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.
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    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.
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    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.
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    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.
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    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.
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    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).
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    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.
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    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.
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    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
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    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.