Department of Music
Permanent URI for this collectionhttp://197.255.125.131:4000/handle/123456789/23086
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Item Ruptures, Junctures, and Difference: The Role of Music and Ritual Performance in Framing “Tradition” in Contemporary Royal Ceremonies, Ghana(Musicological Annual, 2022) Avorgbedor, D.Royal rituals and festivities are vibrant sites of cultural continuity among the Ewe of Ghana. The rituals exhibit elements of hyperreal, sonic, and sacred/secular sensibilities that frame performance and embodied affectivity. The royal event complex engages the multisensory, the carnivalesque and interstices of the sacred/secular in Ewe spirituality and religious outlook.Item Indigenisation of orchestral music in Ghana: the Pan-African Orchestra in perspective(Journal of the Musical Arts in Africa, 2022) Osei-Owusu, E.This article investigates the indigenisation of Western orchestral music in Ghana by focusing on the Pan-African Orchestra (PAO), founded by Nana Danso Abiam in 1988. The factors that influenced the establishment of the PAO and its approaches to indigenisation are examined. Primary research data consist of interview sessions with Abiam, members of the PAO, its patrons, as well as selected cultural officers of the orchestra. Secondary sources consulted include published and unpublished documents, recordings of performances and relevant sheet music. It is concluded that the PAO’s purposeful attempts to combine different indigenous African elements and/or approaches have strengthened notions of the indigenisation of orchestral music in Ghana, which may be linked to the cultural reengineering efforts of Kwame Nkrumah, political revolutionary and former president of Ghana.Item Reflections on selected tertiary music programmes in Francophone and English-speaking Africa: A report(Journal of the Musical Arts in Africa, 2007-08) Kongo, P.Z.This report deals with a real gap between music programmes in Francophone and English- speaking tertiary institutions within selected West and Central African countries. It is not a theoretical article, but rather a presentation of historical information with minimal speculation. This report was initially a response in January 2004 to a request from the Pan-African Society for Musical Arts Education (Pasmae) to write about my involvement in music education, especially in African Francophone countries, for an appointment as an Ambassador-extraordinary. I have dwelt solely on my own experiences with music curricula from West Africa, especially from Ghanaian and Nigerian universities. More clearly, this report is not designed to offer scholarly opinions and arguments on the adequacies/inadequacies of syllabi and course contents in African tertiary music education, because this is definitely a different and open issue. I narrow the focus to concentrate on the discrepancy between English-speaking and Francophone music curricula in West and Central Africa, where Legon may validly stand for a number of other tertiary institutions that have developed a curriculum based on Africa-driven and Western approaches. For instance, the seeds planted in each one of the above directions in Kenya and South Africa— representing an axis between African identities and Western curricula—will necessarily be reflected in my present assessment. Students from English-speaking countries would find curricula they would regard as standard in, for instance, the 1990s handbooks of the University of Ghana, Legon or the Legon website . On the other hand, scholars and cultural agents from Francophone Africa may need an example of such contents for their decision- making.Item A synchronic study of semantics in selected Akan choral compositions in Ghana(Academic Journals, 2015) Amuah, J.A.; Acquah, E.O.; Annan, J.F.; Tsemafo-Arthur, J.Item ASSESSMENT OF MUSIC TEACHERS ON THE POOR PERFORMANCE OF WEST AFRICAN EXAMINATIONS COUNCIL (WASSCE) MUSIC PRACTICAL TEST(2017) Amuah, J.A.; Acquah, E.O.; Dzansi-McPalm, M.P.Item Fela: Kalakuta notes, second edition(Wesleyan University Press, 2015) Collins, J.; Eyre, B.Fela: Kalakuta Notes is an evocative account of Fela Kuti-the Afrobeat superstar who took African music into the arena of direct action. With his antiestablishment songs, he dedicated himself to Pan-Africanism and the down-trodden Nigerian masses, or “sufferheads.” In the 1970s, the British/Ghanaian musician and author John Collins met and worked with Fela in Ghana and Nigeria. Kalakuta Notes includes a diary that Collins kept in 1977 when he acted in Fela’s autobiographical film, Black President. The book offers revealing interviews with Fela by the author, as well as with band members, friends, and colleagues. For the second edition, Collins has expanded the original introduction by providing needed context for popular music in Africa in the 1960s and the influences on the artist’s music and politics. In a new concluding chapter, Collins reflects on the legacy of Fela: the spread of Afrobeat, Fela’s musical children, Fela’s Shrine and Kalakuta House, and the annual Felabration. As the dust settles over Fela’s fiery, creative, and controversial career, his Afrobeat groove and political message live on in Kalakuta Notes. Features a new foreword by Banning Eyre, an up-to-date discography by Ronnie Graham, a timeline, historical photographs, and snapshots by the author. © 2015 John Collins. All rights reserved.Item ‘Ghana and the World Music Boom’ Published in Popular Music History Vol. 3, No.3, (ed. by Robert Stracham)(Equinox Publishing Ltd Unit 6 175-194, 2009) Collins, J.Item Popular Dance Music and the Media. In: Media and Identity in Africa, edited by Kimani Njogu and John Middleton(Edinburgh University Press for the International African Institute, pp. 162-70, 2009) Collins, J.Item Tribute to the late Kofi Ghanaba in the 43 page funeral brochure(Celebrating the Life of Ghanaba, pp. 28-31, 2009) Collins, J.Item Fela : Kalakuta Notes(Dutch Royal Tropical Institute, pp. 748-9, 2009) Collins, J.
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