Aseda Nka Onyame: A Contemporary Composition for Multiple Keyboard Synthesizers as Accompaniment for Choral Performances

Abstract

This thesis examines the integration of multiple keyboard synthesizers in Ghanaian choral music, focusing on the transformative effect this innovation has had on the performance practices, aesthetic appeal, and cultural representation of contemporary Ghanaian choral works. Grounded in the theories of interculturalism and creative transformation, this study contextualizes the evolution of Ghanaian choral music from its roots, marked by traditional unaccompanied singing and single-organ accompaniments, to a modern-day approach that incorporates multiple keyboards to enhance harmonic and rhythmic richness. This progression reflects the influence of Western musical practices, which were introduced during the colonial era and adapted within Ghana’s unique cultural and musical landscape. Through a mixed-methodology approach, this research collects and analyzes data from recorded performances, interviews with conductors and accompanists, and live observations of three selected choirs. The findings highlight the dual role of multiple keyboards in choral performances: while they bring an orchestral depth and variety of textures that elevate the musical experience, they also introduce challenges such as role duplication, note conflicts, and dynamic imbalances due to improvisational freedom and the lack of standardized scores. By addressing these issues, the study seeks to optimize multiple keyboard usage in choral settings, balancing innovation with the need for cohesion and clarity in performance. A significant component of this thesis is the original composition, Aseda nka Onyame, designed for two solo voices, SATB choir and three keyboards, which serves as a model for structured multiple keyboard accompaniment. This piece demonstrates a practical application of intercultural fusion, blending Western harmonic frameworks with African rhythmic structures and tonal elements, thus offering a template for future compositions that honor Ghanaian cultural identity while embracing contemporary musical influences. The findings and proposed frameworks in this study contribute to the broader discourse on Ghanaian music identity and performance practices. By advocating for a standardized approach to multiple keyboard accompaniment, this research encourages Ghanaian composers and musicians to explore the dynamic interplay between tradition and modernity. This balance not only reinforces the distinctiveness of Ghanaian choral music on the global stage but also paves the way for new, innovative expressions that resonate with both local and international audiences.