected on this study. The methods used in data acquisition include; interview, reviewing literature of published and unpublished books on issues pertaining to military band music, observation and some other sources from the internet. The study concludes by recommending that further studies should be conducted into military band music composers and arrangers in Ghana.
Musical Ethnography of Dagara People in Burkina Faso
(University of Ghana, 2019-07) Hien, N.P.N.
Dagara constitute an ethnic group who occupy and span two neighbouring countries in West Africa: Ghana and Burkina Faso. They are located in the South-Western region of Burkina Faso and in the Upper-West region of Ghana. Although the Dagara live in different countries, they still share the same socio-cultural practices that define them culturally among other ethnic groups. Dagara cultural identity is their collective and dynamic cultural values held and cherished over the years. Music is one of these cultural values as it constitutes an integral part of the Dagara socio-cultural systems to the extent that many aspects of their everyday life and special occasions are often marked by a variety of musical and dance practices. In the perspective of music as culture, this thesis has ethnographically investigated the music of the Dagara in Burkina Faso by focusing on the significance of the music in its socio-cultural contexts. It also argues that the music of the Dagara depicts their kinship system and their worldview as it approximates or correlates musical and social structures. This approximation essentially consists of an analytical approach of the juncture or the correlation between the musical and the socio-cultural as an important factor of ethnic or cultural identity. The research methodology employed is a qualitative ethnographic method which comprises primary and secondary sources. It has also employed the non-probability sampling technique for the selection of the key informants from five areas of Dagara land in Burkina Faso and the phenomenological and triangulation methods for data analysis. The study is mainly framed within the ethnosemantics theory by Agawu, the Feld’s six-fold framework and the “thick description” of Geertz (1973) as backdrop of the analysis of musical performances that can be considered as ‘webs of significance or meanings’ (Max Weber).
A History and Ethnography of the Calvary Methodist Singing Band, Adabraka, Accra.
(University of Ghana, 2019-06) Anderson, S.K.
To fully participate in the Methodist Church’s singing tradition, the Singing Band in the Methodist Church Ghana was created purposely to specifically enable non-literates of the Fante community to sing in their local language—Fante. In present times, the church’s liturgy still mandates the Singing Band to perform during church service. Over the years however, the Singing Band in the Methodist Church has been greatly populated by literates. This thesis undertakes a historical and ethnographic study of the non-literate singing tradition in the Calvary Methodist Singing Band, Adabraka, Accra. Employing Stuart Hall’s theory of cultural identity, the thesis investigates the history of the Calvary Methodist Singing Band as well as other socio-cultural issues responsible for the preservation of such a non-literate singing tradition in the Calvary Methodist Singing Band despite the educational background of Band members in contemporary times. The study observes that because Methodism started in the Fante community, the non-literate singing tradition of the Band serves to preserve the cultural identity of the people. In general, the Singing Band in Calvary presents opportunity for displaying cultural elements and in a way shielding the tradition from modern influences. However, the study observes that despite these modern influences—as in costume and instrumentation and so forth— the study concludes that in the age of modernity it is impossible to shield a tradition from cultural influences. As the study has shown, culture is dynamic and the Singing Band in the Calvary Methodist Church reflects the blend of both traditional and modern socio-musical resources.
Career Sustainability in the Ghanaian Music Industry: The Case of Okyeame Kwame
(University of Ghana, 2019-06) Brew, J.O.
The discourse on music sustainability within ethnomusicological circles has largely focused on the protection of the environment and the sustenance of both music traditions and their material music cultures which are endangered. Thus, there is hardly any discourse on the sustenance of the careers of the musicians whose work actively keeps these music traditions alive; although there have been observations made about the difficulties associated with sustaining a career in music. In Ghana, music making has largely been observed and practiced as a community affair in many indigenous African societies. For that reason, the profession has been historically perceived as one that cannot be taken on a full-time basis. This notion appears to have spilled over to contemporary music making in the country and therefore tensions often arise in relation to compensating musicians. Drawing on the case of Okyeame Kwame, a hiplife musician in Ghana, this thesis examines the philosophies and strategies that he has employed in the sustenance of his music career by first discussing him within the broader framework of the Ghanaian music industry. Framed within the theoretical notion of music sustainability and ecology, the thesis argues that music career sustainability is a complex phenomenon that goes beyond talent to include business management skills. From this perspective, musicians should see themselves as entrepreneurs whiles still utilising their creative outputs.
Non-Lexical Vocables: A Contextual Ideology of Meaning in Three Choral Compositions of Alvan-Ikoku Nwamara
(University Of Ghana, 2017-07) Nnalue, P.O.
Indisputably, it has been dully observed that the westerners’ opinion of African traditional music is appalling and their attitude towards appreciation of the music is not encouraging and thereby resulting to the misconception of some indigenous elements used within the African cultures. One of the most influenced elements in Nigeria especially in Igbo community is the exclamatory words which the westerners refer to as nonsensical syllable. But it is an established fact in Igbo community that every syllable used in Igbo music traditionally, makes sense in one way or the other and its sense is dependent on the context upon which it is used (Nzewi 1991, Onyeji 1998, Nwamara 2008). Therefore, in revolt to this myopic understanding of the exclamatory words, Alvan-Ikoku Nwamara, one of the distinctive composers, arrangers, performers and ethnomusicologists in the Igbo community developed a contextual ideology of using the exclamatory words to depict meaningful ideas in some of his choral works. Despite this creative ideology by Nwamara, his choral pieces that harbours the exclamatory words received a belated acceptance and appreciation and as a result, he is considered to be just a performer unlike other composers, Meki Nzewi, Laz Ekwueme, Chirstian Onyeji, Sam Ojukwu, whose works are widely accepted in Nigeria. Therefore, in this work, ‘non-lexical vocables’ has been used as a terminology for exclamatory words, and its scope focuses on the structural arrangement of the non-lexical vocables in three selected choral pieces of Nwamara, Chimamada, Jaga jaga, and Chicken jogily run away which has been examined in order to bring out their contextual meanings. Again, answering questions like, why are non-lexical vocables mostly featured in his choral works? What are the causes of the belated recognition of him as a composer by some choral performers? I therefore situate this contextual ideology of non-lexical vocables in choral works as an evaluation of his compositional style. University of Ghana http://ugspace.ug.edu.gh
Development of Brass Band Music of The Salvation Army, A Study of The Mamprobi Corps
(University of Ghana, 2016-07) Okyere, D.A.
This study focuses on the history and development of brass band music of the Salvation Army specifically Mamprobi Corps from the 1993 to 2016. The thesis takes a critical look at: the traditional performance practice, questions and resources of orality and modes of transmission, styles, type of instruments, transcriptions and analysis of some selected music performed by the band currently. The field recordings and the musical transcriptions of selected musical items clarify and support the research of the interplay of tradition, creativity, improvisation, innovation and the place of oral-aural modes of learning and performance, and stylistic traits in historical perspectives. Furthermore, the study examines the role brass band plays in the church, and non-church contexts, continuity and change. Finally, the research discusses the relevance of the Mamprobi Corps band today.
Generation Of Inspiration And Aspiration In Ghanaian Choral Music Composition: Alfred Entsua-Mensah And John Gershom Koomson
(University Of Ghana, 2017-07) Afful, S.K.
In the early decades of the twentieth century, many Ghanaian choral music composers from different cultural backgrounds composed songs to depict African/Ghanaian identity distinguishing them from the European styles experienced by the people of the Gold Coast through the activities of the Christian missionaries. The European presence during the pre-independence era has impacted heavily on the economic, social, cultural and musical lives of indigenous Ghanaians. Born in 1906 at Elmina, Alfred Entsua-Mensah inspired by the intercultural environment created through Ghanaian European interactions during colonialism originally created new choral and instrumental music idioms of both Ghanaian and Western traits. The uniqueness of his art works is as a result of the extensive use of complicated rhythmic motif derived from the African society popularly called syncopation, and Western harmonic principles and elements such as chords like dominant seventh chords, augmented sixth chords as well as chromaticism. Per yɛ papa, M’enyigye nsunyiwa, Asamanadwow a, are few examples of art works with the aforementioned elements. Aspired by the compositional philosophies of Entsua-Mensah, John Gershom Koomson, also from Elmina originally introduced similar compositional style. The objective of this thesis is to delve into the profiles of the two composers of different generations but with common identifiable compositional traits. It again examines their works which will be an inspirational tool to the up and coming composers to work tirelessly in discovering their own unique creative compositional techniques and styles. Works of the above composers are analyzed disclosing their compositional creativity and philosophy. The objective of this study is intended to be achieved through data collection in relation to the composers of the study, transcription of scores, transliteration of text, and analysis and interpretation of selected pieces. It is envisaged that the biographical studies and the analysis of the compositions of Entsua-Mensah and J. G. Koomson will be of a great importance to scholars, students and composers when they patronize and try to apply the styles and techniques in their own works. It will as well add to the existing literature and enhance the study and composition of choral music in Ghana. I therefore recommend that art music composers alive make available their profiles and biographical details and make them accessible to all without hindrances. Also the choral works of Entsua-Mensah and John G. Koomson can be used as pedagogical tool for exercises in chromatic music for university students to polish up their analytical and musical skills. University of Ghana http://ugspace.ug.edu.gh
The Development and Contributions Of Youth Choirs in Ghana
(University Of Ghana, 2016-06) Esson, E.D.K.
The primary focus of this study is to examine the development and contributions of youth choirs in Ghana. The research seeks to attempt an in-depth study at the concept of the youth choir as an institution which came to the limelight of choral music industry about three decades ago. The acceptance of this youth choir system due to its economic boom in recent times has gained a maximum popularity as well as provided an avenue for both professional and unprofessional musicians but has not received much scholarly attention. The purpose of the study is to trace the historical events that necessitated the formation of youth choirs and delve into their development and contributions to the socio-economic impart with the specific attention on motivation of the formation, conflict management and the performance practices/styles. The research methodology is primary based on fieldwork which includes discussion, interviews, participant observation during rehearsals sessions and performances, library research, journals and recordings of some of the works performed by the youth choirs. The study discovered that the community youth choirs and all others when properly run will create employment to its members and become an asset to the host community and the nation as a whole in several ways. Youth choir system also provides an avenue to unearth and develop the musical prowess of the youth. It is therefore recommended that every community, institution, government agency and organisation should be encouraged to form a youth choir or sponsor the existing ones since they help to address and solve some of the unemployment issues in the country
Zibo Music – Processes And Effects Of Christian Indoctrination Among The Northern Ewes
(University of Ghana, 2016-07) Mesiotso, G.M.
Zibo music is a distinct musical genre in the Asogli area in the northern part of the Volta Region. This musical tradition has experienced important transformations in the last decades as some practitioners move it from its original secular status to a sacred one. The study is premised on the fact that musical traditions like all other aspects of culture also have the natural capacity to consciously or unconsciously effect changes in their performance modes. Taking a constructivist approach, this study aims to respond to the following questions: 1)what developments necessitated the incorporation of zibo ensemble into the Christian liturgy in the Evangelical Presbyterian Church at Ho? 2)What are the main historical developments of the zibo ensemble? 3)What specific processes were involved in co-opting zibo ensemble into the church? And 4)What are the effects of the Christian indoctrination on the zibo group and the individual members. The study uses theories of Diffusion and Innovation by E. M. Rogers (1962) and Structural Set Analysis by Willie Anku to trace the channels of Christianization and analysis of zibo musical structure. This work, based on ethnographic research, historical, cultural, and musical analysis, demonstrates that: 1)The arrival of the missionaries in Ho has greatly impacted the religious activities of the natives of Ho and contributed to the Christianization of zibo. 2) Zibo was not associated with paganism and so, like other recreational forms of traditional music, has easily moved into the church. 3) Zibo and other recreational forms of local music are informal and associated with the youth and so have changed more easily than the more conservative and formal musical forms associated to ritual and court institutions. And 4) Whereas among the northern Ewes there was a lot of Akanisation from the 19th century, the case of zibo presents a Ga – Eʋe musical syncretism.
The Lunsi Traditional Music Of The Frafras In Tamso
(University of Ghana, 2013-07) Oppong, E.
Lunsi musical type, according to the Frafra in Tamso, is a traditional music meant for general use in the community. It can be performed at funerals, weddings, parties and any other recreational events. This study accesses the difference in lunsi at its place of origin and at Tamso so far as instrumentation, costume, recruitment, training, performance, communication, and migration are concerned. The study also examines the characteristics of lunsi music as compared to that of African music in general. Furthermore, the study characterizes lunsi music as part, or one of the traditional musical types of the Northern region of Ghana. Therefore, as a result, augments the existing traditional music literature of Tamso and also that of the Northern region of Ghana. To achieve the discussed objectives above, appropriate methods were employed. Since most of the resource persons involved, in the music concerned were illiterates, oral questions were used to acquire necessary information about the music in question. The lunsi ensemble of Tamso was assisted financially to organize a performance; where the true colour of the music was manifested; during which a video coverage of the performance was taken. The video of the performance provided a source of information and analyses. In dealing with the popularity of the music in question, a questioner was prepared for non-Frafras; generally non-Northerners; which determined the degree of popularity of the music among other Northern indigenous music. In addition, published documents were accessed. Lunsi music of the Frafra exhibits the two general rhythmic characteristics of Africans namely, syncopation and cross beats. This is as a result of the simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter. In addition, the manifestation of two or more meters in the same scheme confirms the African nature of lunsi music in Tamso. It is also discovered that inasmuch as there is the use of a standard or key pattern in Lunsi music, it does not conform to the seven-stroke figure commonly used among most African ethnic groups. Furthermore, the study reveals that all drums in lunsi music are double-headed, and that they are either hourglass or cylindrical in shape. The study also reveals that while the lunsi drum performs the communicative role back home, the weiya rather does it in Tamso, while the remaining drums in the ensemble are mainly used as accompaniment. Moreover, lunsi is identified as court music back home, but it is a recreational music, used for ensuring social solidarity among the Frafra in Tamso. The study further reveals that back home, traditional costume, (comprising “kalambiu” and “newerenada”) is used for performing lunsi music. However, T-shirt and a traditional trouser made of traditional cloth are used in Tamso. Lastly, the results show that back home recruitment for lunsi music group could be obligation or retention, affiliation or appointment method. However, among the Frafra people in Tamso, only the appointment method was employed for recruitment into lunsi music group. To Zablog Zakariah Abdullah (African Studies, Legon) and the author of lunsi institution of Dagbon, lunsi is an institution. To him, there is a special family for the institution. Unless you are born or initiated into this family, you cannot be a lunsi.
The Influence Of Popular Music Among The Youth Of Ngleshie Amanfro, Accra
(University of Ghana, 2016-07) Nyarko, I.
Music can influence people’s culture and identities. Daily the Ghanaian youth listen to different types of music such as gospel, highlife, hip-life, jazz, reggae, hip-pop and rock. How do these diverse musical exposure affect their behaviour, lifestyle and dress code? This study discussed the influence of popular music on the youth in the locality of Ngleshie Amanfro, Accra. The researcher specifically focused on gospel music, hip-life music (rap) and reggae music. The study also examined the impact that the lyrical content of these genres has on listeners, and the type of audience and the context in which these music forms are performed or disseminated. It also investigated the various effects gospel, hip-life and reggae had on the behaviour, aspirations and fashions on the youthful audiences as well as impact the performers of these three genres made on them as role models. Qualitative data was collected through interviews with the help of an interview guide and observation. Relevant audiences and performers of the three genres under discussion were also sampled and interviewed for information about the influence of this music’s on the youth. Comparisons were then be made between the impacts on the youth of these three different forms of music.
Original Compositions Using Elements From Fumεfumε Traditional Music
(University of Ghana, 2016-06) Allotey-Pappoe, G
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.
Defining Our Lives With Music: A Case Study Of The Krobo Woman
(University of Ghana, 2016-06) Opare-Darko, A.N.D
Throughout the years though enormous study has been done on the history and beads making of the Krobo’s, very little attention has been given to their music. The research focuses on the participation and perception of women in the production and performance of Klama music which is the traditional music genre found among the Krobo of Odumase in the Eastern Region of Ghana, and the Dangbe in general. My findings indicated that women are highly regarded in the Krobo society and their musical performances are essential for the sustenance of society. The research also identified some of themes portrayed in their songs. The Krobo women like in any other African society use their musical performances as a platform to deliberate on issues concerning the society. The research employed the qualitative and descriptive methods of research, using research data tools such as interviews and participant observations which aided in analyzing data. Klama music is an important vehicle for the construction of gender identities among Krobo people and a space where women have a prominent role. As such it deserves our undivided attention.
A Critical Study of the Music Industry in Tamale
(University of Ghana, 2013-07) Yamusah, M.S.; Collins, E.J; Boamah, E.; University of Ghana, College of Humanities School of Performing Arts Department of Music
This is a study of the expanding music industry in Tamale, focusing on its artistes. It examines how they create and produce their music, how they market and promote the music and their images, and also the nature and art of their performances and the scope of their export beyond Tamale. The contemporary popular musicians of Tamale have been making all efforts since to gain a national appeal and attention to no avail. The problem discussed in the study is that, as long as an artiste bases in northern Ghana he/she will most likely never become a national music icon in Ghana: until he/she migrates to Accra. This thesis reviews literature on the traditional and neo-traditional music of Dagbon. Then moves on to examine the underlying problems of the Tamale music industry – and suggests solutions. The study draws much of its information from the perspectives of the artistes, through interviewing them, and analyzing what they have to say. Tamale is the center for these contemporary popular artistes and their music, but most of them until as recent as 2008/2009, only recorded their music from Accra and Kumasi. The music industry in Tamale still faces major challenges. The artistes and their music appear not to have travelled much beyond their home region especially into southern Ghana. Other problems include limited formal education among artistes, and the lack of capital investment. However, it has some very visible prospects for a brighter future. This study sets the tone for real discussions of the music industry in Tamale based on facts and verifiable information. It also uncovers some of the challenges to the industry. This study is an attempt at throwing light on the life problem for many young people in the Tamale area, who have the gift of music, which they thereby wish to use as a medium to enhance their socio-economic livelihood. Finally, this thesis lays the foundation for further academic studies into the music industry in Tamale.
Text and Tune (Tone) in Ghanaian Hymnology – A Case Study of the Christian As$R Ndwom of the Methodist Church Ghana
(University of Ghana, 2016-06) Armaah, J.V.; Haper, C.; Amuah, J.; University of Ghana, College of Humanities, School of Performing Arts, Department of Music
This thesis concentrated on the translation of the English hymns of the British Methodist church to the Fanti Language for the indigenes of the Fantiland. The Fanti translations for the English hymns fail to put music and language together in the terms of pitch and melodic contour. The same melody is used for all stanzas of the hymn with no consideration for the changing pitches of the text in the verses. The research methodology involved Data collection, transcription and analysis of existing African songs. Three hymns from the Christian As4r Ndwom have been transcribed and analysed. I have finally composed three songs for the selected hymns based on the points discussed in the study. The study sought to find ways of writing melodies that flow with the tonal contour of the Fanti Language without compromising the beauty of the music as well as keep its uniqueness as a single song with changing melodies to the other verses. The findings of the study helps us to have a solution to language distortion created by the unbalanced alignment of text and tune. It teaches us to create new melodies without compromising existing beauty, as well as writing melodies for all stanzas, to sound as a complete song. The study finally educates us on the background and nationalities of the translators. In conclusion, the thesis will assist students and upcoming composers improve their melody writing skills especially in the usage of African text.
Music Production and Preservation at Ghana Broadcasting Corporation
(University of Ghana, 2015-06) Adjetey, A.M.; Avorgbedor, D.; Andoh, T.E.; University of Ghana, College of Humanities, School of Performing Arts Department of Music
It is an acknowledged fact that colonial experience left its mark not only in the political, religious and economic life, but also in education and entertainment through the media in Ghana and for that matter Africa. One of the positive outcomes of the colonial encounter, especially in Ghana, is indicated in the establishment of radio and, later, television broadcasting. Music which has been a great tool and vehicle of communication helped in achieving this success. Music production and preservation in broadcasting have been very vital in the development of Ghanaian music industry. Through music broadcast, many segments of the Ghanaian population had the opportunity of sharing their gifts of wisdom and creativity with all, across borders, tribes and races. This study traces the historical development and establishment of broadcasting focusing on the Ghana Broadcasting Corporation (GBC). Further, the study examines how GBC, as a media organisation, has produced, preserved used and re-used music in building programmes for broadcast since its establishment in 1935. It also discusses music censorship and copyright at GBC as well as the technologies that were used in producing and preserving music for the radio department at GBC.

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