Abstract:
This study investigates the choral compositional techniques, styles and creative
interests associated with the choral works of James Tsemafo-Arthur, an African art
music composer. The study outlines how this composer utilizes some intrinsic African
elements in his compositions, the influence of his cultural and religious background on
his composition, as well as his compositional philosophies. The study, apart from
serving as a record of another African art music composer, will motivate and serve as a
guide to budding composers to compose more inspiring choral music, and also enable
readers to better appreciate Tsemafo-Arthurs’ individuality, originality and ingenuity as
a composer.
This feat was achieved through the collection of primary and secondary data which
included interviews and analytical study of representative works. Also to facilitate the
above, a tripartite methodology of historical, descriptive and analytical methods was
adopted. The following analytical parameters: formal structure, musical texture,
dynamics/performance directions, Melody, Harmony, Rhythm and Metre,
Interpretation of song texts, Cadential points, Text and Tune relationship, were
employed for the analysis of the representative choral works and how he addresses the
issues of identity, enculturation and hybridity through his compositions.
Major findings of the study reveal a mastery of the composer over the Fante language
in which he has the bulk of his compositions. His compositions span a wide variety of
themes categorised as follows: Philosophical, Adapted/Arrangements, Patriotic, Church
music and Occasional. In his composition, Tsemafo-Arthur explores the major and the
pentatonic scales and uses varied compositional styles.
In conclusion, Tsemafo-Arthur is one of the African art music composers whose
religious and cultural backgrounds have had great influence so much on. His mastery
over the Fante language really makes him a poet and a great composer who has
contributed tremendously to the growth of choral music in Ghana. Throughout his
compositions, Tsemafo-Arthur identifies himself as a Methodist, a Fante, a Ghanaian,
and an African. Most of his compositions are structured to strictly follow after the
spoken language, punctuated at cadences with some traditional modes which reinforce
their African authenticity and the ebibindwom flavour for his Methodist identity.
