An Analytical Study of the Choral Compositions Of James Tsemafo-Arthur

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.