Recontextualisation of Osoode Music Performance in Ghana.

Abstract

This thesis explores how the Osoode music tradition has been recontextualised and thereby contributing to its sustenance. Recent studies in ethnomusicology have focused on understanding the factors contributing to the decline or survival of musical traditions. The ability of indigenous music to thrive in changing contexts is crucial, as some traditions have faded due to unsuitable performance environments, while others require support to adapt and flourish (Schippers, 2016). In Ghana, one such tradition is Osoode, a recreational Akan music that continues to be recontextualised due to the changing contexts of its ecosystem. Osoode is an indigenous musical tradition that started in Cape Coast in the central region of Ghana and has, since its inception, spread to other Akan communities. From a musical tradition performed mainly for recreation under moonlights to entertain community members when the men went to war, it has developed, making it relevant in different contexts in contemporary society. Through the theoretical lens of recontextualisation and sustainability, this thesis examined the Osoode music tradition, exploring the factors that influenced its recontextualisation. The work also examines the different ways in which the Osoode music tradition has been recontextualised. Key to these is its highlife version, pioneered by C.K. Mann, one of Ghana’s highlife music legends. The project analyses the structure of Osoode Highlife and shows the common features and discrepancies between Osoode Highlife and the indigenous Osoode music tradition. Finally, the work employs the five-domain framework advanced by Schippers and Grant to Examine the factors that contribute to the sustenance or otherwise of the Osoode music tradition.