Abstract:
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.
