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UNIVERSITY OF GHANA, LEGON 
 
 
 
 
AN ANALYTICAL STUDY OF THE CHORAL COMPOSITIONS 
OF JAMES TSEMAFO-ARTHUR 
 
 
 
 
BY 
 
 
EMMANUEL KOFI KAAKYIRE GYIMA-ABOAGYE 
(10049564) 
 
 
 
 
THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, 
LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR 
THE AWARD OF MPHIL MUSIC DEGREE 
 
 
 
JULY 2014
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DECLARATION 
I declare that this thesis, with the exception of the references contained in the published 
Works, which have all been identified and duly acknowledged, is entirely my own 
original work and it has not been submitted, either in part or whole, for another degree 
elsewhere. 
 
 
 
 
……………………………………………    ………………. 
Emmanuel Kofi Kaakyire Gyima-Aboagye     Date 
Candidate 
 
 
 
Supervisors 
 
 
……………………………      …………………. 
Dr. Joshua Alfred Amuah        Date 
Head of Department 
 
 
…………………………….      ………………….. 
Dr. Colter Harper         Date 
Lecturer 
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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. 
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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.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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DEDICATION 
 
 
 
 
 
 
 
 
 
 
 
To  
 
 
 
 
 
God Almighty  
 
 
 
 
 
 
And 
 
 
 
 
 
  
My Beloved Family 
 
 
 
 
 
 
 
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ACKNOWLEDGEMENTS 
This thesis has been successful with the assistance of many individuals, not all of 
whom are mentioned here. Firstly, I am deeply indebted to the Almighty God for 
bringing me this far in my academic life. His grace and mercy have aided me in this 
journey.  
 
My deepest gratitude also goes to Dr. Joshua Alfred Amuah, Dr. Colter Harper and Mr. 
Emmanuel Aryee, for their support, guidance and encouragement throughout the 
different stages of this project. Though I attribute any strength that this work may have 
to their meticulous supervision, I accept responsibility for its weaknesses. 
 
I am also specially thankful to my dear wife Gifty Emma Gyima-Aboagye for all her 
support and encouragement throughout this project work. Her constant reminders, 
suggestions and occasional reprimands even pushed me to work harder to this far. This 
acknowledgement could not be complete without the mention Sister Elizabeth Mensah, 
a personal friend for her constant show of concern through reminders and 
encouragements as well as the Rev. Minister in charge of the Rev. Kwesi Abotia 
Dickson Memorial Methodist Church, Ashongman Estates, Accra; The Very Rev. 
Stephen Asher and some officers of the choir at various levels of the Association of the 
Methodist church choirs Ghana.  
 
I am very grateful to, and appreciative of the efforts of all and sundry who assisted and 
supported me diversely throughout the course of this project work. May the Almighty 
thank them all for me.   
 
 
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TABLE OF CONTENTS 
DECLARATION .............................................................................................................. i 
ABSTRACT ..................................................................................................................... ii 
DEDICATION ................................................................................................................ iv 
ACKNOWLEDGEMENTS ............................................................................................. v 
TABLE OF CONTENTS ................................................................................................ vi 
CHAPTER ONE .............................................................................................................. 1 
1.1 Background to the Study ........................................................................................ 1 
1.1.1 Traditional Music ............................................................................................. 1 
1.1.2. Popular Music ................................................................................................. 2 
1.1.3 Art Music ......................................................................................................... 3 
1.2. Statement of the Problem ...................................................................................... 4 
1.3. Purpose / Significance of the Study ....................................................................... 7 
1.4. Aims and Objectives .............................................................................................. 7 
1.5 Scope ...................................................................................................................... 8 
1.6 Literature Review ................................................................................................... 9 
1.7 Methodology ......................................................................................................... 19 
1.7.1 Data Collection .............................................................................................. 19 
1.7.2 Interpretation of the Data ............................................................................... 19 
1.8 Theoretical/Conceptual Framework ..................................................................... 20 
CHAPTER TWO ............................................................................................................ 26 
THE DIARY OF JAMES TSEMAFO-ARTHUR ......................................................... 26 
2.0 Biography ............................................................................................................. 26 
2.1 Formal Education ................................................................................................. 27 
2.2 Career .................................................................................................................... 28 
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2.3 Musical Training ................................................................................................... 30 
2.4 Other Positions Held ............................................................................................. 30 
2.4.1 Workshops ..................................................................................................... 33 
2.4.1.1 Within Ghana .............................................................................................. 33 
2.4.1.2. Beyond Ghana Borders .............................................................................. 34 
2.4.1.3 National Positions and Legacy .................................................................... 34 
2.5 Beyond Music ....................................................................................................... 34 
2.5.1 Formation of a Football Club ......................................................................... 34 
2.5.2 Marriage ......................................................................................................... 35 
2.5.3 Awards ........................................................................................................... 35 
2.5.4 Honours .......................................................................................................... 36 
2.6 Interests ................................................................................................................. 36 
2.7 Sources of Inspiration and Song Text ................................................................... 36 
2.8. Compositional Philosophies ................................................................................ 38 
CHAPTER THREE ........................................................................................................ 39 
TSEMAFO-ARTHUR-THE AFRICAN ART MUSICIAN AND HIS MUSIC ........... 39 
3.0. Introduction ......................................................................................................... 39 
3.0.1 Additional major sources of Tsemafo-Arthur’s pre-compositional materials ... 47 
3.0.1.1 Adenkum ..................................................................................................... 47 
3.0.1.2 Ebibindwom (African Songs) ...................................................................... 49 
3.1.0 Tsemafo-Arthur’s Compositions ....................................................................... 52 
3.1.1 Songs ................................................................................................................. 55 
3.1.1.1. Philosophical Songs ................................................................................... 55 
3.1.1.2. Adapted songs/ Arrangements ................................................................... 58 
3.1.1.3. Patriotic Songs ........................................................................................... 60 
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3.1.1.4. Occasional Songs ....................................................................................... 61 
3.1.1.4.1. Christmas Songs ...................................................................................... 61 
3.1.1.4.2 Palm Sunday Songs .................................................................................. 61 
3.1.1.4.3. Good Friday /Passion Songs ................................................................... 62 
3.1.1.4.4. Funeral Songs .......................................................................................... 62 
3.1.1.4.5. Wedding ceremony ................................................................................. 64 
3.1.1.4.6. Special Songs/Songs on request .............................................................. 64 
3.1.2.0 Church Music ................................................................................................. 65 
3.1.2.1. Hymns ........................................................................................................ 65 
3.1.2.2. Choral Anthems ......................................................................................... 68 
3.1.2.3. Western Styled Anthems ............................................................................ 69 
3.1.2.4. Gospel Highlife .......................................................................................... 70 
3.1.2.5. Marching Songs ......................................................................................... 75 
3.1.3.0. Chants/Canticles ............................................................................................ 76 
3.1.4.0 Instrumental Music ......................................................................................... 78 
CHAPTER FOUR .......................................................................................................... 79 
INTERPRETATION AND ANALYSIS OF THE MUSICAL STYLES ...................... 79 
4.0. PREAMBLE ........................................................................................................ 79 
4.0.1 Factors Influencing the Selection of the Analytical Scores ............................... 79 
4.0.2. General Explanation to the Analytical Parameters ........................................... 79 
4.1.0. DZIN A ƆYƐ DƐW (A SWEET NAME) ........................................................... 80 
4.1.1. Background to the Music .............................................................................. 80 
4.1.2. Detail Analysis .............................................................................................. 81 
4.1.2.1 Melody ........................................................................................................ 81 
4.1.2.1.1. Melodic Range /Intervals ........................................................................ 83 
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4.1.2.2. Harmony .................................................................................................... 84 
4.1.2.3. Rhythm and Metre ..................................................................................... 90 
4.1.2.4. Formal Structure ........................................................................................ 91 
4.1.2.5. Translation of Song Text............................................................................ 92 
4.1.2.6. Interpretation of Song Text ........................................................................ 93 
4.1.2.7. Cadential Points ......................................................................................... 95 
4.1.2.8. Text and Tune Relationship ....................................................................... 96 
4.1.2.9. Performance Direction (Dynamics& Tempo markings) ............................ 97 
4.1.2.10. Texture ..................................................................................................... 98 
4.2.0. CHRISTIAN KA MO DO (CHRISTIAN FOLLOW ME) C.A.N.F.157 ........... 99 
4.2.1. Background to the Composition ....................................................................... 99 
4.2.2. Detail Analysis ............................................................................................... 101 
4.2.2.1 Melody ...................................................................................................... 101 
4.2.2.2.   Harmony ................................................................................................ 106 
4.2.2.3. Rhythm and Metre ................................................................................... 109 
4.2.2.4. Formal Structure ...................................................................................... 109 
4.2.2.5. Translation of Song Text.......................................................................... 112 
4.2.2.6. Interpretation of Song Text ...................................................................... 114 
4.2.2.7 Cadences ................................................................................................... 115 
4.2.2.8. Text and Tune Relationship ..................................................................... 115 
4.2.2.9. Performance Direction ............................................................................. 115 
4.2.2.10 Texture .................................................................................................... 116 
4.3.0. GHANA MPONTU (DEVELOPMENT OF GHANA) ................................... 118 
4.3.1. Background to the Composition ................................................................. 118 
4.3.2. 0. Detail Analysis ........................................................................................ 118 
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4.3.2.1 Melody ...................................................................................................... 118 
4.3.2.1.1. Melodic Range ...................................................................................... 121 
4.3.2.2. Harmony .................................................................................................. 122 
4.3.2.3. Rhythm and Metre ................................................................................... 123 
4.3.2.4 .Formal Structure ...................................................................................... 124 
4.3.2.5. Translation of Song Text.......................................................................... 125 
4.3.2.6. Interpretation of Song Text ...................................................................... 128 
4.3.2.7. Cadential Points ....................................................................................... 129 
4.3.2.8. Text and Tune Relationship ..................................................................... 129 
4.3.2.9. Performance Direction ............................................................................. 129 
4.3.2.10. Texture ................................................................................................... 130 
4.4.0. NWABA NKWAN  (SNAIL SOUP) ................................................................ 131 
4.4.1. Background to the Composition ................................................................. 131 
4.4.2.0. Detail Analysis ......................................................................................... 133 
4.4.2.1. Melody ..................................................................................................... 133 
4.4.2.2. Harmony .................................................................................................. 136 
4.4.2.3. Rhythm and Metre ................................................................................... 137 
4.4.2.4. Formal Structure ...................................................................................... 138 
4.4.2.5. Translation of the Song Text .................................................................... 138 
4.4.2.6. Interpretation of Song Text ...................................................................... 140 
4.4.2.7. Cadential Points ....................................................................................... 141 
4.4.2.8. Text and Tune Relationship ..................................................................... 141 
4.4.2.9. Performance Direction ............................................................................. 142 
4.4.2.10. Texture ................................................................................................... 142 
4.5.0.  NYAME YƐ DƐ (GOD IS SWEET) ................................................................ 143 
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4.5.1. Background to the Composition ..................................................................... 143 
4.5.2.0.      Detail Ananlysis ..................................................................................... 143 
4.5.2.1 Melody ...................................................................................................... 143 
4.5.2.1.1 Melodic Range ....................................................................................... 144 
4.5.2.2. Harmony .................................................................................................. 145 
4.5.2.3. Rhythm and Metre ................................................................................... 147 
Fig 7 ...................................................................................................................... 148 
4.5.2.4. Formal Structure ...................................................................................... 148 
4.5.2.5. Translation of Song Text.......................................................................... 150 
4.5.2.6. Interpretation of Song Text ...................................................................... 146 
4.5.2.7. Cadential Points ....................................................................................... 147 
4.5.2.8. Text and Tune Relationship ..................................................................... 148 
4.5.2.9. Performance Direction ............................................................................. 149 
4.5.2.10. Texture ................................................................................................... 151 
CHAPTER FIVE .......................................................................................................... 152 
SUMMARY AND CONCLUSION ......................................................................... 152 
5.1. Summary ............................................................................................................ 152 
5.2. Conclusion ......................................................................................................... 157 
5.3. Recommendations ............................................................................................. 158 
BIBLIOGRAPHY ........................................................................................................ 161 
APPENDIX A: RESEARCH QUESTIONS, INTERVIEW QUESTIONS AND 
PERIODICALS .................................................................................................... 168 
APPENDIX B MUSIC SCORES ............................................................................. 172 
 
 
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CHAPTER ONE 
INTRODUCTION 
1.1 Background to the Study 
Music and music making form an integral part of the human existence, right from 
cradle to grave. In every religion, culture, society and tradition, people desire and make 
music appropriately at all occasions. The passion to satisfy this desire occasions the 
indispensable role of the composer. This is where James Tsemafo-Arthur comes in 
handy.  
 
Tsemafo-Arthur is one of the most prolific Ghanaian choral art music composers in 
the Methodist church Ghana and a native of Otuam in the Central region of Ghana. He 
is a voice expert, choirmaster, organist, and a past national director of music for the 
Association of the Methodist Church Choirs Ghana, a lecturer, Methodist University 
College Ghana and a composer with several compositions to his credit. He has been 
running workshops for choral directors both in Ghana and outside Ghana especially 
Togo and l’A Côte d’Ivoir.    
 
Much as human needs are several and varied, so are their musical needs. According to 
Nketia, (1974), Agawu (1984) and Middleton (1990) there are three types of music 
traditions in Ghana namely traditional, popular and Art music. Automatically this 
portrays that there are three categories of music composers, taking cognisance of the 
prevailing musical types.  
                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                             
1.1.1 Traditional Music   
According to Aning, Traditional African music may be defined as that music which is 
associated with traditional African institutions of the pre-colonial era. It is the music 
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that has survived the impact of the forces of Western and other forms of acculturation 
and is therefore distinct in idiom and orientation from the music belonging to the 
second category-namely, contemporary popular and art music (Aning, 1973)  
Traditional music, Nketia asserts: 
In Ghana, traditional music is the music of indigenous 
institutions which developed in the pre-colonial period. It 
represents the artistic expression of Ghanaians in response to 
the needs and pressures of their own environment. Examples 
of this music are work songs such as those sung by the 
fishermen and craftsmen and farmers. They also include 
dirges, lullabies and the music that accompanies the 
celebration of such rites as circumcision, puberty and 
marriage. (Nketia, 1978)  
 
Taking specific examples like the Avihawo-lamentation song of the Northern Ewe, 
Nnwonkorͻ, Adowa of the Akans, Agbadza of the Ewes, Kpanlogo of the Gas to 
mention a few; traditional music may also be said to be community specific; which 
comes with some form of community identity.  
 
1.1.2. Popular Music 
Popular Music has diversely been defined by various authors. For the purposes of this 
study only a few have been chosen to freshen the minds of readers. On this subject, 
Omojola intimates thus: 
The term popular music reflected a class-oriented                                                                                   
use that was concomitant with the stratified social structure 
of the Western world. It is a generic term for music 
throughout the ages which appeals to popular tastes because 
of the means of dissemination…In other words; it is a type of 
music that forms part of popular culture (Omojola,2006). 
  
 
Sharing Amuah’s (2012) view on popular music, it is “created by professionals, semi-
Professionals and informally trained musicians to be enjoyed by the masses”. In 
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addition, it is made up of songs that cover a vast range of socio-cultural and socio-
political as well as socio-religious issues with instrumental accompaniments by 
performer groups. The melodies and lyrics are usually not written, and as such differ 
from performer to performer especially in its harmonic structures and the text. They are 
ephemeral. They are mostly danceable and generally encourage audience participation.  
 
 
1.1.3 Art Music 
The term art suggests a careful, systematic, skilful and creative work. As Mensah 
(2008) has quoted; Misonu (to differentiate her from Ephraim Amu, her father) and 
Nketia have defined art music differently as follows: Misonu defines art music as the 
music composed by the trained musician which pertains to the artistically more 
sophisticated and enduring types of music as distinguished from popular and folk music 
and jazz; Misonu (1988:7). Nketia refers to the term art music or what is sometimes 
called fine art music as  
Music designed for intent listening or presentation as concert 
music, music in which expression of feeling is combined 
with a high level of craftsmanship as a sense of beauty; 
works that manifest these characteristics but which are rooted 
in Africa (Nketia, 2004).  
 
 
In her Doctoral dissertation, Onovwerosuoke refers to Ademola Adegbite, as positing 
that  
African art music composers are those who had training in 
techniques of Western art music; hence African art music is a 
specialized genre that reflects Western and African elements 
or a type of musical synthesis which is cross fertilized by 
African and Western musical elements (Onovwerosuoke, 
2007).  
 
 
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On the same subject of art music, Agawu argues that, 
The “classical” tradition (for want of a better word) refers to 
the music of educated composers. Because their works are 
directed towards a non participating, rather than a 
participating, audience, classical composers stand apart from 
their traditional counterparts. Furthermore, classical music 
belongs to a written tradition, not an orally transmitted one. 
Composers such as Akin Euba, Fela Sowande and Sam 
Akpabot of Nigeria, Ephraim Amu and Kwabena Nketia of 
Ghana belong to this tradition (Agawu,1984).   
 
 
With the foregoing, I would like to define African art music and for that matter 
(Ghanaian) art music as musical works that manifest the characteristics of sophisticated 
artistry and craftsmanship with the blend of Western and traditional elements and 
techniques as a distinctive feature from popular, folk and jazz music; with a high sense 
of beauty which is the mark of the trained musician and originates from Ghana.  
 
James Tsemafo-Arthur belongs to this tradition of music composers. Currently, unlike 
the Western world, not many of our Ghanaian art music composers have documentation 
about them at least for the sake of posterity even though scores of their music may be 
available to the public. In this vein, I deem it very right to study the above mentioned 
art music composer and his works for documentation to serve as a record and a guide to 
younger generations.  
 
1.2. Statement of the Problem 
Many are the choral and African art music composers in the country Ghana who, 
undeniably apart from scores of their music, have no scholarly documentation about 
them. Composers such as Oppong Kyei, P.E.T. Sackey, J.Y. Sekyi-Baidoo, Bright 
Amankwa, K.Y. Mensah, Kras Arthur, Kwame Nkrumah and James Tsemafo-Arthur; 
the composer under study among a host of others fall within this category.  
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This lack of adequate information about choral and African art music composers in the 
country hinders knowledge about most of these composers and their popularity and 
contribution as well, especially internationally. This phenomenon also makes it very 
difficult for young and budding choral composers to choose mentors or role models for 
support and guide when necessary.  
 
A particular work can be considered a composition when it demonstrates creativity and 
originality. One is also said to be creative when s/he is able to demonstrate effective use 
of the available resources at his/her disposal. It is an undisputed fact that African art 
music has come into being through the study of Western music theory and as such 
cannot exist purely as something African without any reference to some Western 
elements. Again many are the African composers who have benefitted from this 
process and have been creative and original enough, whose works can be projected and 
assessed on the impact of the bi-musical process on their works to serve scholarly 
purposes.  
 
In academic circles, literature on Western Art music is readily available for the fact that 
it has developed over the years, and has served as the foundation for music scholarship.  
The question then is, can same be said about the African art musician and the African 
art music since the available literature though very commendable cannot be said to be 
enough to inform the world about the African art musician and the African art music as 
well as the extent to which the concept of hybridity has been achieved.  It is with this 
background that the study of this composer, Tsemafo-Arthur, in this work is with 
passion and has become a step in the right direction at least to project one more African 
art musician to add to the available literature.  
 
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Furthermore, it is common knowledge that the African art musician per his training has 
become bi-musical and as such composes by combining his knowledge in the theory of 
Western music and traditional African elements available at his/her disposal in respect 
to the environment where s/he finds him/herself. According to Nketia (2004) “the 
greatest challenge the African composers interested in art music who approach their 
craft from a similar position invariably face, is how to achieve such syncretism or 
fusion from an African rather than a Euro-American perspective”.  In the light of this, 
the study of Tsemafo-Arthur’s compositions will   make it possible to explore how 
effectively he has applied this knowledge and how his cultural and religious 
backgrounds have influenced his compositions through the establishment of the 
stylistic differences between his compositions and the techniques employed. Euba 
observes that,  
A distinguishing feature of modern African composer is a 
fluency in both the Western and African idioms which will 
enable the composer to combine elements of the two idioms 
in formulating new and highly original creative concepts 
(Euba, 1993). 
 
 
Secondly, since most available literature about music composers and analysis of their 
compositions centre on people from the West popularly tagged the “masters” that is 
Mozart, Haydn, G.F. Handel, Beethoven and their contemporaries I believe it is 
imperative for as many as possible Africans, and Ghanaian art music composers for that 
matter to be projected. Onovwerosuoke,(2007), intimates that “African art music is not 
often programmed…because of lack of exposure …and the difficulties of obtaining 
information about African musical styles”. This I perfectly agree with because adequate 
information about the African art music would definitely come with adequate 
information about the artists or the composers.  
 
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1.3. Purpose / Significance of the Study  
The selected composer and his compositions were chosen for their prominence among 
choral groups especially Orthodox Church choirs, their relevance to current African art 
music composition, the stylistic diversity and their unique contribution to choral music 
generally in Ghana.  
 
With this analysis, readers are expected to have a better understanding of the man and a 
deeper appreciation of his works. This work is also intended to serve as a record of 
exposition and documentation of a Ghanaian choral music composer and his 
compositional techniques as well as establishing the philosophies behind his 
compositions and how his cultural and religious backgrounds have influenced them.  
 
Again, it is hoped that, it serves as a spring board for further documentation about 
African art musicians. Furthermore, it is my desire that the students of music analysis 
find this a useful model work and a guide in their analytical procedures and a useful 
reference material to young and budding choral music composers which would aid 
them to enrich their skills and experiences that notwithstanding, a perfect example to 
guide posterity.  
 
1.4. Aims and Objectives 
This study investigates:  
i. The biography of James Tsemafo-Arthur, his educational background, how he 
acquired his musical training and establishes how his cultural and educational and 
religious backgrounds have influenced his works.  
ii. His compositional techniques, philosophies, his sources of inspiration and song text 
through analysing some of his compositions.  
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iii. The contribution of his composition to the development of choral music 
composition in Ghana.   
 
1.5 Scope 
This analytical study focused on the choral compositions of James Tsemafo-Arthur 
with a brief touch on his instrumental compositions. As mentioned earlier, Tsemafo-
Arthur is one of the prolific composers in the Methodist Church Ghana. He has a vast 
range of compositions, spanning a variety of subjects. Admissibly, it will be very 
suicidal for anybody to attempt to cover all his compositions in one study. For effective 
and in-depth study, five representative scores were chosen for this purpose. These are 
Dzin a ɔyɛ dɛw (A sweet name), Christian ka mo do, (Christian, follow me), Ghana 
mpontu (development of Ghana) Nwaba Nkwan (Snail soup) and Nyame yɛ dɛ (God is 
sweet). 
 
The totality of Tsemafo-Arthur’s compositions can be put into two major categories as 
choral and instrumental. It must be emphasised here that this analytical study was 
focused on the choral compositions and in the context of African art music. The choral 
works cover subject matters such as philosophical, patriotic, and Christian living. To 
achieve the set objectives for this work and in attempt to answer the research questions, 
at most five of his choral works were selected and analysed for their relevance and 
relative lengths to represent his compositional techniques in all his stylistic differences. 
Other factors informing the selection are the broader classifications of the choral music 
and how the composer’s cultural and religious backgrounds have influenced them. This 
research work was broken into five sections as chapters described below: chapter one is 
the introductory chapter to the work. Chapter two concentrates on the biography of the 
composer, his sources of inspiration, song text and compositional philosophies. Chapter 
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three discusses his songs in general; emphasizing the unique ways in which he 
incorporates intrinsic African musical elements in the selected musical pieces and the 
idiomatic diversity in his composition.  
 
Uzodimma (2011) in his M.A. Thesis, intimates ‘…the (composer’s) intention of 
getting across to his own people and advance their values, is still at the centre, even if it 
is modelled in line with the western style’. This emphasises the necessity to investigate 
how the composer has affected his audience as well as establishing how his 
compositions vis-a-vis the place of art music in Ghana and how they have been 
influenced by traditional music.   Chapter four provides detailed critical analysis of the 
selected representative music scores highlighting the unique compositional techniques 
of the composer. The final chapter, the chapter five, summarises the entire work; 
highlighting the contributions of the composer in question to the development of 
African art music composition in Ghana. 
 
1.6 Literature Review 
Scholars over the years have done and continue to do their best to address the myriads 
of issues bordering on academia. I do acknowledge and laud the efforts of these 
scholars especially for the documentation about some African art musicians, such as 
Ephraim Amu, J.H. Kwabena Nketia, Gyima Larbi, Kenn Kafui, George Dor of Ghana; 
Akin Euba, Fela Sowande and Sam Akpabot of Nigeria among others. Much as I 
appreciate their efforts, I do acknowledge there are still many of the African art music 
composers who have not yet received any form of academic study and it is this 
inadequacy of documentation that this study seeks to address and make a contribution 
especially in Ghana. Regarding this inadequacy of documentation on African art music 
or Ghanaian art music analysis, a number of hindrances may be cited. This may be 
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attributed in no small measure to the difficulties in analysing the musical scores, the 
uneasiness of data collection among others.  
Mensah opines as follows:  
Analysis of Ghanaian art music is no doubt a strenuous 
task; hence there are inadequate published materials on 
it. But it is invariably the surest way one can determine 
how far contemporary art music in Ghana has developed 
and the best way of studying the theoretical concepts of 
other Ghanaian art composers (Mensah Y. K., 2008).  
 
 
This is the exact gap this study seeks to address. Moreover, addressing the difficulties 
in African art music analysis could also be an incentive for more scholarly studies to be 
conducted into African art music and their composers; thereby addressing the 
inadequacy of information about the African art musicians and their music. Getting 
information about African or Ghanaian art music for that matter, does not only enhance 
the popularity of the musician both locally and internationally but the country and the 
scholar as well.  
 
Even though I have not sighted any available records on African art music composers 
that explicitly discuss the effective way or give specific directions as to how African art 
music should be analysed, some of these scholars have given some useful suggestions 
which can help address the situation at the long run. According to Keller (1984), music 
analysis has recently become more important than it ever was for all areas of music 
scholarship. In line with this, a certain framework was suggested. Keller suggests the 
use of cantometrics where a number of parameters that are not considered in Western 
classical music theory are considered in the course of analysing a musical work of a 
given composer. That is in addition to the Western Classical Musical parameters, 
aspects like blending and voice production are also evaluated.    
 
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This in effect implies that, music analysis should go beyond mere assessment of the 
score. Rather, better scholarly deductions could be made when the performance of the 
given music is also assessed.  To Keller, “Every musical work is to some extent 
incomplete or "open", and is defined and temporarily concluded only with the act of 
performance.” With this assertion, and taking for granted that it is true, would mean a 
complete and comprehensive musical analysis would have to consider performance as 
the climax of the given composition. Keller further posits as follows: 
 A number of non musical factors must be taken into 
consideration. Contemporary analysis must often have its 
foundations outside the field of music in an effort to follow the 
interrelationships that "humanly organized sound", has with 
other aspects of human behavior. ...The criteria used by each 
culture to organize musical sound are reflective of the categories 
employed by that culture in structuring and ordering perception. 
The details of the functioning of perception are not known. 
When people verbalize about music, their terminology and their 
metaphors yield significant insights into the way they think 
musically. In several cultures a melodic interval is thought of as 
a 'distance to be covered" (M. S.Keller, 1984)  
 
Going forward, other scholars of Music analysis also share some thoughts. Thus music 
analysis in itself is even a way of making music by the analyst. As such, when it comes 
to music analysis, the most important thing is the analyst’s ability to conceptualise and 
analytically sectionalise the music into units or segments that can be meaningfully 
interpreted (Hanninen, 2001).  
Hanninen quotes Boretz as follows: 
 Music analysis might be described as the conceptualization 
and representation of musical relationships; alternately, one 
might say that the conceptualization and representation of 
musical relationships is a music analyst's (or the music-
analytical) way of "making music." Essential to this 
endeavour is the identification of significant musical units or 
"segments"; these constitute the basis for subsequent analytic 
organization and interpretation. (Boretz 1995: 115)   
 
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To Hanninen, music making goes beyond sounding events, and to borrow her own 
words, “it expands through mental experience or "thought" focused on sounding events 
that combines cognition with attentional disposition.” One makes music, then, not only 
through performance and composition, “but also through listening and the pointedly 
inquisitive, contemplative, and often outwardly silent activity called music analysis”. In 
other words music analysis is also in itself another way of music making through 
mental curiosity and imagery.  Hanninen, however focuses attention solely on the 
music analyst as an individual and the music as a sound without due reference to the 
context in which the composer situates the particular music. Thus to me a music analyst 
may make a better impact on his/her readers if s/he sees the inter-dependence between 
the composer’s culture and the music being analysed.   
 
Secondly, the music analyst who is able to establish the relationship between the music, 
the culture of the musician and situate it in context in no doubt helps the reader not only 
to establish the identity of the musician but also grants him/her an opportunity for a 
better understanding and appreciation of the particular composition. A desire the 
African art musician has longed for over the years. In his PhD Dissertation, Amuah 
states that: 
Since the 1920s, Ghanaian choral musicians have 
experimented in several ways, which can give pre-eminence 
to compositional practices with the use of local resources in 
order to control their reference to the outside world. This is 
because Ghanaian composers have referred to Western music 
which has failed to live within the comprehension and 
appreciation of its intended audience. (Amuah 2012) 
 
 
In a scholarly attempt to resolve this identity issue, carrying out an investigative 
exercise that goes beyond the paper assessment through other music activities to extra 
musical activities may make the analyst’s work more useful to the reader. In her PhD 
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dissertation,Onovwerosuoke (2007) (ibid) corroborates Amuah when she states: “If 
composers write music that solely expresses Western musical styles and is devoid of 
intrinsic African elements, they often find their music is not appreciated by African 
audiences.” On the same issue of identity and appreciation, Nketia also intimates that:  
 Western styles are not often widely appreciated by African 
audiences: In African traditional culture, music is not 
conceived in “absolute” terms but is typically realized in the 
context of other arts and of social events. It would seem, 
therefore, that modern composers who seek to communicate 
with average Africans should take account of the traditional 
contextual usages of music. Music Theatre and Dance Theatre 
are more likely to appeal to average Africans than symphonies 
and string quartets!  (Nketia, 2004) 
 
Nketia in this assertion seems to have endorsed Keller’s stand that music analysis 
should take into consideration other parameters outside the music score in order to 
make a more comprehensive and holistic assessment for a better appreciation.  
 
Moreover, the analyst’s work could in this wise become more beneficial also to the 
composer who wanted an interaction with a particular community. It would direct 
his/her thoughts on how to organise his/her composition in order to make a better 
impact on his/her audiences.  
 
In his article, “The Amu Legacy” Agawu, (1996), also lends a voice to this assertion 
regarding how Amu managed to undermine the European hegemony in the 1920s 
through his musical and Christian activities in his quest to project his African values. 
This issue of identity, I believe is a battle for both the composer and the analyst to fight 
it together. It is with a great pleasure to note that after the forebears have made their 
move, posterity is keeping the candle burning. I personally agree strongly and believe it 
is with this background that the composer under study has distinguished himself and 
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structured his compositions. Taking for example how his songs ‘Idzin ɔyɛ nwonwa,(a 
wonderful name) wonsa ano edwuma nyina ara yɛ nwonwa (all your handiworks are 
wonderful), Sunsun kronkron gya (Holy Ghost Fire)  to mention a few, have become so 
much popular and sung at almost every Christian and other community gatherings. This 
tells of the extent to which they are appreciated. Performers of music do better when 
they understand what they are performing; something which is only derived from one’s 
own culture. 
 
Culture is said to be a person’s total way of life which includes their music and 
language. These two elements of human existence naturally reveal a person’s identity. 
Babawale (1988), defines culture as the experience which includes a whole range of 
creative activities such as dance, music, drama, painting and sculpture that the society 
is identified with. This is why it was necessary to investigate how the composer has 
made use of some intrinsic African elements in his compositions.  Mensah (ibid) 
reiterates: “music is an integral part of the culture of a people. The way people make 
music is therefore guided by the systems of musical thought”. In much the same way, 
for one to appreciate the work of a composer, it is pertinent that one understands the 
social and musical, environment with which the composer interacts. Merriam reiterates:  
Our basic understanding of the music of any people therefore 
depends on our understanding of that people’s culture, the 
place music plays in it, and the way in which its role is 
played. It is through this sort of understanding that we can 
approach on a firm foundation, our further understanding of 
what structure is and how music achieves whatever aesthetic 
ends are sought. (Merriam, 1960) 
 
 
 
By these statements, Babawale, Mensah and Merriam corroborate one another, that, 
any meaningful musical analysis cannot be done in isolation but in relation to the 
culture in which it is situated - thus the need for a holistic approach to a good musical 
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analysis. That is to say any effective analysis of African art music requires a holistic 
approach. By this approach, the analyst beyond examining the musical scores and 
analysing the music as a sound vis-a-vis forming his/her opinion on the formal 
structures also must consider the socio-cultural environment with which the composer 
interacted in order to come up with a comprehensive and complete as well as a more 
useful analytical findings. 
 
The issues of cultural factors such as nature of language, the place of art music in 
Ghana, ideology of composer as influenced by ethnic, national and African identities 
are quite useful in analysis of this kind. A cursory or in depth examination of the music 
merely as sound and within the formal structures alone is likely to be quite misleading. 
This is where I find it difficult to agree with Amuah (ibid) when he cites the composer 
under study as someone whose works do not bear any features of traditional music.  
 
My research on the works of this man has revealed that Tsemafo-Arthur is someone 
who uses variety of idioms in his compositions. He has compositions that are almost 
based solely on Western idioms and those that are purely African. Taking for example, 
his Dzin a ɔyɛ dɛw (a sweet name), a hymn anthem based on the Methodist Hymn Book 
number 99 or Christian Asͻr Ndwom (C.A.N) 25; ‘I stand before thee’, and ‘bless this 
church’, he used purely Western idioms.  He also has full orchestral compositions 
where he used solely African idioms: traditional instruments-idiophones, aerophones 
and membranophones, no chordophones were used. These include Adasapɛ (the wish of 
th
mankind)-20  century music, Dabidabi Da (sometime in the future) in the style of 
Adenkum, a typical Ghanaian traditional musical type. Most of his choral compositions 
have also been calved either in the Adenkum, Adowa or Agbadza, Ghanaian traditional 
dance styles. Typical examples are Hom mma yɛnkͻ Bethlehem (Let’s go to 
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Bethlehem), Oguanhwɛfopa (the good shepherd), to mention a few. In further examples 
like Nyame yɛdɛ (God is sweet) and Ghana mpontu (development of Ghana), Rotweɔn 
ayɛ dɛn (what are you waiting for?) among others, Tsemafo-Arthur uses a combination 
of Western and African idioms. This confirms what Euba observes as:  
Neo-African art music may be broadly divided into four categories, 
namely: Music based entirely on Western models and in which the 
composer has not consciously introduced any African 
elements.Music whose thematic material is borrowed from African 
sources but which is otherwise Western in idiom and 
instrumentation.Music in which African elements form an integral 
part of the idiom (through the use of African instruments, or texts, 
or stylistic concepts and so forth) but which also includes 
non-African ideas.Music whose idiom is derived from African 
traditional culture, which employs African instruments, and in 
which the composer has not consciously introduced non-African 
ideas (Euba, 1993).  
 
While Mensah, Amuah, Nketia, Onovwerosuoke, Babawale and Merriam emphasise 
the music-culture-interdependency, Hanninen centres her musical analysis on the 
musical sound and the analyst as an individual whereas Keller goes beyond all these to 
add performance evaluation. As the former group of works has direct bearing on my 
work, the other group of works has been selected for their relevance in the analytical 
processes and also to help students and other readers of this works to have a better 
appreciation.   
 
Granting that the analyst is considering the composition in its cultural context, 
obviously one cannot ignore the evaluation of the composer’s effective usage of the 
language in which the music is composed. That is in an African context, how exactly or 
closely the composer has constructed his/her melodic line in an attempt to recognise the 
tonal nature of the language in order to be effective in the communication of his/her 
intended meaning to the audience. A complete disregard for this in place of artistry 
display might seriously distort the intended meaning. In view of the fact that African 
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languages are tonal in nature as such the way words are pronounced enhances the 
meaning being communicated,  I was however surprised at Agawu’s assertion below: 
This clash or antagonism between word and tone, this forced 
cooperation between language and music, lies at the heart of 
the well-known question of how speech tones relate to 
melodic contour. The conventional view, advanced, it should 
be said, with more than a little ambivalence, is this: in song, 
words must be sung the way they are spoken in order for them 
to retain their meaning. This view is demonstrably false, 
however, for words can be sung any old way without losing 
their meaning. "Wrong" melodic contours do not necessarily 
give rise to alternative meanings; rather, they may undermine, 
without ultimately eliminating, the correct meaning. (Agawu, 
2001) 
 
 
Much as I agree with him to a large extent on his earlier part of this assertions, it is 
quite difficult to agree fully with him especially on his statement regarding  melodic 
line and textual agreement since one cannot tell whether he is referring to one particular 
language or all African languages. At least I know in Akan languages of Ghana, this 
could not be true; either a different meaning would be completely communicated or a 
totally meaningless statement would be made. Taking for example an expression like 
“Ɔbɔfoɔ aba”; can have about four different meanings: i) a creator has come ii) an 
angel has come iii) an emissary has come and or iv) a hunter has come. Each of these 
meanings would be better construed in a context depending on how it is pronounced or 
sounded melodically.  
 
Therefore musically, if a melodic contour deviates from the meaning the composer 
intended he communicates a different thing all together. For instance in my 
composition, I intended the creator has come, so my melody goes as follows: .s:l.l:-:s; 
Ɔbɔfoɔ aba; meaning creator has come, if I meant an angel has come I write .s:l.s :-: m; 
Ɔbɔfoɔ aba; or .t1:t1.d :-: t1; Ɔbɔfoɔ aba for a hunter has come. Therefore if any of these 
melodies replaces the other the meaning of the sentence is changed. To me, a musician 
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and a composer for that matter communicates message to his/ her audience(s) and to 
construct a melody that does not communicate necessarily the intended information is a 
total deviation.   
 
Another example is using a word like “papa” can have about five meanings- i) father, 
ii) good  iii) fan and iv) palm frond or palm branch, or the twitting of a car horn and 
each of these would best be communicated through the contour of the melody. In other 
words, I wish to support the first part of the quote which seeks to suggest that a given 
melody should necessarily follow the tonal inflections of the language in order to 
maintain the intended meanings of words used in the particular music; to confirm this 
assertion, Euba observes 
... even when voices are absent, musical instruments on their 
own are very often used to imitate speech, particularly in the 
music of African peoples who use tone-languages, The 
potential musicality of tone languages and the ease with which 
it can be realized on pitched musical instruments is a central 
factor of melodic style In African music, since the tonal lines 
of songs and of the musical patterns of 'talking' instruments 
generally follow the same contours as those suggested by the 
speech tones of the texts used (Euba, 1975).  
 
This means, even if musical instruments are made to imitate the speech pattern of the 
language as may be heard in the voice, how much more the voice itself that can be 
heard by everyone. 
 
In addition, Hornbostel (1928) as quoted in Merriam’s (1959) Continuity and Change 
in African Cultures observes that “the pitches of the speaking voice... determine the 
melodic nucleus but they have no influence on its inborn creative forces”. So if Agawu 
was thinking in terms of creativity, then it is still possible to be creative in one’s 
melodic construction while still adhering to the speech pattern of the particular tone 
language. 
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1.7 Methodology 
The research was conducted as follows: (i). data collection, (ii). Interpretation of data. 
 
1.7.1 Data Collection 
This activity was broken into two; the primary and the secondary. Primarily, data were 
collected through interviewing the composer who basically constituted the population 
of the research; especially in the areas of getting his biography, and any other relevant 
information and also to obtain copies of his music scores in the various categories 
where necessary. Here, both open and closed ended questions were administered.  
 
Additionally, I engaged in interviews with few knowledgeable people (scholars, choral 
directors, choristers) who were well acquainted with the composer under study and his 
works for relevant information. As a choirmaster/organist and a choral director, I also 
fell on my own song archive to retrieve some of his music scores in my collections.  
 
The secondary data were collected through visits to libraries to read about related 
materials, on choral composition, music theory and analysis and African art music in 
general. Also as part of the secondary research data collection processes, choral and 
other performing groups were listened to for the interpretation of selected music scores 
and some of the performance directions on them.  
 
1.7.2 Interpretation of the Data 
The part two of the research methodology was the interpretation of the data collected. 
This activity involved transcription of scores that were not in staff notation, re-
transcription of scores that were either faded or not clearly readable, translation of 
lyrics or song text from the local languages to English where necessary for easy reading 
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and comprehension. Finally, the analysis and interpretation of the music were based on 
the selected representative scores in respect to the larger classification of the choral 
compositions and how the composer’s cultural and religious backgrounds have 
influenced them.   
 
Music scores were analyzed and interpreted in the traditional (binary, ternary, rondo 
forms) in other words the standard musical forms as found in Western Music, 
emphasising the music analytical parameters such as how the composer employs the 
elements of music and their inter–relationships with language and culture, 
compositional devices like extensions and diminutions in his works, the source of the 
music generative elements in relation to melodic, harmonic, rhythmic, motivic, 
thematic and material organisation, nature of cadences, dynamics and text.   
 
1.8 Theoretical/Conceptual Framework 
This analytical study was based on the understated theoretical and conceptual 
framework. In his M.A. Thesis (2011); Uzodimma quoted the music-culture-
interdependency theory and used it as the theoretical framework for his study which 
was also found to be very useful and relevant in this research. He quoted as follows: 
“This theory, as postulated by Clark (1922:66) states that the musical traditions of a 
people are inseparable from their cultural norms”.  
 
This may seem to be a theory which has been postulated so many years ago but it still 
has great relevance to analysis of African music today. There could not be any 
meaningful analysis of any African art music without due reference to the identity and 
culture of the composer. Secondly, in his book continuity and change in African 
cultures, edited by William R. Bascom and Melville J Herskovit,(ibid) Merriam asserts 
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that “the stress placed upon musical activity as an integral and functioning part of the 
society is a feature that music shares with other aesthetic aspects of culture in Africa 
and one which is emphasised in almost all non-literate societies”. This confirms the 
relevance of the theoretical framework even as of today. This also suggests that usually 
when a musical type is performed or practised it is normally practised in the context of 
a social ceremony and we could understand only a partial significance of that music if 
we did not consider it in relation to its customary context. 
 
 I do not imply that the music will not have any meaning at all but its full meaning 
would not be realised. Suffice it to say that establishing the relationship between the 
pitches and the lyrics is a confirmation that the music has a clear relationship with the 
culture of the composer and or the people (audience) for whom the music was 
composed. As Merriam observes:  
Our basic understanding of the music of any people therefore 
depends on our understanding of that people’s culture, the 
place music plays in it, and the way in which its role is 
played. It is through this sort of understanding that we can 
approach on a firm foundation, our further understanding of 
what structure is and how music achieves whatever aesthetic 
ends are sought. (Merriam, 1960) 
 
 
By this, Merriam corroborates Clark in the sense that music is an integral part of the 
culture of the people. The way people make music is guided by their systems of 
musical thoughts. It is therefore very pertinent to understand a composer’s socio-
cultural and politico-religious backgrounds as well as the musical environment with 
which s/he interacts. 
 
This also presupposes that any good and comprehensive analysis conducted into the 
music of any (especially African art music) composer’s work, cannot be completed 
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without due reference to their traditions and culture. Going by Nketia’s definition of   
Ghanaian art music  as quoted earlier, it is the fusion of Western idioms  and traditional 
materials which means generating creative ideas such as themes, motifs etc from the 
traditional sources  for expansion to greater works of multi-movement compositions. 
Therefore to analyse the piece of music without reference to the tradition from which 
the music was generated could render the work partially incomprehensible. Secondly, 
like Thomson in his article, The Problem of Music Analysis and Universals  
Such an analysis is not necessarily concerned with 
music as an auditory experience; on the contrary, its 
goal is to ferret out all isolable particles - pitches, 
durations, sonorities, timbres - what have you, and to 
show in what quantities and orders these occur 
(Thomson, 1966).  
 
Thomson, here, is emphasising the need for a holistic and global approach to 
conducting any meaningful musical analysis.  In addition to supporting his argument, 
Thomson also quotes Babbitt as follows: 
that ". . . the degree to which [these invariant properties] are 
projected explicitly in compositional terms depends upon the 
emphasis they receive from other musical components: 
rhythm, dynamics, register, phrasing, timbre, etc. " Mr. 
Babbitt is saying, I believe, that the function (or "meaning") 
of any particle within a music texture is determined not just 
by its own nature, but rather by its role within a multifaceted 
complex, which is the compound of the musical experience. 
Any analysis of music that does not go beyond the mere acts 
of identification, classification, and tabulation leaves out the 
main attraction of the journey (Thomson, 1966).  
 
 
Furthermore, this analytical discourse took into consideration Hanninen’s explanation 
of music analysis as she referenced Boretz in her article (Orientations, Criteria, and 
Segments: A General Theory of Segmentation for Music Analysis. She states,  
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“For Boretz, the essence of music is not sounding events, but mental 
experience or "thought" focused on sounding events that combines 
cognition with attentional disposition.' One makes music, then, not only 
through performance and composition, but also through listening and 
the pointedly inquisitive, contemplative, and often outwardly silent 
activity called music analysis.  Music analysis might be described as 
the conceptualization and representation of musical relationships; 
alternately, one might say that the conceptualization and representation 
of musical relationships is a music analyst's (or the music-analytical) 
way of "making music." Essential to this endeavour is the identification 
of significant musi-cal units or "segments"; these constitute the basis 
for subsequent analytic organization and interpretation”. (Hanninen, 
2001) 
 
 
To me, thorough analyses of musical or art works of a composer go beyond 
consideration of music as sound alone. Rather within such analytical parameters that 
encompass every aspect of the music can be described as holistic. I also align myself 
with Dipert and Whelden who surmise that 
Music analysis can be construed as being embedded in a set 
theory in at least two senses. First, several theorems of 
musical significance can be proved, given a musical 
interpretation of certain primitive notions in set theory. 
Second, many - if not all - musical predicates, such as "is a 
round" or "is a canon," can be stated precisely in set theory 
(Dipert and Whelden, 1976).  
 
As an open secret, before a composer composes s/he has a targeted audience and 
performers. To the targeted audience, there is a particular message intended to be 
communicated. And to be very relevant to these targeted audiences, their cultural and 
social backgrounds are factored in the pre-compositional materials. Therefore in art 
music, even though the composer has a particular musical structure in mind; he can 
hardly be successful if he neglects elements from the culture in which he situates the 
music. That is, since music creation and culture or tradition are inseparable, it is 
imperative to situate any particular music in a particular socio-cultural context.   
 
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Furthermore, to confirm the relevance of this theory in modern times, Ozah, (2013) 
opines as follows:  
It is a truism that folk traditions have been a source of 
inspiration for many art composers, particularly since 
the nineteenth century. …many African art music 
composers have responded to the immanent cultural 
and political landscapes and movements that created 
awareness of indigenous cultural interests and revivals 
that paralleled Bartók’s nationalistic stance. 
 
 
Likewise, Euba, (1999) in his version asserts that “…compositional probing, on the one 
hand, has served as an additional motivational factor for many African composers”. 
Also endorsing the theory with a reminder that this composer understudy is a trained art 
musician whose compositions might have been influenced through the study of other 
master composers and some cultural phenomena. In his opening statement to the 
discussion of Nigerian Art Music, with an Introductory Study of Ghanaian Art Music 
by Bode Omojola, Avorgbedor observes: 
 Bode Omojola's book titled Nigerian Art Music is a 
timely publication that seeks to clarify the extensions of 
Western art music in Nigeria; it also discusses the 
various ways in which Nigerian composers project their 
common and individual approaches to composition. 
The author first presents a brief overview of the social, 
cultural, religious, and indigenous musical background, 
with emphasis on the significant influences of the 
colonial experience and the creative but reactionary 
tendencies in the early African church (Avorgbedor, 
2001).  
 
This is another corroborative statement to the necessity of analyzing an African art 
music   taking into consideration the extra musical elements such as cultural, religious, 
political, and indigenous background of the composer and how these elements and 
backgrounds have influenced the composition hence affirming the relevance of the 
theoretical framework.  
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Moreover, as it is a very vital part of a music analyst to be able to establish the very 
philosophies, ideas and the mentality or the composer’s intensions behind a particular 
composition, it is only right to agree with me that the inter-relationship and 
interdependency between music and culture cannot be ruled out. The particular 
composition may be for a nationalistic, ritualistic, ceremonial or religious purpose. 
   
Sanga,(2008) posits that Nationalistic projects normally influence the content, form, 
and performance practice of music. Similarly, music as a "system of cultural 
representation" (following Hall 1992) participates in the construction of nationalism 
and national identities and in the construction of "traditions" through which national 
identities are sustained. With the foregoing, the chosen theoretical and conceptual 
framework is very appropriate to guide this analysis for meaningful deductions and 
conclusions to be drawn.  
 
 
 
 
 
 
 
 
 
 
 
 
 
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CHAPTER TWO 
THE DIARY OF JAMES TSEMAFO-ARTHUR 
 
 
This Chapter concentrates on the biography of the composer, his sources of inspiration, 
song text and compositional philosophies in a logical but not in full chronological 
order.  
 
2.0 Biography  
James Tsemafo-Arthur hails from Otuam, Ekumfi State in the Central region of Ghana.  
 His admirers affectionately call him Tsemafo-Arthur or Tsemafo.   He was born on 
th
Friday the 5  of July, 1950 to a dexterous master drummer, Opanyin Kow Atta ( a. k. a. 
John Arthur) and a popular traditional singer and composer  Adwoa Samah (a.k.a. 
Elizabeth Dodoo);  both of whom are of blessed memory.  
 
Tsemafo’s musical talents began at very early age of his life. At childhood, he cried to 
be given the hourglass drum to play and sing along with performers of which his 
mother was the cantor. In 1954, when Tsemafo was four, he reportedly arranged chairs 
which apparently aided him to open the tall gate at 1:00am and attended an Adenkum 
performance, at the performance hall which was quite a distant away from their 
residence and especially a child at his age and that ungodly hour.   
 
Adenkum is Tsemafo’s favourite ensemble, his mother the lead cantor had left for the 
performance earlier but for a boy at his age and the distance, it was quite strange to all. 
An unimaginable situation his mother found herself in. Unfortunately, no particular 
meaning could be deduced from this for any encouragement to be offered, rather he 
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suffered beatings from his mother. This continued for some time until he went to his 
cousin at Komenda in 1961.  
 
Tsemafo’s schooling in Komenda enhanced his talent. For his good quality alto voice, 
he was invited to the church choir when he was in primary five.  He became the lead 
alto singer and the conductor of the school choir from 1965 to 1967. Tsemafo could 
sing all parts with the exception of the bass part which his voice range could not permit 
him to reach the lower notes. He was called upon almost every occasion the choir 
performed and a quartet was needed. In the church choir, Mr. J.P. Quashie, a senior 
member of the choir in the tenor part nicknamed him “alto Agyenkwa” (literally 
meaning saviour of altos) as a result of his retention whenever altos were told to sing 
and he exhibited a lovely voice apart from the correct notes he sang.  
 
2.1 Formal Education 
Tsemafo started elementary school at the age of seven (1957) at Otuam but left for 
Komenda where he completed his Middle school standard seven education in 1967. 
Tsemafo started to compose and sing even at primary two. The paragraphs of the 
reading books formed his text.   
 
 In spite of him being so tiny among his mates, particularly for his voice quality, he was 
always featured in the weekly singing competition between the Methodist church choir, 
Singing Band, Middle School and Primary School organized on Wednesdays by the 
late Rev. G. Acquah of Saltpond, the then headteacher of Otuam primary school. In his 
biography to W.A. Mozart (1756-1791), a classical composer, Kamien, (1992) refers to 
Mozart as one of the most amazing child prodigies in history, he further observes that 
by the time Mozart was six, he could play the harpsichord and violin, improvised 
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fugues, write minuets, and read music perfectly at first sight. At the age of eight, he 
wrote a symphony; at eleven an oratorio; and at twelve an opera. Considering the age 
Mozart’s compositional abilities manifested, on similar grounds, Tsemafo-Arthur may 
probably be described as the Mozart of our day.  
 
Between 1982 and 1986, Tsemafo-Arthur trained as a teacher in the Berekum Teacher 
Training College (now Berekum College of Education) where he obtained the teachers’ 
certificate ‘A’. Whiles a student at the college, he proved himself an accomplished 
choirmaster, pianist and conductor. His compositions and song teaching made the 
college choir a talk of the town. At Berekum Training College the student body as well 
as the chief of the Berekum Township admired him so much that he became a personal 
friend to him (the chief of Berekum) and was granted a free exeat by the principal to 
enable him go out to assist choirs in especially the Presbyterian and the Methodist 
churches. The principal, Mr. G. F. Tuah and the vice, Mr. K.D. Adabie including most 
tutors described him as the best choirmaster the college ever had and wished he stayed 
even when the time came for him to complete his studies in 1986.  
 
2.2 Career 
As a teacher by profession, Tsemafo-Arthur taught in Shama Methodist Middle School 
from 1986 to 1987; he continued practicing his career at the Effiakumah Methodist 
Middle school from 1987 to 1988. Between 1988 and 1989, he was appointed a music 
organizer for Sekondi-Takoradi District before leaving for the National Academy of 
Music. In 1992, Tsemafo returned to Takoradi and became the music instructor for 
Axim Road Cluster of Schools. The region chalked many successes at his time during 
inter-Regional and National music festivals. He accepted posting to the Fijai Secondary 
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School from 1997 to 2000 after obtaining his B.Ed in Music from the University 
College of Education, Winneba.  
 
Tsemafo spent the last seven years of his working life with the Ghana Education 
Service (G.E.S.) at Komenda Training College (now Komenda College of Education). 
Whiles there, Tsemafo served as the music master from 2003 to 2004 before rising to 
the Head of the Music Department between the years 2004 and 2006. He got further 
promoted to his last highest office he held in Komenda Training College as the head of 
Social Sciences from 2006 to 2010 when he retired from the Ghana education Service. 
After his MPhil. course in 2008, he has currently been appointed a lecturer at the 
Methodist University College Ghana since 2010. After spending one semester at the 
Accra campus, he was assigned to the Kumasi campus to open a branch of the music 
department there. After about one and a half years, he has been called back to Accra 
campus.  
 
Earlier on, in 1972, as part of his efforts to search for a job, he left Otuam for Prestea 
on invitation of one of his uncles, Kofi Dodu (Aketsewa) who promised to help him 
find one. He was employed in the mines in January 1973 as a ‘reliever’ in the Prestea 
mines and worked for about four years. He then left to become a ‘pupil teacher’ (non 
professional teacher) also on invitation of another uncle of his- D.D. Akͻmfodze who 
was the then headteacher of the Enyan Denkyira Methodist primary school. In 1979, he 
took up a teaching appointment in Hwediem upon the arrangements of the choir 
executives, spearheaded by Mr. Appiah Dancquah, a cocoa receiver and druggist in 
Kenyasi and Hwediem respectively. There he served as the organist and taught the 
singing band as well. His commitment to duty earned him accommodation from the 
church.  
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2.3 Musical Training 
Tsemafo, a professionally trained musician began his training from the house when he 
started this whole musical career as an amateur and studied privately before enrolling in 
the erstwhile National Academy of Music where he obtained a diploma certificate in 
Music between 1989 and 1992. At the National Academy, he was among the few 
students who were given the opportunity to do the course in three years instead of the 
usual four years that time.  
 
Tsemafo enrolled again at the University College of Education Winneba from 1994 to 
1997 and successfully graduated with B.Ed (Hons). In 2000, Tsemafo-Arthur enrolled 
at the University of Ghana and was appointed a graduate assistant in 2001. 
Unfortunately however, he delayed in submitting his thesis and as such could not 
graduate. He then accepted an appointment to teach in Komenda Teacher Training 
College (Komenda College of Education); while there he pursued his MPhil. course at 
the University of Cape Coast from 2004 to 2008 when he graduated successfully.  
 
2.4 Other Positions Held 
After elementary school, Tsemafo left for his hometown. Between 1968 and 1972 he 
served as assistant choirmaster to Kweku Ato Menyi Barnes, the eldest son of the late 
Rev. E. Barnes who was the organist. Tsemafo completely became a member of the 
Barnes family by adoption. The household was very good to him not forgetting Colonel 
Timothy Barnes who was then an accomplished organist in the army at the Arrakan 
Barracks.     
 
While working with Prestea mines, Tsemafo became one of the music instructors for 
the Prestea vocal band from 1972 to 1974. He later joined the minstrel choir which was 
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the most vibrant of the quasi religious groups from 1973 to 1976. He taught them many 
compositions of his own and from many senior colleagues. During this period, He 
learnt to play the keyboard with the support of Mr. C. Denis the choirmaster /organist 
of the Methodist church, who was staying close by and offered him his harmonium. 
Within some six months, he was assisting the choirmaster. He was later appointed the 
choirmaster in charge of the Heman society of the Methodist church Ghana near 
Prestea. In 1974, The Rev. Minister, S.W. Dadzie and his leaders assigned him the 
responsibility to form a junior choir in the church in addition to his position as one of 
the church organists. He discharged his duties with diligence and utter commitment to 
make the junior choir a formidable one. 
 
 In 1977 Tsemafo quit the job as a “reliever” in the mines; and upon the invitation of 
his uncle D.D. Akͻmfodze, he became the organist at Enyan Denkyira Methodist 
church when he took up the appointment as a pupil teacher. His teachings, conducting, 
voice production and natural giftings as a motivator made him very popular not only in 
the church choir but also the singing band while combining these with quasi-religious 
group activities in the town; Vocal band and minstrel choirs. 
 
 Sooner than later, a nearby town- Essiem heard of him and invited him to become the 
music director of their group-the Love vocal band. He travelled and performed with all 
these groups for his two year stay in Enyan Denkyira. Mr. S. Eshun- a good bassist and 
a teacher, who was the leader of a very vibrant group at Osadze-the Love gospel band, 
invited Tsemafo each time he had tough assignments. His contributions in singing and 
soccer made him so popular but had to leave for greener pastures in the Brong Ahafo 
Region upon invitation of Rev. S. W. Dadzie and the choristers who had shown interest 
in him.    
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 In the Brong Ahafo Region , Tsemafo became the first Deputy Director of music to the 
Association of Methodist church choirs Ghana, for the then Sunyani District (now 
Sunyani Diocese) after it was calved out of the Kumasi District (now Kumasi Diocese) 
in1979. A position he held from 1979 to 1982. He was effective in the discharge of his 
duties.  During the time nearly every society choir in the district invited him to teach 
them. As a result, he travelled extensively through the region. Notable among the towns 
he visited are Wenchi, Kintampo, Techiman, Aworowa, Badu near Aworowa, just to 
mention a few.  Indeed, wherever he went he made a mark as an accomplished song 
leader, conductor and a composer.  His voice has been the contributing factor to his 
success but of course he knew how to motivate his singers, the very reason why 
wherever he went, like “Oliver Twist” people asked for more. Even today, nearing his 
seventies, he is still admired. For his ingenuity, He teamed up with Catechists and 
Reverend Ministers and turned many singing bands into church choirs within the 
Sunyani District of the Methodist Church Ghana.   
 
In 1982, Tsemafo resigned his position as the first Deputy District Director of music in 
order to further his education at the Berekum teacher training college. Though he 
resigned his post, he continued to honour invitations to assist various society choirs and 
singing bands including the Good Shepherd Methodist church choir (Accra) with whom 
he won the national Entertainments Critics and Reviewers Association of Ghana 
(ECRAG) now (ACRAG) award in 1985; when his repertoire with the Good Shepherd 
Methodist Church Choir was performed several occasions on television and radio. 
 In addition, he also assisted the singing band upon invitation by Mr. I.K. Quansah 
(Bubuashie Singing band Master) and H.K. Prah the choirmaster/organist of the same 
church in Accra. He trained both singing groups so well that the choirs’ performances 
on the radio and TV put them on top of the chart.  
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He stayed in Accra for few months after completing his training as a teacher and 
relocated to the Western Region upon an invitation from (his senior colleague 
musician), Mr. E.C. Bilson (Jnr) who was the then Regional manager of schools to be 
in Sekondi District.  After one year, he accepted the invitation by Effiakumah 
Methodist church to serve as their organist in the stead of Mr. A. Entsua Mensah who 
then was indisposed and died two weeks after Tsemafo had arrived. He raised the 
standard of the Effiakumah Methodist church choir that he was forbidden to travel 
elsewhere on any Sunday. His position as District Director of music for Sekondi 
engaged him to several towns to prepare them. He again resigned as the Director of 
music for Sekondi District when leaving for further studies. But he was called back to 
office after one year of his resignation in 1989.  
 
2.4.1 Workshops 
2.4.1.1 Within Ghana  
As a director of music, many are those who passed through his training and workshops 
and have become song teachers and choirmasters today one living example among 
them is J.Y. Sekyi Baidoo. Tsemafo is reportedly said to be  the one who introduced 
many choirmasters, song teachers, singers and choristers especially to the African 
rhythms which became a problem to most handlers or song teachers who taught 
highlife and slow rock songs. Indeed, he never relented in his duty as a Director of 
music and many choirs he visited still owe him a debt of gratitude for making their 
choirs a vibrant one. Also in the Western Region, He travelled extensively visiting 
places such as Half-Assini, Awin Eshiem, Axim, Discove, Agona, Kekam, and Sekondi 
to mention a few.  
 
 
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2.4.1.2. Beyond Ghana Borders  
As an expert voice trainer and composer, he also organizes workshops for musicians 
outside Ghana. This he has done since 1992 to date. Notable among the places he visits 
are Abidjan (La Cotê d’Ivoire) and Lomé Togo. He has achieved lots of successes 
through his zeal, good voice, compositions, teachings and conducting. These areas as 
his specialty and gift have motivated singers wherever he goes. He has become a 
mentor to many choristers and even today some conductors are nick-named Tsemafo 
after him both in and outside Ghana.   
 
2.4.1.3 National Positions and Legacy 
In 1994 Tsemafo was elected the second Deputy National Director of music for the 
Association of Methodist Church Choirs Ghana (GHAMECC), two years later; he 
became the first Deputy National Director of music and in 2002 to 2004, the 
substantive National Director of music.  As part of his achievements, as the National 
Director of Music, Tsemafo-Arthur is remembered for the introduction of sight singing 
at Choral/Singing competitions as a test item.  
 
2.5 Beyond Music 
2.5.1 Formation of a Football Club 
Tsemafo, a man of multi-talents, is also a good footballer. He formed the Otuam 
Susubiribi football club in 1970. Apart from being the founder, he was also their 
trainer. He later joined the “Ambassadors” football club as a result of the pressure from  
friends and members of his adopted home since all were either players or supporters of 
the Ambassadors” football club. 
 
 
 
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2.5.2 Marriage 
Tsemafo married his first wife, Theresah Kudjo from Prestea in 1980 but their marriage 
was short lived. She left for Ivory Coast in 1983 while Tsemafo was still in the training 
college, Berekum. Tsemafo became very disturbed emotionally and psychologically 
about this but he was rather hopeful that she would come which he unfortunately 
waited in vain. Later he was convinced by friends to marry again. Susana Tsemafo-
Arthur became the lucky one; unfortunately this marriage also collapsed on tribal 
grounds. The lady’s elder brother disallowed her to travel all the way from Senya-
Breku in the Brong Ahafo region to Otuam in the central region after a wedlock as a 
result the marriage had to be dissolved after having one issue with her. His latest 
marriage was equally unsuccessful due to some unforeseen circumstances. He has four 
children in all.  
 
2.5.3 Awards 
In 1985, the Good Shepherd Methodist church choir was adjudged the best choral 
group and Tsemafo-Arthur the best composer by the numerous songs recorded on 
th
cassettes, TV and Radio. This was published in the Weekly Spectator on the 8  of 
th
February 1985 and January18  1986.  Tsemafo has received a number of awards by 
dint of his ingenuity and hard work. These awards include: the ECRAG 1985,  Centre 
for National Culture (Western Region ) 1992, Contribution to Hacky Promotions as a 
very renowned Gospel Artiste 1999, Lay Movement Golden Jubilee Anniversary Song   
1999, Ghana at 50 award for his Religious Choral works 2007 
 
 
 
 
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2.5.4 Honours 
Besides the aforementioned awards, the Salt and Light Ministry also in 2009 honoured 
him for his numerous choral works, likewise the Association of Methodist church 
st
choirs Ghana 2005, at the 31  Anniversary commemoration service. 
 
2.6 Interests 
As an ardent footballer and a musician, one could confidently state that Tsemafo’s 
major interest is very obvious. This is evident in his vast compositions and active 
involvement in church activities especially, choral organizations and passion for a very 
good performing choir. As a voice expert he always loves to see or listen to a choir with 
a very good voice quality. This notwithstanding, as a footballer and a sportsman, a 
trainer and a founder of a soccer team, he continues to fancy the game of soccer and the 
related sports. However Tsemafo takes greater delight in music composition. 
 
2.7 Sources of Inspiration and Song Text 
As M.K. Amissah posits, “an effective composer in the African tradition is the one who 
carefully selects his words, carefully arranges them and meaningfully conveys his 
thoughts to his audience” (Mensah Y. K., 2008). Merriam reiterates “composing a new 
text implies a careful selection of words” (Merriam, 1964). Unlike Nketia who draws 
inspiration basically from traditional sources through the advice of Amu, as he states:  
It was not until 1942 that I met Amu in person. He had just 
returned from his sojourn in London where he studied music at 
the royal college of music. He had heard on his return that I 
was interested in composition, so he stopped by to talk to me 
when he visited the college. To my surprise, Amu’s first word 
to me was blunt. Don’t copy my music. This is because he 
often heard strains of his music in the works of Danso and Otto 
Boateng, and that was something I should avoid. I should go to 
the traditional people and learn from them, for that is what 
enabled him to evolve his new African style (Nketia, 2004).  
 
 
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Tsemafo-Arthur on the other hand, by virtue of his Christian background has mostly 
drawn on the words from the Supreme Book (the Bible) and the Christian Asɔr Ndwom 
(the Fante translation of the Methodist Hymn Book) in spite of his endowment; by this 
I am not by any means suggesting or attempting to state that Nketia did not have a 
Christian background. 
 
 Tsemafo finds so much inspiration from these two sources so much that even his 
philosophical compositions are based on them. A typical example is his ‘Ma m’ dɔkono 
ma monnom’ (give me mashed kenkey to drink) based on the statement of St. Paul in 
1Corinthians 3:2 “I had to feed you with milk and not with solid food, because you 
couldn’t handle anything stronger” and 1Corinthians 13:11“It’s like this: When I was a 
child, I spoke and thought and reasoned as a child does. But when I grew up, I put away 
childish things”. In these two scriptures, Paul was admonishing the Corinthian church 
about their weaknesses in the faith and preparing their minds towards the challenges 
ahead in their Christian maturity. 
 
 In the first stanza of this song, Tsemafo likens the milk Paul mentioned in 
1Corinthians 3:2 to dɔkono mpotɔe (mashed kenkey) as the meal for the survival of a 
baby not forgetting the baby’s dependence on the mother especially at that tender age. 
But in the second stanza, when the child has really grown and been wined of the 
mother, s/he now has teeth and can chew so they request brɔɛdze ampesi (cooked 
plantain) still he makes reference to the child’s dependence on the mother. 
Philosophically, Tsemafo was exhorting the teacher to diligently assist the student or 
pupil with necessary stuff that will make him/her become somebody responsible in 
future.  
 
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Besides the aforementioned sources, he also draws on the traditional musical sources 
especially the Adenkum, Asafo, Ebibindwom, Adowa and Agbadza musical styles which 
he usually calves the rhythm of the words drawn from the two sources (the bible and 
the hymn books) around. 
 
2.8. Compositional Philosophies 
The compositional philosophies refer to the reasons and messages behind Tsemafo-
Arthur’s compositions which he carries across to his audience. Tsemafo-Arthur usually 
composes with a particular reason in mind. His compositions most often carry a 
philosophical meaning which encourages or discourages the listener on one activity or 
the other; they are sometimes patriotic or evangelical. They may also be meant for 
entertainment or a combination of two or more of the above.  Again Tsemafo-Arthur 
does not fancy the situation where the audience will sit down simply to listen but most 
of the time he composes in a manner that will compel the listener to participate in the 
performance either by singing along or jumping to their feet to dance.   
 
 
 
 
 
 
 
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CHAPTER THREE 
TSEMAFO-ARTHUR-THE AFRICAN ART MUSICIAN AND HIS MUSIC 
This chapter discusses songs by the composer under study in general; emphasizing the 
unique ways in which he incorporates intrinsic African musical elements in the selected 
musical pieces and the idiomatic diversity in his composition.  
 
3.0. Introduction 
James Tsemafo-Arthur’s compositions have generally been categorised into 
instrumental and vocal or choral styles. The choral compositions are further categorised 
as 1.Songs which comprise: Philosophical songs, Adapted songs/ Arrangements, and 
Patriotic songs, 2.Occasional songs embodying Christmas, Epiphany, Good Friday 
/passion, Easter, Funerals, Naming ceremony, Wedding ceremony, and Special/ songs 
on request, 3.Church Music focusing on Hymns, Choral anthems, Western styled 
anthems, Gospel highlife, Marching songs and 4.Chants/canticles. As a preamble to 
the actual discussions of his music, I would briefly refer to the following areas of 
African art music. The  history of African choral art music in relation to the multipart 
traditional song types like Nnwonkorɔ, Adowa, Asafo, Adenkum, among others, that 
existed before the introduction of the Western choral styles with their concomitant 
harmonic structures and more especially Adenkum and Ebibindwom, which form the 
major sources of his pre-compositional materials for the understanding of the reader.  
 
Before any discussions,  my use of African art music  in this work refers to the African 
multi-part choral music as are mostly performed by choirs and singing bands in 
orthodox churches and other gatherings either with or without accompaniment and 
usually requires a conductor. They are mostly written for mixed choruses; thus for 
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female and male voices in S.A.T.B.  This choral music often assumes the structure of 
the Western art Music and conforms to the rules in Western art music compositions.  
 
Historically, African Art music evolved out of the introduction of Western Music on 
the coast of Africa. As Dor, opines, “Before the coming of the Europeans to Ghana, 
Western classical music was not known, let alone be performed. Ghanaians therefore 
relied entirely upon their native (traditional) music for everything in their lifes” (Dor, 
1992). This confirms the fact that before the advent of the missionaries and the colonial 
masters, the Ghanaian musician made music their own way. They had their own 
compositional techniques and procedures which perfectly worked for them so that they 
could make any kind of music they desired including multi-voiced musical types.  
 
However, with the introduction of formal education through the colonisation process 
and the Missionary activities on the Gold Coast came along with it the exposure of the 
Ghanaian musician to the study of the theory of Western Music. According to 
Nketia,(1974), Euba, (1989) and Mensah, (1998), Choral art music in Ghana like other 
sub-Saharan African countries emerged from Western Hymnody which was introduced 
in the Nineteenth Century by the European Christian missionaries backed by the British 
colonial apparatus. Going by the assertion of the scholars above, the Ghanaian 
musician’s encounter with the Western Hymnody coupled with their classroom 
experience sparked up a new feeling in their musical thinking through the process of 
cultural dynamism and assimilation. Corroborating, Omojola posits that 
The historical development of modern Ghanaian art music is 
very similar to that of Nigeria. As in Nigeria, the British 
colonial missionaries and teachers in Ghana helped to 
introduce and consolidate the practice and consumption of 
European liturgical Christian music as well as European 
classical music-the two musical genres provided the 
foundations for the emergence of modern Ghanaian art music 
(Omojola,1995).  
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Nevertheless, the acculturation and the enculturation process were in essence inimical 
to the Ghanaian culture. Nketia states that the Missionaries “preached against African 
cultural practices while promoting Western cultural values and usages, it adopted a 
hostile attitude to African music, especially drumming, because this was associated 
with what seemed to Christian evangelist “pagan” practice (Nketia,1974). It was meant 
to completely suppress the Ghanaian culture for a possible complete take over as 
evidenced in the Christianisation process. Dor states: 
In the Gold Coast as elsewhere, European Christian 
missionaries, in the nineteenth century and on, were on the 
whole antagonistic to African cultural practices, including 
music and dance. To intensify the evangelization process, 
missionaries generally prohibited new Christian converts 
from participating in their traditional musical events, under 
penalty of excommunication. Not only were the African 
converts segregated from their unconverted family members, 
but the missionaries also persuaded their converts to regard 
all their musical types as heathen, while only Western music 
was promoted (Dor, 2005) 
 
Undoubtedly, through this process, the Ghanaian was consciously being brainwashed 
and compelled to develop the taste for the Western stuff and to make him believe that 
the Westerner or the White was superior to the Black African. According to Herskovits 
it was impressed on the African that their art was crude, their tales naïve, their music 
cacophonous, their dances lascivious ... those Africans who did not reject their heritage 
were placed on the defensive, apologising for their own pleasure in the arts where as 
was often the case, they did not conceal it (Herkovits, 1962). 
 
Tracey, (1959) rather seeks to clarify the reasons why the Europeans seemed to have 
acted the way they did. She quotes, “the motive of the missionaries was the ardent 
desire to protect their converts from all heathen associations. From the missionaries’ 
point of view therefore, a total rejection of the old way of life was a pre-requisite for 
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the acceptance of the new” (Berman 1975:30). Laudable as their intentions might be, I 
believe dissociating the people completely from what was theirs naturally over night 
was a totally unfortunate decision.  
 
Admittedly, this acculturation and enculturation process which nearly robbed the 
African of all her culturally accepted indigenous values including her way of music 
making granted the Ghanaian musician the opportunity to become bi-musical 
eventhough the Europeans had their own agenda. Andoh reiterates that:  
The missionary and the colonial education brought with it 
new concepts of musical traditions along with a new set of 
objectives based on a new music of a distinctive kind, and 
much of it had no previous roots in the Ghanaian culture. The 
colonial era was dominated by a negative attitude to the 
traditional music and religious practices in Ghana.(Andoh 
2003:17)   
 
Thus notwithstanding, the benefit to the advantage of the Ghanaian composer cannot be 
over estimated.   In this vein Nketia states that “Religion... was acculturation which had 
the power to reshape music along with other cultural components” (Nketia, 1982). The 
Missionaries in their establishment of schools introduced both religious and music 
education in the curriculum and trained students who were musically gifted to play the 
Harmonium and other Western instruments. Agawu observes that “the emergence of 
new institutions as a result of the encounter with Europe is responsible for the 
cultivation of certain types of music and musical instruments. (Agawu,2003). 
Obviously, it could be deduced that through this process, the Ghanaian educated 
community who were musically inclined imbibed the concepts in the theories of 
Western Music. This granted them the music literacy and an appreciation for the 
Western styled music which eventually reflected in their way of composition.  
 
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Undoubtedly, musicians composed in the Western way obviously as a result of the 
training received. Nketia again asserts that,  
due to  colonial music education which introduced musicians 
to Western Music and harmony rather than the multi-level 
music of Africa which was unknown to the educators, the 
early Ghanaian art composers tended to look more to the 
West for techniques of multi-voiced music which is much 
more sophisticated than the traditional forms of multi-part 
organisation (Nketia, 1974).  
 
Granting that the Europeans who introduced the Ghanaian to the western music were 
not aware of the Ghanaian music implies that the opportunity for the Ghanaian to have 
specialised in one or both would have been higher. Therefore any analytical study of 
this kind should also take into consideration the cultural factors and their influences on 
the composer being studied.  
 
Ghanaian art music composers as noted earlier compose with certain information to be 
communicated across to their audiences as may soon be found out in the next chapter, 
in other words, the African or Ghanaian art musician usually does not engage in art for 
art sake compositions as in the West. This is why the analyst’s ability to establish the 
philosophies behind a given composition is of prime importance. It establishes a bond 
between the composer, the audience and the analyst since it grants a better appreciation.    
As Merriam quotes  
“ The study-object of ethnomusicology or as it originally was 
called: comparative musicology is the traditional music and 
musical instruments of all cultural strata of mankind, from 
the so-called primitive peoples to the civilised nations. Our 
science, therefore investigates all tribal and folk music and 
every kind of non-Western art music besides its studies as 
well as the sociological aspects of music, as the phenomena 
of musical acculturation, i.e. Western art and popular 
(entertainment) music do not belong to its field (Merriam , 
1964)  
 
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Kunst and Merriam hit the nail right on the head. Music does not exist in a vacuum, 
rather in a culture. Before art music the traditional music existed and served as a basis 
for the development of the art music eventhough per Nketia’s assertion, the European 
Music educators were not privy to the existence of the African multi-part music; 
Merriam’s observation makes it imperatively implicit that discussing African art music 
without due reference to the traditional music or traditional cultural settings would be a 
great disservice to the reader.  
 
It must here be emphasised that multipart traditional music have formed or contributed 
a great deal to form the basis for choral music generally except that it was not formally 
written down.   Dor posits that  
The use of the term “art” to describe choral music implies the 
existence of another type of choral music. Ghanaian ethnic 
groups have traditional choral styles quite distinct from the 
art choral idiom which exists in oral traditions, often with 
precise vocabulary that distinguishes them as song sub-
genres (Dor,2005).  
 
 
Performances of traditional Multi-voiced musical types such as Asafo and Adenkum 
which are common among the Akans of Ghana come with some form of harmony 
either in thirds or sixths and as such can be classified as choral music of a sort. Similar 
to the two musical styles is their cantor chorus way of performance. As a teacher by 
profession, Tsemafo-Arthur has always been conscious of the fact that knowledge is 
best acquired from the known to the unknown. For this reason in most of his 
compositions, especially anthems, he draws on particularly Adenkum music as a good 
inspirational source for his pre-compositional materials, themes and motifs because 
these musical styles are part and parcel of the people’s culture and physical as well as 
social lives.  
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There are some traditions and philosophies, as well as certain believe systems that 
might be embodied in them. Taking for example songs like Biribi aba Wim (something 
has appeared in the sky) Mereyɛ dɛn (what am I doing?), Wansema Pobi (the housefly) 
which are performed by the Adenkum ensemble. All these are proverbial songs 
reminding the people of a person’s status or situation in this life. Tsemafo-Arthur, a 
native of Otuam-a Fante by birth  and a son of a dexterous master drummer, was 
exposed to most of the traditional musical styles such as Adzewa, Ager, Akurodu, Akɔm, 
Opuroto, Ahyewa, Osoode, Apatampa, Ɔmmpɛ, Asafo, Dzi Wo Ho Nyi, Sikyi and 
Adenkum which he grew up to love most.   
 
Tsemafo-Arthur, the composer under discussion; having grown up in the midst of these 
multi traditional musical environment draws inspiration and pre-compositional 
materials from these sources especially the Adenkum. Besides this, his love for 
traditional musical styles coupled with his Christian background as a Methodist also 
endears him to the Ebibindwom musical type popularly found in the Methodist church 
Ghana; another source from which he draws pre-compositional materials.  
 
It must be acknowledged that the Ebibindwom genre came into being through the 
encouragement of the missionaries as an attempt to indigenise their Christian religious 
activities. According to Turkson, 
 “The lyric as a musical type owes its development during the 
office of Rev. Thomas B. Freeman, by non-literate members 
of the church in Cape Coast in 1838.When Freeman realised 
that the non-literate members of the church did not 
participate in singing of the English hymns he encouraged 
members to sing biblical text to traditional tunes (Turkson, 
1975).  
 
 
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Tsemafo usually adopts the rhythmic patterns and the performance styles of the 
traditional musical types and apply them to the tonal or functional harmonic 
procedures, a feature typical of the West which is an indication of his bi-musicality; he 
has knowledge in both traditional African and Western music, and how this bi-
musicality is reflected in his choral compositions are demonstrated in the pieces 
analysed in chapter 4.  
 
Furthermore, in spite of how long the African art music has been in existence, it is still 
bedevilled with challenges such as lack of institutional support and low audience 
patronage. In comparing choral music with popular music, it is undeniably clear that 
popular music enjoys better patronage than choral music. Unlike choral music, popular 
music is employed at most occasions and functions besides churches. Eventhough the 
electronic media sometimes feature some choral performances, they are not as many as 
the popular highlife music. It is also true that sometimes choral concerts are organised, 
undeniably, they register lower attendances than the popular music concerts. In 
churches, choral groups organise concerts and sing to themselves most of the times, but 
the chapel becomes full or almost full when a gospel rockshow which features basically 
popular highlife bands, is being organised. 
 
 The youth in various churches are more comfortable forming and or joining popular 
music groups than joining the choir. People even most of the time doubt the economic 
prospects of the music student since there are no ready employers or employment to 
absorb them after the completion of their course. More so when the populace seem to 
be driving away from what is primarily the focus of the music student’s training, 
basically to make him/her an art musician in future. 
 
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3.0.1 Additional major sources of Tsemafo-Arthur’s pre-compositional materials  
3.0.1.1 Adenkum 
Adenkum is an Akan female musical genre that has the gourd as its principal 
instrument. It originated from the Fante land in the central region of Ghana and is 
usually performed by the older women in the community. The instruments used for the 
performance of Adenkum include castanet, abaa,(wooden clappers), enmeshed gourd 
rattle, and the hourglass drum (dondo) as well as hand clapping. 
 
 According to (Nketia, 1974) in Akan communities of Ghana, there are several ways in 
which particular musical types are named. Some of these include those who perform 
the particular music such abɔfoɔ (hunters’ music) which is named after its performers; 
asafo (named after warrior groups who perform it); the function the music performs, for 
example, Asrayere (music performed by women to wish their husbands a safe return in 
times of war); the social occasion on which the music is performed like bradwom 
performed at puberty rights of the girl child, and or the name of the person who 
originated the particular musical type. Again a musical type could be named after the 
principal instrument that is used in the performance; examples are the ntahera (music 
of trumpets), adakam (music in which a box is used to serve as a master drum) and 
adenkum musical types.   
 
The Adenkum music can be found among the people of Asante Mampong, Larteh 
Akuapem, Otuam, Apam and Elmina. Additionally, my interaction with Tsemafo-
Arthur, the composer being studied in this work, an assertion he attributes to oral 
tradition, reveals that the Adenkum is a recreational type of music performed at 
occasions such as the Ahobaa and Akwambɔ festivals, political durbars, in honour of 
important and other dignitaries as well as  other ceremonies. It may also be performed 
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for entertainment. According to him, there are two types of Adenkum groups found in 
his hometown (Otuam) which originated from Elmina and Apam in the central Region 
of Ghana. These are The Gyawu and The Kodwo Nkɔ groups respectively. However, the 
exact date of the formation of the bands especially at Otuam is not known.  
 
Nonetheless, The Gyawu group is believed to have been formed before the First World 
War whiles the Kodwo Nkɔ group around the 1940s. Before these bands were formed at 
Otuam, the people of Elmina and Apam had been performing it for about forty years, 
he added. This implies that the Adenkum genre has been in existence for about ninety to 
one hundred years. To confirm, Aning (1964) states that, “the people of Elmina also 
claim that they are the originators of Adenkum and that they have played it for about 
hundred years”. Adenkum lyrics can sometimes be insinuations, satirical and aphorisms 
to mention a few. It is a musical genre which is usually performed in the open and 
encourages audience and community participation.  
 
Characteristic of its performance is the use of call and response form. The phrase of the 
cantor is repeated by the chorus as many times as it is sung. In this way, an exciting 
overlap often results when the leader resumes singing before the chorus finishes 
responding. This is in no doubt a supposition that African traditional musical forms 
enjoyed some degree of harmony before the formal introduction of Western music with 
its harmonic principles. Nketia affirms that:  
Similarly, in the chorus response, individuals are free to sing 
the main melody or a second part a third below or sometimes 
above it, or vacillate between the two. This freedom results 
in frequent changes from two-part harmony in parallel thirds 
to sporadic three part forms employing triads, or changes 
from these to unison and back again to two and three part 
harmony (Nketia,1963).   
 
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The African naturally liked multi-part singing which shows a sense of harmony with 
the exception that it might not follow a particular rule or structure. In other words, the 
rules to be observed in Western harmony such as avoidance of consecutives and so 
forth are not strictly observed in traditional harmony since they are basically not 
written. Voice parts were not assigned but choruses imagined and sang their respective 
parts to blend and harmonised one another’s as they were comfortable. Though not in 
any elaborate chordal forms, they still constituted some harmony and chords. On this 
Nketia further observes that: 
Though Adenkum songs are sung in unison one may hear two 
parts singing some fragments of the melody. Some are 
mostly in parallel thirds with isolated sixths and fifths at 
some points. Sporadic three-part forms are occasionally 
heard. These occur in the chorus part. In few cases, another 
voice joins the cantor’s melody before the chorus. This kind 
of freedom on the vocal part exists in Adenkum music 
(Nketia, 1974).  
 
 
In essence, Adenkum music is one of the traditional multi-part musical types which can 
be a good reference point to the development of choral music in Ghana.  
 
3.0.1.2 Ebibindwom (African Songs) 
Ebibindwom, one of the traditional sources Tsemafo-Arthur draws from, is a neo-
traditional musical style found most especially in the Methodist Church Ghana and can 
even be described as one of the cardinal features that distinguishes and identifies the 
church.  According to Williamson, (1958) the Ebibindwom originates from the coast 
where the Methodist church Ghana began.  “This is the Fante lyric. Among non-literate 
Fante Christians these lyrics are beloved and highly prized”. This explains why this 
musical type is usually performed in Fante language no matter where the church is 
found in the country.  
 
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The Ebibindwom is considered to be a proactive response of the church leadership to 
the needs of the membership at the early stages of the church in reference to language 
barrier which according to (Turkson, 1975) was motivated by Rev. Thomas B. 
Freeman. Jones observes that the continued search for meaning and total involvement 
of the nature in traditional religious practice were the factors that precipitated the 
upsurge of this sacred musical type (Jones, 1972).  
 
The lyric (Ebibindwom) is a mode of expression which is completely indigenous and 
natural to its users. The beauty and vitality of the good lyric has been attested to as 
highly evangelistic. The lyrics apart from being indigenous are also highly poetic and 
appealing in nature. They are usually biblical or sacred in nature, in context and mostly 
come as either complementary or supplementary to the day’s sermon. Mensah 
Confirms as follows “about the choice of text used in Ebibindwom, it is biblical and the 
soloists must be very familiar with the scriptures so that the songs would be doctrinally 
sound” (Mensah,1960).  It is also sometimes used to motivate, arouse or revive the 
spirit of the preacher.  
 
It is generally participatory and relieves congregants from boredom. It reinvigorates the 
audience to freshen up their memories and get them prepared for further absorption and 
assimilation of the homily. Due to the importance the Methodist church Ghana attaches to 
the role of Ebibindwom in the church; they appointed a committee that documented 
about 105 of them in the Christian Asͻr Ndwom (C.A.N.) in 1954 (Amuah, 2001). This 
documentation of course did not include musical notations, rather text of the lyrics. In 
addition, Amuah asserts that notation of Ebibindwom was a problem because of its 
improvisatory nature.   
 
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Ebibindwom, though generally not written, still comes with its harmonic structures. The 
congregation (the chorus) respond with the appropriate harmonies much spontaneously 
as the cantor cut’s in a preacher’s sermon or before the preacher begins to deliver the 
sermon. The simplicity of the repetitive catchy phrases makes it easier for the chorus to 
design appropriate responses. They usually harmonise in thirds or sixths either above or 
below the melody. The extensive repetition of song text found in Ebibindwom grants 
the congregants the opportunity to reflect briefly on the message or the theme upon 
which the sermon for the day was based, the temporary break in the continuous 
listening revives their concentration when the preacher resumes his/her speech.   
 
The potentials of Ebibindwom as described above, like all other Traditional African 
music, is not conceived as a contemplative art. Rather, it is thought to be functional and 
its extra musical element should not be taken for granted during music analysis. Agawu 
expalains that “Functional music drawn from ritual, work, or play is externally 
motivated. …these utilitarian musics are said to be incompletely understood whenever 
analysis ignores the social or "extra- musical" context” (Agawu, 2001).  
According to Williamson,  
The lyric is a vehicle of faith; mediating devotional values, a 
vessel of piety into which a rich variety of content may be 
poured, ranging from the sincerely Christian to the 
manifestly pagan (could not the same be said of certain 
Western Christian hymns?). As a traditional form the lyric is 
significant as an indigenous mode of expression adapted to 
the use of Christian worship (Williamson, 1958).  
 
 
It is therefore not surprising that Tsemafo-Arthur, a born bred Methodist; fondly draws 
inspiration from these two sources. However, performers of Ebibindwom or any other 
traditional musical pieces may harmonise the songs either consciously or 
unconsciously; they may know different parts are being added but not necessarily 
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assigning this to any particular voice part or knowing which intervals they are 
operating. This they do without any restrictions. 
 
All the above makes it quite herculean a task for the African art music analyst. In sum, 
Agawu confirms the multiplicity of elements that go into African art or choral music 
composition in the following words.  
Ghanaian choral composition tradition and many African 
traditions are full of variety and mixture of both traditional 
and Western compositional materials. In other words, the 
Ghanaian art choral idiom makes use of motivic structures of 
drum language, hybrid formal templates, dramatic cut-out of 
storytelling, bell patterns of traditional dances, traditional 
linguistic patterns observable in song forms as well as 
Western conventional harmonic, melodic, formal, and 
structural elements (Agawu,1984).  
 
This affirms the daunting task the African art music analyst faces. As such for one to be 
effective in his/her analysis of an African art music, s/he must necessarily go beyond 
the usual parameters of formal analysis and venture into some form of cultural analysis 
in order to be holistically effective in one’s analysis and the deductions to be made.  
 
3.1.0 Tsemafo-Arthur’s Compositions  
The name Tsemafo-Arthur is synonymous with choral art composition of variety of 
musical works.  The Harvard Dictionary of Music, Second edition, Revised and 
Enlarged; explains Composition as  
The process of creating musical works; also, a musical 
work. Literally meaning “putting together”, the term is 
particularly suitable for early polyphonic music, in 
which various voice-parts are indeed put together. In 
the more complex music of later periods...“putting 
together” of numerous diversified elements just as 
much as voice-parts...even more recent methods of 
creating music by putting together assorted sounds 
(Willi, 1972).  
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The essence of putting together musical sounds is to creatively affect the emotions of 
another either positively or negatively in diverse ways. That is a music composer 
possesses the ability to twist the heart, mind, emotions or make his/her listener moody, 
elated or thrilled, etc through the musical elements s/he puts together as music 
composition. In addition, musical composition and more especially African art music 
involve extra musical elements in their creation whether choral or instrumental.  
 
An African composer hardly engages in art for art sake kind of composition. As such, 
the African art composer usually composes with at least his cultural elements or 
personally desired message intended to be communicated in addition to the musical 
elements. This is what Gbolonyo admits as what composition is all about. He writes as 
follows: 
Composition may be defined as the transformation of pre-
existing materials into new individualized structures. Hence 
choral art composition can be the fusion and transformation 
of pre-existing traditional and foreign (Western Classical) 
materials into new forms. The pre-compositional resources 
may be a system such as the hierarchical arrangement of 
triads that form the basis of Western classical tonality, tonal 
inflections of traditional Ghanaian languages, motivic or 
rhythmic/melodic elements (Western/traditional) of the 
rigidly defined set of relationships such as those of whole-
tone or pentatonic scales. In each case, the pre-compositional 
elements provided a framework for the analysis and 
interpretation of the composition (Gbolonyo, 2004).  
 
James Tsemafo-Arthur has over 300 compositions to his credit. About 90 percent of 
them are choral music with the remaining 10 percent being instrumental. These 
compositions cover a variety of aspects of human life but Tsemafo primarily seeks to 
encourage Christians to be courageous in their Christian journey being hopeful to 
receive the victorious crown at the end of a successful race.  
 
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I have categorised the compositions under four major headings for easy identification 
and appreciation as earlier on mentioned. With the vast array of compositions as 
mentioned above, it is obvious that not all could be discussed in one study. It is 
therefore imperative to discuss few representative examples for the purpose of this 
study to aid the reader gain a better appreciation of the composer being studied in this 
work.  
 
Holistically, about 50 percent of his total vocal compositions are in the highlife style.   
Highlife, as used in this work refers to the type of vocal compositions that are gay, 
lively and normally danceable in nature. They are usually comparatively short, with 
easily memorable text. They are mostly in simple duple or simple quadruple time with 
rich rhythmic endowment. They are often accompanied with percussion instruments 
such as drums, hand clapping, bells, nnawuta (double bells) Firikyiwa (castanet) rattles, 
jazz set of drums, wooden clappers, conga drums, donno (the hourglass drum) and 
sometimes with organ and the guitar in their performance.   Gospel highlife music can 
either be binary or ternary in form. They may modulate or not.  
 
As established earlier, Tsemafo-Arthur is a composer who draws inspiration and pre-
compositional materials from multiple sources and combines his knowledge in 
traditional music with the Western knowledge he acquired through formal education. 
He demonstrates this bi-musical identity in several ways through compositions he puts 
up. Some of these compositions are couched almost purely in the Western 
compositional style in which one can hardly trace an element of African music, some in 
typical traditional style and others combine the styles.  
 
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3.1.1 Songs 
The Harvard Dictionary of Music (ibid) defines a song as, “ a short composition for 
solo voice, usually but not necessarily accompanied, and written in a fairly simple 
style. Based on a poetic text, it is designed so as to enhance rather than overshadow the 
text”. Hickok (1993) also defines Art Song as a musical setting of a poem for solo 
voice and piano.  Two song types are mentioned, namely strophic form, where the same 
melody is repeated for every stanza (or strophe) of the poem and the through-
composed; where each section of the text (the poem) has new music that is different 
from the music preceding and following it.  The text was treated syllabically (one note 
for each syllable). 
 
Putting together elements from the dictionary definition, such as the length, the poetic 
nature and the accompaniment, juxtaposed with Hickok’s definition, I would like to 
explain a song as a combination of melody, harmony, rhythm and lyrics. It is not too 
lengthy and its text may have verses which are sung to the same melody or each of 
them may be set to completely new melodies. An omnibus assessment of Tsemafo-
Arthur’s compositions, particularly those that are based on hymns are either in the 
strophic, like Jesus gye ndzebɔnyɛfo (Jesus receives sinners), Idzin ɔyɛ nwanwa ( A 
wonderful name) etc or through composed which form majority of his compositions in 
this category. They include Christian ka mo do (Christian follow me), Dzin a ɔyɛ dɛw 
(A sweet name) to mention a few. Tsemafo’s songs can be categorised as follows: 
 
3.1.1.1. Philosophical Songs 
In this work, philosophical songs refer to songs that have been composed around a 
certain ideology, rationale, or critical mindedness. They are composed to convey a 
certain proverbial thought which is implicit in the composition. The intended message 
is not expressly explicit to the ordinary mind or at first hearing; it is couched in a 
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manner that requires some amount of thinking before ascertaining the intended 
message.  
 
 In his philosophical compositions, Tsemafo-Arthur is either seen to be sermonizing or 
counselling his audience. Beyond the Christian evangelical purposes, Tsemafo-Arthur 
delights in educating the circular world as well. He writes philosophical songs to speak 
to his audience. In such compositions, Tsemafo-Arthur draws on folktales, proverbs, 
poems, and popular sayings for his pre-compositional materials. He uses these devices 
to educate his audience and the general society. Typical of such compositions is Nwaba 
Nkwan  (snail soup). In brief what he communicates here is that, one’s input determines 
his output. That is, as parents, teachers, guardians, and so forth, you can earn the 
benefit expected from your child, student, or ward when you have granted that child, 
student or ward the needed opportunity and the required support. In other words no one 
reaps where he has not sown. Better still parents, teachers and guardians are to take 
very good care of their children, students, and or wards in order to make them more 
useful and productive to them and to society in the future.  
 
Basically, Tsemafo-Arthur metaphorically communicates his ideas through the imagery 
of the snail soup. He mentions the ingredients that are needed to make one’s soup tasty. 
So whoever wants to have that kind of tasty meal must necessarily put in much in order 
to achieve the needed result. Beyond the song text, he has musically demonstrated 
efforts applied in the preparation of the full meal till it is ready. He assigns various 
voice parts to various activities with the strenuous activity of pounding the fufu to be 
eaten with the soup given to the male voice. They sing at different points with the 
resultant effect bringing out the rhythm of pounding. Then at the point where the meal 
is fully ready he uses unison and fugal exposition to indicate how everybody clamours 
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to have a share. In a similar parlance is the Akan proverb “Deɛ onipa guo ɛno ara na 
Ɔtwa” literally translates as whatever a man sows is what he reaps. If the little ones are 
not taken good care of and they become social misfits, people who engage in all forms 
of social vices, it is the same society that suffers the consequence thereof. 
 
Also as part of his philosophical compositions is “ma m’ dɔkon ma mo nom” which is 
one example of his strophic compositions. In this composition, Tsemafo-Arthur gives 
two scenarios in the two stanzas of the song. In the first stanza, he uses the imagery of 
mashed kenkey and cooked plantain (borɛdze ampesi) in the second stanza to signify 
the stages in life. Here he exhorts his audience to do what they can do best and not to 
force themselves or worry themselves over what others have been able to do or 
achieved for life is in stages. Just as babies can only drink mashed kenkey and eat or 
chew cooked plantain when they are grown, everybody would be able to do whatever 
they desire when they get to that stage; there is no need for any rush in life since this 
may come with its own troubles and woes.  
 
Another dimension is that Tsemafo also directs this song to the teacher, encouraging 
him/her to give off his/her best to the pupil or student who might become somebody 
responsible in future. So like the child and the mother, the pupil or student requires the 
teacher to feed him/her with the stuff and that will shape his/her life in future.  In this 
song he emphasises the child’s indispensable and express need of its mother.  In 
addition to his philosophical songs is Na m’atse ase (I then understand). This was based 
on multiple phenomenal-changes of the weather conditions, the changing scenes of life, 
from worldly life style to one’s conversion to put up a Christian life. He sees all these 
happenings to give course for one to ask questions and at the end of the day, “I get to 
know why things happen the way they do”.  
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3.1.1.2. Adapted songs/ Arrangements 
These are existing songs of other composers which Tsemafo-Arthur has re-composed 
or modified. That is, he has either written completely new tunes to them, added a 
descant or a refrain to the particular music for one reason or the other.  An existing 
song may be adopted or re-composed by another for various reasons such as 
enumerated below. A composer may engage in this kind of composition for one or 
more of the following reasons. Firstly, a composer may decide to compose a new tune 
to the poem or text of an existing song when the original tune does not appeal to 
him/her. In his/her own analysis, the particular tune is not sweet enough in his/ her ears. 
A second reason for the composer in this category may be to break boredom resulting 
from monotony in the singing of the original tune too often and so with a new tune 
composed to it, s/he is able to inject life into it again.  
 
Another reason will be to bring variety into the singing of the particular song. 
Furthermore, as composers may have their own objectives for composing, they may 
choose to rearrange an existing song if the text appeals to them. That is when they think 
the words of the particular song would be a good resource for them to achieve their 
objective(s).The purpose for which the particular composition was intended.  The 
above notwithstanding, a composer may choose to rearrange or compose a new tune to 
an existing song when s/he thinks there are gaps to be filled in; for instance writing a 
descant to an existing song. It is also worthy of note that a composer may rearrange or 
adapt an existing song just to demonstrate his/her compositional prowess.  
Additionally, a composer may adapt another’s song when s/he feels like to inject some 
inspiration into it by writing a livelier tune or rhythm to it applying diminutions or 
prolongations.    There are also times when composers adapt existing songs on request 
or even to suit an upcoming occasion. 
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Tsemafo-Arthur like all other composers adapts and rearranges existing songs for one 
or more of the reasons above; especially doing so on request, filling in gaps with 
descants and adapting the text to suit his purpose of the composition.  His familiarity 
with the C. A. N. coupled with his background as a Methodist in no doubt has 
accounted for why he adapts and recomposes them most of the time. This is one of the 
areas of composition Tsemafo-Arthur fancies a lot.  Most of his compositions in this 
category are based on the M.H.B. or the C.A.N. with a few of them coming from the 
existing songs which may be said to be folk in nature. This is so because the text 
usually serves his purpose as an evangel composer. To some of the Music he adds 
descants and sometimes uses faxbourdon in these compositions just to bring variety and 
also to inject new life into the music to whip up peoples’ interest to singing it.  
 
Tsemafo-Arthur’s compositions in this category include Cross of Jesus based on 
M.H.B. 318, Ransford based on Christian Asɔr Ndwom Fofor (C.A.N. F.)  247, 
Ahomgye Wura (Lord of Rest) an arrangement of C.A.N. F. 989, Newton Ferns based 
on M.H.B. 867, O Ewuradze (O Lord) based on M.H.B. 604, M.H.B. 754, Lead us 
based on C.A.N.F.611 others include Wɔnhyɛ N’Abɔso(crown him) based on C.A.N. F.  
91, Freeman based on C.A.N. 29, Rotweɔn Ayɛ Dɛn (What are you waiting for?) based 
on C.A.N. F. 1040, Pentecost Ogya, (Pentecost fire), and Bankye,-Bankye (Cassava; 
cassava) based on a folk song. 
 
Taking the text of the Cross of Jesus-“souls of men why will ye scatter like a crowd of 
frightened sheep…” for example, it is so evangelistically appealing, the more reason 
why Tsemafo-Arthur, an ‘evangel composer’ would adapt it for his purpose. Ransford 
–“rejoice the Lord is king, your Lord and king adore” also adapted on similar grounds 
to encourage the Christian to be joyful for his/her saviour is king. This arrangement 
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also helps to break the boredom and monotony of using some two main tunes (Gopsal 
by Handel and Trumpet by L. Edson) alternatively always.  Pentecost Ogya was 
adapted from the Pentecost church and harmonized with a descant to give more musical 
appeal. 
 
3.1.1.3. Patriotic Songs 
Unlike the philosophical songs, patriotic songs are the songs composed for the purpose 
of encouraging the citizenry to contribute their widow’s might towards unity, nation 
building and development through the choice of text. Tsemafo-Arthur is not only a 
Christian but also a nationalist and a patriot. As a musician and a composer, Tsemafo-
Arthur believes the best way to advocate nation building to his fellow compatriots is 
through his compositions.  
 
To him a country only develops through hard work, dedication, devotion, selflessness, 
commitment, patriotism and discipline. Talking hard work and development of a 
nation, one’s statement is basically being directed to the youth.  In Ghana Mpuntu 
(development of Ghana) composition, he admonishes the youth to eschew corruption 
and work hard to achieve development for themselves, posterity and the nation at large. 
The other is the Ghana me man (Ghana my country) a composition which instils 
patriotism in the citizenry especially the youth.  
 
Again in this composition, the composer encourages all and sundry, and the youth in 
particular to desist from corrupt practices and all forms of morally deficient life styles 
for the development of mother Ghana. Still as part of the admonition process, the 
composer reminds the Ghanaian citizenry of a popular proverb Dzin pa yɛ sen ahonya 
(good name is better than riches) which paraphrases as Dzin Pa (good name); he urges 
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everyone to strive to attain a good name rather than amassment of wealth. Shun bad 
company and eschew any other behaviours and life styles which will tarnish or dent 
one’s image. For a man is accorded respect based on the good name he calves for 
himself and not how much wealth he has been able to amass. Sometimes even a 
person’s wealth is used to insult him but not his good name.  
 
3.1.1.4. Occasional Songs 
As the title suggests, these songs are songs meant for specific occasions. Not until those 
periods, these compositions would be inappropriate to perform. They are songs which 
carry special information or messages about special occasions for specific purposes. 
They are emotionally oriented and are not meant for general purposes.  
 
3.1.1.4.1. Christmas Songs 
The most popular among his compositions in this class are Ɔawo hɛn Gyefo (our 
saviour has been born), Ɔhen Akwaaba (Welcome King) and Yɛnkɔ Bethlehem (Let us 
go to Bethlehem). In these compositions, the composer, recounts and brings to the fore 
some of the scenes of the saviour’s birth, the significance of his birth to the individual, 
the church, the nation and the world at large. He further emphasizes the need to show 
kindness on a day like that to one another and especially to the poor and the needy. He 
finally admonishes and reminds the singer and the audience of the might of the Messiah 
who has been born to save the world. 
 
3.1.1.4.2 Palm Sunday Songs 
The most popular of Tsemafo-Arthur’s compositions on this day include Wɔnhyɛ 
N’Abɔso (Crown Him). This also an arrangement based on the M.H.B. 91/ C.A.N.22. 
The composer recomposes this hymn in an anthem form with an organ accompaniment. 
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He joins force with the lyricist to expound on the greatness of the kingdom of Jesus the 
Christ and also to enjoin his entire listenership to accord Jesus His due.     On the same 
subject, Tsemafo-Arthur composed Woana na Nguanhwɛfo (whom did the shepherds) 
which he based on M .H.B. 151. In this composition he enjoins all and sundry to crown 
Jesus the Lord of all. 
 
3.1.1.4.3. Good Friday /Passion Songs 
 Among these compositions is Anwanwa Dͻ (Wonderful Love). In this song the 
composer sermonises, stressing the kind of love the Lord God has shown mankind even 
though we did not deserve it. He further reminds the believer of the need to share the 
wonderful treasure with others especially the unbeliever, making it known to him that 
for his sake the Lord suffered a shameful death. Further examples are Agya Fa kyɛ Hɛn 
(Father forgive us), and Cross of Jesus. 
 
3.1.1.4.4. Funeral Songs 
Songs in this category are meant to mourn one’s departed relative and at the same time 
comfort the living. An example worth considering is Taa Dzinn (Remain Calm) one of 
the compositions of the composer under review. This is a song composed in 1999 to 
sooth the sorrows of a bereaved brother and also to fulfil the scriptural demand to 
mourn with the mourner and as the comforter to the mourner as in Job 29:25. Tsemafo-
Arthur, though consoling a bereaved brother, sermonises to admonish, exhort and 
encourage all others to be patient with God and look forward to His miraculous deeds 
in His own time. There is no need hurrying to go ahead of the Lord for He knows it all 
and will act appropriately.  
 
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Nyame mfa wo nsie (may God preserve you)  is another funeral composition Tsemafo-
Arthur uses to bid a deceased brother farewell and also to comfort the living with an 
assurance that life on earth is temporal, full of woes, troubles and disappointments but 
God in His own wisdom grants relief to all who have carried their loads and are heavy 
burdened; He says “Come to me, all of you who are weary and carry heavy burdens, 
and I will give you rest” Matt 11:28 (NLT,2013); and also for the fact that we cannot 
use this our mortal bodies to meet the Lord on His appearance, we must definitely 
transform.   
 It will happen in a moment, in the blinking of an eye, when 
the last trumpet is blown. For when the trumpet sounds, the 
Christians who have died* will be raised with transformed 
bodies. And then we who are living will be transformed so 
that we will never die. 53 For our perishable earthly bodies 
must be transformed into heavenly bodies that will never 
die.54 When this happens—when our perishable earthly 
bodies have been transformed into heavenly bodies that will 
never die—then at last the Scriptures will come true. 
1Corinthians 15:52-54 (NLT) 
 
Expressing the grieve a spouse, family, children, friends and loved ones go through 
when death occurs, the composer writes Yɛnka Dɛn? (what shall we say?) After all 
efforts are made for the expression of the desire that our beloved continued living with 
us, God’s will has prevailed. We therefore wonder what at all can be said or done to 
cause a change in this our situation. We should just accept it that this world is full of 
sorrows and worries. These sometimes even become a barrier between us and our God, 
which may not enhance our healthy relationship with our Lord and maker.  
 
For this Tsemafo-Artthur composes Wiadze’i mu (in this world). He composes all these 
songs to console and to remind Christians of the need to encourage themselves in the 
Lord.  Other examples in this category I may cite include Occansey which was based 
on M.H.B.427, C.A.N. 139 in his usual Christian consolation business, he reminds the 
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living of the changing scenes of this life and emphasizes that death is really an 
inevitable part of life so there is the need to let go the pain and move on with life. 
ChrisWilliams, in this example, he convinces the living to plead with the Lord to 
strengthen them in the face of death and its agonizing pain. Kwantunyi (Traveler), 
Maud, Cross of Jesus , Ransford, Ahomgye wura(Lord of rest), Newton Ferns, Angel 
Gabriel, and Lead us are all examples of funeral and consolatory compositions.  
 
3.1.1.4.5. Wedding ceremony 
The composer under study in this work also have compositions for wedding ceremonies 
and on marriage as an institution. The most familiar among them is Ɔwo nye mo dͻfo 
(You are my lover) Tsemafo-Arthur based this composition on the commandments of 
the Lord.(Matt. 19:6; Mark 10:9) In this composition he emphasises the need for the 
couples to love each other genuinely and stay together in harmony. He also speaks 
against ‘distant’ marriage which can be a potential catalyst for unsuccessful marriage.  
In Awaresͻ, (Prosperous marriage) the lucky ones to be tying the knot on that joyous 
and wonderful day are congratulated and admonished on the journey they have decided 
to embark on, especially the tortuous nature and the ups and downs which are likely to 
come their way.   
 
3.1.1.4.6. Special Songs/Songs on request 
Beside the compositions for purposes as outlined, Tsemafo-Arthur also composes songs 
on request for specific occasions when he is commissioned to do so as exemplified in 
these works. One of such compositions is Mfe Eduokron Mpue Ndwom (Ninetieth 
Anniversary song). This song was composed for the Nsɔkɔ Methodist church on their 
ninetieth anniversary celebration. Another example is an arrangement of the Christian 
Asɔr Ndwom Fofor (C.A.N.F. 754) for a baptism and confirmation service, re-
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dedication service of the choir, covenant service of the church and induction service of 
the choir and church leaderships.   
 
Bless This Church is also an example of composition in this category. It is a song 
meant for the dedication of the church and it is also structured in a way that it can also 
be used for the dedication of other items such as musical instruments by alternating the 
word ‘church’ with the appropriate words of the item(s) to be dedicated. Others include 
God we serve (originally titled Service to God). This song was composed as a 
processional hymn for the Association of Methodist church choirs Ghana 
(GHAMECC) at anniversaries and conferences. Hyira Hɛn Asͻr Yi (Bless this our 
church) this should not be confused with ‘bless this church. It is a completely different 
composition for the dedication of chapels only. It does not have the flexibility of the 
first where words may be alternated to suit a given dedication service. This is purely 
and strictly for the dedication of newly constructed chapels. Similarly Ndaase yɛ 
Nyame dze (Appreciation is the Lord’s) was composed for the dedication of a new 
chapel building. 
 
3.1.2.0 Church Music 
By church music what I mean here is simply those of his compositions which are 
liturgical in nature and are also doctrinally sound, they are compositions that can be 
adopted for church service and other Christian gatherings as categorised below. 
 
3.1.2.1. Hymns 
Hymn, as explained by the New Grove Dictionary of Music edited by Sadie, (1980 ) is 
“a term of unknown origin applied from ancient times to a wide variety of songs in 
honour of gods, heroes and notable men”. Hymns in the church setting are lyrical and 
are intended to be sung in praise of God. They are poetical in their lyrical structure and 
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usually homophonic in composition which may be accompanied by a melodic 
instrument such as the organ or piano or may be sung acapella; that is without an 
instrumental accompaniment. Characteristically, hymns as a genre, are strophic, that is 
the number of lines, syllable counts, and metrical arrangements are the same for all of 
the stanzas.  
 
Hymns form an integral part of the liturgy of the Methodist church Ghana where 
Tsemafo-Arthur worships. They are in fact a treasure to the Methodist as they believe 
that singing the hymns draws one closer to his maker, enhances his understanding 
about our Lord and Saviour Jesus the Christ, as well as the Holy Spirit. Hymns play 
such an important role in the church that, they are integrally tied to the repertoire of 
church choirs and singing Bands.  
 
Apart from the normal use of the hymns in the regular worship service, the church 
Choirs and Singing Bands also use them for their singing competitions and musical 
festivals during their conferences be them circuits, diocesan or connexional. According 
to Asiama,  
“it must be recognised that words of hymns and songs have 
been very important source of comfort and inspiration to 
those Christians who sing them, those who can read and 
understand them, or those who have helped to memorise 
them. That is why in moments of stress or in period of crisis, 
people fall on such songs and hymns” (Asiama, 1989).  
 
Tsemafo-Arthur has written new tunes, and descants to a number of the hymns in the 
Methodist hymn book. ChrisWilliams, Nyame Mfa wo nsie, Wiadze’i mu abrabɔ, 
Kwantunyi, Per yɛ wo dze, are a few examples. Further examples include:  O Ewuradze 
(C.A.N.F.604; M.H.B.604) to this hymn, he has written a descant to the third and the 
sixth verses. Also other descants are Gya Hɛn written to (C.A.N.F.611; M.H.B.611), 
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Ɔkofo soɛr to (C.A.N.F.754; M.H.B. 754,) Pass me not (C.A.N.F.335; M.H.B. 335), 
Ber a m’akoma yɛ mberɛw to (C.A.N.F.395 M.H.B.395), Hɛn Wura written to 
(C.A.N.F.667; M.H.B.667), Dzi dɛw Nyame yɛ hen written to (C.A.N.F. 247; M.H.B. 
247), and Jesus Siarfo to (C.A.N.F.867; M.H.B. 867). 
 
 Most of his tunes are usually performed during church services and most of the times 
his tunes are more preferable and comfortable to the congregations than the ‘set tunes’ 
to the selected hymns. In his arrangement for Mbrɛ modua dɔ Jesus,(C.A.N.F.1035) 
Tsemafo-Arthur  employs a variety of techniques. He begins with a homophony, with 
an organ accompaniment doubling the voices, a descant to the third stanza and a 
fauxbourdon in the sixth stanza.  
 
Fauxbourdon (French; meaning false bass- English: faburden). This is a compositional 
technique in which the melody is given to a different part other than the soprano voice; 
rather, something else –a descant or harmony is given to the soprano voice. 
Fauxbourdon also called false bass is a musical texture which was prevalent during the 
late Middle Ages and early Renaissance, produced by three voices proceeding primarily 
in parallel motion in intervals corresponding to the first inversion of the triad. Only two 
of the three parts were notated, a plainchant melody together with the lowest voice a 
sixth below (as e below c′); occasional octaves (as c–c′) occurred as well. The middle 
part was realized by the singer at the interval of a fourth below the plainchant melody 
(as g below c′). The result was a particularly “sweet” sound in contrast to the mixture of 
passing dissonants and open sonorities favoured in earlier music.  
 
Guillaume Dufay (c. 1400–74) is said to have been the first to introduce fauxbourdon 
into written music (Grout and Palisca , 1988); other early 15th-century Burgundian and 
Netherlandish composers, too, embraced this essentially homophonic technique, 
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especially for psalm and hymn settings requiring distinct textual articulation and clear 
enunciation. In a hymn, however, the term is sometimes used when 
the congregation sings in parallel octaves with some singers singing a treble descant 
over the melody, but the term was historically used to indicate an arrangement of the 
tune in four parts with the melody in the tenor voice.  
 
http://dictionary.reference.com/browse/fauxbourdon;http://www.merriam-
webster.com/dictionary/fauxbourdon; 
http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-
011013.xml;http://en.wikipedia.org/wiki/Fauxbourdon; 
http://www.britannica.com/EBchecked/topic/202881/fauxbourdon 
 
3.1.2.2. Choral Anthems 
In this area of composition, Tsemafo-Arthur has done a tremendous job. He has several 
compositions to his credit.  Most choirs do perform his compositions for the variety 
they present. Because they are mostly based on scripture, most of his compositions fall 
in line with the themes for some of the Sundays, picking on them usually fall in place 
with the sermon for the day, thereby reinforcing the day’s message. His compositions 
in this category assume various styles of performance, such as Ebibindwom, some in 
free rhythm, others in strict timing buried in a pool of varied compositional ideas and 
techniques. Examples of songs in this category include Oguanhwɛfo pa (Good 
Shepherd), in this anthem, the composer combines a lot of Western and African idioms, 
couched the song in strict compound duple time and a strict speech rhythm as a typical 
African.  
 
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In the middle of the song, he employs different kinds of tempi, granting the soprano 
soloist the liberty to express herself. He interspersed this with a call and response 
between the female and the male voices before they finally launch into a homorphonic 
texture. Nyame yɛ dɛ (God is Sweet), unlike the others, is couched in strict Adenkum 
style. He adopted the typical Adenkum rhythmic pattern in this composition especially 
at the fugal exposition section.  Christian ka mo do (Christian follow me), and Nyame 
N’edwuma (God’s work) have also been composed in the Ebibindwom rhythmic 
pattern. Also in the Nyame N’edwuma, he introduces a piano accompaniment to express 
his bi-musicality.  
 
Another example is Nyame Adɔfo Mbɛda Dɛw Edzi (Lovers of God make known your 
joys). He then reminds the Christian of Jesus’ own assurance of salvation in all spheres 
of life and even for the ultimate expectation of the believer to trust in him when he 
composed Hom ngye me ndzi (believe in me) which is based on scripture. “Let not your 
heart be troubled: ye believe in God, believe also in me” John 14:1 (NLT). 
 
3.1.2.3. Western Styled Anthems  
By this title, what I mean is those anthems he has composed with almost all Western 
features such as specific organ or piano accompaniment, melismas, florid passages and 
so forth. This also refers to the African compositions which are primarily based on 
Western harmonic structures with the text in an African language such as Akan, Ewe, 
Ga, and so forth.  
 
This style of composition became necessary because Western choral music has gained 
acceptability with the Ghanaian Christian worship community since colonial days to 
the extent that it is regarded as the musical form that is artistically satisfying and for 
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that matter any choral group which is not capable of performing such songs is 
considered in the eyes of a section of the congregation not measured up to standard. 
 
 In the urban areas, only classical music such as the anthems and the excerpts from 
cantatas and oratorios by great composers like G.F.Handel, J.S. Bach, W.A. Mozart, 
F.J. Haydn, among others are enjoyed and appreciated by most audience. While the 
church choirs perform any of such pieces, the congregation remain silent with few of 
the literate singing along. To some people, without a splendid rendition of any of the 
western Anthems, worship to them was not complete that day.  It is for this feeling and 
concern that some African composers also take after these master composers and do 
their best to compose in their style coupled with the fact that they have also received 
their training in Western music compositional techniques.  
 
The first and foremost of Tsemafo-Arthur’s composition in this category is the Dzin a 
Ɔyɛ dɛw (A sweet name) a hymn-anthem which according to him was based on a 
Western Anthem “And I saw a New Heaven” by F.W. Peace. It will be discussed in 
detail in the next chapter. Crown Him is another hymn-anthem with similar features. 
Other examples include I stand before Thee, Damirifa Due and Day by day. 
 
3.1.2.4. Gospel Highlife 
Highlife music as performed in the church setting is very gay and usually danceable. 
Due to the rhythmic endowment of the Africans, Church Choirs and Singing Bands 
love to perform and find it exciting performing them. They are usually accompanied by 
percussion instruments such as hand clapping, rattles, bells, conga drums, wooden 
clappers, castanets, and or jazz drum set.  
 
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Songs in this category normally assume the binary or ternary form.  They may 
modulate or not. Where there is a modulation, it is normally to related keys and usually 
from the tonic to the dominant or subdominant and back to the tonic or make a 
tanscient modulation to the relative minor through the dominant and back to the tonic. 
Usually when they modulate, those in binary form modulate to either the dominant or 
the subdominant and back to the tonic whereas those in the ternary form may first 
modulate to the dominant or subdominant and usually briefly labour through other 
related keys before finally returning to the tonic key.  
 
Highlife music composers normally employ compositional devices such as 
syncopations, non harmonic tones like passing notes and chromaticism to enrich and 
make the music lively. Examples of gospel highlife songs include Armaah’s Oye  (He 
is good), Newlove Annan’s Tͻ wo nhyira gu me so (Shower your blessings upon me), 
Kras Arthur’s Gospel Samanmmo, Tsemafo-Arthur’s Pentecost ogya (Pentecost Fire) 
Oppong Kyei’s Animuonyam nka Nyankopͻn (Glory be to God), Ɛnyɛ obi na mehwɛ no 
(It’s no other person that I look up to), Essilfie’s M’akoma mu dͻ Yesu (My heart’s 
love; Jesus), Mensah’s Moko bɛ (Who at all), Asare Bediako’s Sankudwom among 
others. 
 
 Besides the above, there is the slower version -the blues or slow rock type. They are 
normally in compound duple time but use the same harmonic procedures of the 
standard highlife. Examples of the slow rock are Oppong Kyei’s Okura me mu, (He 
holds me) W’ayemyie dͻͻso (Your kindness are plentiful) by Sekyi Baidoo, Tsemafo-
Arthur’s Jesus gye ndzebͻnyɛfo,(Jesus receives sinners), Woana na Nguanhwɛfo n’ 
(Who did the shepherds), Kras Arthur’s Akyɛdze yi so (This gift is great), Newlove 
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Annan’s Susu ho hwɛ (consider it) , Asare Bediako’s Ka ma obi ara nte (Say it to 
everybody’s hearing) to mention a few.  
 
In addition, some composers employ such devices as appoggiaturas and decorative 
figures to enrich their composition. The difference in the gospel highlife music varieties 
is registered in the metrical patterns of the various compositions; that is whether they 
are in simple duple (2/4 time), simple quadruple (4/4 time), or compound duple (6/8 
time), and or compound quadruple (12/8 time) signatures. The standard highlife 
category is usually is in simple duple or simple quadruple time whereas the blues or 
slow rock type is in the compound duple or quadruple time.   
 
Generally, Tsemafo-Arthur’s compositions portray him as an educator throughout. His 
philosophical compositions are purely educative and not only that, his other 
compositions are pure sermons of evangelism aiming at encouraging the Christian 
through their ups and downs re-evangelizing them to stand firm in their faith and doing 
what the Lord expects from them. The following examples buttress the 
characterizations demonstrated above. To begin, let’s consider the following words of 
Yi bi tua (Give something to pay) this song was composed in 1979 as a re-
evangelization process on Christian giving, Tsemafo-Arthur based this song on 
2Corinthians 9:7 “You must each make up your own mind as to how much you should 
give. Don’t give reluctantly or in response to pressure. For God loves the person who 
gives cheerfully.” (The New Living Translation Bible-(NLT). 
 
Giving is part of the Christian calling; however as human as they are, many people wait 
to be enticed with so many soothing words, caressed, cajoled, coaxed and even 
sometimes coerced before they give to support the work of the maker. Others are 
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further pressurized through the enticement of special prayers; pastors offering different 
kinds of prayers for different kinds of givers.  This is what Tsemafo-Arthur agrees with 
the apostle Paul to admonish the Christian community to desist from. After all, all that 
they have and are; have been made possible through God, at the same time, he has 
promised to bless anyone who gives and gives cheerfully but not those who wait to be 
pressurized in a way before. This is the reminder Tsemafo-Arthur sends across to his 
Christian audience.  
 
Mo nkwa war a menyi bɛgye, (I should be glad if I am granted a long life) another song 
of selfless admonishing, surrendering everything to God. In effect implying whatever 
comes my way I am ready for it, I shall accept it even though it might not go my 
direction, I have my own wishes and desires but I am all ready for whatever the Lord 
God desires of and for me. Hence I should be glad if I am granted a long life or I will 
be happy if I live longer.  
 
 A short song, 34 bars in all; but a great sermon on its own, Tsemafo-Arthur in this 
song surmises that though it is every body’s desire to live longer in order to serve the 
creator, what God requires is our determination to live and follow his leads. That is all 
God wants from us; living for him and leading lives which point heavenward is just 
enough to quench our fear of death and judgment. Come what may, the Christian must 
be prepared to face it. So if we desire long life to serve him longer and better but he 
decides to grant us short lives, we have nowhere to run to than to accept it. After all 
heaven is our father’s hometown, the much desired place of all for eternity and we must 
prepare to go anytime he wills us.  
 
Further examples of the gospel highlifes include: M’ayɛ Ɔdehye (I’ve become a royal). 
In this song, he demonstrates the joy that fills the heart of the newly converted person 
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into the Christian faith. When s/he takes a retrospective account of his/her past and 
compares that with the new found life in Christ, s/he has every cause to rejoice and feel 
like a royal in the circumstances. 
 
 Bisa woho (Ask yourself), a slow rock styled highlife, the composer urges the believer 
to question him/herself whether s/he is fit for Heaven. The ultimate concern of the 
Christian is where to spend eternity-in Heaven or in hell? In this vein, the composer 
admonishes all to examine their own kinds of lifestyles and be convinced as to where 
they are likely to spend the eternity. Having been called into such a marvelous life, do 
we still hold on to the flavorous morally stinking lifestyles or we have completely 
parted company with such styles of life. Whatever our situation God still beckons at us 
to come unto him for grace and mercy.  
 
Among  the most popular of his slow rock songs and  highlife compositions are Adom a 
ɔsom bo (grace so precious), Anwanwa dɔ(wonderful love), Wɔnhyɛ N’abɔso(crown 
him), Twe bɛn Nyame(draw closer to God), Na matse ase (I then understood), Bubu 
ɔbɔn no tum (break asunder the power of the wicked), Wadɔyɛ so (your kindness is 
great), Ao bra (oh come), Mowɔ gyedzi wɔ wo mu (I have faith in Thee), Ewuradze me 
Nyankopɔn (Lord, my God), Mɔbɔ ne dzin (I’ll mention His name), Metse wo ndze 
dɛɛdɛw n’ (I hear Your Sweet Voice), Mɛyɛ dɛn menya ɔdɔ, (how can I get love), Mo 
Wura Yesu (My Lord Jesus),Yenyim wo hɛn Wura (We know You our Lord), Yɛwɔ 
awerɛhyɛmu (We are hopeful), Mowɔ Nyɛnko (I have a Friend), Migyina abow n’ekyir 
(I am standing behind the door), So bɔkɔ bi (Will you also go), Jesus gye ndzebɔnyɛfo 
(Jesus receives sinners), Nyame tum adze nyinaa yɛ (all things are possible to God), 
Twerampɔn Nyame (Everlasting God) to mention a  few. 
 
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3.1.2.5. Marching Songs 
Marching songs have formed part of the repertoire of music used by the church choirs 
and singing bands. Normally, marching songs may be sung unaccompanied or with but 
not restricted to bells, rattles, tambourines, and drums. They are usually in duple time. 
That is simple duple (2/4 metrical) or compound duple (6/8 metrical) patterns, and or 
simple triple (3/4) metrical patterns. Marching songs are mostly the preferred choices 
during fanfares, conferences, anniversaries, music festivals, and organised processions 
of Church Choirs and Singing Bands. The above notwithstanding, marching songs are 
also sung as procession to stage during singing competitions. 
 
Tsemafo-Arthur, who has generally focused his compositions on how to compel the 
audience to participate in the performance, has mostly considered this area of 
composition very attractive and useful. He has a good number of his compositions in 
this category which he always does his best to even notate to follow strictly the speech 
pattern of the language. His most preferred language is the Fante; the language of his 
native people-the people of the central region of Ghana.   
 
The most popular of his composition in this direction include:  Idzin a ɔyɛ nwanwa, (a 
wonderful name); in this three stanza strophic song, Tsemafo-Arthur reminds his 
audience of the limitless power that resides in the name of Jesus the Christ and the 
more reason for the believer and even the unbeliever alike to repose their trust in it. In 
the first stanza, the listener is reminded and assured that in Jesus’ name is life and 
power; it gives life and healing. He continues “when I mention, it gives me salvation, 
and strength” so he concludes boldly-the name is Jesus. In stanza two he says the name 
drives away pains and fears, it brings about fullness of life, it gives prosperity and 
peace, it calms nerves when mentioned, the name is Jesus. Then in the third stanza he 
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emphasizes that the name grants baptism to the sick, it is love, it gives blessing, and 
grants support to the believer. Could there be any more soothing and sweeter words 
than these, the listener is here being urged to believe in this name Jesus and receive all 
its attendant benefits. 
 
 Kokroko (Mighty one), is a song which talks about the greatness of God and the desire 
of the singer never to cease mentioning His name in profound appreciation.   Mekra dzi 
dɛw (my soul rejoice), highlights the reasons why one must rejoice in the Lord for all 
His goodness. However, in Asodzi da mo do (I have a charge to keep), the singer is 
reminded of his responsibility to serve the Lord with diligence and with utter 
commitment for if s/he betrays his/her trust in the Lord s/he shall forever die. Onua bra 
(brother/sister come), enjoins the singer and the hearer to invite others to join him/her 
in awesome praise to the Lord.  
 
Then in Gye me bra (take my life), the performer as well as the audience are advised on 
the need to surrender their lives wholly to the creator. Having achieved the best of 
relationships with one’s maker, s/he can then invite others to share in his/her new found 
joy as in Ao bra ma yendzi dɛw (Oh come let us rejoice), the invitee will also now be 
empowered to outline what s/he is likely to gain if s/he gives his /her life to Jesus so 
s/he can now say Sɛ meba Jesus hɔ (if I come to Jesus), to mention a few. 
 
3.1.3.0. Chants/Canticles 
Chants or canticles are one of the important marks of identity in the Methodist church 
Ghana. They also include ancient hymns and psalms. There cannot be a single complete 
divine service or public worship of the Methodist on a Sunday without singing at least 
one canticle. Usually, in singing of the canticles, a short music normally seven bars for 
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a single chant and fourteen bars of music for a double chant is sung to a very long 
sacred poem or text. In some instances, a twenty eight bar music might be found 
instead of the usual seven or fourteen bars.  
 
The chants or canticles are not sung in the same way songs are sung. The special way 
of singing them is referred to as pointing. In the rendition of canticles, it is chanted. 
Here much emphasis is laid on the words instead of the music and it is pointed after the 
speech rhythm. The rhythm of the chant is unmeasured, and the tempos are flexible 
(Hickok, 1993). The chant is purely functional music designed to enhance the worship 
service and is objective and impersonal... constructed according to tonal patterns. It is 
usually sung in flexible rhythm without regular accentuation (Stolba, 1994). Again, the 
Methodist Hymn Book, p. 907, states that the ancient hymns, canticles and psalms have 
been pointed on the principles of speech rhythm.  According to ( Grout, 1988) most of 
the chants originated in the Middle Ages, but has been kept alive and continuously sung 
since that time. Pope Gregory is credited with the compilation of the plainchant.  
 
Historically, the Methodist church came out of the Anglican Church and as such points 
its chant in the style as approved by the Anglican Church.  In chanting several syllables 
may be sung to a single note in the melody. Also in the singing of chants and canticles, 
punctuation marks are not observed. “No punctuation mark is to be observed except in 
those verses with a long reciting note where the proper pause is indicated by a breath 
mark (V)”.M.H.B. p. 907. 
 
 In chanting, the melody is adapted to the rhythm of the text, to its general mood, and to 
the liturgical function which a chant fulfils; only rarely are attempts made to adapt the 
melody to special emotional or pictorial effects. Every chant melody is divided into 
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phrases and periods to the phrases and periods of the text. In spite of the complicated 
nature of this kind of music, Tsemafo-Arthur has endeared himself to composing tunes 
and alternative tunes as well as tunes with variations to some of these canticles or 
chants and ancient hymns used in the Methodist church either for a singing competition 
at a given level or for ‘pleasure’. The following are representative examples of some of 
his compositions in this area. Tune and Variation written to the Te-deum, and 
Ransford. 
 
3.1.4.0 Instrumental Music 
To complete the exposé on Tsemafo-Arthurs musical works, a brief touch on his 
instrumental compositions would suffice. Despite his desire to remain an evangel 
composer, he does not only commit himself to vocal or choral music compositions. As 
an all round African art music composer, Tsemafo-Arthur’s instrumental compositions 
include Adasapɛ, Dabidabi da, and Tantumnata. All these compositions are basically 
full orchestral pieces making use of only traditional instruments; such as the 
idiophones, chordophones, aerophones and membranophones. Among these classes of 
traditional instruments Tsemafo-Arthur’s most favoured category is the idiophones.    
 
 
 
 
 
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CHAPTER FOUR 
INTERPRETATION AND ANALYSIS OF THE MUSICAL STYLES 
(COMPOSITIONAL TECHNIQUES) 
4.0. PREAMBLE 
4.0.1 Factors Influencing the Selection of the Analytical Scores 
The five representative scores were selected for analysis based on the differences they 
present on the composer’s creativity as regards the bigger categorisations in chapter 3 
(that is his stylistic differences and the choice to compose in a particular idiom, being 
Western, African or a combination of both) and how his religious and cultural 
backgrounds have also influenced these compositions.  They are discussed in relation to 
the parameters as outlined below: 
i. Melody  
ii. Harmony  
iii. Rhythm and Metre 
iv. Formal Structure 
v. Translation of Song Text 
vi. Interpretation of Song Text 
vii. Cadential Points 
viii. Text and Tune Relationship 
ix. Performance direction (Dynamics& Tempo Markings) 
x. Texture 
 
4.0.2. General Explanation to the Analytical Parameters 
A melody is a succession of single pitches or tones perceived by the mind as a unity 
(Machlis & Forney, 1995). In this work, melody construction simply accounts for the 
units of structure, the motion and location of cadences, as well as the melodic 
resources. The harmonic levels do not limit themselves to the most common types of 
progressions occurring in the pieces but examine also the chordal structures involved in 
the harmonic sequences. In relation to rhythmic structures, attention would be paid to 
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generative motives and their organisation into definable large rhythmic units and spans. 
Kongo,( 2001) also says that formal structures are better characterised by vocal lines 
whose semantic aspects represent a precious asset for the delimitation of units of 
structure. This process will facilitate the organisation of the pieces into part forms, 
binary or ternary song structures.  
 
Texture will refer here mainly to the nature and number of musical lines combined in 
the pieces submitted to this analysis. In other words, an account will be taken on how 
many voices the composer normally writes for. Thus notwithstanding, textural 
references will be made to the standard monophony, homophony, polyphony, 
heterophony, and contrapuntal musical textures.   
 
Finally, room has also been made within the melodic structure for a relationship 
between the tune and the lyrics, thus the music and the language or words that are 
attached to it, with an incidental attempt of interpretation of their meaning. A summary 
of the analysis will constitute an autonomous chapter as a digest of compositional 
techniques drawn from Tsemafo-Arthur’s musical works, thus characterising his 
musical styles.  
 
  4.1.0. DZIN A ƆYƐ DƐW (A SWEET NAME) 
4.1.1. Background to the Music 
This Hymn anthem was composed and presented as the final project work in June 1992, 
when Tsemafo-Arthur was a final year student at the erstwhile National Academy of 
Music (NAM) Winneba; now the Central Campus of the University of Education, 
Winneba. This anthem was based on the Methodist Hymn Book (MHB 99); Christian 
Asɔr Ndwom (C.A.N. 25). “How Sweet the name of Jesus sounds in a believer’s ear)”.  
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As a music student who had freshly gone through formal training in basically Western 
style of music harmonic structures and compositional techniques, Tsemafo-Arthur 
based the formal and harmonic structures of this composition on Western musical 
principles and structured it after F.W. Peace’s “And I saw a New Heaven” anthem. He 
imitated the structural framework or the formal structure of that music using some 
features such as beginning with a solo, continuing with a semi-chorus etc. Tsemafo-
Arthur’s imitation of this anthem was only in form. 
 
4.1.2. Detail Analysis 
4.1.2.1 Melody 
Considering the melody of this hymn-anthem critically, one can hardly talk of a 
specific melodic pattern which runs through from the beginning to the end of the 
music; rather in view of the separate individual melodies set to each of the stanzas of 
the hymn, it can be said to be a through-composed with all the melodies being modified 
derivatives of the melody of the original tune to the hymn.  
The opening melody which is sung by the soprano solo comprises three phrases with 
the first two phrases forming the antecedent and the third, the consequent.   
 
 
 
 
 
                                                                            Fig 1 
The first eleven (11) bars after the organ introduction form the opening melody. The 
 
first phrase begins on an anacrusis on B Flat from bar 4 where the organ introduction 
ends but the phrase itself ends in bar 6(3). The second phrase also starts from bar 8(4) 
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on anacrusis and ends on the third beat of bar 10. In between the two phrases is an 
organ interlude. From the last beat of the eleventh bar begins the consequent phrase 
which ends in bar 15 on the third count in order to satisfy the metrical demand.  
 
 The descending scaly notes in the upper register of the second phrase which is a 
modification of the first phrase are also the exact notes of the first bar of the original 
melody. The melisma there also enforces the Western flavour of the music.  The leaps 
th th rd
of major 6  , perfect 4  and major 3  in the consequent at bars 12 and 13 affirms the 
stresses and lay more emphases on the syllables at where they occur in spite of the 
stress signs.  
 
 
 
                                                                         Fig.2  
The second half of the consequent paints the words in the phrase whiles the perfect 
cadence helps to reassure the listener of the power wielded in the name of Jesus.  
Section A: The melody in the section A (bar 16-25) differs from the introductory 
melody for the solo. It however combines material from the melody for the solo from 
the triplet note on the last beat of bar 19(4) through bar 23 where it ends on a Phrygian 
cadence. This melody has three phrases (bar 16-19, 20-23 and 24 to 25) punctuated 
with imperfect, Phrygian and perfect authentic cadences respectively 
 
                 Phrygian cadence                                    perfect authentic cadence 
                                                      Fig.3                                       
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Section B: This section (bar 26-48) begins with the first three pitches in the first bar of 
the original tune in triple time from bar 26 to 29 with a modification on the notes in bar 
27.   
 
                                                                                 Fig.4  
The section ends with a perfect authentic cadence at bar 44. The postlude which ends in 
 
bar 48 with a perfect cadence also ushers in the next section in the new key of B Flat 
 
major which is the dominant of the tonic E Flat major, after a prelude to the new 
melody which also ends with a perfect authentic cadence and a long pause. 
 
The different melodies to the different stanzas of the hymn-anthem have been done to 
paint the words in the assigned stanzas. The long notes in the melody at bars 84 and 86 
can be considered as short tonic pedals in the dominant key. The section E comes in 
with a rhythmic imitation, of the section B in simple triple time. In this section, the 
serious concern of the composer for the speech and language contour, informs his 
choice of the rhythm, pitches and expression or performance direction. The section 
ends on a perfect cadence at bar 120.  Section G is also full of rhythmic imitation 
notable from bars 143 to 151(1).  
 
 
4.1.2.1.1. Melodic Range /Intervals 
The lowest pitch in the melody is Middle C (C4) located in bar 53(4) – 54 and the 
highest is G octave above the middle C (G5) found in bars 89 and 149 as illustrated in 
fig.5.  
   
                                                                         Fig.5  
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The melodic intervals used in this hymn-anthem are as follows: the widest interval is a 
perfect octave at bar 102, whereas the closest or smallest interval used is minor second. 
In section A the interval of a minor second occurs at 6(1), 9(1), and 10.  
There is also rhythmic imitation with a stepwise melodic intervals (conjunct motion) 
occurring at 69, 71, 73-74, 81-82, 83(4)-88(3), 143-145 Exemplified in fig. 6   
 
  
 
 
 
                                                                                          Fig. 6 
4.1.2.2. Harmony 
Tsemafo-Arthur based this hymn-anthem on the diatonic scale of the E Flat major key. 
The accompaniment introducing the entire music begins with the third inversion of the 
dominant seventh chord which resolves on to the first inversion of the tonic chord. This 
chord also resolves on to the first inversion of the super tonic seventh chord which 
finally resolves on to the flattened seventh of the tonic chord. This chordal arrangement 
gives the feeling of a plagal cadence which is not established but rather immediately 
resolved on to the submediant chord creating an interrupted cadence in bar 2. 
Exemplified in fig. 7 
 
 
 
                                                                       Fig. 7 
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Tsemafo-Arthur employs parallel octaves in the left hand in bar three with the right 
th
hand combining notes for the three upper voices. In the 4  bar, there is the introduction 
 
of a non harmonic tone in the tonic 6/4 chord (A Flat) in the middle part which resolves 
on to a consonant propelling the entire introduction to end with a perfect cadence.   
 
Music being a communication tool, the composer stages a dialogue between the 
soprano solo melody and the accompaniment in which the accompanist re-echoes the 
melody in his/her sections as found in bars 5 to 11. In bar 7, the composer gives the full 
tonic chord to the right hand in arpeggios and employs a turn in the left hand. It is so, 
for the reason that, the preceding chord is a dominant 5/3 chord which is resolving on 
to the tonic 6/4 chord. Therefore the note C, the appoggiatura is serving as a 
preparatory note to resolve on to the chord of progression which also resolves on to the 
submediant root chord with the D serving as a passing note to the tonic chord in root 
position. This arrangement of notes is used for the purposes of embellishment to the 
music at that point. As a strategy to avoid the possible boredom that might arise in 
 
respect to the use of long note on the E Flat at bar 13 to 14, Tsemafo-Arthur uses an 
ascending florid scaly passage to fill in the gap with introduction of non harmonic tones 
at bar 14 to end the section with a perfect authentic cadence in bar 15. 
 
Being a typical African, and composing in a Western style, Tsemafo-Arthur employs 
some African elements like the hemiola which occurs in bar 19(4). From bar 20-23, 
Tsemafo-Arthur apart from the first count 20(1), uses series of inverted chords both for 
beauty and conformation to the tonal inflections of the Akan language as well as to 
establish an African integrity or some Africanness in the composition. The use of the 
Phrygian cadence in bar 23 clearly enhances coherence between the tonal inflection of 
the language and the music. On ending the piece with a perfect cadence the composer 
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deviates a little from the norm. That is he jumps into the use of a 6/4 chord without 
preparation which is a characteristic feature of the common practice in the Western 
th 0
harmonic principles of the 20  century composers.  There are V 9s in bar 20-23. 
 
The harmonic arrangement of section B can be said to be based basically on the 
primary chords I, IV, V with occasional introduction of some secondary and 
diminished chords. Also, the non harmonic tones employed in this section, are 
predominantly used as passing notes or turns. There   is frequent use of passing tones 
and eschapés as they occur in bars 27 to 28 in the soprano part and the accompaniment, 
and bar 29 to 35 in the accompaniment only. Tsemafo-Arthur again uses ascending 
scale from the leading note as an embellishment to the words from bar 38(3) to 40. He 
uses this melismatic device also to reinforce the Western flavour of the composition 
and to sustain the interest of his audience. The scale built on the leading tone from bar 
38(3) to 40 is repeated in the postlude to the section from 43(3) to 45(2) with a 
rd b b
modification of the notes on the 3  count D, E  to A , G in the contrary motion. The 
postlude registers three appoggiaturas from 45(3) to 47(3) through to the perfect 
cadence in 48.  
 
Section C: The introductory passage to the section which serves as the bridge between 
the section and the previous sections makes use of an iambic cell (a combination of 
long and short note durations) i.e. crotchet, dotted crotchet and quaver note durations.  
The composer uses this in the bridge to prepare the audience in anticipation for it.  In 
spite of Tsemafo-Arthur’s innovativeness, his notations in bar 55(1) and 56(1) are quite 
misleading. From the score and the lyrics, those notes are intended to be melismatic but 
the notation defies the standard convention as they are notated to seem as if they were 
triplets. Here it makes the reading difficult since it does not show clear timing or beats. 
The notes on the first beat are beamed to the first note of the second beat, blurring it to 
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seem as if they were triplets. This notwithstanding, the beat is clearly shown in the 
accompaniment. 
 
 The notes from 57(2) to 58(1) are chromatically embellished. In bars 59(3) and 61(3), 
72(3), 84, 86, 101, 105, 108, 111, 119; Tsemafo-Arthur uses suspensions in the soprano 
and tenor parts with the exception of 72 where it is used in the bass part. From bar 84 to 
87 the suspension is found only in the soprano part which is repeated an octave higher 
th
in the accompaniment. While from bar 101, through the afore-stated bars to the 119  
bar, the suspension is again found in the soprano part and doubled in the 
th
accompaniment with the exception of the 119  bar where it is also found in the alto 
part with the introduction of a non harmonic tone to end the section.  
Another harmonic device Tsemafo-Arthur uses is the responsorial technique. In the 
music; there is both lyrical and rhythmic imitation echoing between the sopranos and 
altos as demonstrated in the music from bar 68(2) to 72.   
 
 
 
 
 
                              
  
 
Fig 8 
 
The soprano part imitates or echoes the alto part a perfect fifth higher after repeating 
the last pitch of the alto part at the beginning. The remaining four of the six notes in the 
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motif are repeated a perfect fourth higher, perfect fifth, major third and the last note is 
also imitated a perfect fourth.   
 
Furthermore, he employs multiple rhythmic motifs to create a polyphony in the music 
from bar 73 to 93 between the individual vocal parts with chromatic embellishments. 
To put more life into the music Tsemafo-Arthur uses rhythmic variations-triplets at 
54(2).  Fig. 9 
 
 
 
 
 
 
 
 
 
 
                                                                                  
 
 
 
 
 
Fig. 9 
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Another technique the composer used to ensure activity in the music is rhythmic 
variation between the vocal parts and the accompaniment. This is very evident between 
bars 65and 80. Other devices employed in the music are arpeggiation, solos and duets. 
 
 
 
 
 
 
 
                                      
                                  
                         Rhythmic variation between voice and accompaniment 
Fig.10 
The section F which Tsemafo-Arthur intended to be contrapuntal can be said to be 
more of a fugato than being fugal in nature. That is bars 126(4) to 142.  From bar 143 
to 153 Tsemafo –Arthur creates a dialogue between the female and the male parts of 
  
the music. He mainly operates between the key of E Flat major and its dominant of B
Flat major. Eventhough Tsemfo-Arthur built this composition on the diatonic scale 
which is typically used in Western music, he carefully punctuates the music with 
traditional modes such as the Phrygian in order to maintain some African flavour and to 
ensure coherence between the tonal inflections of the language and the music.  
 
The composer’s use of functional harmony and non harmonic tones which are carefully 
prepared and judiciously resolved is generally exhibited in the analysis of the music. 
The harmonic language conforms to the harmonic principles of “classical” Western 
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tonality that dissonances have to be prepared and resolved. As a result, moments of 
tension characterised by the music are followed by relaxations as exemplified in 
measures 92-96(1), 102(3)-105(1), 107-120 to cite a few.  
 
4.1.2.3. Rhythm and Metre 
The metrical pattern of the music is in two folds- the simple quadruple (4/4) and the 
simple triple (3/4). The rhythmic pulse of the song to a large extent comes from the 
speech and therefore dictated by the text of the song. With the various tunes set to the 
various verses of the song being derivatives of the original tune, has also influenced the 
pitch range and the melodic contour. The composer’s deliberate use of some African 
elements such as the hemiola in 19(4) also helps him to demonstrate his bi-musicality.  
Eventhough the melodic and rhythmic patterns of the song do not fully reflect the 
speech pattern, they maintain the meaning and integrity of the words as exemplified 
from bar 20   to 23, this also affirms the composer’s intension to compose the song in 
the Western idiom. 
 
Rests or silences are employed simply to create variety, allow singers some breathing 
space to gather strength for the various sections and also particularly to decongest the 
music; again to lighten the texture of the song and give it an unobstructed movement. 
The metrical change as well as the concurrent use of multiple rhythms is to generate 
more activity in the music to sustain the interest of the listener. As dictated by the 
choice of compositional techniques such as rhythmic imitation and elongation of notes 
sometimes across the measure to create dislocation of accents is similarly used as one 
of the features of the music. This is exemplified in bar 59(3)-60(3), 61(3)-62(3),84-
85(3) and 86-87(3).   
 
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Tsemafo-Arthur uses the polyrhythmic style to affirm his African identity or the 
African elements of the music. Also, as part of the desire to sustain the interest of the 
listener in the song, Tsemafo-Arthur employs a number of grace notes usually in scaly 
conjunct motion as demonstrated in bars 88 and 154, triplet notes as in 139 to 140, 
arpeggiation as found in 105-106, 144(3,4), 147(3,4) and rhythmic imitations, 68-71 as 
well as tremolos as seen in 154-156.   
 
4.1.2.4. Formal Structure 
The structure of the song is through composed with the form ABCDEFG. The first 15 
bars of the song are performed by a soprano solo voice and an organ accompaniment. 
The solo comes in after a four bar introduction by the organ. Tsemafo-Arthur creates a 
dialogue between the soloist and the accompanist from bar 5 to 11. A semi-chorus 
repeats the text of the first stanza which the soloist performed with a varied tune in 
section A in a homophonic texture.   
 
The full chorus comes in at bar 26 which begin the section B also in homophonic 
texture. Measure 45 to 48, form the concluding part of the section B in the tonic key 
while measure 49 to 50 opens the section C in the dominant key. Measures 45 to 50 can 
therefore be said to form a bridge or transitional phrase which links the B and the C 
sections of the music.  The section D forms a fugato beginning with two parts (soprano 
and alto) from bar 76, tenors and basses join in at bar 79 as the song enters a 
homophonic texture again from bar 89 to 93.  
 
Bars 94 to 97 bridge the section to the next section –E which is spiritedly performed 
between the soprano soloist and the accompanist. An alto soloist joins in softly at 107, 
forming a duet between the soprano and the alto voices and the accompanist on one 
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hand. The section F begins with an interlude which establishes the key in the tonic to 
enable the voice gain a stable and steady entry. In this section, soprano, alto, tenor and 
bass all enter at different points from bar 126, 129, 132, and 135 respectively ; giving a 
serious contrapuntal texture. The concluding section-G starts from bar 143 and ends on 
a perfect cadence at 153. The section is basically homophonic in texture. Bars 154 to 
156 form a codetta to the music. 
 
4.1.2.5. Translation of Song Text 
Lyrics                                                                Translation 
Mbrɛ Jesus Ne dzin dua yɛ dɛw           How sweet the name of Jesus sounds 
Wɔ gyedzinyi asom a !                                  In a believer’s ear 
Otu ne yaw yɛ ne yar edur                              It sooths his sorrows, heals his wounds 
Nà Otu no suro nyina                                     And drives away his fears 
Ɔbɔ Sunsum a oepira esu                             It makes the wounded spirit whole 
Nà ɔdwe akoma a ɔahaw;                              And calms the troubled breast 
Edziban ma sunsum a kɔm dze n’           Its manna to the hungry soul 
Ahomgye ma fonafo                                     And to the weary rest 
Dzinpa botan a motow do,                          Dear name, the rock on which I build 
Me kyɛm na mo sumabew,                           My shield and my hiding place 
M’egyapadze a ɔmmpa da                            My never-failing treasury,  
Adom na ɔahyɛ n’ ma                                     Filled with boundless stores of grace 
Jesus mo guanhwɛfo, mo nua,                        Jesus, my shepherd, my brother, 
Mo Sɔfoe na me Hen, mo wura,                    My priest and my king, my Lord 
Mo nkwa, mo kwan, m’wiei                           My life, my way, my end 
Bra bɛgye m’ayeyi                                         Come and accept my praise 
Mo mbɔdzenbɔ ɔyɛ mberɛw                            Weak is the effort of my heart 
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M’akoma yɛ wɔɔwɔw;                                    And cold my warmest thought 
Na bèr a m’bohu W’ dɛ mbrɛ Ɔwo tse n’,     But when I see Thee as Thou art  
M’beyi  W’ayɛw dɛ mbrɛ ɔsɛ                         I’ll praise Thee as I ought. 
Kɛpem  da n’ na m’bɛkã wo dɔ n’ ,               Till then I would Thy love proclaim 
Medze nkwahwea tsiabaa ‘i;                         With every fleeting breadth;   
Na ma wo sanku dzin dɛɛdɛw n’                    And may the music of Thy name 
Ɔnhom me kra wɔ wum’.                              Refresh my soul in death 
Amen!                                                                Amen! 
 
4.1.2.6. Interpretation of Song Text 
Dzin a ɔyɛ dɛw; (a sweet name). It is common knowledge that a name becomes so 
sweet in one’s ear when one can be assured of a certain kindness to be derived from the 
one who bears that name. Obviously no one fancies hearing the name of his/her enemy 
rather the name of a lover. The same meaning is conveyed here to all who believe in 
Jesus’ name; the Christian for that matter.  The phrase serves as a reminder to the 
Christian in times of difficulties. Because The Christian journey is tortuous, full of ups 
and downs; and a militant one. Sometimes it becomes so tortuous that there is the 
possibility of one losing his/her faith and going wayward; that is when the possibility of 
drifting from the faith becomes high. Tsemafo-Arthur chooses this phrase to encourage 
the Christian who is passing through trials; temptations and tribulations to gain 
courage, to persevere and endure a little more in the Lord for there is light at the end of 
the tunnel. He will surely grant a smiling face behind a frown; again, He is His own 
interpreter and He will make it plain (M.H.B.503).  
 
Also in the reassurance process, the believer is reminded of the capabilities of Jesus 
Christ. These are recounted in the text as follows: Ɔbɔ Sunsum a oepira esu, He makes 
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the wounded spirit whole; Nà ɔdwe akoma a ɔahaw; And he calms the troubled breast; 
Edziban ma sunsum a kɔm dze n’; it is manna to the hungry soul; Ahomgye ma fonafo; 
and to the weary rest. These words are soothing enough to get the Christian militant 
convinced and reassured to fight on and never give up. Whatever one’s difficulties or 
whatever a believer might be going through, s/he is to realise that Jesus is the 
impossible possible Lord who should the believer’s last hope be banked on, without 
whom one can never surmount the problems. By trusting in him, all things would be 
possible.    
 
The believer who is able to maintain his/her trust in the Lord no matter the 
circumstance and feels reassured is able to call Jesus as his/her,  guanhwɛfo , shepherd, 
because he would protect him/her against the wiles of the devil;  nua; his/her brother 
because s/he can trust him; nyɛnko; friend  because he would be his/her companion in 
times of difficulty; his Nkɔnhyɛyi; prophet because he would reveal unto him/her the 
things that are hidden, grant him/her spiritual insight, guide him/her through the 
mysteries, sɔfoe; Priest because he would be his/her spiritual leader and direct him/her 
on to the right path, guide him/her on the will of God, perform the necessary sacrifices 
to bring deliverance to him/her, and ɔhen; King because s/he is believing him to take 
absolute control of his/her life and to rule him/her, his/her owura; Lord because he is 
now the one who decides his/her fate as a believer,   his/her ɔkwan; way because as a 
believer, s/he is trusting him to lead him/her on the path of righteousness and 
eventually to salvation –as recorded in John 14:6, Jesus told him, "I am the way, the 
truth, and the life. No one can come to the Father except through me”. 
 
 Having fully entrusted his/her will in the Lord Jesus the Christ, one is able to refer to 
Him as his/her end because the believer now knows without Jesus the Christ, life is 
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meaningless. He is the last resort. He confidently asks Jesus to accept the praise s/he 
brings. It is normal and cultural to show appreciation to one’s benefactor after being a 
beneficiary of his/her benevolence. 
 
But in all these the believer must acknowledge his/her weaknesses as human and as 
such seek the support and acceptance of his/her benefactor. So the composer says me 
mbɔdzenbɔ yɛ mberɛw, weak is the effort of my heart, ... ber a mbɔ hu W’ dɛ mbrɛ wo 
tse n’  m’beyi  w’ ayɛw dɛ mbrɛ ɔsɛ,  Till then I see thee as Thou art , I’ll praise Thee as 
I ought. We need to praise the Lord in a certain way as believers but for our 
weaknesses, we are unable to do that until we get to know how and who he really is 
before we can do that. And even if we are unable to do that till our last breath, let his 
love refresh our souls in death. 
 
4.1.2.7. Cadential Points 
Cadential points are musical punctuations occurring at the ends of motifs, phrases, 
sentences and passages. They may be inconclusive, leaving the listener the impression 
to expect more, or may sound final or conclusive, indicating to the listener that the 
music is ended. The cadence also serves as a breathing point for both the singer and/or 
the instrumentalist.  
 
In this music, the cadences Tsemafo-Arthur uses are the perfect, the imperfect, modal 
(Phrygian and Aeolian) and the interrupted.  This is how they are distributed across the 
music. The perfect cadence occurs at the end of the organ introduction in bar 4. It is 
repeated in bar 15 to mark the end of the solo part. Other places where the perfect 
cadences are located in the music include bars 25, 37, 38,44,48,50, 64, 65 68, 75, 83, 
93,119,122, 124, 126,135,138, 153, and 156. An imperfect cadence is found in bars 19, 
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54, 100, 105, 111, with a Phrygian cadence in bar 23 and 151.There is an interrupted 
cadence at 74 whereas Aeolian cadence found in bar 57.  
 
4.1.2.8. Text and Tune Relationship 
Starting from the vocal part, Tsemafo-Arthur begins his tune following the language 
contour. He however digresses shortly after. The first three notes reflected the speech 
pattern of (Mbrɛ Jesus) but the remaining part of the melody in that phrase deviated 
from the speech pattern. See fig. 11. 
 
 
 
 
 
 
 
Fig. 11 
 
The notes set to (wɔ gyedzinyi) without the melisma can be said to be in line with the 
speech pattern but not in the (asom a).The tune from bar12 to the end of the solo part in 
bar 15, does not reflect the speech pattern with the exception of the bar 15 where the 
spoken language is felt. This again affirms the composer’s deliberate decision to 
compose in a foreign idiom. Similarly, the tune in section A from bar 16 through 25 
can be said to partially reflect the spoken language. On a whole, Tsemafo-Arthur 
deviates from the spoken language to a large extent in this particular composition. He is 
rather more and strictly speech conscious at the contrapuntal part of the section C from 
bar 69 through 75. This is the section one can say the composer was speech-like. 
 
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4.1.2.9. Performance Direction (Dynamics& Tempo markings) 
Most often, composers desire a particular way they expect their music or compositions 
to be performed, that is the loudness or softness level as well as specific or relative 
speeds. As such composers may indicate or imply some of these instructions on the 
scores to guide their performers. With this background, this section examines the 
dynamic and tempo markings in the composition either implicit or explicit to aid how 
the music is expected to be performed.  
 
Tempo: Beside the metronome mark of =60 (60 crotchets per minute), the tempo 
markings found  in this music are Andante (at a walking pace) Rall e dim (gradually 
slowing down and getting softer) a tempo (in time or resume the original speed), 
Allegro (quick), rit (retardation, or gradually slowing  down), Allegretto e staccato 
(fairly quick, and detached), Poco rit. (slightly slower), a tempo rit. (resume the 
original speed but slightly slower), Adagio (slow or at ease) and Poco accel. (a little  
faster).  
 
Dynamic Markings: The dynamic markings in this music include the short ‘hairpin’ 
(>) sign indicating stress on the affected notes, fermata (a long pause, sustain as long as 
possible), f-forte (loud), P-Piano (soft), Crescendo (getting louder), sf-Sforzando 
(stressed or forced, a sudden accent applied to an individual note), con Anima (spirited, 
with deep feeling), Long opposite ‘hairpins’ (open and close), and fortissimo ff (very 
loud/ double loud). 
 
 
 
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4.1.2.10. Texture     
A cursory look at the score of this music gives an assumption of a homophonic texture. 
However a critical study reveals various other textures which the individual sections 
present. The organ introduction presents a homophonic texture. The soprano solo then 
comes in with a monophonic texture with the organ punctuating. 
 
 Section A through the first part of section C that is bars 16 to 54 is purely homophonic 
in nature. A polyphonic texture is registered from bar 55 to 75. Section D begins a 
contrapuntal texture from bar 76 through 93 where the organ reintroduces a 
homophonic texture again to bar 124. Strictly speaking however, the texture of the 
music from bar 98 to121 is polyphonic. The song gets highly contrapuntal from 125 
through to the end of the piece. The contrapuntal devices such as the rhythmic 
imitations, and echoes the composer introduced in the song reinforces the contrapuntal 
texture. The Amen coda presents the final homophonic texture in the music.       
 
 
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4.2.0. CHRISTIAN KA MO DO (CHRISTIAN FOLLOW ME) C.A.N.F.157 
4.2.1. Background to the Composition 
This is one of Tsemafo-Arthur’s compositions in the category of hymn-anthems 
composed in 2013.It also forms part of the category of church music per the 
categorisations in this work.  This hymn-anthem combines traditional African and 
Western elements. Though it is an arrangement of a hymn, Tsemafo-Arthur prefers it to 
be performed in free style or rhythm and in a typical Ebibindwom form.  
 
Free rhythm is a general term used to refer to music without metrical organization, a 
rhythm of music without metre, or the rhythm of music without pulse (Clayton, 1996) 
other terminologies used to express the same thing include unmetred, unmeasured, 
ametrical or amensural music, 'flowing rhythm' (Frigyesi, 1993) and free meter' 
(Tolbert, 1988). Here eventhough the music is metred, the composer expects the 
performer to ignore the metrical system and perform as if there were no metrical 
arrangement. This also means granting the performer the flexibility to decide on a pulse 
as appropriate as well as the rhythmic interpretation that would suit the intended 
message to be communicated. This he has clearly indicated on the very beginning of 
the score.  
 
Tsemafo-Arthur’s inspiration to compose this anthem stems from his desire to 
reciprocate a kind gesture he received from Madam Joyce Aryee of the Salt and Light 
Ministry when she honoured him at the National theatre after organising for the 
Harmonious Chorale and other choirs to perform his music compositions and also 
adjudging him one of the best religious choral music composers Ghana has ever had 
during the Ghana at 50 celebration.  As a reciprocatory gesture, he dedicated the song 
to her.  
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The message this hymn-Anthem conveys is a clarion call to all who profess 
Christianity. This hymn which is based on Matthew 4:18-20 and Mark 1:16-18 was 
originally composed by Mrs. Frances Alexander who lived between 1823 and 1895. 
According to Anderson, (2002), Frances composed this hymn to compliment her 
th
husband’s sermon to be preached on Sunday the 30  of November, 1852, the day set 
aside to commemorate the calling of Andrews by Jesus as noted in the above quoted 
scripture, known as the St Andrews Day.    
 
In this hymn Jesus called his disciples and assigned them to duty. The disciples though 
basically fishermen, could hear Jesus call them and responded accordingly. In spite of 
the tidal waves of the roaring sea, they could still hear Jesus’ voice and responded 
swiftly to the call. When Jesus said “follow me”, they heard it a sweet voice. In his 
usual evangelical business, Tsemafo-Arthur re-evangelises his audience especially the 
Christian on his/her calling and how s/he suppose to respond or react to it. In this way 
he also admonishes equally the unbeliever to make time to listen to the voice of Jesus 
calling irrespective of the life situation they may find themselves in, just making the 
voice of Jesus sound sweet in their ears day in and day out. 
 
Tsemafo-Arthur uses the  anthem to remind the believer and the unbeliever alike that 
when the apostles of old heard the voice of Jesus, they left their houses and jobs, in fact 
they left their all and that is why they could find Jesus’ voice so sweet sounding day by 
day. To the believer he exhorts to make his calling a priority above all things aiming at 
pleasing the Lord; and to the prospective believer, he has to be ready to forgo all life 
essentials and pleasures in order to please his/her maker.  
 
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Answering to the call entangled with life activities such as the desire for the pursuit of 
worldly riches, pleasures and acquisition of property would not make one ready enough 
to meet his maker. One’s concentration and focus should be first to please the Lord his 
maker before any other thing.  For the good book says “seek ye first the Kingdom of 
Heaven and its Righteousness and all other things shall be added unto you” Matthew 
6:33.This composition having been couched in the Ebibindwom style, is in the form of 
a call and response –a solo against chorus. This style of composition chosen helps 
message of the music to be well communicated to the listener.  
 
To remind the believer and to evangelise to the prospective believer, Tsemafo-Arthur 
employs a fugal texture in the middle section where each part sings the words that 
enjoins all to refrain from the worldly pleasures which are all vanity. Ecclesiastes 1:2. 
Jesus himself emphasised this in Matthew 16:26 “what good will it be for a man if he 
gains the whole world, yet forfeits his soul? Or what can a man give in exchange of his 
soul?” When one answers His call, s/he must be ready to forgo all the worldly 
pleasures.  He continues in this texture to the end emphasising the believer’s desire; in 
other words, he impresses on the believer to desire to please the Lord. Seeking God’s 
enablement to hear his call always and to be able to serve him to the core.  
 
4.2.2. Detail Analysis 
4.2.2.1 Melody 
In this composition, considering the composer’s intentions as well, two main melodies 
can be identified with one subordinate melody in sections ‘A’, ‘C’, and ‘B’ respectively 
and purposely for textual variation. The first of the main melodies found in section ‘A’ 
is a twenty bar melody purely in an Ebibindwom style which ends the section with an 
imperfect authentic cadence.  
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Fig. 1 
The second of the main/distinct melodies is also a twenty bar melody which forms the 
section ‘C’ of the music. This is also an Ebibindwom Styled melody but with a 
completely different rhythmic style and approach.    
 
 
 
 
 
    
 
               
 
 
Fig. 2 
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The third and a minor/subordinate melody is the 24 bar hymn styled tune forming the 
section ‘B’.    
 
 
 
 
 
 
 
 
                                                                            
 
Fig. 3 
A careful study of these three melodies reveals the composer’s desire for stylistic 
variations as well as the intention about the extent of communication between the 
performer and the Listener.   
 
It is significant to note that the two Ebibindwom melodies end with an imperfect 
authentic cadence while the hymn styled melody of section ‘B’ ends with a perfect 
authentic cadence. The hymn styled melody in section ‘B’ is considered a subordinate 
one in this analysis because its presence is only re-emphasising the section ‘A’ in a 
different mood. Again in terms of length it does not match the other two Ebibindwom 
melodies and most importantly for the composer’s desire to compose the song in the 
Ebibindwom style. The text used in the earlier melody is used in the ‘B’ section as well, 
simply for emphasis.  
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The antecedent of the melody in section ‘A’ is made up of six independent phrases with 
two independent consequent phrases. 
 
 
 
 
 
 
 
 
 
                                                                       
                                                                                
 
 
Fig. 4 
 
The second main melody in section ‘C’ begins with three antecedent phrases, a 
consequent phrase and ends with further two independent phrases in the antecedent. 
The consequent has two phrases, each of which begins with a call, with the second 
ending the melody with an imperfect authentic cadence. 
 
  
 
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Fig 5 
The arrangement of the melody in section ‘B’ is quite different. It begins with a rising 
sequence. Cells assume a conjunct motion from bar 21 to 26 in the antecedent.   
Fig 6. 
 
 
 
 
 
 
                                                           
                        
Fig 6 
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The consequent phrase begins from bar 33 to 40 which the section from bar 37 to 39 is 
repeated from 41 to 44 to end the consequent and the entire section. However, between 
the antecedent and the consequent, the composer introduces a bridge from bar 27 to 32 
and before the repetition of the consequent; a motif was introduced to enhance a 
smooth repetition of the phrase.   
 
The use of the flattened seventh note of the inverted tonic chord aided the composer in 
the achievement of his African flavour of the melody. The melody really followed the 
tonal inflections of the language. The melody in section ‘B’ may also be described as a 
refrain to the Ebibindwom tune in section ‘A’. The use of the G natural brought about a 
transcient modulation through the key of A Flat major and back to the D Flat major 
key.  Furthermore the melodies apart from the section ‘B’ have been couched to depict 
the various phrases of the Fante language so as to enhance the meaning of the text 
being communicated. Hearing even the melody without words the Fante flavour is felt. 
The melodic range is a compound perfect fourth. The lowest note is D Flat above 
-  
middle C (Dflat 4) and the highest G above treble C. i.e. G5. 
 
4.2.2.2.   Harmony 
The harmonic principles employed in this music conform to that of functional harmony. 
The harmonic devices utilised include “parallelism” which involves consistent use of 
thirds as evidenced in bar 18-19, 62-63, 76, 132, 137, 139, 144-148, in addition to the 
parallel thirds as exemplified in fig.7 
 
 
                                                                           
Fig 7 
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The purpose of this is to confirm the belief that traditional African Music is 
characterised by the use of thirds. Similarly, there is the use of call and response with 
the call section taken by the soprano solo while the full chorus takes the response.    
 
Modulations in the music also go through the conventional related keys. From bar 
1through 94, the music is in the tonic key of D Flat major. Bar 95 through 102, 
modulates to the subdominant key of G Flat Major.  The music returns to the tonic key 
and enters the subdominant key again at bar 111. Tsemafo-Arthur returns the song to 
the tonic key in bar 126. At bar 135, the music enters the leading note key of C Major. 
th
This kind of modulation is also known as the German 6  modulation. It is used to make 
the transition to the tonic key easier for the voice. The music then comes to the tonic 
key at bar 144, moves through the subdominant key at 153, and finally through to the 
end of the score.  
 
th
In section ‘A’, any time the tutti is coming in Tsemafo-Arthur employs the Flattened 7  
Chord of the tonic in either the first or the second inversion position. He also 
judiciously utilises the imperfect and the imperfect authentic cadences to end the 
section. 
 
                          Imperfect cadence                            Imperfect authentic cadence 
         
Fig. 8 
 
th
The use of the flattened 7  tonic chord and the imperfect or the imperfect authentic 
cadence at the end of the section enhances the African traditional flavour of the music. 
That is the Ebibindwom flavour which is typically Ghanaian and a mark of identity of 
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the Methodist church Ghana also confirming Tsemafo-Arthur’s continuous desire to 
always find a way of demonstrating his pride as a Methodist. 
 
 
 
 
                                                                                       
 
Fig. 9 
The music in the section B is characterised, Fig. 9; with block chords also to enhance 
the homophonic texture of the hymn style in the B section.  
Another device Tsemafo-Arthur employs in this composition is chromaticism. He uses 
the chromatics primarily for purposes of embellishment as exemplified in bar 28-30, 
36-38, 40-42, and 97-98 to mention  a few. On a whole, the harmonic principles 
employed in this composition is a hybrid of Western and traditional African. In the 
music the composer uses rising sequences as another harmonic device to lay emphasis 
and to sustain the interest of his audience. This device was employed predominantly in 
the bass as exemplified in the bars 118-121, 128-132, and 137-140. He uses this device 
in a rising conjunct sequential motion with precise rhythmic imitation to accompany 
the other voices.   
 
 
 
 
                                  Rising conjunct sequential motion of bass accompaniment 
                                                                        Fig. 10  
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4.2.2.3. Rhythm and Metre 
The metrical pattern of the music is in compound duple time (6/8) and the general 
rhythmic pulse of the song is influenced by the choice of words. The rhythmic devices 
include rhythmic variety to generate interest in the music. In the music these devices 
were employed in an attempt to achieve a rhythmic pulse that depicts the speech pattern 
of the Fante language.   
 
The use of rhythmic variety in the composition also affirms the belief that African 
music abounds in rhythm. Another device of significance is the employment of silences 
which is used not only to achieve decongestion and lightness of the musical texture but 
also to ensure shifting of accents thereby creating a sense of anacrusis and off-beats as 
stimulated by the language as found in bar 49-54,66-70 and 73-74. Equally, rhythmic 
repetitions in the music are not in isolation. They are influenced by the text. The 
rhythmic repetition in bass as stated above, for example, bar 128-150 serve as an 
accompaniment to the other voices. The music maintains a strict metrical pattern at the 
sections that deviate from the Ebibindwom style whether expressed or not. It is 
however flexible at the sections where the Ebibindwom tunes or melodies are 
introduced. A rather stricter metrical pattern is experienced at the contrapuntal section. 
 
4.2.2.4. Formal Structure 
The structure of this music can be described as a through-composed with a form 
ABCDEF. Each of the sections is completely varied from the other. Section A begins 
with a soprano solo in a typical Ebibindwom style with tutti coming in at two separate 
points in S.A.T.B. The adoption of this style at this point is to enable the audience 
grasp firmly the import of the message being carried across.  The response by the other 
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three parts emphasise Jesus’ calling to mankind and especially the Christian to whom 
he says emphatically “ka mo do”; follow me.  
 
Section B deviates completely from the Ebibindwom style and assume a full hymn 
style. The lyrics or text used in the section A are repeated in this section for emphasis. 
The section though in the tonic major key registers a number of chromatic 
embellishments with cadential repeats as evidenced from bar 37 through 43 ending in a 
perfect authentic cadence in bar 44.   
 
   
 
 
 
 
 
 
Fig. 11      
Another intriguing feature also to note in this section is the use of anticipations and 
suspensions as found in bar 29 to 36 and 43 to 44. 
 
                                                Anticipation                            Suspension 
                                                                                
                                                                                  Fig 12 
Section C bears a new style of Ebibindwom melody completely different from the first 
one in section A. This style is strictly carved to follow the tonal inflections of the Fante 
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language as well as the phrases in the various stanzas of the hymn-purely speech 
pattern.  
 
 Eventhough the tutti appears similar to the section A, there is a variation in the chordal 
arrangements to the cadence marking the ends of the sections. The tutti in bar 62 begins 
with a dominant chord in root position resolving on to the tonic chord in second 
inversion (a 6/4 chord) position which also resolves on to the dominant seventh chord 
in root position with the seventh in the soprano ending the section finally with an 
imperfect authentic cadence to emphasise the Ebibindwom African flavour.  Each of the 
Ebibindwom sections is marked with repeats and flexible timing in free style.   
Section D is another complete variation from the sections discussed above. It does not 
follow any particular pattern or compositional style except the texture. The section is 
introduced to prepare the listener for the contrapuntal section that follows. It may also 
be described as a refrain or an expatiation to the section C. Beside the above the section 
is also introduced to bring variety and heightened interest in the music. It also lays 
more emphasis on the words of the previous stanzas. The section ends on the dominant 
chord in the bar 86.  
 
Section E of this music is a complete fugue from bar 87, starting with the bass voice in 
the tonic key. Sopranos take it from bar 95 in the key of G Flat major which is the 
subdominant of the tonic key.  Altos resume the tonic key of D Flat major when they 
enter at bar 103 repeating the bass notes and rhythm at the beginning of the section.  
Tenors also pick it up from bar 111 in the G Flat major subdominant key through to bar 
117. The section returns to the tonic key from 118 to 125.  
 
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The contrapuntal section is also repeated for emphasis. Following after section E is the 
section F in the tonic D Flat key.  In this section Tsemafo-Arthur does melody and 
accompaniment. Sopranos sing the melody from bar 126 with rest of the parts 
accompanying with ascending rhythmic sequences from bar 128 with repeated phrases 
of text.  From bar 135, tenor takes the melody in the key of C major being the leading 
tone to the tonic key of D Flat major whiles sopranos join the altos and basses in the 
accompaniment. From bar 144, the music returns to the tonic key with alto, tenor and 
bass parts in thirds up to bar 148.  The reappearance of the G Flat key presents the 
texture of a fugato from bar 153 to 180 where the section is concluded in the 
homophonic texture to bar 190.  For emphasis and the composer’s desire to intend the 
music to be evangelical one, he chooses to repeat the song from bar 116 to125 where he 
has indicated fine,  a section which may be described as unusual for such repetition in 
normal compositional practice.  
 
4.2.2.5. Translation of Song Text 
Lyrics                                                                  Translation 
Jesus frɛ hɛn,                                              Jesus calls us 
Sɛ hɛn bra po wor mpo a,                           Even if our lives sea is wild and restless 
Yɛtse ne ndze;                                                We hear his voice 
Ne ndze dɛɛdɛw n’ gyegye daa daa                 Day by day his sweet voice sounds 
Ɔse Christian ka mo do.                               Saying Christian, follow me 
Ne ndze dɛɛdɛw n’ gyegye daa daa               Day by day his sweet voice sounds 
Ɔse Christian ka mo do.                            Saying Christian, follow me. 
Jesus frɛ hɛn, Jesus frɛ hɛn,                   Jesus calls us, Jesus calls us, 
Jesus frɛ hɛn sɛ hɛn bra po                Jesus calls us even over our lives’  
wor mpo a yɛtse ne ndze,                    wild restless sea, we hear his voice 
Ne ndze dɛɛdɛw n’ gyegye daa daa,      Day by day his sweet voice sounds 
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Ɔse Christian ka mo do, ka mo do,      Saying, Christian follow me, follow me, 
Ɔse Christian ka mo do!                     Saying Christian, follow me! 
Tsetse ber do Asomafo n’                 As the Apostles of old  
Tsee wͻ Galilee po do n’                       Heard on the Galilean sea  
Wogyaa ebusua, fie nye edwuma           They left families, houses and work 
Kɛkaa ‘No a wͻdͻ no do.                    And followed him whom they loved 
Jesus frɛ hɛn, Jesus frɛ hɛn,                     Jesus calls us, Jesus calls us                                                       
Dɛ mma yɛnnsom, mma yɛnnsom    That we should not worship 
Wiadze mu ndzɛmba huhuw;                 The vain things of this world 
Ɔhwɛ ndzɛmba a wͻsom hɛn bo a           He looks at the very things we cherish most 
Ɔse Christian dͻ m’ kyɛn hͻn              And says, Christian, love me more than them 
Jesus frɛ hɛn, Christian,                    Jesus calls us, Christian, 
Christian, ka mo do, ka mo do,          Christian follow me, follow me  
Ka mo do, ka mo do, Christian,            Follow me, follow me, Christian,  
Christian, ka mo do.                           Christian, follow me 
Enyigye nye awerɛhow mu,                  In joy and in Sorrow 
Dwumadzi nye ahomgye m’                    In work and in rest 
Ɔda ho frɛ hɛn dɛ yɛndͻ N’                 He still calls us to love him 
Ma ͻnkyɛn adze nyina.                 More  than all. 
Jesus frɛ hɛn, Jesus frɛ hɛn, Jesus frɛ hɛn, Jesus calls us, Jesus calls us, Jesus calls us, 
Jesus frɛ hɛn, Jesus frɛ hɛn, O Agyenkwa   Jesus calls us, Jesus calls us, Oh Saviour 
Yɛsrɛ w’ ma yɛntse wo frɛ n’                   Let us hear your call we beseech you 
Hɛn koma nyɛ setsie mma wo               Our hearts should be obedient to you 
Yɛndͻ w’ nkyɛn adze nyina                           Let us love you more than all things 
 
 
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4.2.2.6. Interpretation of Song Text 
The text in this composition is highly evangelical and demands of the Christian a high 
sense of commitment and devotion to the cause of his/her calling.  Jesus frɛ hɛn, sɛ hɛn 
bra po wor mpo a yɛtse ne ndze – Jesus calls us o’er the tumult of our lives wild restless 
sea, we hear his voice.  Ne ndze dɛɛdɛw n’ gyegye daadaa, Ɔse Christian ka mo do. 
Day by day, his sweet voice sounds, saying, Christian follow me.  In this song the 
evangel composer reminds the Christian that no matter his/her circumstances, the sweet 
voice of Jesus is asking him/her to follow him the Lord and making all things 
secondary. Ɔhwɛ ndzemba a ͻsom hɛn bo a Ɔse Christian dͻ m’ kyɛn hͻn. Jesus looks 
at the very things we cherish most as humans, then he says, Christian, rather love me 
(Jesus) more than all.  
 
As scripture confirms no one can serve two masters (God and money) definitely he 
would love one more than the other. (Matt. 6:24; Luke 16:13). The tendency of loving 
the worldly things more than Christ who is the saviour is high, so himself cautions, 
exhorts and admonishes us to love him more than any other thing so that we can attain 
his gift of salvation. Tsetse ber do asomafo n’, wͻgyaa fie nye edwuma kͻkaa nye a ͻdͻ 
no do. The Apostles of old left their homes and works; in other words, they left their 
property in fact the most valuable things in this life in order to follow Christ effectively 
and to gain salvation.  
 
One must be prepared to leave the world’s most valuable things, the most cherished 
things in this life before they are able to follow Christ with diligence, sincerity of mind 
and be effective in their Christian living.  For his desire to urge the Christian to follow 
diligently after Christ, he emphasises the call phrase (Jesus frɛ hɛn) Jesus calls us, (Ɔse 
Christian ka mo do) saying Christian follow me, follow me, follow me, he says 
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Christian follow me. This is an instruction from the Lord Jesus Christ which cannot be 
violated nor flouted; it must be carried out at all cost. So throughout the composition, 
he sends out the reminder to the listener.  
 
4.2.2.7 Cadences 
The following cadences are conspicuously seen at the following points: bar 19; an 
imperfect authentic cadence is used to make the African flavour of the music stand out. 
There is a perfect authentic cadence at bar 42 to 43. Bar 58 to 60 registers a mixolydian 
modal or an imperfect cadence, an imperfect authentic cadence is found at 62 to 63, an 
imperfect cadence at 76 to 78 and 85 while 124 to 125 has an inverted plagal cadence.   
 
4.2.2.8. Text and Tune Relationship 
In this particular music, Tsemafo-Arthur endears himself so much to the tonal 
inflections of the Fante language. He is felt to be very strict on the speech rhythm and 
the language contour throughout the music with the exception of the homophonic 
sections where he appears flexible on the speech rhythm and tonal inflections. At the 
Ebibindwom call and response sections as well as the contrapuntal sections (i.e. the 
fugal and the fugato sections) he follows strictly the dictates of the language. 
 
4.2.2.9. Performance Direction 
Tsemafo-Arthur uses both expressed and unexpressed performance directions. The 
expressed is where the needed direction whether tempo or dynamic mark is clearly 
written on the score. The unexpressed is therefore the tempo or dynamic makings that 
are implied in the way the music is written. E.g. the use of sequences to indicate a 
dynamic level. At the very beginning of the score, Tsemafo-Arthur has written a 
metronome mark= 85, which is interpreted as 85 (dotted crotchets) to be sung in 
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a minute. In the section B where he goes typical chordal and homophonic in texture, he 
prefers this to be done in strict time.   
 
He again uses rhythmic sequences and lyrical repetitions to indicate dynamic levels in 
the song. Repetition signs are found at the beginning and end of sections A, C, D and E.  
Besides using rhythmic sequences and lyrical repetitions to indicate dynamic levels, he 
puts desired dynamic marks at the beginning of specific sections. eg. (p) piano 
instructing the performer to be soft at the beginning of section D, bar 65 to 66, (mp ) 
Mezzo piano informing the choir to sing moderately soft at the section; from 67 to 68, 
he writes (mf )  Mezzo forte indicating to the performing choir to sing moderately loud; 
from 69 through 86 and the fugal sections he prefers a loud sound so he puts (f) 
meaning that portion of the section is to be performed loudly from 87 through 190.  
 
This is indicated at all places (bar 95, 103, and 111) where sopranos, altos and tenors 
enter respectively. In section F where he employs melody and accompaniment, the part 
doing the melody sings at f whereas the accompanying voices sing at mf. This 
arrangement makes the melody stands out and the accompanying voices are heard as 
providing a useful background to support the part doing the melody.   
 
4.2.2.10 Texture 
Tsemafo-Arthur employs a number of musical textures to create interest in this 
composition and also to sustain the interest of the listener-thus to clear boredom in the 
music. The following textures are identified in the song: section A presents a typical 
Ebibindwom texture which depicts a typical Methodist Church Ghana identity and an 
African way of singing where call and response is demonstrated and with the 
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introduction of the imperfect authentic cadence, the African flavour of the song is 
robustly felt.  
 
Section B presents a homophonic texture of a typical hymn, reminding the listener that 
eventhough an Ebibindwom was heard earlier it is a hymn being rendered. The 
composer introduces a variation of Ebibindwom in the section C demonstrating the 
variations that exist in Ebibindwom musical type in style and performance.  In section 
D the composer employs rhythmic ascending sequential repetitions to generate and 
sustain the interest in the music and to enhance the listening pleasure of the audience 
for effective communication.  
 
This section also serves as a preparatory section to the introduction of the fugue in the 
next section. Section E gives a very typical contrapuntal texture. In this Tsemafo-
Arthur heightens the level of activity making the section more fugal and may even be 
described as the development of the music and the climax of the entire composition. 
Descending from the climax, the composer gradually reduces the vigorous nature of 
activity in the music from fugal to fugato in the section F where he ends the section in a 
homophonic texture again.  
 
 
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4.3.0. GHANA MPONTU (DEVELOPMENT OF GHANA) 
4.3.1. Background to the Composition 
Ghana Mpontu is one of Tsemafo’s patriotic compositions. He was commissioned to 
compose it as an optional song for the Central Regional Second Cycle Schools during 
the celebration of the festival of arts and culture. The Winneba Senior High school 
which emerged winners of the 2010 Regional competitions was the first to perform it as 
their optional song at the National festival of the 2010 Arts and Culture. He dedicated 
this song to one Joyce Arthur, a student of the Winneba Senior High School. According 
to Tsemafo-Arthur, her melodious voice with an Ebibindwom rendition thrilled him so 
much that he could not help than to compose this anthem in the Ebibindwom style to 
enable him see her perform. This song was composed to promote nation building and 
urge all to be tolerant and accommodating towards one another, while encouraging all 
to embrace environmental cleanliness to enhance a healthy national development. 
 
4.3.2. 0. Detail Analysis 
4.3.2.1 Melody 
In this composition, Tsemafo-Arthur combines a number of melodies to convey his 
ideas to the listener. In all, seven melodies can be identified in the various sections. 
Melody 1 is found from bar 1 to the first beat of bar 48; the second beat of bar 48 
marks the beginning of melody 2 which ends in bar 63. Melody 3 is identified in 
between bars 64 and 73 while melody 4 is found in bar 74 to 86. Melody 5 is seen from 
th
second beat of bar 86 to 100. The melody in bar 101 to 125 is the 6  and a modification 
of the melody 4. The final melody is found from bar 126 to 148.  
 
Melody 1 is made up of 17 phrases which are punctuated with a number of silences 
whereas the end is marked by an imperfect authentic cadence. Melody 2 also comprises 
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of seven phrases and ends on a perfect cadence. Melody 3 has six phrases; melody 4 
has eight phrases, seven phrases are there in the melody 5, ten phrases in melody six 
and twelve phrases in the seventh melody. Most of the phrases are indicated with rest 
signs in the music while commas and other punctuation marks in the lyrics are used to 
indicate the others.   
 
 
 
 
 
 
 
 
 
 
                                                              
 
 
 
 
 
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Fig.1 
4.3.2.1.1. Melodic Range 
The dominant melodic intervals found in the music are perfect unisons, major seconds 
and thirds, occasional perfect fourths, fifths and octaves. The melodic range of this 
music is compound major sixth. The highest pitch in the melody is G5 whereas the 
lowest is the B flat 3 below Middle C found in bars 129 and 10, 12, 15 etc respectively. 
                       
                                                                                                       
Fig 2 
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Among the melodic devices used in this music are grace notes or acciaccaturas, and 
close intervals to achieve the speech rhythm and the language intonation. Fewer leaps 
at octaves are used to indicate indefinite pitches where necessary.  
 
In this composition Tsemafo-Arthur basically used short motifs to enable him follow 
strictly the language contour and to depict the tonal inflections of the Fante language. 
Another device that helped him to achieve a typical African flavour is the use of the 
Ebibindwom style of singing. He adopts the cantor chorus performance style of the 
Ebibindwom music to enhance communication with his listeners. The use of the 
imperfect authentic cadence with the flattened seventh of the tonic chord reinforces the 
Ebibindwom texture and the African flavour. The cantor sings Sprechstimme to make a 
very great impact on his/her audience. The soloist may also do a recitative so 
affectionately to bring out the message being communicated across to the audience. 
 
4.3.2.2. Harmony  
The harmonic principles applied in this composition also conform to that of tonal 
harmony or functional harmony.  The harmonic devices used in this music include 
chordal repetitions as seen in bars 13, 15, 19, 22, 31, 107, 108, 110 and 127 to 
punctuate the solo work and also to break boredom as well as to keep the chorus active 
in the performance.                
 
 
 
 
 
 
                                                                                Fig 3 
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From bar 107 to 127 the note distribution among the parts differs from that of bars 
13to31 eventhough it is the same tonic chord being used. Here the composer gives the 
soprano notes to tenor and tenor notes to soprano ostensibly to kill boredom and to 
sustain interest in the music.  Other devices include suspensions as noticeable from bars 
44 to 45 and 82 to 83 of the harmony, anticipation as found in bars 85 and 86. 
Similarly, in addition, to the principle applied above, the section can also be described 
as call and response or cantor chorus where the full chorus respond to the call of the 
soloist at various points in the music.  
 
Tsemafo-Arthur did not make use of any clear modulations except some occasional 
chromatics which are best described as embellishments. The commonest chromatic 
note in the music is A Flat whenever it appears as a seventh to the tonic chord. The 
whole harmony of this music can be said to be based on primary chords with a few 
introduction of secondary chords. The most featured secondary chords include the 
o
supertonic and the submediant and a few V 9s chords.   
 
4.3.2.3. Rhythm and Metre 
The metre for this composition is in a compound duple time and in 6/8 rhythm. Though 
the rhythm is 6/8 the pulse of the music is dictated by the emotions of the cantor to the 
group. This notwithstanding, the rhythm again is influenced by the choice of words and 
the language contour as it follows the speech rhythm. Comparatively, his rhythm and 
metrical arrangements in this particular composition can be considered to be one of the 
easiest, he however uses octaves especially in the solo part to express most of the 
indefinite pitches.  
 
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Another significant feature about this music as far as rhythm and metre are concerned is 
the use of fewer off-beat rhythms and minimised syncopations, which are very usual of 
his compositions. In this music, Tsemafo-Arthur’s rhythm does not change as is very 
usual of him. He maintains one rhythm and metrical arrangement from the beginning 
through to the end of the composition. He also uses a lot of silences to lighten the 
texture and to decongest the music. The use of chordal punctuations keeps the chorus 
active and spice up the solo work as well as establishing the Ebibindwom performance 
flavour. In addition, to create interest in the music is the different ways in which notes 
of the chord are distributed among the parts eventhough it is the same chord.  
 
4.3.2.4 .Formal Structure 
The form and structure of this music is through-composed with the form ABCDEFE. 
Section A is basically a solo work in an Ebibindwom style which is punctuated with the 
tonic chord. It is in the key of B Flat major. The section A starts from bar 1 to the first 
7
beat of bar 48 with an imperfect authentic cadence. The upward resolution of the V  
chord reinforces the African flavour and particularly the Ebibindwom effect. 
 
Section ‘B’ continues immediately after the ‘A’ in a homophonic texture to bar 63. This 
section also registers a number of melismatic rhythms and acciaccaturas. Section ‘C’ 
from bar 64 is styled like the section ‘A’. It is a dialogue between the soloist and the 
chorus up to bar 70. From bar 71 to 75 it becomes a statement and a complement 
between female and male voices.  From bar 76 to 78, comes in a short homophony, 
then the cantor chorus continues from 79 to 86. Bar 87 to 125 marks the section D with 
traces of the section ‘A’. The most significant feature of similarity between the two 
sections is the fact that both end with the same cadence. 
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 Section ‘E’ starts from bar 126 and ends at 148. It is the only section in the music 
which is repeated. This is the section where the composer strongly affirms his desire to 
see the nation changed for the better. So he repeats severally, let us change our attitudes 
for the nation is ours. He also uses the same section as the concluding section to the 
anthem. Bar 149 to 180 form the last section ‘F’ with a contrapuntal texture. In this 
section, Tsemafo-Arthur uses this harmonic device to emphasise on the phrase sesa 
wosu, na yɛ ahotsew, gyae efifidze yi literally, change your attitude, and be neat, stop 
doing the dirty things. Simply change your attitude and also be concerned with good 
sanitation. This he does to drum home the message being carried across to encourage 
the Ghanaian to work towards the progress and development of the country. He 
strongly advocate the development of the spirit of patriotism in all citizens of Africa 
and Ghana for that matter if Ghanaians surely believe they are the first-borns and the 
star of Africa. 
 
4.3.2.5. Translation of Song Text 
Lyrics                                                                     Translation 
Ghanaman  e                                                        The nation Ghana! 
Ebibiman Ghanaman, na yɛre no  dɛn nye’i,      Ghana, an African nation, what are 
we doing 
Ekunyin  bebree agye ͻman yi esi hͻ atse                        Many patriots have worked for the 
survival of this nation 
Hwɛ okunyin Aggrey                                                        Look at Dr Aggrey 
Chorus: Ampa                                                                  Chorus: It’s true 
George Ekem Ferguson                                                   George Ekem Ferguson 
Chorus: Ampa ara                                                           Chorus: It’s very true 
Kwame Nkrumah so ka ho                                               Kwame Nkrumah is also part  
J.B. Dankwah                                                                   J.B. Dancquah 
Chorus: Ampa                                                                  Chorus: It’s true 
Paa Grant na Abrefa Busia                                              Paa Grant and Abrefa Busia 
Chorus: Ampa ara                                                           Chorus: It’s very true 
Ekunyin bebree na wͻgyee Ɔman yi                                Many patriots contributed to save 
this nation 
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Wͻpɛ Ɔman yi ne kan kͻ ntsi                                            It’s because they wanted the 
progress of this nation  
wͻyɛɛ ahofama ankasa dze adwen na nyansa                  They became committed in thought 
and wisdom 
Chorus: Ampa                                                                  Chorus: It’s true 
Wokyii fifir pii na wͻtseetsee hͻn ankasa,                       They sweated a lot and were really 
humiliated 
Ebinom mpo dedaa efiadze wͻ Ɔman yi ntsi                   Even some were imprisoned for the 
sake of this nation 
Nyew o, emi na ͻwo so yɛreyɛ dɛn aboa Ɔman yi a       Indeed, I and you what are we doing 
to help this nation 
 Ɔman Ghana e                                                                The nation Ghana 
Aka ekyir mba rohwɛ hɛn abrabͻ yi m’                            Posterity is looking up to us in this 
life 
Ntsi hom mma yɛndodͻ hɛn ho                                         So let us love ourselves therefore 
Yɛngyaa pɛsamenko minya                                               Let’s stop being selfish 
Ewisɛm, na ewurukadze yi hom mma yɛngyaa                 Let’s stop robbery and all vices 
Koraa, koraa, koraa nyansa wuradan yi,                        Totally, totally, totally, and 
treachery 
Sesa, hom mma yɛnsesa                                                   Change! let us change 
Yentua ase koraa                                                              Let us eradicate them completely 
Hom mma yɛnka                                                               Let us be frank about it 
Awar mu mpo hom mma yɛnka, yeyiyi mu                       Even in marriage let’s be frank, we 
discriminate 
Yɛnka Mfantsefo mmpɛ Awonafo awar                            Let’s be frank, Fantes hate marriage 
with the Ewes 
Chorus: Dɛn ntsi a                                                           Chorus: Why? 
Na Asantenyi mmpɛ Awonanyi nyɛnko                            An Asante also detest friendship 
with the Ewe 
Chorus: Ɔyɛ nokwar                                                        Chorus: That is true 
Dɛm mpaapaa mu yi ͻnnyɛ, omuo,                      These discriminations are 
disgusting, appalling            
ͻnnyɛ, omuo, ͻnnyɛ, omuo koraa                               Disgusting, appalling, disgusting, 
not good at all 
Hom mma yɛnhwɛ yie                                                     Let’s be careful,  
Na yɛreyɛ dɛn aboa ͻman yi a                                         What are we doing to help this 
nation 
Ebibiman Ghana e                                                           African nation, Ghana e! 
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Ɔman yi ne kan kͻ gyina hɛn do.                                     The progress of this nation depends 
on us 
Nyew o, Ghanaman mba                                                  Yes, indeed, Ghanaian citizens,   
hom mma yɛnkae dɛ yɛyɛ ͻman kor                                 Let us remember that we are one 
nation 
Obi nnse dɛ                                                                       Let not anybody say 
Meyɛ Awonanyi memmpɛ                                                 I’m an Ewe, I don’t like,  
Asantenyi biara nsɛ hom atse                                          Any Asante is that clear?                    
Anaa meyɛ Asantenyi ntsi meyɛ ͻdehye mãpã                 Or I’m an Asante so I’m a true royal 
Dɛm mpaapaa mu yi resɛɛ hɛn man yi,                            These discriminations are tearing 
our nation apart 
 Meserɛ hom                                                                     I beg of you  
Mfantsefo mbu  Dagartifo                                                Let Fantes respect the Dagares 
Chorus: Ampa                                                                  Chorus: It is true 
Nzemafo ka ho,                                                                 Nzemas are part 
Chorus: Ampa ara                                                           Chorus: It is very true 
Wasafo so ka ho ankasa                                                   The Wasa people are also very 
inclusive 
Chorus: Ampa                                                                  Chorus: It is true 
Ɔnnsor Kwawunyi anaa Nkranyi biara                           The Kwawu man and the Ga man 
are not different 
Nhwɛ Asͻr asͻr biara ndodͻ hͻn ho                                Look, let all religions love 
themselves 
Meka mekyerɛ hom                                                           I tell you 
Nyame N’ara na Onyim akoma ‘i mu a                           Only God himself know this heart 
Ɔman Ghana e ,                                                               Nation Ghana!  
Asͻr nyina nyɛ kor wͻ ͻman yi m’                                   Let all religions be one in this nation 
Ghanaman, Ghanaman, Ghanaman                                Nation Ghana! Nation Ghana! 
Nation Ghana! 
Hom mma yɛnsesa hɛn suban,                                          Let us change our attitudes  
Na yɛnyɛ dza Ɔman yi bͻkͻ do                                     And do what will bring about 
progress in this country 
Yɛnyɛ dza Ɔman yi bͻkͻ do,                                             Let’s do what will make this nation 
progress 
Yɛnyɛ dza Ɔman yi bͻkͻ do                                              Let’s do what will make this nation 
progress 
Ebibiman mu abakan,                                                      Africa’s first-born,  
Hom mma, hom mma yɛnyɛ kor,                                       Let us! Let us unite 
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Ma Ɔman yi nyɛ ͻkrabͻkͻhwɛ,                                         To make this nation a sight to 
behold, 
Ɔkrabͻkͻhwɛ, ͻkrabͻkͻhwɛ                                             A sight to behold, a sight to behold 
hom mma yɛnsesa,  yɛnsesa koraa.                                  Let us change, let’s change 
completely 
Sesa wosu na yɛ ahotsew                                                 Change your attitude and be neat 
Gyae efifidze yi                                                                Stop indiscriminate littering 
Na hyɛ atar papa, yi fi akwa koraa                                  Dress properly, eschew filthiness 
entirely 
Mma nngyaagyaa fi biara, yɛ ahotsew mãpã,                Don’t litter a around, practice total 
hygiene 
Siesie wo ho na bu panyin, abofra biara                    All youth should always dress well, 
respect the elderly. 
 
4.3.2.6. Interpretation of Song Text 
Tsemafo-Arthur calls on all Ghanaians and Africans in general and asks the way 
forward to development and progress in our part of the world.   He reminds his 
audience of the contributions made by their fellow compatriots who have gone ahead in 
the past. The former leaders have contributed their quota he remarks; what are those of 
today doing for posterity to emulate and continue. He then points out some of the issues 
that would not promote social cohesion but rather bring about divisiness, tension, 
anarchy, and sometimes bring us a lot of set backs.  Antagonism between tribes, a tribe 
or an ethnic group feeling superior to the other, discrimination against ethnic groups or  
races among others. This, Tsemafo-Arthur continues with admonitions to the citizenery 
and the youth in particular. He advises against moral decadence, disregard for the 
elderly, inappropriate way of dressing, inpolite speech, insanity among others. He 
advocates a change of mind and attitude, self discipline, self control, commitment, 
devotion, voluntarism, dedication and patriotism which to him constitute the vehicle to 
the development and progress as well as addressing the polarisation issues of a nation 
of which Ghana is not an exception.  
 
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4.3.2.7. Cadential Points 
A number of cadences were used for a number of reasons most of which he did simply 
to achieve the Africanism in the music. The first cadential point in this music is an 
imperfect authentic cadence which is encountered in bar 13. Bars 15, 19 and 31 as well 
as bars 51to 52 also register an imperfect authentic cadence. Going forward, from bar 
47 to 48, and 85 to 86 also indicate an imperfect authentic cadence. A perfect authentic 
cadence is found in bars 21, 107,108 and 110. There is a perfect cadence from bar 61 to 
63 and an imperfect cadence in bar 76 and from 124 to 125.  
 
4.3.2.8. Text and Tune Relationship 
Holistically speaking, Tsemafo-Arthur, a Fante by birth, couched his melody to follow 
after and fit into the speech pattern of the  Fante people. His choice of pitches and  
intervals between the pitches, phrasing, harmonic and melodic rhythms were so 
carefuly done in order to follow the tonal inflections of the Fante language. In fact one 
can hardly find a single phrase that goes contrary to the speech rhythm. 
 
4.3.2.9. Performance Direction  
Tsemafo-Arthur is not very elaborate on how this music has to be performed. He uses 
virtually an unexpressed form of the performance direction. At the very beginning he 
states in free style, at bar 95 he indicates spoken, and slower at 103. Any other direction 
regarding performance that is, relating to dynamics and tempo are left to the discretion 
of the performer. It is expected that the performer will interpret and paint the words in 
the music as they appear. That is words in sequential order either ascending or 
descending will be painted as such with varying degrees of loudness or softness, 
specific cadential points to determine the tempo of the music and possibly the rhythm 
as appropriate to bring out the meaning and the needed impact to the listener.  
 
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4.3.2.10. Texture 
The composer presents three main textures. There is the call and response in a typical 
Ebibindwom performance style. This is noticed from bar 1 through to bar 48. Bar 49 to 
86 presents a homophonic texture. The Ebibindwom call and response texture 
resurfaces from bar 87 to 119, 120 to 148  also features a homophonic texture.  The 
third texture starts from 149 to 180,is a Contrapuntal texture. Sopranos begin up to bar 
156. Altos join in from bar 157 to 164, tenors and basses come at 165 and 173, 
rspectively.  Tsemafo-Arthur uses a hybrity of  Western and African harmonic 
principles to achieve his purpose of enhancing the various flavours of music at various 
sections.    
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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4.4.0. NWABA NKWAN  (SNAIL SOUP) 
4.4.1. Background to the Composition 
Nwaba nkwan is one of the philosophical songs composed in 1981 by James Kofi 
Tsemafo-Arthur. It is written in the key of B flat major and one of his shortest 
compositions. In this composition, Tsemafo-Arthur uses the imagery of the snail soup. 
He indicates what makes a good snail soup , the ingredients needed to make it tasty. He 
further prompts the listener that if the soup is well prepared its eaters are voluntarily 
invited. 
 
 Historically, Tsemafo-Arthur indicates that during his school days in 1960s, he was 
taught a poem and a folk tune which used the same text.  He became even more 
enthrawlled and inspired when he heard Alfred Entsua Mensah’s  composition with the 
same lyrics.  After satisfying his curiousity by enjoying his wife’s snail soup, 
juxtaposed with the popular sayings of the society  “Woana na ɔmpɛ nwaba” usually to 
mean who does not like  something quality, coupled with his personal experience in the 
society and the horrible manner in which some parents and so forth handle the 
upbringing of children and yet expect the best from them in future became so mind 
buggling that he felt he could use the same medium to educate them so he decided to 
modify the text and to compose his own tune to it.  
 
 So, eventhough, Tsemafo-Arthur intended the song to create laughter the main 
rationale behind the composition of this song is to advise, admonish, and most 
importantly educate as well as remind the Ghanaian citizenry of everbody’s 
responsibility towards especially the upbringing of the children and the youth. He 
expects that as one laughs s/he also reasons up at the same time. So he begins by asking 
, “Woana nà ɔmpɛ nwaba?” literally, who does not like snail? Aparently implying who 
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does not like the best or quality.  Everybody, of course the parent, guardian, the teacher 
and the entire society feels proud when they realise the best in their children, wards, 
students and members seeing them excel and attain higher heights in life. When they 
are mentioned as ahievers everybody shares in their glory in much the same way 
however, everyone shys away when these children or wards  are mentiond to be part of 
an activity which  society frowns upon.  So he admonishes all and sundry to do their 
best for these little ones in order to bring them up in the fear of God and for the needed 
results.  
 
Among the  Akans of Ghana, snail is a delicacy and a symbolism of quality; it is tasty 
and appealing. Unless for some religious reasons or some traditional belief such as in 
the Ntrɔ/Ntɔn systems, everybody enjoys it.  Besides its nutritious quality it is also very 
affordable and almost always virtually obtained free of charge. Most people fetch it 
freely from their farms, or the bush especially fertile farmlands when it is in season. If 
one gets his/her food stuff and vegetables; even without enough money to buy fish or 
meat, with snail on hand one can still make a sumptuous, quality and nutritious meal.  
 
In spite of the easeness in obtaining the snail it is not that  easy to prepare the snail 
soup. Its proper preparation counts a lot. Going through all the necessary processes 
makes the snail soup preparation quite tiring.  That is, if one does not painstakingly 
prepare the snail soup, s/he cannot enjoy the desired quality. In much the same way, 
before a child grows to assume the quality desired of him/her; the parents, guardians, 
teachers and the entire society  have a duty and responsibility toward that child. In the 
end, they can realise the teacher, the doctor, the lawyer, the police, etc in him/her as 
were desired.  
 
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With this background, Tsemafo-Arthur uses this medium to remind and educate parents 
who seem to have neglected their responsibilities towards the training of their children 
and wards as well as those who malhandle other people’s children under their care to be 
weary of their actions and turn a new leaf which will help shape and mould the child 
into a better somebody in future. There is a saying in Akan that “obi nnim dɔn ko a 
adeɛ bɛkye soɔ”.    Literally translating as nobody knows the hour upon which the day 
breaks. This means nobody knows what one becomes in future or who eventually 
becomes the support to the other in future. The more reason why all children should be 
given equal oppoirtunities and the necessary support to become useful citizens in 
future, so let every child be treated the best way they deserve for a corresponding 
benefit in future.  
 
4.4.2.0. Detail Analysis 
4.4.2.1. Melody  
One main melody can be identified in this music. It is found in the section A of the 
music from bar 1 to 22 and modified from bar 23 to 32. The 22 bar melody can be 
divided in two sections: the first part has two antecedent and two consequent phrases.  
Bar 1 to 2 and 3 to 4 form the antecedent phrases whereas 5 and 6 as well as 7 form the 
consequent phrases.  
 
 
                                                             
                                                         Consequent phrase 
 
 
                                                                               Fig.1 
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The second half starts from bar 8 to 18 and the consequent to this antecedent phrase 
starts from bar 19 to 22.      
  
 
 
 
                                                                                  
 
Fig.2 
 
The Melodic interval used in this composition is a compound perfect fifth. The highest 
5
note is F  as located in bars 14, 52, 60, 61, 68, 69 and 70; and the lowest note in the 
3 
melody is Bflat below middle C.   
                                                                                                   
 
 
Fig 3 
Also in this composition, Tsemafo-Arthur combines both conjunct and disjunct motions 
and intervals; wide leaps and close intervals are used for the purposes of generating 
interest in the music. A typical example is the minor Seventh interval between the notes 
of bar 1 and the first beat of bar 7.   
         
                                                   
 
                    Stepwise movement        wide leap                    stepwise movement 
                                                                                             
                                                                                           
 
Fig. 4 
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Throughout the 22 bar melody, the intervals that dominate are major and minor 
seconds, perfect unisons, perfect fourths and major thirds.   
 
Tsemafo-Arthur also combines the following melodic devices to enrich the music as 
well as achieve the desired effect.  They include syncopations as found in bars 1, 3, 4, 
9, 12, 13 and 15. The next device sighted in bars 17, 21, 28 and 31, of the melody is 
anticipations. In addition, turns are also used as noted in bar 5, 7, 11, beat 1, and 19 
beat 1. Acciaccaturas are also used in the melody. Bars 40, 45 and 49 register this 
device. Going forward, Tsemafo-Arthur employs Suspensions in parts of bars 47 to 54; 
sequences are another conspicuous devices used in the melody and throughout the 
music.  
 
From bar 52 to 56 one notices a descending form of sequences and ascending or rising 
sequence from bar 56 to 61, another descending sequence is noted from bar 70 to 
measure73.  Further devices include tonal and rhythmic repetitions which are found 
most especially in bars 53 to 56.  Noticeable in bars 53 to 56 is basically rhythmic 
repetitions whereas tonal and rhythmic repetitions are found in bars 33 to 38.  
 
 
 
 
 
                                                                              Fig 5 
In bar 38 even though the rhythm is repeated, the tone or pitch is modified to make the 
transition into a new rhythmic pattern from bar 39 to 45 smooth. 
 
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4.4.2.2. Harmony  
The composer begins the harmony of this music on the first inversion of the tonic chord 
between sopranos and basses. He progresses to the dominant seventh chord in root 
position in bar 2 and resolves back on to the tonic chord. Continuing, he uses the 
subdominant chord in the first inversion to the tonic 6/4 which resolves on to the first 
inversion of the supertonic chord. Generally speaking, Tsemafo-Arthur’s harmonic 
structure although conforms to that of functional harmony, not all rules in functional or 
tonal harmony are followed strictly as some chords are resolved without preparation, 
bars 66 to 67 is a typical example. 
 
The harmonic devices employed in this music are parallel thirds found especially in the 
upper voices as noted in bars 15 to 21, occasional use of passing tones as exemplified 
in the bass part of bar 14, the use of chromatic chords as noticed in bars 11, 13, 16, 20 
and 30 for the purposes of embellishment. Additionally, Tsemafo-Arthur utilises 
crossing of parts as a harmonic device for a special effect such as making the language 
contour stand out superior to the music. Demonstrably, this is sighted in bars 24, 45, 
and 49.     
 
 
 
 
Fig. 6 
In the second section or the B part, the composer adopts a hocket technique to make the 
African nature of the music standout. As this is used between the soprano and alto 
voices, basses and tenors do a pedal which may also be described as a kind of ostinato 
backing to bring out the meaning of the message being communicated clearer to the 
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audience.  Also among the devices used is the call and response between the female and 
male voices as exemplified in bars 39 to 45 and 50.     Furthermore, the composer uses 
polarity between female and male voices for a special effect, to make the praise of the 
cook who prepared the snail soup very prominent.  
 
Again, it also emphasises how everybody wants to have a taste of the soup. So they all 
speak together at the same time saying the same thing as seen from bar   62 to 66.  
Rhythmic variety or multi-rhythm is another device used to create further interest in the 
music. This technique is more visible in the section B creating a polyphony.  The use of 
slurs to shift some accents helped him to create syncopations and to clearly establish 
the African identity of the music. Chordally, Tsemafo-Arthur employs sequences in 
contrary motion especially between the outer parts –Soprano and basses whereas in the 
same bar tenors begin in unison with the sopranos but end their rhythms in different 
pitches. This is noticed in bar 70, 71, and 74.   
 
 
 
 
 
 
 
                                                            
Fig 7 
4.4.2.3. Rhythm and Metre 
The music is in a compound duple time and the 6/8 rhythm is used with the motif 
Tsemfo-Arthur makes use of iambic cells. The rhythm is influenced by the 
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language contour and the choice of text. Secondly, the composer constructed the 
rhythm of this song after his favourite traditional Adenkum music.  .  
Tsemafo-Arthur demonstrates the full Adenkum music ensemble in the section B of this 
composition especially from bar 33 to 39. Various instruments are engaged in a 
heterophony that is a multi-rhythmic performance. Tsemafo-Arthur maintains the 
rhythm and metre of this composition from the beginning to the end in order to achieve 
the needed impression or impact.  
 
4.4.2.4. Formal Structure 
1
The form of this composition may be described as theme and variation, AA B or an 
1
extended binary. Section A starts from bar 1 to 22. The next section A  which is a 
modification of the section A continues from bar 23 to 32. Bar 33 to 76 form the third 
section B. This section is completely different from the first two sections. This section 
may also be described as the development section of the music. The fact that the section 
assumes the features of the development section of a musical composition, it may so be 
described. It goes through a gradual heightening process to a climax at bar 60 to 61 
except that it registers a sharp and sudden decline from the climax. This section also 
features a good number of tonal and rhythmic repetitions as well as rhythmic variations.  
 
4.4.2.5. Translation of the Song Text 
Lyrics                                                                                  Translation 
Woana nà ͻmpɛ nwaba,                                          Who doesn’t like snail? 
Nwaba yɛ dɛ o                                                            Snail is sweet o  
Nwaba yɛ enyigye                                                     Snail is delightful 
Ɔbɛma wo dͻkon akͻ do o                                       It will enhance your kenkey o  
Nwaba yɛ enyigye                                                     Snail is delightful 
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Ɔbɛma wo fufu akͻ do o                                           It will enhance your fufu o 
Ɔbɛma wo dͻkon  adà edzi  o                                It will let your kenkey stand out o 
Ɔbɛma wo fufu  etu mpon  o                                     It will make your fufu prosper  o 
Nwaba yɛ dɛ o, Nwaba yɛ dɛ o,                              Snail is sweet o, Snail is sweet o,  
Potͻw abɛ na muoko                                             Mix palm nut and pepper 
Ma nkɛtse nkͻ m’,                                                  Add groundnuts 
Anwew nkͻ m’, Ma Ntoos nkɔ m’                          Add onion and tomatoes 
Mͻmͻɛ nkͻ mu o                                                       Add salted fish 
Fa si gya do                                                            Put on fire  
Nwaba yɛ dɛ o,                                                         Snail is sweet o  
Ɔwo siw fufu to mu dzi                                             You pound fufu and eat with it 
Tum, tum, tum, tum, tum                                          Sound of the pestle hitting the 
mortar   
Araba e hwehwɛ atser ma me o Araba e                Araba e find me a ladle o, Araba e 
Hwehwɛ atser ma me o , Araba e                            Find me a ladle o, Araba e 
Nwaba yɛ dɛ o                                                          Snail is sweet o 
Nkanka ne tsir n’a,                                                 Especially the head 
Ɔno nsɛmpa ,                                                           That one, it’s good news 
Araba e ka wo ho                                                   Araba e, hurry up! Hurry!  
Fa dͻkon ka ho                                                Add kenkey 
Bra o!  yɛ ntsɛm                                                        Come o! Hurry up! 
Maame Ama e fa medze ma me o                             Maame Ama e give mine to me o 
Ma nkwan nkͻ ho, Ma nkwan nkͻ ho                      Add more soup, Add more soup 
Maame Ama e wo nkwan yɛ dɛw ampara              Maame Ama e your soup is tasty 
indeed 
Nkwan a wͻnom wͻtafer nsa ho                           Soup that is drunk and fingers 
licked 
Maame Ama e medzi o                                             Maame Ama e I will eat o 
Medzi bio , Medzi bio                                             I will eat o, I will eat o, 
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Moso medzi, Moso medzi                                        I will also eat o, I will also eat o 
Maame Ama e fa medze ma me o                          Maame Ama e give mine to me o 
 
4.4.2.6. Interpretation of Song Text 
Tsemafo-Arthur uses the imagery and symbolism of the snail soup to remind and 
educate his audience about their responsibilities towards their children and wards. It is 
possible to achieve success for the children’s future when much effort has been put into 
their training.   When this is done, in future everybody stands to benefit.  A number of 
people may visit him/her for various forms of assistance; his/her services may benefit 
society at large and every individual either directly or indirectly. That is if the children 
do not become social burdens. This is the point where a number of people cry out for 
their share.      Maame Ama e fa medze ma me o, Ma nkwan nkͻ ho, Ma nkwan nkͻ ho, , 
Maame Ama e medzi o, Medzi bio , Medzi bio . The child has now become a useful 
citizen so everybody sees his/her worth and wants to benefit from him/her. If s/he 
became a teacher, everybody wants him/her to educate their children, serving as 
secretary to a number of committees such as the Town Development Committee, 
Traditional council secretary, Leaders’ meeting Secretary in a Church, and so forth.  
 
Additionally, parents, guardians, teachers and all other stakeholders who help to bring 
up the child the right way never lose their praise.  So he writes   Maame Ama e wo 
nkwan yɛ dɛw ampara, Nkwan a wͻnom wͻtafer nsa ho in appreciation to the cook for 
her effort to make such a delicious meal. Implying you who gave the right support, you 
have helped produced the best benefit to society and you are worthy of your praise. 
Your efforts can never be glossed over nor swept under the carpet. You deserve your 
praise.  
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However, in the song, Tsemafo-Arthur makes it clear that no good thing comes on a 
silver platter. It involves hard work, good planning, strategising and a careful execution 
of the plans and strategies.  This is what he uses the imagery of the pounding of the 
fufu in the music for.   Ɔwo siw fufu to mu dzi, Tum, tum, tum, tum, tum.  Araba e 
hwehwɛ atser ma me o Araba e Hwehwɛ atser ma me o, Araba e.  All these are 
activities that require some amount of effort in order to succeed. So much effort is to be 
put into the support for the child so as to reap the expected benefit.   
 
4.4.2.7. Cadential Points 
 In this particular composition  Tsemafo-Arthur does not use many cadences. A plagal 
cadence is sighted in bar 18 to 19 and a perfect cadence is also found at bar 21 to 22 
and also bar 31 to 32.  An imperfect cadence occurs at bars 59 to 61 with a final perfect 
cadence concluding the music at bar 75 to 76.  
 
4.4.2.8. Text and Tune Relationship 
Tsemafo-Arthur, as usual composed this tune to flow with the tonal inflections of the 
Fante Language. Typical of him is his strict and deliberate effort to obey the dictates of 
the language both tonally and rhythmically however difficult it may be. He endears 
himself so much to the spoken language that one can hardly find a section or a phrase 
that defies the assertion that African languages are tonal.  This strict adherence to the 
dictates of the spoken language does not only reflect in the outer parts but also in the 
inner parts; although on few instances there could be a little deviation here and there, as 
far as the inner parts are concerned.   
   
 
 
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4.4.2.9. Performance Direction  
Tsemafo-Arthur utilises the unexpressed performance direction method to guide the 
performer throughout the music. He does so to make it flexible for the performing choir 
to express herself, demonstrate their musical prowess through the painting of the words 
or the song text as appropriate; interpreting sequences appropriately, applying the 
appropriate dynamics and the necessary tempi where applicable. The performer is also 
given the responsibility to interpret the music   and communicate the message carried in 
the music to the listener.   That is the performer’s understanding of the musical text is 
put to test. Eventhough Tsemafo-Arthur does not give any specific performance 
direction he however directs the performer where to end the music.  
 
4.4.2.10. Texture 
In this song, Tsemafo-Arthur presents a variety of textures irrespective of the length.  In 
the section A, a call and response texture is created between the outer and the inner 
parts up to bar 4. Following this is a homophonic texture up to bar 22. Bars 23 and 24 
repeat the texture in bar 1 to 4; between male and female voices this time. The 
homophony continues up to bar 32.  Bar 33 to 39 presents scenery of household 
cooking in a very polyphonic manner with various activities going on. Bar 39 to 46 is 
again a call and response between female and male parts.  And the final texture in the 
closing section of the music from bar 47 to 76 is also homophonic. 
 
 
 
 
 
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4.5.0.  NYAME YƐ DƐ (GOD IS SWEET) 
4.5.1. Background to the Composition 
Tsemafo-Arthur Composed this anthem in 1994 as an optional song for the Sekondi 
Diocese of the Association of the Methodist Church Choirs Ghana, during a singing 
competition. In this music, especially at the fugal exposition section, the composer 
carefully and artistically  distributes the various instrumental parts in the Adenkum 
ensemble among the voice parts. It must be emphasised here that the voices play the 
various instruments in rhythm but not in pitches. Also significant in this composition 
and worth mentioning is that, Tsemafo-Arthur uses this medium to praise God for all 
His manifold blessings  and also hilghtlights what the Lord is capable of doing. Upon 
this he encourages his listeners, Christians and nonchristians alike to take courage in 
the Lord and hope for the sufficiency of His providence. Again he admonishes his 
listeners not to forget to thank the Lord when their heart desires are met. 
 
According to Tsemafo-Arthur, his inspiration to compose this anthem was drawn from 
his personal life situation, he was comparing his past to the current status in life at the 
time of this composition. This was  a time of stock taking in his life which really 
demanded of him a huge appreciation to the maker for all His manifold blessings upon 
his life and also to make Him known to others as to what this God is capable of doing. 
It is written in the key of C Major. 
 
4.5.2.0.      Detail Ananlysis 
4.5.2.1 Melody  
One main melody of 30 bars is identified in this composition. It consists of ten phrases. 
The first three bars constitute the first antecedent phrase. Bar 5 to 7 form the first 
consequent phrase. Bar 8 to the first beat of bar 10 constitute another antecedent phrase 
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with the second half of bar ten to 11 forming the second consequent phrase. The third 
antecedent phrase starts from bar 12 through 14(1) whereas 14(2) through 18 become 
the consequent to the third antecedent. Bar 19 to 22(1) form the next question phrase 
with the answer phrase up to bar 24. Bar 25 to 28 form the last antecedent with 28(2) to 
30 forming the final consequent phrase.  
  
 
 
 
 
 
 
 
 
                                                                         
 
                  Fig1.  
 
4.5.2.1.1 Melodic Range 
The melodic range of this composition is a compound minor second. The highest note 
5 4
in the melody is F  while the lowest is E . The highest note is found in bar 25 with the 
lowest note in bars 7, 16, 17, and 22.  
 
                                                                                       
Fig. 2 
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Going forward, Tsemafo-Arthur uses melodic devices such as sequences in ascending 
order in conjunct motion.   
               (bars 8-14); 
 
 
                                                                                
 
                                                                                     Fig 3 
The next prominent device found in the melody is the use of iambic cells. The melody 
starts on an anacrusis beat with the first note being an off-beat. That is the third part of 
the second count. The intervals used in the melody are basically perfect unisons, minor 
and major seconds, major and minor thirds, perfect fourths and major sixths. The 
melody which is seen in section A is repeated.The section B does not   show any 
structured form of a melody. Rather the message of the text dictated the music in the 
section. In the soprano part a fragmented kind of melody which is best described as a 
refrain to the melody in the section A. Similar arrangement is seen in the section C 
which is replicated in the section E which is the finales.   
 
4.5.2.2. Harmony  
On a whole, the harmonic structure of this music conforms to that of tonal or functional 
harmony.  The harmonic devices used in this music include chromatic embellishments, 
as exemplified in bars 6, 15, 20, 21, 22, 27, of section A and several others found 
throughout the music. Tsemafo-Arthur begins the harmony of this anthem in two parts 
and a dialogue between outer and inner parts before breaking into the full four part 
harmony from bar 8.  He uses close intervals of thirds between the three upper voices 
while a very wide interval is registered between the bass and the tenor voices.  
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                                Close intervals between the three upper voices and a wide bass.  
 
 
 
 
                                                                          Fig. 4 
In bars 8-11, where he closes the interval between the male voices, he opens that of the 
female voices and male and female voices move in contrary directions as found in bars 
12 to16.   
 
 
 
    
 
 
 
                                                                                    
Fig 5 
From bars 31 to 36, the tenor and bass parts are characterised by the intervals of thirds 
while the female voices register intervals of perfect fifths, major sixths and sevenths, as 
well as perfect octaves in sequences. The dominant harmonic intervals in this music are 
thirds and unisons.  
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From bar 8 to 16, whiles sopranos and altos do the harmony in ascending sequence, 
tenors especially, and basses have repeated notes which can be said to be a short form 
of pedals.   In bars 43 to 45, Tsemafo-Arthur uses polarities as a harmonic device and 
replicates it in bars 46 to 47. 
      
 
 
 
 
                                                                       Fig 6 
Additionally, the composer uses syncopations which he creates through the use of off-
beats. He also uses ties and silences to create the effect of syncopations in the music.  
This goes a long way to confirm that African art music is characterised by thirds and 
syncopations.  
 
In this particular composition, Tsemafo-Arthur becomes a little more adherent to the 
rule in composition in the Western way.  That is in terms of intervals between parts, he 
also prepares to approach and resolve his chords or approaches tensions and releases 
carefully as conforms to the Western rules in harmony. In the fugal exposition in 
section D, Tsemafo-Arthur uses the rhythm of the first and second dondo (hourglass 
drum) of the Adenkum ensemble to create a beautiful harmony. In this section D 
however; he uses the B flat notes to modulate to the key of F major which is the 
subdominant of the tonic key C major at the fugal section.  
 
4.5.2.3. Rhythm and Metre 
In this music, the composer uses a combination of compound and simple duple metrical 
systems and the 6/8 and 2/4 rhythmic patterns respectively.  The first section (A) is in 
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the compound duple time and a 6/8 rhythmic pattern. This arrangement continues 
through to the end of the section D.  The section E on the other hand, is in 2/4 rhythmic 
pattern and a simple duple metrical arrangement. The rhythm of the music is structured 
to follow the spoken language strictly throughout the music. It utilises a lot of iambic 
cells.  
 
In this composition silences have been used to decongest the music, lighten the texture 
and also to create syncopations and to establish the African identity of it. In the section 
D, a typical Adenkum ensemble is heard between the parts due to the rhythmic patterns 
adopted. The composer is seen to artistically distribute the first and second hourglass 
drum rhythmic patterns among the voice parts to form the fugal exposition. Again, the 
simple duple rhythmic pattern in section E, depicts a danceable tune in a reggae style 
which is very typical of the composer under study. It also depicts some shifted accents 
which create some syncopation in the section as exemplified in bars 110 and 113.   
  
 
  
 
 
 
 
 
                                                                              Fig 7 
4.5.2.4. Formal Structure 
The music is a through composed with repetition of sections. It has the form 
AABCDDEEC. The section A, which forms the exposition, starts from bar 1 through 
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bar 30. The section begins with sopranos and basses before tenor and altos join in. It is 
also the section that carries the main melody and the harmonies of the music and ends 
with a perfect authentic cadence.  Section B like A, utilises a lot of iambic cells. It does 
not constitute any particular melody but its pitches in general are dictated by the 
message being communicated to the audience. Whiles the male voices carry the 
message across to the audience, the female voices spice it up with some encomiums 
making the section appear to be in a form of a refrain to the section A.  It is also the 
section that involves multi-rhythmic patterns to create and sustain the interest in the 
music as well as bring about some heterophony in the section.  
 
Section C starts from bar 54 to 83. As the section B encourages the listener to stand 
firm and trust the Lord to do it, the section C focuses on the moral aspects of the 
person’s life which will serve as the catalyst to propel and a tramcar upon which God 
will grant the heart desires of the person. In section D which starts from bar 84 to 107, 
Tsemafo-Arthur really expresses himself in his favourite Adenkum ensemble. Here, he 
educates his audience on the benefits they stand to gain if they are able to abide and 
endure to the end. The beauty of the music at this section is meant to encourage the 
listener to endure to the end come what may and also to give him/her a foretaste of the 
expected joy at the end of his/her earthly journey. 
 
Section E and the last of the sections, is a unique one which begins from bar 108 to 
123. It is in simple duple time and to be performed andante. The message carried across 
in this section to the listener is an emphasis on the previous sections especially the B 
and C Sections. The listener is encouraged to be patient with the Lord and trust in Him 
whatever happens. 
 
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4.5.2.5. Translation of Song Text                                                                          
 Lyrics         Translation 
M’akoma dzi dɛw a ofi dza meehu ntsia                        If my heart rejoices, it is for what 
I have seen 
Morotonton Nyame à ofi dza meehu ntsia                      If I’m honouring God, it is for 
what I have seen 
Ofi dza medua mu ntsia  (monua) ,                                It is for what I have passed 
through, brother 
Nyame yɛ ɔhen , Ɔhen kortsee                                       God is King, the only King 
Ɔhen mu ɔhen o                                                               King of kings o 
Mɛkamfo no na m’ada N’ase daa                                   I will adore and always thank 
Him  
Ɔhen kortsee                                                                   The only King 
Abɔdze wura, mɛda N’ase                                               Lord of creation I will thank Him 
Ɔhen kortsee                                                                   The only King 
Abɔdze wura, ‘Werɛkyekyefo n’a                                    Lord of creation, the comforter 
Yɛnda N’ase daa                                                             Let’s thank Him always 
Gyedzi dɛ Nyame bɛyɛ o                                                  Believe that God will do o  
Sompa na ohia                                                                Good service is what is important 
Gyedzi o                                                                          Believe o 
Gyedzi dɛ Nyame bɛyɛ o                                                  Believe that God will do o 
Sompa n’ohia                                                                  Good service is what is important 
Gyedzi o                                                                          Believe o 
Gyedzi dɛ Nyame bɛyɛ                                                     Believe that God will do o 
Gyedzi, gyedzi gyedzi                                                      Believe, believe, believe 
Nyame yɛ dɛ, gyedzi o, gyedzi                                         God is sweet, believe o, believe 
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Nyame yɛ dɛ, Nyame yɛ dɛ, gyedzi                                  God is sweet, God is sweet, 
believe 
Gyedzi, gyedzi dɛ ɔbɛyɛ,                                                  Believe, believe that He will do it 
Nyame bɛyɛ, Nyame bɛyɛ                                                God will do it, God will do it  
Yi wiadze àkɔndɔ àkwa,                                                  Let go worldly pleasures,  
Hwehwɛ Nyame, Hwehwɛ Nyame na bohu N’                Seek God, seek God, for you will 
find Him   
Yi pɛsɛankonya fi wo mu,                                                Eschew Selfishness 
Enunkum dzi gyaa mu, Nyame ba e                                Stop gossiping, you child of God  
Omuo gyaa, gyaa                                                            It’s appalling, stop, stop 
Edwamanbɔ ,                                                                  Sexual immorality 
Akayɛ ne nyinaa gyaa mu                                               Stop being at loggerheads  
Na bohu dɛ Nyame yɛ dɛ o.                                           And you will see that God is 
sweet o 
Nyame ye ampa                                                               God is good indeed 
Nyame yɛ dɛ o                                                                  God is sweet o 
Bra, bra, bra                                                                   Come! Come!! Come!!! 
Ɔbɛgye  w’                                                                      He will save you 
Nyame yɛ dɛ o                                                                 God is sweet o 
Bra , Ɔbɛgye  w’                                                             Come, He will save you 
Monua, Nyame yɛ dɛ o                                                    My brother/sister, God is sweet o 
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Nyame yɛ dɛ o                                                                 God is sweet o 
Bra!  Nà Ɔbɛgye  w’                                                       Come, for He will save you 
Nyame yɛ dɛ o, Nyame yɛ dɛ o,                                       God is sweet o, God is sweet o 
Bra nà Ɔbɛgye w’ daa                                                    Come for He will forever save 
you 
Kaa daakye aheman mu                                                  Remember in heaven in future  
Ɛdɛw mãpã bɛyɛ wo dze                                                  Real joy will be yours  
Ɛdɛw mãpã bɛyɛ wo dze                                                  Real joy shall be yours  
Som no nà ɔbɛyɛ wodze, nà ɔbɛyɛ wodze                        Serve Him and it shall be yours, 
it shall be yours 
Mo dɔfo ɔbɛyɛ wodze                                                      My dear, it shall be yours  
 
 
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4.5.2.6. Interpretation of Song Text 
In the first section, the composer uses the situation of a person who has received the 
favour of God and is happy as a result. So he says m’akoma dzi dɛw a ofi dza meehu 
ntsi a; morotonton Nyame a ofi da meehu ntsi a.  Literally, if my heart rejoices , it’s 
upon what I’ve seen ; if I’m honouring God, it’s upon what I’ve seen.  Human beings 
mostly are in the position to praise and thank God when they get the best or when they 
see it is well with them. As such they are in the position to tell others about God’s 
capabilities using their own life examples.   
 
This man says I will continue to praise Him for He is one and only God.   He alone 
deserves to be praised. Having praised and expressed appreciation to the Lord, he 
pictures it to the other person who desperately needs God’s help but seem to be losing 
hope.  Someone who claims to be in the Lord but a particular situation is weighing 
him/her down so much that s/he is most likely to lose his/her faith; he encourages this 
person to remain steadfast in the faith leading a morally upright life in order to attract 
God’s favour. That is without a good moral life, a life style that conforms to what the 
Lord has directed; one should forget about seeing the glory of God in his or her life. So 
he writes yi wiadze akͻndͻ àkwa –forget about worldly pleasure, hwehwɛ Nyame-seek 
God and so forth.  
 
 He continues to remind his listeners of what will encourage them to remain in the faith 
so he says, kaa daakye aheman mu ɛdɛw mãpã bɛyɛ wo dze- remember in future, a lot 
of enjoyment await you in heaven. With this he encourages his listeners to remain 
steadfast in their faith come what may.This is where he also agrees with George 
Christian Neumark, 1621-1681 when he said  
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1.Leave God to order all thy ways, 
And hope in Him whate’er betide; 
Thou’lt find Him in the evil days 
Thy all-sufficient strength and guide: 
Who trusts in God’s unchanging love 
Builds on the rock that nought can move. 
 
2.Only thy restless heart keep still, 
And wait in cheerful hope, content 
To take whate’er His gracious will, 
His all-discerning love, hath sent; 
Nor doubt our inmost wants are known 
To Him who chose for His own. 
 
3.Sing, pray, and swerve not from His ways, 
But do thine own part faithfully; 
Trust His rich promises of grace, 
So shall they be fulfilled in thee: 
God never yet forsook at need 
The soul that trusted Him indeed.  M.H.B 
504 
 
It continues that having really experienced the Lord’s presence in a special way(s), one 
is able to say that the Lord is sweet. He is good, for His mercies endure forever. 
However, one’s unwavering faith in the Lord will aid him/her to confess Nyame yɛ dɛ-
God is sweet and also to advise others to remain steadfast in the faith.  For it only takes 
the faithful to see God’s capabilities. The concluding words remind the listener to 
remember and focus on the joy that awaits him/her in the future when s/he finally 
attains the crown of glory. If this happens one can build the necessary immunity and 
endurance to persevere to the end no matter the situation.       
 
4.5.2.7. Cadential Points 
A number of cadences are sighted at various points in the music. The first cadence  
sighted at bar 7 is a plagal cadence; bar 12 to 13 portrays an imperfect authentic  
cadence and a perfect authentic cadence is used at bar 29 to 30 which ends the section 
A.  Another perfect  authentic cadence is sighted in bar  52 marking the end of section 
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B.  Bar 68  shows a perfect cadence while bars 81 to 83  also register a perfect authentic 
cadence. 
 
 
 
 
                                                                     
 
Fig. 8 
Other perfect cadences are found at bars 107, 109, and 122 to 123.   
 
4.5.2.8. Text and Tune Relationship 
This music can be said to be one that strictly sounds the way the Fante language is 
spoken. Pitches are carefully selected to enhance meaning to the listener. Both outer 
and inner parts sing melodies that are strictly constructed to follow the language 
contour.  Even at the section D where the composer decided to include the Adenkum 
ensemble by assigning voices to the instrumental parts of the ensemble, it must be said 
that he only did this rhythmically but pitchwise he gives credence to the spoken pattern 
of the language.  Statements or phrases such as Nyame yɛ dɛ serve a good example.  
The pitches selected any time it occurs, gives it the appropriate sound to depict its 
meaning.   
                                   
Fig. 9 
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At the fugal exposition in section D, Kaa daakye aheman mu ɛdɛw mãpã bɛyɛ dze. The 
pitches selected for this sentence irrespective of voice part can by no means lose its 
meaning. They perfectly paint the meaning to the listener crystal clear in section E for 
example, kaa wo Nyame bɛ yɛ among other such sentences have the exact pitches which 
demonstrates the clear meaning to the listener.  The tune on a whole clearly enhances 
communication as it follows the tonal inflections of the language strictly and makes 
understanding easier. 
 
4.5.2.9. Performance Direction  
 The composer’s passion attached to this composition endears him to use so much 
expressed performance directions.  He has written various dynamic marks and tempi on 
the score to guide the performers. Here the performer is restricted to a certain direction 
of performance.  
 
Dynamics:   He begins the song with forte (f) instructing the choir to be loud at that 
point. In bar three, he puts stress marks on the notes to emphasise the meaning of the 
text at that section of the music. He uses that to emphasise the word (meehu ntsia) 
because of what I have seen. He also uses it to differentiate between the same 
expression in bar seven and other places in the music indicating the mood expected 
each time the expression appears in the music. That is if one particular word, phrase or 
sentence is used more than once it should be treated differently each time it appears. He 
applies the same dynamic marks in bars 9and 13 to 14.  
 
In bar 16 there is a sforzando (sf) stressing or laying emphasis on the second half of 
kortsee –that is the one and only. At the end of section A, at bar 30, there is a dacapo 
(D/C); a sign instructing the choir to go back to the beginning. There is a crescendo 
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(cresc) in bar 36 directing the choir to be getting louder gradually. Other dynamic 
marks include fortes (f) as noted in bar 39, fortissimo (ff) at bar 43 asking the 
performers to sing loud and very loud respectively. He further instructs performers to 
sing soft - piano (p) after being loud and very loud. This is exemplified in bars 54 and 
60. At the beginning of the section C, he writes expressivo instructing the performer to 
interpret that section expressively or passionately. At the same time he writes adlibitum 
(adlib) at the same section giving the performing choir the liberty to express themselves 
as convenient as possible to them. He finally writes Dalsegno al Fine (D/S al Fine) at 
the end of section E instructing the choir to go back to the sign at section C and sing 
through to the end of the section to end the anthem.  There is also a sign at the 
beginning of section E instructing the choir to repeat the section. 
 
Tempo Markings: In this composition Tsemafo-Arthur’s tempo markings include:  
moderato asking the performing choir to use moderate speed. That is not too fast and 
not slow either. At bar 84 he uses tempo de staccato, expressivo and Allegro together. 
Here, he instructs the performer to do this section in a quick and expressive manner 
while articulating and interpreting the notes to be slightly shorter than written.  Still in 
his determination to paint the words, he writes andante at the beginning of bar 108 
asking the performing choir to do this section at a walking pace. In this composition, 
Tsemafo-Arthur shows so much passion for word painting and as such writes so many 
dynamic and tempo markings as instructions to the performing choir. All are done 
simply to achieve a certain desired mood and the mental picture to be created on the 
minds of the audience to enhance effective communication.  
 
 
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4.5.2.10. Texture 
Various sections of the music present various textures to the listener. Section A 
presents a call and response from the beginning and a homophonic texture from bar 8 to 
30. Section B begins with a homophonic texture in a dual voice between tenor and bass 
to bar 32. The female voices join in from bar 32 to 53 creating a polyphonic texture in 
the hearing of the listener. A (unison) or monophonic texture is also heard in this 
section. Section C begins in a homophonic texture in the male voices and female voices 
continue briefly from bar 60 creating a call and response feeling from bar 62 to 83, 
another polyphonic texture is created.  
 
The section D which is the fugal exposition presents a contrapuntal texture between the 
tonic and the subdominant keys. Various voices take part in turns beginning with the 
soprano from bar 84. Altos join in from bar 90 in the key of F major which is the 
subdominant of the tonic key C major. Tenors and basses have their turns from bar 96 
and 102 in the tonic and subdominant keys respectively.  Section E presents a 
polyphonic texture. 
 
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CHAPTER FIVE 
SUMMARY AND CONCLUSION 
5.1. Summary 
This study has focused on James Kofi Tsemafo-Arthur as an African choral art music 
composer, his biography and his compositional techniques. Tsemafo-Arthur is a Fante 
by birth and hails from Otuam, a village in the central region of Ghana. He is an ardent 
choral music composer with popularity chiefly among Orthodox Church choral groups 
and educational institutions. He is a man of many parts. His talents span from music to 
sports, a talented musician and composer whose giftedness manifested at quite an early 
stage of his life. This son of the traditional musical home where mummy was a lead 
cantor and daddy a dexterous master drummer, began composing choral music way 
back before his formal training as a musician.  
 
A cursory look at his early works which may constitute a later study reveals a little 
deviation from his latter works after his formal musical training. Eventhough he 
confirms his unconsciousness of what he was doing at the time, his experience as a 
chorister from boyhood coupled with inspiration served as a guide in his chordal 
progressions which of course was not without flaws.   
 
Tsemafo-Arthur draws his inspirations and pre-compositional materials from traditional 
sources such as the Adenkum ensemble in particular and Ebibindwom considering his 
background as a Methodist. Besides these sources Tsemafo-Arthur also draws 
inspiration from the Methodist Hymn book especially the Fante translated version 
popularly known as the   Christian Asɔr Ndwom (C.A.N.) and the bible.  
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Tsemafo-Arthur’s desire and passion to evangelise and re-evangelise his listeners as 
evidenced in the analysis endears him to even compose philosophical songs with 
reference to biblical text. For this reason, I am very persuaded to describe him as an 
evangel composer. Beyond this, his mastery over the Fante language makes him a poet. 
Though most of his compositions, especially those in the highlife danceable tune 
domain may be described as simple, their poetic and philosophical nature makes him 
stand out as one of the greatest contributors to the growth of African art music in 
Ghana. His deep sense of humanity enables him to use the Akan proverbial phrases and 
common usages, as well as personal life situations to frame up his own exegesis into 
them and set them to music.     
 
His compositions span over a wide variety of subjects bordering on the human life 
situations. These compositions are classified into two major classes of Choral and 
instrumental. The choral music is what has been the focus of this study. They form 
about 90% of his total compositions with the remaining 10% being instrumental music. 
The choral compositions are further categorised into three major classes of Songs, 
Church Music and Chants or Canticles. The analysis of Tsemafo-Arthur’s choral 
compositions was based on this big categorisation to account for his compositional 
techniques and stylistic differences. The songs comprise Philosophical, 
Adapted/Arrangements, Patriotic, and occasional songs such as Christmas, Funeral, 
special requests and the like. The hymn compositions, choral anthems, Western styled 
Choral anthems, Gospel highlife and marching songs form the Church music. In his 
numerous compositions, about 50% of them belong to the highlife category (that is 
those that are danceable and gay in character and style as well as the slow rock types). 
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The choice of analytical materials took into consideration the composer’s inspirational 
sources and the message being communicated. Compositions based purely on Western 
styles, Purely African resources, a combination of both Western and African resources 
with particular references to the sources of inspiration. Each composition analysed also 
took cognisance of the historical background information, the translation of the song 
text from the vernacular to English as well as the actual analysis.   
 
The analysis took into account the following parameters: melody, harmony, metre and 
rhythm, formal structure, cadential points, text and tune relationship, interpretation of 
song text, performance direction, and Texture. For the fact that African languages are 
tonal in nature the Akan Fante language is of no exception and for that matter, the 
author proved a close relationship between text and tune which equally affected 
rhythmic movements of songs. Tsemafo-Arthur’s melodic construction hardly deviates 
from the spoken language pattern. He is a man who usually identifies with his 
background both as a Methodist and a Ghanaian for that matter an African in his 
composition. For his desire to communicate his intentions vividly to the listener, his 
rhythms generally require some level of musical sophistication to be able to interpret 
them as he tries to strictly follow the tonal inflections of the language. Among his 
compositions only a few are in the English language, the bulk of the rest are in Fante.   
 
Additionally, in traditional music, the most widely used scale is the pentatonic scale in 
view of its close relationship with the spoken language. In keeping to this traditional 
integrity Tsemafo-Arthur makes use of these idioms with the use of secondary 
materials. His inclination towards vocal music allows him to use functional harmony 
which constitutes Western and African harmonic principles. Beyond the conventional 
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cadences, Tsemafo-Arthur also uses what may be termed as traditional cadences to 
make the harmonic effect synchronize with the mood of the text. Thematic repetition, 
fragmentation and thematic variation are some of the elements of traditional African 
music. It is believed that traditional African music does not   modulate. Even if it does, 
it modulates to the subdominant. It was the aim of the analyst to ascertain that 
Tsemafo-Arthur’s music is composed according to these standards. Indeed one of the 
cardinal features identified. Tsemafo-Arthur though does not build his melodies on the 
pentatonic scale his modulations are most often to the subdominant which is typical of 
traditional African music.  
 
Furthermore, for his profuse compositions, he has gained popularity as a composer, a 
choral director and a trainer among choirs both in Ghana and outside Ghana 
particularly Togo and l’A Côte d’Ivoir. Tsemafo-Arthur’s compositions combine a 
number of textures as monophonic, homophonic, heterophonic, and polyphonic. His 
favourite Adenkum or Ebibindwom mood is most often than not expressed in most of 
his compositions. He is fond of compositional devices such as parallelism, eschapés, 
scales on the traditional modes especially at cadencial points, suspensions, 
arpeggiations, anticipations, nota cambiata, florid passages, acciaccaturas, 
appoggiaturas as well as sequences.  
  
Structurally, Tsemafo-Arthur’s compositions are characterised most of the times by call 
and response, employing imitative counterpoint or canon. It is also note worthy to 
mention that most of Tsemafo-Arthur’s compositions are through composed which 
offer him the opportunity to exhibit his contrapuntal abilities. His compositions show 
coherency between rhythm and text as he normally employs long durational notes at the 
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end of phrases with corresponding vowel. His rhythmic movement is dictated by the 
words as pertain in the spoken language.  His rhythmic devices include rhythmic 
repetitions, rhythmic variation which include syncopations, and combination of 
rhythms such as duple and triple motifs to create a hemiola effect. With regards to 
metrical pattern he is fond of 2/4, 6/8, 3/4 and 4/4.  
 
Tsemafo-Arthur is not a fun of wide harmonic intervals or leaps rather he mostly 
prefers close intervals of unison, seconds, thirds, fourths and occasional fifths, sixths, 
sevenths or octaves between the upper parts, he however prefers a bass part that is far 
apart from the tenor in his compositions.   He again prefers voices moving in contrary 
directions and he opens the intervals between the female parts when closing the 
intervals between the male voices. Also in his compositions, Tsemafo-Arthur prefers to 
use chromatics basically for embellishments and for his desire to emphasise his identity 
as African and a Methodist, Tsemafo-Arthur has as one of his favourite chords the 
flattened seventh of the tonic. This chord is virtually found in all his music analysed.  
 
Tsemafo-Arthur’s compositions are popular among most Orthodox Church choirs for 
their simplicity of text and easy memorable nature of the text chosen as well as the gay 
and attractive nature of his rhythms and pitches especially in the highlife and the slow 
rock compositions.   A careful analysis of the musical compositions of his shows this 
man, Tsemafo-Arthur’s desire to promote Africanism in his choral works. He is 
primarily found to be someone who goes every length to notate his music syllabically 
to follow the tonal inflections of the language   usually Fante. Furthermore, in general 
terms, his character and nature to compose pieces that aim at evangelism and re-
evangelisation have been influenced by his Christian virtues and background as 
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Christian so much that even his philosophical compositions are sometimes based on 
scripture. 
 
5.2. Conclusion 
In conclusion, Tsemafo-Arthur’s desire for an identity in almost all his compositions is 
an indication that he has joined his counterpart African choral art music composers in 
the movement to redeem the African identity.  This movement was started way back in 
the 1920s with Ephraim Amu as the torch bearer. It was a movement that desired to 
combine the knowledge acquired through the music theoretical training with Ghanaian 
traditional materials to compose musical works that are characteristically African.  
 
The music theoretical training was acquired through the acculturation and the 
enculturation process of the colonisation, missionary activities and the introduction of 
Western education on the Ghanaian coast which nearly caused her of almost all her 
traditional culturally indigenous values including her way of making music. This 
notwithstanding, the Ghanaian musician was also offered the opportunity to become bi-
musical through the training offered to him. The pioneer beneficiaries include Ephraim 
Amu and his contemporaries. Amu’s desire and relentless efforts to create music that 
bears the Ghanaian identity led to the emergence of the school of composition which 
eventually metamorphosed into the National Academy of music, now the University of 
Education Winneba. Tsemafo-Arthur is one of the products of the erstwhile National 
Academy of Music which is the current central campus of the University of Education 
Winneba.  
Eventhough the Ghanaian choral art musician has been opportuned to be able to decide 
which style of composition, that is, whether to compose in a typically Western style, an 
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African style or combination of both, choral art music in Ghana cannot be said to have 
developed to the desired level in spite of the fact that Tsemafo-Arthur and many others 
have contributed their quota tremendously to its development and the gains made so 
far.  In general terms, African choral art music has not developed to the desired level 
due to the numerous challenges it has faced which have  accounted partly for the 
reasons why the objective or the desire to achieve the African identity has also not fully 
materialised.  
 
Challenges such as the Ghanaian Choral Art Musicians’ inability to develop their own 
compositional styles differently from the Western forms, adaption of and overreliance 
on the Western musical instruments to the detriments of developing African musical 
instruments, inadequate performance halls, training among musicians and public 
perception, weak institutional support among others have accounted for the current 
state of the choral art music in the country. Despite the challenges enumerated among 
others, choral art music in Ghana has developed in areas such as improved voice 
quality, innovative ways of playing the keyboard in accompaniment to choral 
performances, innovative compositional styles such as composing lively, gay and 
catchy rhythms that attract especially the youth among others.   
 
5.3. Recommendations 
In our quest to develop and promote African Art Music, it is important to begin from a 
point. It is therefore being recommended that Music analysis courses in African 
training institutions such as the Universities and other tertiary institutions allocate more 
time for the study of the subject, reduce the use of Western materials and use more of 
African compositional resources to deepen the student’s understanding for an increase 
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appreciation of the African music. To realize this, there is also the need to embark on 
serious collection and documentation of works of African Art compositions from the 
1920s to date to beef up the existing collections. This would give enough resource 
materials to enhance these studies.  Students of the Music Analysis class may also be 
introduced to recorded performances as well as being made to organize performances 
on assigned composers of African Art Music occasionally.  
 
Secondly, there is the need for our African training institutions to enforce the causes of 
study in organology to develop the skills in their students to be able to carry out 
maintenance work on existing musical instruments and to be able to build new ones to 
enhance the purposes of the African Art Musician.   Building this capacity will help 
bridge the African instrumental gap and also make it possible for the composer to gain 
a wider range of choice of instruments to compose for at every given occasion 
especially with melodic instruments.  The ability to develop musical instruments 
especially the melodic instruments will encourage the development of various 
compositional styles that are original and African in character to make the African 
identity stand out.  
 
Furthermore, there is the need for the Ghana Education service to enforce the teaching 
and learning in the first and second cycle institutions.   As the saying goes “catch them 
young and they shall be yours forever”. If they are introduced to the study of Music and 
possibly with African art music at that early stage, their sense of appreciating the 
African art Music will heighten as they grow in their studies.  Again the government of 
Ghana must lend her support by expanding the infrastructure on performance halls or 
centres across the country to encourage more compositions and performances of the 
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African art musical works. This will also help broaden the choral music listenership 
base which will eventually increase the African art music appreciation in the country.  
 
There above notwithstanding, musical training institutions like the universities should 
embark on massive public education for the public to be aware of the prospects in the 
study of music to  minimize the negative perception about the study of music for an 
enhanced student drive.   If the above recommendations are implemented I believe the 
state of Choral music and for that matter African Art Music will improve dramatically 
in the country.  
 
 
 
 
 
 
 
 
 
 
 
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APPENDIX A: RESEARCH QUESTIONS, INTERVIEW QUESTIONS AND 
PERIODICALS 
Research Questions 
This research explored the influence of local culture on African art music composition 
in Ghana focusing on the work of James Tsemafo-Arthur. In order to achieve this, I 
focused on aspects of the composer’s works such as melodic pattern, harmonic 
structure, form, rhythm and text.  
i To what extent has Western education influenced contemporary African art music 
compositions in Ghana?  
ii. To what extent have Tsemafo-Arthur’s compositions contributed to the 
development of African art music composition in Ghana?  
iii.   What specific choral compositional techniques has James Tsemafo-Arthur 
employed in his compositions? 
iv. How has he explored the compositional techniques in his works? 
 
Interview Questions 
a) For how long have been composing? 
b) How many compositions have you so far to your credit and are they all choral? 
c) Any reasons why your choral compositions far outnumber your instrumental ones? 
d) In your compositions, who have been your target performers and audience? 
e) What is your impression about the concept of hybridity? 
f) What is your assessment or perception about the current state of art music in Ghana 
and its future?   
g) Any role model composer whose works motivated you to start composing? 
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h) What is your perception about other Ghanaian art music composers both before and 
after you? 
i) What is your view about music and nation building from the post colonial era to 
date? 
j) Are there any differences between your early and late works? 
k) Why do you think most Ghanaian youth of particularly prefer contemporary gospel 
music to choral or African art music of late? 
l) What in your opinion can be done to further move African art music in Ghana 
forward? 
m) What usually motivates you to compose your songs? 
n) What are your sources of inspiration your compositions? 
o) How has your background as a Fante and a Methodist affected your compositions?   
 
 
 
 
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Periodicals 
         
 
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 171 
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APPENDIX B 
MUSIC SCORES 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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DZIN A {Y} D}W
JAMES KOFI TSEMAFO-ARTHUR
Andante
& bbb 4 Î · · · ·
SoÏpranoÏ soloSoprano 4 Ï Ï Ï
Mbr] Je sus ne dzin
b 4
Alto & b b 4 Î · · · · · ·
b 4
Tenor V b b 4 Î · · · · · ·
? 4
Bass bbb 4 Î · · · · · ·
Andante >
& bbb 4
>
4 >ÏÏÏ úÏ Ï >ú úÏ Ï búÏú Ï úúú ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ Ï ÏÏ ÏÏ ÏÏ
Î ·
Ï Ï
Piano
? bbb 44 ÏÏ úú úú Ï Ï ú Ï ÏÏ ÏÏ ÏÏÏ Ï Ï
Î
Ï Ï ú Ï Ï ÏÏ
ÎÏÏ · ·
7
& bbb Ï Ï Ï Ï Î · î. Ï Ï ÏS Ï Ï Ï Ï Ï Ï Ï nÏ Ï Î
dua y] d]w w[ gye dzi nyia - som a !
A & bbb · · · · ·
T V bbb · · · · ·
?
B bbb · · · · ·
7
& bbb î
. Ï úÏ Ï Ï Ï Ï Î î
.
î . Ï ú Ï Ï ÏÏ Ï Î · î. ÏÏÏ
Pno.
? bbb î. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î · î. Ï
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DZIN A {Y} D}W
12
& bbb î Î Ï >Ï Ï >Ï Rall e dim
>
S Ï Ï Ï >ú Ï Ï Ï Ï Ï
U
Ï Ï Ï
O tu ne yaw y] ne yare-dur N'O tu ne s'ro nyi naa
b
A & b b · · · · ·
b
T V b b · · · · ·
?
B bbb · · · · ·
12
& bbb ÏÏÏ Ï ÏÏ ÏnÏÏÏ Ï ÏÏÏ úúÏ Ï úúÏ Ï bÏú Ï Ïú Ï Ï Ï Ï Ï Ï
Ï Ï Ï UÏ Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ
Pno.
? bbb Ï nÏ Ï Ï ÏÏ.. ÏÏ ÏÏ.. ÏÏ ú
ú Ï ÏÏ ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï ÏÏ úú ÏÏ ú
Semi Chorus (Three voice to each part)
17 b A
S & b b a tempoÏ Ï. Ïj Ï Ï ÏÏ Ï Ï Ï. Ïj Ï. Ïj Ï Ï Ï Ï ú . Ï Ï3
Mbr] Je - sus ne dzin dua y] d]w w[ gye dzi nyia - som a! O
& bbb j 3A Ï Ï. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú . Ï Ï Ï
Mbr] Je - sus ne dzin dua y] d]w w[ gye dzi nyia - som a! O
T V bbb Ï Ï. ÏJ Ï Ï Ï Ï Ï Ï Ï. Ïj Ï nÏ Ï Ï nÏ Ï bÏ
Mbr] Je - sus ne dzin dua y] d] w[ gye dz
? bbb Ï Ï. JÏ Ï Ï Ï Ï Ï Ï Ï. Ïj
i nyia - som a! O
Ï
B Ï ú . Ï
Mbr] Je - sus ne dzin dua y] d]w w[ gye - dzi nyia - som a! O 3
17
& bbb ÏÏÏ ÏÏÏ... ÏÏ
j
Ï ÏÏÏ Ï
Ï
ÏÏ ÏÏÏ
j j Ï Ï
ÏÏÏ ÏÏ. Ï Ï ÏÏ. Ï Ï ÏÏ ÏÏ Ï ÏÏ Ï úú .. Ï Ï Ï
Pno.
? bb Ï Ï. jb Ï Ï
Ï. n Ï Ï Ï nÏ Ï bÏ 3
Ï Ï. ÏÏ Ï Ï
Ï ÏÏ Ï
Ï
Ï Ï Ï
Ï. ÏÏ ÏÏJ Ï ú . Ï
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b Ï DZIN A {Y} D}W22
S & b b Ï pÏ Ï Ï Ï. ÏJ nÏ Ï Ï Ï Ï nÏ Ï ú . Ï Ï Ï Ï Ï Ï
tu ne yaw y] ne yare -dur naO - tu no s'ro nyi - na, p na O - tu no s'ro nyi -
A & bbb Ï Ï Ï Ï Ï. Ïj Ï Ï Ï Ï bÏ Ï Ï nú . Ï Ï Ï Ï Ï Ï Ï
tu ne yaw y] ne yare -dur n'O tu no s'ro nyi na p n'O tu no s'ro nyiV bbT b Ï n Ï Ï Ï nÏ . Ïj Ï bÏ Ï Ï Ï Ï ú . Ï Ï Ï Ï Ï Ï Ï Ï
tu ne yaw y] ne yare -dur n'O tu no s'ro nyi na;
? bb Ï Ï Ï Ï j Ï Ï p
n'O tu no s'ro nyi
B b Ï Ï. Ï Ï Ï Ï Ï ú . Ï Ï Ï Ï Ï Ï Ï
tu ne yaw y] ne yarje -dur n'O tu no s'ro nyi na; p n'O tu no s'ro nyi -22& bbb ÏÏÏ nÏÏÏ Ï ÏÏ ÏÏ nÏÏÏ... ÏÏÏ nÏ ÏJ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ nÏÏÏ #ÏÏÏ núúú ...
ÏÏ ÏÏ ÏÏ Ï Ï Ï ÏÏÏ ÏÏ
Pno.
? bbb Ï Ï Ï Ï
p
Ï Ï. Ïj Ï Ï Ï Ï Ï Ï ú . Ï Ï Ï Ï Ï Ï Ï
27 bbb Allegro B (Full Chorus)& ú. 43 Ï ú Ï Ï. JÏ ÏS Ï ú Ï
p
ú Ï ú Ï ú Ï
na { b[ sun suma oe pira e su N'{ dwea - ko maa - [a -
A & bbb ú . 4
3 pÏ ú Ï ú Ï Ï Ï Ï ú Ï ú Ï ú Ï
na { - b[ sun - suma oe - pira e su N'{ dwea - ko maa - [a
T V bbb Ï Ï Ï Ï 43 Ï Ï Ï nÏ ú Ï Ï Ï Ï ú pÏ ú Ï ú Ï
na { - b[ sun - suúma oe - pira e su Np'{ - dwea - ko - maa [a -? bbb ú . 43 Ï ú Ï Ï ÏB Ï Ï ú Ï bÏ ú nÏ ú Ï
na { - b[ sun - suma joe - pira e - su pN'{ - dwea - ko - maa [a -27& bbb ú . 43 ÏÏÏ Ïú Ï nÏÏÏú . úúÏ.
Ï ÏÏÏ Ï úÏ Ï ÏÏ úúú ÏÏÏ úúú ÏÏp úúú ÏÏPno.
? bbb Ïúú .
Ï Ï Ï 43 ÏÏ úú
ÏÏ úú ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ Ï
Ï ÏÏ bÏ ú nn ÏÏ úú. Ï p bÏ ú Ï
Ï
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DZIN A {Y} D}W
35 bbb cresc.& ú Ï ú Ï ú Ï ú bÏS ú Ï ú Ï ú Ï
haw; E - dzi - ban ma sun - suma k[m dzen', A - hom gye ma 'fona
bbb cresc.A & ú Ï ú nÏ ú #Ï ú Ï ú Ï Ï. Ïj Ï bÏ ú Ï
haw; E - dzi - ban ma sun - suma' k[m dzen', A - hom gye ma 'fona
b cresc. Ï j
T V b b ú Ï ú Ï ú Ï Ï Ï ú Ï Ï Ï Ï Ï. Ï Ï
haw; E - dzi - ban ma sÏun - suma 'k[m dzúen', A - hom gye ma 'fona? b Ïcresc. Ï ú úB b b ú ú Ï Ï ú Ï ú Ï
haw; E - dzi - ban ma sun - suma 'k[m dzen, A - hom - gye ma 'fona
35 bbb cresc.& úúú ÏÏÏ úúú nÏÏÏ úúú #ÏÏÏ úú Ï
bÏÏÏ Ï úúú ÏÏ úúú ÏÏ bÏ úúú ÏÏ
Pno.
? bb Ï
cresc.
b ú Ï Ï Ï Ï ÏÏ ÏÏ Ï
Ï Ï Ï
Ï ÏÏ Ï Ï ÏÏ Ï
Ï Ï Ï Ï ÏÏ Ï Ï
ú
ú Ï ú Ï
Ï úú Ï ú Ï
42
& bbb Ï. Ïj
p
S Ï Ï Ï. JÏ Ï Ï ú Ï Ï Ï Ï Ï Ï. Ïj Ï Ï Î Î · ·
fo Ap hom - gye maa - fona fo
A & bbb ú Ï ú . ú Ï ú Ï ú Ï Ï Î Î · ·
fo Ap hom - gye maa - jfona - foV bbT b ú Ï ú . ú Ï Ï Ï Ï Ï. Ï Ï Ï Î Î · ·
fo pA - hom - gye maa - fona fo?
B bbb ú Ï ú . ú Ï ú Ï ú Ï Ï Î Î · ·
fo A - hom - gye maa - fona - fo
42
& bbb júÏ. Ï ÏÏ Ï úúú .. ú Ï
j
. ú Ï úÏ Ï Ï ÏÏ úú Ï Ï. Î ÏjÏ Ï ÎÏ Ï úÏ. ÏÏ ÏÎ Ï ÏÏ.
ÏjÏ Ïp Î ÏPno.
? bbb úú
ÏÏ ú .. ú ÏÏ
ú
ú ú ú ÏÏ
úúú ÏÏ ÏÏ Î Î úú Î
úú Î
p
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DZIN A {Y} D}W
50 bb · · bb 4 · CS & b n 4 · î UÎ
S
Ï Ï. Ïj Ï Ï
Dzin - pa Bo-tan a
A & bbb · · nbb 44 · · î Î
S
Ï Ï. Ïj Ï Ï
Dzin - pa Bo-tan a
V bbT b · · nbb 44 · · î Î Ï SÏ. JÏ Ï Ï bÏ
DÏzin - Spa Bo-tan a?
B bbb · · nbb 44 · · î Î Ï. JÏ Ï Ï
j j U Dzin - Spa Bo-tan a50& bbb ÏÏ. Ï Ï Ï Ï Ï nbbÏ Î Ï Ï 4
4 ÏÏ ÏÏÏ... ÏÏÏ ÏÏÏ ÏÏ
Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏJ Ï.
.. ÏÏJÏ
j ÏÏÏ ÏÏ bÏ
Pno.
? b Î Ïb b ú
Ï Ï S j
ú Ï
ÏÏ
Ï Ï nb
b 44 ÏÏ Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ïu Ï Ï
Ï.. ÏÏ ÏÏ ÏÏ
56 b j
S & b Ï Ï Ï. Ï Ï Ï Ï Ï ú . Ï Ï Ï Ï Ï Ï. Ï
j Ï Ï Ï Ï Ï. Ïj
mo tow do, Me ky]m na mo s'ma - bew, M'e - gya - pa-dze a [ - mmpa da A -
& bbA Ï Ï Ï. Ïj Ï Ï Ï Ï Ï ú . Ï Ï Ï Ï. Ïj Ï Ï Ï. n Ïj
mo tow do, Me ky]m na mo s'ma - bew, M'e - gya - pa - dze a [ - mmpa da A -
T V bb Ï Ï Ï. Ïj Ï Ï Ï nÏ ú . Ï Ï Ï Ï. Ïj Ï Ï Ïj Ï bÏj
mo tow do, me ky]m na mo s'ma bew, M'e - gya - pa - dze a [ - mmpa da A -
?
B bb Ï Ï Ï. ÏJ Ï Ï Ï Ï ú . Ï Ï bÏ Ï. ÏJ Ï Ï Ï. ÏJ
mo tow do, me ky]m na mo s'ma dew, M'e - gya - pa - dze a [ - mmpa da A -
56
& bb ÏÏ ÏÏ Ï
3 j
Ï.. jÏÏ ÏÏJ ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï
ÏÏ úú ÏÏ.. ÏÏ ÏÏ Ï ÏÏÏ Ï ÏÏ. Ï ÏJ nÏÏPno. J
? bb ÏÏÏ Ï
3
Ï ÏÏ.. ÏÏJ Ï ÏÏ ÏÏ nÏÏ úú .. ÏÏ Ï bÏ Ï Ï Ï Ï ú
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DZIN A {Y} D}W
61
S & bb Ï nÏ Ï bÏ ú . Ï Ï Ï ú ú . Ï Ï nÏ ú ú . Ï
dom na [a - hy]n' ma, m'e - gya - pa - dze a [- mmpa da a -
& bbA Ï #Ï Ï nÏ nú . Î î Î Ï Ï Ï Ï Î î Î Ï Ï Ï Ï Ï
dom na [a - hy]n' ma, m'e - gya - pa - dze a [ - mmpa da a -
V bb Ï. ÏjbÏ Ï ú . Ï Ï Ï ú ú . n Ï Ï Ï ú ú .T Ï
dom na [a - hy]n' ma, m'e gya - pa - dze a [- mmpa da a -
?
B bb Ï Ï nÏ Ï ú . Î î Î Ï Ï Ï Ï Î î Î Ï Ï Ï Ï Ï
dom na [a - hy]n' ma, m'e - gya - pa - dze a [ - mmpa da a -
61
& bb ÏÏ # nÏÏ ÏÏ n bÏÏ núú .. ÏÎ îÏ Ï Îú Ï Ïú . Ï Ï ÎÏ Ïî nÏ úÎ Ï úÏ . Ï Ï
ÏÏ
Pno.
? bb Ï ÏÏ bn ÏÏ ÏÏ úú ..
Ï Ï Ï ú Ï Ïú .Ï Ï Ï ÏnÏ Ï Ï ú úÏ
. Ï Ï
Î î. Ï Î î Î Ï Ï Ï Ï Ï Ï
67
& bb Ï Ï Ï Ï Ï Î Î Ï Ï Ï Î Î Ï Ï Ï Î Î Ï Ï Ï Ï ÏS Ï Ï Ï
dom na [a -hy]n' ma a - dom a - dom a - dom na [a - hy]n'
A & bb Ï Ï Ï Ï Ï Î î Î Ï Ï Î Î nÏ Ï Ï Ï Ï Ï Ï Ï Ï
dom na [a -hy]n' ma a - dom a - dom a - dom na [a - hy]n'
T V bb Ï Ï Ï Ï Ï Î Î Ï Ï Ï Ï Ï Ï Î î ä Ï Ï Ï Ï Ï
dom na [a -hy]n' ma a - dom na [a - hy]n' ma Ï a dom na [a - hy]n'?
B bb Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Î Ï Ï Î Î Ï #Ï Ï Ï Ï Ï Ï ÏÏ
dom na [a -hy]n' ma, a - dom a - dom a - dom
67 bb Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ nÏ Ï ÏÏ Ï Ï
a - dom na [a - hy]n'
& Ï Ï Ï Ï Ï Î î Îú Ï Ï Î Î ÏÏ ÏÏÏ ÏÏ
ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ
Pno.
? bb ÏÏ
Ï
Ï Ï Ï ÏÏ Ï ÏÏÏ ÎÏ ÏÎ Ï ÏÏ Ï ÏÏ ÏÏ Ï Ï ÏÎ îÏ Î Î Î Ï #Ï
Ï Ï Ï Ï Ï ÏÏ
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b DZIN A {Y} D}W72
S & b Ï Î î Î Ï Ï Ï Ï Ï Ï Î î Î Ï Ï Ï Ï Ï
ma a - dom na [a -hy]n' ma a - dom na [ahy]n' -
b
A & b Ï Ï Ï Ï Ï nÏ Ï Î î Î Ï bÏ Ï Ï Ï Ï Î î
ma, a - dom na [a - hy]n' ma, a - dom na [a - hy]n' ma
V bb Ï ÏT Î Î Ï Ï Ï Ï Ï Î ä Ï Ï Ï Ï Ï Ï Ï Ï
ma, a - dom na [a - hy]n' ma a - dom na [a - hy]n'
?
B bb Ï Ï Ï Î Î Ï Ï Ï Ï Ï ú Î
Ï Ï Ï
ma, a - dom a - dom na [a - hy]n' ma, a - dom
72
& bb ÏÏÏ ÏÏ ÏÏ Ï ÏÏ nÏ ÏÏ Ï ÏÏ Ï #ÏÏ Ï Ï ÏÏ ÏÏÏ bÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
ÏÏ ÏÏ ÏÏ ÏÏ
Pno.
? bb ÏÏ ÏÏ ÏÏ úú ÏÏ ÏÏ ÏÏ ÏÏ bÏ
Ï
Ï Ï úú Ï
Ï
Ï Ï
ÏÏ ÏÏ
76 b
S & b Ï Î î Î ä JÏ Ï. JÏ Ï. JÏ Ï Ï Ï Ï Ï Ï
ma a - dom a - dom aj- dom na [a - hy]n' ma Je -
A & bb Î Ï Ï Ï Ï Ï Ï ä Ïj Ï. Ïj Ï. Ï Ï Ï Ï Ï Ï Ï Ï
a - dom na [a -hy]n' ma, Ï a - dom, a - dom, a - dom na [a - hy]n' ma Je -V bb Ï Î î Î Ï Ï Ï ÏT Ï. ÏJ Ï Ï Ï Ï Ï Ï Î
ma Ï a - doÏm,Ï a Ï- doÏm, Ïa - dom na [a - hy]n' ma,?
B bb Ï ú Ï Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î
Ïa - dom a - dom, a - dom, j a - dom na [a - hy]n' ma76& bb ÏÏÏ ÏÏÏ
3
ÏÏ ÏÏ ÏÏ ÏnÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏÏ... ÏÏÏ ÏJ Ï ÏÏ ÏÏÏ Ï ÏÏÏ ÏÏÏ Ï Ï Ï
Pno.
? bb ÏÏ ÏÏ Ï
Ï ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ïú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï ÏÏ ÏÏ Ï Ï Ï Ï ÏÏ
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DZIN A {Y} D}W
80
& bbS ÏD. ÏJ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î Ï Ï Ï Î ä Ï Ï Ï
sus mo Guan - hw] - fo, mo Nua, mo S[ - foe na me Hen, Mo wura, mo
A & bb Ï. Ïj Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï nÏ Ï Ï Ï Ï Ï ä Ïj
sus mo Guan - hw] - fo mo Nua mo S[ - foe na me Hen, mo Wura, mo
V bb · · · î ä Ï Ï ÏT
mo Wura, mo
?
B bb · · · Î Ï Ï Ï ä JÏ
Î mÏo Wura, mo80& bb ÏÏ Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ bÏÏ ÏÏ Ï nÏÏ Ï Ï Ï ÏÏ Ï Ï ÏÏ Ï
ÏÏ Ï Ï ÏÏ ÏÏ ÏÏ
Pno.
? bb · · · Î ÏÏ ÏÏ úú
84
S & bb Ï ä JÏ Ï ä ÏJ Ï Ï Ï Ï ä Ï Ï Ï ä Ï Ï Ï ä Ï Ï Ï Ï Ï Ï Ï
nkwa, mo kwan m'e wiei Bra b] - gye, bra b] - gye, bra b] - gye bra b] - gye m'a - y] - yi, Je -
& bbA Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï Î
Nkwa, mo kwan m'E - wiei Bra b] - gye b] - gye b] - gye m'a - y] - yi
V bb Ï Ï ÏT Ï bÏ Ï Ï Ï Ï ä Ï Ï Ï ä Ï Ï Ï ä Ï Ï Ï Ï Ï Ï Î
Nkwa mo Kwan m'E - wiei bra b] - gye, bra b] - gye bra b] - gye bra b] - gye m'a - y] - yi
? bb Ï #Ï Ï Ï Ï ä Ïj Ï Ï ä Ï Ï Ï Ï Ï Ï Ï ÏB Ï Î
Nkwa, mo kwan m'E - wiei bra b] - gye bra b]- gye bra b] - gye m'a - y] - yi 3
84
& bb úúÏ Ï ÏÏú ÏÏ ÏÏ Ï
ä ä ä
Ï Ï Ï
Ï
Ï Ï ÏÏ ä ÏÏ ÏÏÏ ÏÏ Ï Ï ÏÏÏ ÏÏ Ï Ï bÏÏÏ ÏÏ ÏÏ Ï Ï
Ï ÏÏÏ ÏÏÏ Î
Pno.
? bb ÏÏ ## Ï
Ï Ï Ï
Ï ÏÏ nÏÏ ÏÏ ä Ïj Ï Ï ä Ï Ï Ï Ï ÏÏ ÏÏ Ï Î
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DZIN A {Y} D}W
88
& bb w ú .
cresc.
S Ï w
sus, Je - sus,
A & bb ä Ï Ï Ï Ï Ï Ï Ï Ï Î ä Ï Ï Ï Ï Ï
mo Wura, mo Nkwa, mo Kwan m'E - wiei, mo Wura, mo Nkwa mo
V bb Î ä ÏJ Ï Ï Ï Ï Ï Ï Ï Î Î ä JÏ Ï Ï Ï ÏT
mo Wura, mo Nkwa, mo KÏwan m'E - wiei, mo Wura mo Nwka mo? bb Î ä ÏJ Ï Ï Ï Ï #Ï Ï Î Î ä JÏB Ï Ï Ï Ï
w cresc. 388
& bb Ï Ï ÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ
úÏ Ï ÏÏ Ï Ï Ï w Ï Ï ÏÏä Î ä ÏÏ
Ï ÏÏÏ ÏÏ ÏÏ
Pno.
? bb Î ä Ï
j ÏÏ
Ï Ï Ï ÏÏ ÏÏ #
ÏÏ ÏÏ
Ï Î Î ä
Ïj
Ï Ï ÏÏ Ï
Ï ÏÏ ÏÏ
91
S & bb ú . Ï ú . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. n ÏJ
Je - sus, bra b] - gye m'a - y] - yi, Mo Wura, mo
A & bb Ï nÏ bÏ Î ä Ï Ï Ï Ï. Ïj Ï Ï Ï Ï Ï Ï Ï bÏ
Kwan m'E - wiei mo Wura mo Nkwa, bra bÏ] - gye m'a - y] - yi, mo Wura, mo
T V bb Ï Ï Ï Î ä Ï Ï Ï nÏ. ÏJ Ï Ï Ï Ï Ï Ï Ï
KÏwan m'E - wiei mo Wura mo Nkwa, bra b] - gye m'a - y] - yi, mo Wura, mo? bb Ï bÏ Ï Î Î
Ï
Ï Ï. JÏ
Ï Ï Ï
B Ï Ï Ï Ï
3
3
91 ú Ï Ï Ï ú . Ï
& bb ÏÏÏ nÏÏ bÏÏ ÏÏ Ï Ï ÏÎ ä Ï Ï Ï n
ÏÏ Ï Ï Ï Ï Ï ÏÏÏ Ï ÏÏÏ Ï ÏÏÏ ÏÏÏ Ï Ï ÏÏÏ ÏÏÏ ÏÏÏ b n ÏÏÏ
Pno.
? bb ÏÏ ÏÏ bbÏÏ Ï Î
Î Ï
Ï Ï ÏÎ Ï
Ï
.. Ï
Ï
Ï Ï
Ï
J Ï
ÏÏ ÏÏ Ï Ï Ï Ï
181
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b . Ï n Ïrit.95& b Ï. #JÏ Ï ÏJ Ï
DZIN A {Y} D}W
S Ï Ï Ï UÏ Î · ·
Nkwa, mo Kwan, m'e - wiei
& bb Ï Ï Ï nÏ Ï Ïrit.A Ï Ï Ï Ï Ï Ï Î · ·
Nkwa, mo KwÏan mÏ'E - wiei bra b] - gye m'a - y] - yiV bb Ï Ï ÏT #rÏit. Ï Ï bÏ Ï Ï Ï Î · ·
Nkwa mo Kwan, m'E - wiei bra b] - gye m'a - y] - yi
?
B bb Ï Ï Ï Ï Ï Ïrit. Ï Ï Ï Ï Ï uÏ Î · ·
95 U
& bb ÏÏÏ. ÏÏ#Ï
j ÏÏ. n Ï Ïj Ï # nÏÏrit.Ï Ï ÏÏ Ï Ï ÏÏ
ÏÏ Ï ÏÏ ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ. b
j
ÏÏnÏjÏÏÏ. n ÏÏ#Ï ÏÏÏ. n ÏÏ Ï
jÏÏÏ nÏÏÏ Ï
Pno.
? bb Ï Ï ÏÏ bÏÏ ÏÏ ÏÏ Ï ÏÏ bÏ ÏÏ Ï Ï Ï ÏÏ ÏÏ Ï Ï Ï Ï ÏÏ bÏÏ ÏÏ Ïu Ï
E
100 b
S & b · · 43 ÏSoloú(conÏAnima)
3
ú Ï Ï Ï ú Ï Ï ú . ú Ï
Mo mb[ - dzen - b[ [ - y] mbe - r]w, M'a -
A & bb · · 43 · · · · · ·
V bbT · · 43 · · · · · ·
?
B bb · · 43 · · · · · ·
100
& bb ÏÏÏÏ Ï ÏÏ ÏÏ úúú ... 43 ÏÏÏ úú
3
ú ÏÏÏ úú ÏÏ Ï Ï Ïú. Ï Ï bÏÏ
Ï
Pno. J Ï
ÏÏ úú .. úú
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Ï ÏÏ bÏ ÏÏ Ï Ï Ï úú .. 43 ÏÏ úú ÏÏ búúú nn ÏÏÏ úú ÏÏ úúú Ï úú
nn ÏÏ
182
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108 b j j DZIN A {Y} D}W
S & b Ï. Ï Ï Ï Ï. Ï nÏ ú . ú Ï ú #Ï ú . ú Ï ú Ï
ko - ma y] w[[ w[w; Na ber a mbo - huW' d] mbr]{ - wo
& bbA · · · · î pÏ ú Ï ú Î î nÏ
Na bera m'bo huW' d]
V bbT · · · · · · · ·
?
B bb · · · · · · · ·
108
& bb úÏÏ.. ÏÏj ÏÏÏ Ï úÏ. ÏjnÏÏ úÏ Ï Ï Ï Ï Ïú Ï Ï
Ï Ï Ï Ï
. . ú Ï Ï #ÏÏ úú . Ï úú ÎÏ úî nÏÏ
Pno.
? bb úú ÏÏ úúú ÏÏ Ï úú .. úú . Ï ú ÏÏ úú . Ï úú Ï úî ÏÏ
116
& bb
f
S ú . ú Ï ú Ï ú Ï Ï. ÏjnÏ ú Ï Ï Ï Ï Ï Ï Ï
tsen; Nfa bera m'bo huW' d] mbr]{ - wo tsen', M'be - yiW'a - y]w d] mbr][ -& bbA ú Ï ú Ï ú #Ï ú Ï ú #Ï ú Ï Ï Ï Ï nú bÏ
mbr][ - wo tsen' Na bera m'bo - huW' d] mbr]{ - wo tsen', M'be-yiW'a y]w d] mbr][ -
V bbT · · · · · · · ·
?
B bb · · · · · · · ·
116
& bb úú . Ï úú ÏÏ úú #ÏÏ úú ÏÏ úÏ. Ïj# n ÏÏ ú Ï Ï Ï Ï Ï Ï Ï
Pno.
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Ï ÏÏ Ï Ï Ï
183
University of Ghana http://ugspace.ug.edu.gh
F
124 bb ú . ú bb A4lleg·retto e sta·ccaro
DZIN A {Y} D}W
S & b 4 · · ·
s]
& bbA ú Ï ú bbb 44 · · · · ·
s]
b
T V b · · bbb 44 · · · · ·
? bb · · bbb 44B · · · · ·
b b 4 Allegretto e staccaro124& b ú . ú b b 4 Ï Ï Ï Ï nÏ ú Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ úú ÏÏ ÏÏ ÏÏ ÏÏ úú ÏÏ ÏÏ ÏÏ ÏÏ
Pno.
? bb úú . bÏ úú bbb 44 ÏÏÏ Ï Ï Ï ú Ï ÏÏÏ Î
Ï Ï Ï
Ï Ï Ï Î Ï Ï Ï Î ÏÏ
131 b f Allegretto e staccaro& b b · î Î ä ÏJ Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï
S Ï Ï Ï Ï
Mbr] Je - sus ne dzin dua y] d]w Mbr] Je - sus Ne dzin dua y] d]w w[
b
A & b b · · · ·
T V bbb · · · ·
?
B bbb · · · ·
131
& bbb úú úú ÏÏ Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï · Ï Ï Ï Ï
Pno.
? bbb Ï Ï Î ÏÏ ÏÏ ÏÏ î · ·
184
University of Ghana http://ugspace.ug.edu.gh
b j DZIN A {Y} D}W135
S & b b Ï Ï Ï Ï Ï. n Ï Ï. JÏ Ï Ï Ï Ï. ÏJ Ï Ï Ï
gye - dzi - nyia -som a, w[ gye - dzi - nyia - som,w[ gye - dzi - nyia - som, w[
b
A & b b î Î Ï Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï
mbr] Je - sus Ne dzin dua y] d]w mbr] Je - sus Ne dzin dua y] d]w w[
b
T V b b · · ·
?
B bbb · · ·
135
& bbb îÏ Ï Ï Ï ÎÏ. ÏnÏ
j ÏÏ. Ï
j
Ï ÏÏ ÏÏ Ï Ï ÏÏ Ï nÏÏ. Ï
j
Ï ÏÏ ÏÏ Ï ÏÏ ÏÏ
Pno.
? bbb · · ·
138 b j j
S & b b Ï Ï nÏ Ï Ï ä Ï Ï Ï Ï Ï ÏJ Ï Ï Ï nÏ Ï
Ï Ï. JÏ
gye - dzi - nyia -som a, w[ gye - dzi - nyia - som w[ gye - dzi - nyia - som
b j
A & b b Ï Ï Ï Ï Ï ä Ïj Ï. Ï Ï Ï Ï Ï. JÏ Ï Ï Ï
gye - dzi - nyia -som a w[ gye - dzi - nyia - som w[ gye Ï - dzi - nyia - som,w[V bbb î Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏT Ï Ï Ï Ï
mbr] Je - sus Ne dzin dua y] d]w mbr] Je - sus ne dzin dua y] d]w w[
?
B bbb · · ·
138
& bbb Ï äÏ ÏÏ nÏ Ï Ï ÏÏj ÏÏ. Ï Ïj ÏÏ Ï
j
Ï ÏÏ ÏÏ ÏÏ. n Ï Ï ÏÏÏJ ÏÏÏ.Ï Ï ä ÏÏ Ï ÏÏ
j
Ï J J Ï
Pno.
? b î Î Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï
Ï
Ï Ïb b Ï Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
185
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DZIN A {Y} D}W
141
& bbb Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏS
a, mbr] Je - sus Ne dzin dua y] d]w w[ gye - dzi -
b
A & b b Ï Ï Ï Ï Ï Î Î ä Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï. n Ï
j
gye - dzi - nyia -som a j mbr[ Je - sus Ne dzin dua y] d]w wÏ[ gye - dzi -b Ï Ï Ï
T V b b Ï Ï Ï Ï Ï ä nÏ Ï. ÏJ Ï Ï. J Ï Ï
gye - dzi - nyia -som a w[ gye - dzi - nyia - som w[ gye - dzi - nyia - som w[
? bbb î Î Ï Ï Ï ÏB Ï Ï Ï Ï Ï nÏ
Ï Ï Ï Ï Ï Ï Ï
mbr] Je - sus Ne dzinÏ dua y] d]w mbr] Je - sus Ne dzin dua y] d]w w[141& bbb ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ Ï Ï JÏÏ ÏÏÏ ÏÏ ÏÎ ä ÏÏ Ï ÏÏ Ï ÏÏ Ï
ÏÏ
Pno.
? bbb ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ Ï ÏÏ Ï Ï ÏÏ ÏÏ Ï
Ï Ï
Ï ÏÏ Ï Ï Ï
Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
144
S & bbb Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï UÏ Ï Ï Ï Ï Ï Ï
nyia - som a! O - tu Ne yaw y] ne yare - dur N'o - tu no s'ro nyi -
& bbA b Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï Ï nÏ Ï Ï Ï Ï
nyia - som a, O - tu Ne yaw y] ne yare - dur N'o - tu no s'ro nyi -
T V bbb Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
gye - dzi- nyia -som a O - tÏu Ne yaw y] ne yare - dur N'o - tu no s'ro nyi -?
B bbb Ï Ï Ï Ï Ï Ï bÏ Ï Ï UÏ Ï Ï Ï Ï Ï Ï Ï
gye - dzi- nyia -som a! O - tu 3 Ne yaw y] ne yare - dUur N'O - tu no s'ro nyi -144 bb ÏÏ
3 3
& b Ï nÏÏÏ ÏÏÏ ÏÏÏ ÏÏ Ï Ï ÏÏÏ Ïú Ï
Ï ÏÏ bÏÏ Ï Ï ÏÏ Ï Ï Ï ÏÏÏ ÏÏ nÏ ÏÏÏ ÏÏ Ï ÏÏÏ ÏÏÏ
Pno.
? 3bbb Ï ÏÏ ÏÏ ÏÏ ÏÏ
ÏÏ Ï bÏ Ï Ï
3
Ï Ï Ï Ï ÏÏ ÏÏ ÏÏ Ï
Ï ÏÏ ÏÏ
ú
u ú
186
University of Ghana http://ugspace.ug.edu.gh
b a tfempo G
DZIN A {Y} D}W
148
S & b b ú . ä Ïj Ï Ï Ï Ï Ï Ï Ï nÏ Ï ä Ïj Ï Ï Ï Ï Ï. # ÏJ
na Kf ] pem dan' na m'b] - ka Wo d[n' K]j pem dan' na m'b]
A & bbb ú . ä Ïj Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï
na K] pem dan' na mf 'b] ka Wo d[n' K] pem dan' na m'b]V bbb Ï Ï Ï Ï Î î Î Ï Ï bÏ Ï Î î Î ä nJÏT
na mf'b] ka Wo dÏ[n' Ï Ï Ï m'b]?
B bbb ú . Î î Î Ï Ï Ï Ï î Î ä ÏJ
na Ï ÏÏ Ï Ï úú m'b] - ka Wo d[n' m'b] ka Wo d[n' m'b] -148 a tempo& bbb ú Ï Ï Ï ú Ï Ï.ú Ï Ï #ÏÏ.. ä J ÏÏ b n ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï J
Pno. f
? bbb ú . ä ÏÏ Ï Ï ÏÏ Ï ÏÏ Ï ÏÏ. Ï Ï Ï Ïú
Ï Ï Ï
ú Î Ï
Ï
J ú
Ï Ïú Ï
153 b Ï poco accel Ï Ï
S & b b nÏ Ï. Ï Ï Ï Ï ä ÏJ Ï Ï Ï ä JÏ
ka Wo d[n' me dze nkwa hwea - tsia - baa'i nkwa hwea - tsia - baa'i, nkwa
A & bbb Ï Ï Ï. Ï Ï Ï Ï Ï nÏ ä Ïj Ï Ï Ï ä Ïj
kÏa Wo - d[n' me deze nkwa hwea - tsia - baa'i nkwa hwea - tsia - baa'i nkwaV bbb Ï Ï.T Ï Ï Ï Ï Ï Ï ä JÏ Ï Ï Ï ä JÏ
ka Wo dÏ[n.' me dze nkwa hwea - tsia - baa'i Ï nkÏwa hwea - tsia - baa'i nkwa?
B bbb Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï Ï
Ï
Ï Ï
ka Wo d[n' me dze nkwa hwea - tsia - baa'i nkwa hwea - tsia - baÏa'i, tsia - baa'i nkwa hwea - tsia153& bbb ÏÏÏ ÏÏ ÏÏ.. ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ nÏÏÏ ÏÏ ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ
Pno.
? b úÏ Ï nÏ Ï. Ï Ï Ï Ï Ïb b Ï . ÏÏ Ï ÏÏ ÏÏ nn ÏÏ Ï
Ï Ï Ï
Ï Ï Ï Ï Ï ÏÏ Ï ÏÏ Ï Ï
187
University of Ghana http://ugspace.ug.edu.gh
DZIN A {Y} D}W
156 bbb Ï Ï Ï Ï Ï Ï aÏtebmÏpoÏriÏtS & Ï Ï Ï Î Î Ï Ï Ï Ï Ï ú .
hwea - tsia - baa'i Na ma Woj nsa - ku dzin d]] - d]wn' {n - hom me kra w[ wum'
A & bbb Ï Ï Ï ä Ï Ï Ï Ï Ï Ï bÏ Ï Î Î #Ï Ï Ï nÏ bÏ ú .
hwea - tsia - baa'i Wo nsa - nku dzin d]] d]wn' {n - hom me kra w[ wum'
V bbb Ï Ï Ï ä ÏJ Ï Ï Ï Ï Ï Ï Î Î Ï Ï Ï Ï bÏT Ï Ï ú .
hwÏea - ntsÏia - bÏaa'ibÏ Ï bWÏo nÏsa Ï- nÏku dzin d]] - d]wn' {n - hom me kra w[ wum'? Ï Ï Ï
B bbb n Ï Î Î Ï Ï Ï Ï Ï Ï ú .
baÏa'i, tsÏiaa - baa'i, NÏa ma Wo nsa - nku dzin d]] - d]wn' {n - hom me kra w[ wum'156& bbb ÏÏ ÏÏ ÏÏ Ïä ÏÏÏJ ÏÏ bÏÏ ÏÏÏ ÏÏ ÏÏ bÏÏ ÏÏ Î Î #ÏÏÏ ÏÏ
ÏÏ nÏÏÏ bÏÏ úúú ...
Pno.
? b ÏÏ nÏ ÏÏ bb b n Ï bÏ
Ï ÏÏ bbÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ nn ÏÏ Ï
Ï
Ï Î Î Ï Ï Ï Ï
Ï
Ï Ï Ï ÏÏ Ï úú ..
Adagio
161
S & bb
Ä
b ú ú w w
A - - - - - - men
& bbA b ú ú w w
A - - - - - - men
T V bbb Ï bÏ ú w w
A - - Ï - w- - - men? bbb ú Ï ÏB w
A - - - - - - men
161 Ad
& bb
agio Ï Ï Ï ú ú Ï
b ú ú Ï ÏÏÏÏ Ï
ú ú Ï Ï Ï
ÏÏ ÏÏÏ bÏÏÏ úúúú
ú ú
ÄÏ
ÏÏÏ ÏÏÏ ÏÏ Ï
Pno.
? bbb úú úú úú úúú ú ú ú úú úú
188
~~~~
~~~~~
~~~~
~~~~~
University of Ghana http://ugspace.ug.edu.gh
CHRISTIAN, KA MO DO
È¥° TSEMAFO-ARTHURqbk In Free Style Soprano Solo (In typical Ebibindwom tempo)& b bbb 6 Ï
j
jÏ Ïj Î . Î j Ï Ï Ï Ïj Ïj
Soprano Solo 8 Î Ï äÏ Î ä Î ä Î Ïä Î ä Î Ï ä Î Ï Ï Ï Ï Ï
j ä ä Î .
ä Î ä Î ä Î ä
Je-sus S[ h[n bra po Wor mpo`a, y[-tse Ne ndze,
and parts ? bbbbb 86 · · · · ·
6 b b Ï Ï Ï Ïj Ï Î . Ï ä j j ä ä Î .
S.P. & b b b Î ä Î ä ÎÏ Ï Ïä Î Ï ä Î ä Î Ï ä Ï ÏÎ äÏ Î Ï äÏ ÎÏ ä Î ä
Ne ndze d[[ - d[wn' gye-gye daa - daa, } se: Chris - tian ka mo do.
? bbbbb · · · · ·
11 b j j Tutti
S.P. & b bbb Ï Ï Ï Ï Ï Î
. Ï j
Î ä Î ä ÎÏ Ï Ïä Î Ï ä Î ä Î Ï ä Ï ÏÎ Ïä ä ÏÏ bÏÏ úú ..
Ne ndze d[[ - d[wn' gye-gye daa - daa, } - se: Chris - tian ka mo...
? bbbbb · · ·
Î ä ä Ï
Î ä ä Ï Ï
Ï úú ..
16
& bbbbS.P. b úú . Ï Ï Ï Ïj. Î Î ÏÎ bÏ
j
JÏ ÏÏ ÏÏ
j
J ÏÏ ÏÏ ÏÏ ÏÏ · .
.
dúo,. Je-sus fr[ h[n, }Ïj sÏe: ChÏrjis-tian, ka mo do.? bb b ú . Î Î Î Ï Ï
Ï Ï
b b Î Î Î ÏJ Ï JÏ Ï Ï Ï Ï · ..
21
& bbS.P. bbb úú ÏÏ ÏÏ .. ÏÏ .. úú ÏÏ ÏÏ .. ÏÏ . . úú ÏÏ ÏÏ .. ÏÏ .. ÏÏ ..
ÏÏ .. ÏÏ .. n ÏÏ ..
Je - sus fr[. h[n, Je - sus fr[ h[n, Je - sus fr[ h[n! s[ h[n bra po? bbbbb úú ÏÏ ÏÏ . ÏÏ ..
úú ÏÏ ÏÏ .. ÏÏ .. Ïú . ÏÏ. ÏÏ .. ÏÏ .. ÏÏ .. ÏÏ .. ÏÏ .‰ .
b ÏÏ ..
189
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29
& bbbbS.P. b ÏÏ .. ÏÏ .. ÏÏ .. n ÏÏ ÏÏ ÏÏ Ïú .. Ï Ï Ï úú ..
ÏÏ ÏÏ ÏÏ ÏÏ úú ..
? b Wn Ïo.r mpÏo`.a, Ï . yÏ[-tÏse NÏe ndÏz.e (Ïy[-tÏse NÏe ndúze.); Ne ndze d[[ - d[wnb bbb Ï . Ï . Ï . Ï Ï . Ï Ï Ï ú . ÏÏ ÏÏ ÏÏ ÏÏ úú
.. '
35 b b
S.P. & b b b ÏÏ ÏÏ ÏÏ úú .. ÏÏ ÏÏ n ÏÏ ÏÏ .. ÏÏj ÏÏ ÏÏ .. ÏÏ
j Ï
J J Ï
#úú .. ÏÏ ÏÏ bÏÏ
? b Ïgye-gÏye dÏaa ndaúúa., }ÏÏ - sÏe: ChÏÏris - tian, ka mo do kab j
mo do. } - se: Chris -
b b b Ï Ï Ï . Ï n ÏÏ ..
j
ÏÏ bÏ Ï .J Ï Ï . Ï
Ï ÏÏ n úú .. ÏÏ Ï ÏÏ
42 bbbb j simili j j
J
j j j j j
S.P. & b Î ä jÏÏ .. ÏJÏ Ï
Ï úú .. úú . .
. Ï Ï Ï Ï Ï ÏÎ ä Î ä ÎÏ äÏ Î ä Ï Ï
Ï
. Î ä
Ï Î Ïä
? tniaÏn, kb b Ï .. b Ï
ajmo do. Tse - tseÏ ber do a - so- ma fon', tsee w] Ga-li -b b b JÏ Ï
úú .. úú .. .. · · ·
48
& bbbbb Ï Ïj Ï
j ä ä Î ä Ï
S.P. Î ä Î ä Î ä ÏÎ Ïä ÎÏ Ï Ï
Î ä j Ï j j Î ä j Ï
ä Î ä Ï ÎÏ ä Î Ï äÏ Î ä ÏÎ Ïä
lee po don',
Wo-gyaa e - bsu-su-a - fie - nye`-e - dwu-ma,
K[-kaa` }
- - -
? bbbbb · · · · ·
53
S.P. & bbbb
-
b ÎÏ
-
äÏ
j
ÎÏ
-
äÏ
j - Ï ä- Î -ä j- Ï -Î ä Î ä ÏÎ Ï äÏ
- Ï Ï- Ï -Î -ä - - ÏjÎ ä Î ä ÏÎ Ï Ï ä
no`a w] d] No do. Wo - gyaa`e fie nye`e -
? bbbbb · · · ·
190
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Tutti
57 bb b -Ïj Ïj- Ïj ä- ä Ï-j Ï- - - j - j - - - - - -S.P. & b b Î ä Î ä Î Ï Ï äÏ ä ÏÏJ ÏÏJ búú .. ú . Ï
j j
ú . Ïî . Ï Ï
- dwu-ma, K[ - kaa` } no
? b b · Î ä
`a ä wÏÏ
]j- dÏ]j NÏ ú
o. dú . ú
o
ú ..
Tîse.-tse ber - dob b b Î ä ä J J î .
b j j In strict time62 b b - Ï ÏÏ - - - - - - Pa·-rts in fu- ll..
JÏ-e sus --fr[ -h[n, -
S.P. & b b JÏ ÏÏ ÏÏ ÏÏ ÏÏJ ÏÏ Ï Ï . Ï Ï Ï Ï
j ä ä ÏÎ Ï äÏ Ï p Î Î Î Î p Ï J ä
KÏ[j-kaa no`a w]j d] No do. fr[ h[n,? bb
Ï
bbb JÏ Ï Ï
Ï ÏÏJ Ï ÏÏ ÏÏ · .. Î Î Î
Î Ï
Ï Î Î Î p Ï Ï Ï
Ï
Î J ä
Je sus fr[
b Ï j ä ä Î ä
r[
JÏe - sus fr[
h[nj ä ä Î ä Je - sus f -67
S.P. & b bbb Î Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
P Î Î Î J Fä Î ä
Ï Î Ï äÏ ÏÎ Ï Ï JÏ ä fÏ Ï Ï
Î Î Î fr[ h[n, Je - sus? bb b Î Î Î ÎÎ
fr[
fÏr[ j
b b Ï Ï
h[ÏÏn,J ä
Î Ï
ä · Î Ï
Ï ÏÏJ Ï ÏÏ ÏÏ Ï
P F ä f
h[n d[ mma y[nÏ Ï j
n-somj,Ï ä ä ä mmja y[nn-somb b Ï Ï Ï j j ä Î ä WÏia- dÏze mu72
S.P. & b b b Ï ä Î ä Î ÏJ JÏ Ïj J
ä ÏÎ Ï JÏ ÏJ JÏ ä Ï Ï ÏÏ
hÏ[n d[ mÏma y[njn-soÏmj mÏmja y[njn-somj, WÏia- dÏze m? Ï
u
bbbb
ä Î ä Î Ï ä Î Ï Ï ä
b Ï Ï Ï Ïä Î ä Î J ÏJ J ä Î J JÏ J ä Ï Ï Ï
ndz[-mba hu-huw;
76 b
S.P. & b bbb ÏÏjJ ÏÏ ÏÏ ÏÏ
j úú .. úú .. P ÏÏ n ÏÏ ÏÏ úú .. ÏÏ n ÏÏ ÏÏ úú ..
ndz[jm-b J hw[Ï Ïa hÏu-huwj; . . }Ï - ndz[m -
ba`a w]-som h[n bo`a,
? b b Ï Ï Ï Ï ú ú Ï Ï ú . Ï Ï Ï ú .b b b J ÏJ ú . ú .
Ï Ï Ï ú . Ï Ï Ï
P ú.
191
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CHRISTIAN, KA MO DO
83 b b Ï Î Ï Î Ï Repeat only after Dal Segno.
S.P. & b b fb Ï Ï
Ï Î Ï ÏÏ Î n ÏÏ ÏÏ ÏÏ · .. · ·
}Ï - se: Î ChÏris-tian, d]M' ky[n h? b Ï ÏÏ Ï ÏÏ Î ÏÏ ÏÏ Ï
]n
Ï . ÎÏ Î Î Îb bbb Î Î · . Ï Ï Ï Ï Ï
Î
J Ï
Î Ï
f f J
Je - sus fr[ h[n d[ mma y[n-
89 b b
S.P. & b b b · · · · · ·
? ÎÏ ÎÏ Ï Î
Î Î Î Î Î Î
bbbbb J n JÏ ú .
Ï Ï Ï ÏJ Ï Ï JÏ ú . ú .
som, d[ mma y[n - som Wia-dze mu ndz[m-ba hu - huw;
b b f
Je - sus fr[ h[n d[jmma y[nj - som, d[jmÏma y[nj - som. wÏia - dze mu95
S.P. & b b b Ï Ï Ï Ï Ï bÏ Ï b ÏÎ Î Î Î ÎÏ Î Ï Î Î
Ï Î n Ï Îú Î Î Î Î ÏÎ
? Î Î Îbbbbb FÎ J
Ï Ïj Ï ú . Ï Ï n Ï Ï . n ÏJ Ï bÏ Ï Ï
b ndÏzj[-}m-Ïhbwa [ hÏund-z[huwj- ba`a . .w] -b som hF[n }j
bhow`[a ndz[ - ba`a} - se: Chris -
100
S.P. & b b b Î Î Î Ï úÎ Î Î úÎ Î Î Î Ï jf Ï Ï Ï ÏÏ Ï Ïú
. ÏJ Ï JÏ
? b Î Î Îb Ï bÏ Ï Ï Je - sus fr[ hÎ[n dÎ[ mmaÎ y[n-b b b Ï . Ï ÏJ Ï Ï · Ï Ï Ï ÏF
Je - sus fr[
tian d]m ky[n h]n, d]m ky[n h]n.
192
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CHRISTIAN, KA MO DO
b b wÏ] - som nhÏ[n boÏ`a, j } - se Chris - tian d]m ky[n105
S.P. & b b b Ï JÏÏ Ï n ÏJ ú .
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j
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& bbbbb Ïj ÏjÏ Ï ÏÏ ÏÏ ÏÏ
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fr[ h[n d[ y[nj-d]Nj' ä ä Maj ]nj- ky[n a - dze nyina131 b b j
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CHRISTIAN, KA MO DO
Je - sus fr[ h[n. Je - sus fr[ h[n,
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& bbbbb n n ÏÏ
jn Ïj Ï n n ÏÏ ÏÏj ÏÏ · n
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j j
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155
& bbbbS.P. b · · · ·
y[-ser[Wj ', ma y[nj- tsej Woj fr[n, y[n-tse,
y[n - tse Wo
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j Ïj ÎÏ Ï
j Ïj Ï
b bbb Î ä Î ä Î ä Î ä Î ä Î ä Ï Ï
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159 b b
S.P. & b b b · · · ·
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j ÏÏ Ï Ï Ï
ä ä
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b Ï
j ÏÏJ Ï Ï
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JÏÏ Ï
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175
& bbbbb Ï JÏ Î Ï bÏ ÏjS.P. J Ï bÏ Ï
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179
& bbbbb ÏÎ äÏ ÎÏ ä Î
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S.P. J JÏ ä ä Î ä Î
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J JÏÏ ú . ú . ..
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197
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TSEMAFO-ARTHUR
b 6
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j Ï Ï Ï ÏjÏ
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b 6
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b
S & b · · · · · ·
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Sop. & b · Ï ÏjÏ JÏ Ï ä Î . ÏjÏ Ï Ï
j ÏjÏ JÏ Ï Ï
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b Ï
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ampa ampaa ra
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19
Sop. & bb jÎ Î ÏjÏJ ÏjÏ Ï Ï
j ÏjÏ Ï ÏJ Ï Ï ä Î . Î JÏ J
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kwah
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T V bb Î ÏjÏJ Î · Î . Î JÏ Ï JÏ Î ä · ·
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?
B bb Î ÏJ JÏ Î · Î . Î Ïj Ï Ïj · ·
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am paa ra
25
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S & bb · · · · · ·
& bbA · · · · · ·
V bbT · · · · · ·
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B bb · · · · · ·
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31
& bb Ïjä ä Î . Ï Ï Ï JÏ Ï Ï . Ï Ïj ÏjÏ Ï Ï Ï Ï ÏjÏ ä Ï JÏ Ï Ï Ï ÏSop.
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b Ï
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A & bb Î . Ï Ï ä · · · · ·
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S & bb · · · · · ·
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T V bb · · · · · ·
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B bb · · · · · ·
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Sop. & bb bú . Ï Ïj Ï JÏ Ï JÏ Ï Ï
j Ï Ï Ï Ï Ï Ï Ï Ï Ï Ïj Ï
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48
& bb Ï Ïjä Ï Ï Ï Ï Ï Ï Ï ÏjÏ Ï ÏSop. ä ä Ï · ·
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jÏjÏ Ï Ï Ï Î JÏ
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53 b
Sop. & b · · · · ·
& bb Ï Ï ä ä Ï Ï ÏJ ÏJ Ï Ï Ï Ï ÏJ Ï
j
S Ï Î ÏJ ÏJ Ï Î . Ï .
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b j j j
T V b Ï Ï ä ä Ï Ï Ï Ï Ï Ï Ï Ï JÏ Ï Ï Î ÏJ JÏ Ï Î . Ï .
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? bb Ï Ï ä ä Ï Ï Ïj Ïj Ï Ï Ï Ï ÏJ ÏjB Ï Î
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58 b
Sop. & b · · · Î JÏ ÏJ Ï JÏ Ï Ï . ú .
b j j Yen tu a- se koraa
S & b Ï Ï Ï Ï Ï Ï Ï Î ä Ï Ï Ï ÏJ Ï ä ä Î JÏ ÏJ Ï JÏ Ï Ï . ú .
nyansa wura dan yi hommma y]n nsesa Yen tu a- se koraa
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jÏ ÏjÏ Ï . ú .
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T V bb Ï Ï Ï JÏ Ï Ï ä Ï Ï ä Ï JÏ ä ä Î . Î JÏ ÏJ Ï JÏ Ï Ï . ú .
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? nyansÏa wura dan yi
B bb Ï Ï
sesa se sa
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64 b j
Sop. & b Ï Ï Î . Ï Ï Ï Ï Ï ä Î . Î Ïj Ï Ï Ï Î . JÏ Ï Ï Ï Ï
N hw] a war mu mpo ye yi yi mu Mfan tse fo mm-
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hom mma y]n ka hom mma y]n ka y]n ka
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hom mma y]n ka hom mma y]n ka y]n ka
T V bb Î ÏJ Ï Ï Ï · Ï Ï Ï ÏJ ä ä Î . Ï Ï ä ·
hom mma y]n ka hom mma y]n ka y]n ka
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hom mma y]n ka
hom mma y]n ka y]n ka
69
& bb Ï Ïj jSop. Ï Ï ÏjÏ ä ä Ï Ï Ïj Ï Ïj Ï Ïj Ïj Ï Ï Ïj Î .
p] An wo na fo a-war na A - sante nyi mm p] An wonyi y]n ko
b j j j j j j j
S & b · Î Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Î .
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b
A & b · Î Ïj Ïj Ï Ï Ïj Ï Ïj Ï Ïj Ïj Ï Ï Ïj Î .
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V bbT · Î JÏ ÏJ Ï · · Î . Ï Ï Ï
D]n ntsi a [ y] no-
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B bb · Î JÏ JÏ Ï · · Î . Ï Ï Ï
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Sop. & bb · · · · ·
& bb ÏjÏ JÏ ÏJ Ï Ï Ï Ï Ï Ï Ï ÏjJ Ï ÏjS Ï ä Ï Ï ä n Ï Ï Ïj Ï .
b D]m mpaa paa mu yi [nny] o- muo, [nn y] , o-muo, [nny] o- muo koraa
A & b jÏjÏ Ï Ïj Ï Ï Ï Ï Ï Ïj Ï ÏjÏ Ïj Ï ä Ï Ï ä Ï Ï Ïj Ï .
b D]m mpaa paa mu yi, [njny] o- muo, [nn y] , o-muo, [nny] o- muo koraa
T V b ÏJ ä ä Î . Î Ï Ï ÏJ Ï JÏ Ï ÏJ Ï ä Ï Ï ä Ï Ï Ï
j Ï .
kwar [nny] o- muo, [nn y] , o-muo, [nny] o- muo koraa
?
B bb Ïj ä ä Î . Î JÏ Ï JÏ Ï ÏjÏ Ïj Ï ä Ï Ï ä Ï Ï JÏ Ï .
kwar [nny] o- muo, [nn y] , o-muo, [nny] o- muo koraa
79
Sop. & bb Ï Ï Ï JÏ Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï . Ï Ïj Ï Ï Ï Ï Ï Ï Ï Ï bÏ ÏjJ J Ï
jÏ
na y]re y] d]n a- boa {- man yi a e bibi man Ghana e {man yi ne kan
hom mma y]nhw] yie
& bb · · ä bÏ Ï . Ï Ïj Ï . Ï . Ï Ïj bÏ ÏjÏjS Ï
boa {- man yi a { man yi ne kan
A & bb · · ä Ï Ï . Ï Ïj Ï . Ï . Ï Ïj Ï ÏjÏjÏ
boa {- man yi a { man yi ne kan
V bbT · · ä Ï Ï . Ï JÏ Ï . Ï . Ï ÏJ Ï JÏ JÏ Ï
boa {- man yi a {j man yi ne kan? bb · · ä Ï Ï . Ï JÏ Ï . Ï . Ï Ï Ï ÏB J JÏ Ï
boa {- man yi a { man yi ne kan
205
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
85 b j Ï Ï Ï Ï Ï Ï Ï Ï
Sop. & b Ï Ïj ÏjÏ Ï ä ä Î JÏ ÏJ Ï Ï . Ï ä Ï Ï Ï
jÏ Ï ÏJ
y]y] {-man kor
k[ gyina h]n do N yew o Ghanaman mba hom mma y]nkaad]
b j
S & b Ï Ïj ÏjÏ Ï ä ä Î . · · · ·
k[ gyina h]n do
& bb Ï Ïj ÏjÏ ÏjA ä ä Î . · · · ·
k[ gyina h]n do
T V bb Ï Ïj ÏjÏ JÏ ä ä Î . · · · ·
k[ gyina h]n do
? bb Ï Ïj ÏjÏ ÏjB ä ä Î . · · · ·
k[ gyina h]n do
91
& bb Î . Î Ï Ï Ï Ï Ï ä Ï Ï ÏjSop. J Ï Ï ä JÏ Ï Ï Ïj Ï Ï Ï Î ÏJ Ï Ï Ï Ï Ï ä
b o- bi nnse d] me y] Anwonany memmp] Asantenyibiara n s] hom atse
S & b · · · · · ·
A & bb · · · · · ·
b
T V b · · · · · ·
?
B bb · · · · · ·
206
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
97
& bb Î . j jSop. JÏ Ï ÏjÏ Ï Ïj Ï ÏJ Ï Ï Ï Ï Ï Ïjä ä Ï Ï JÏ ÏJ Ï Ï Ï Ï Ï Ï Ï
b anaa mey] Asan te nyi ntsi mey] [dehye mapa, d]m mpaa paa mu yi res]] h]n
S & b · · · · · ·
b
A & b · · · · · ·
b
T V b · · · · · ·
?
B bb · · · · · ·
103 b Ï
Sop. & b J Ï JÏ ä ä
slow
Ï Ï Ï ÏJ ä ä JÏ Ï Ï Ï Ï ÏjÏ Ï Ï ä Î ÏJ JÏ Ï Ï Ï Ï Î .
man yi meser] hom Mfan-tsefo mbu Dagar- tifo Nzema fo ka ho
S & bb · · · · Ï Ï ä Î . Î . Ï Ï Ï
ampa ampaara
A & bb · · · · Ï Ï ä Î . Î . Ï Ï Ï
ampa ampaara
V bb · · · · Ï Ï ä Î . Î . Ï Ï ÏT
ampa ampaara
?
B bb · · · · Ï Ï ä Î . Î . Ï Ï Ï
ampa ampaara
207
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
109
& bb Ï Ï Ï Ï Ï Ï Ï Ï Ï Î . Ï Ï Ï Ï ÏSop. ä ÏJ Ï ÏJ Ï Ï Ï Ï Î . Î . ÏjÏ
b Wasafo so ka ho an-kasa [nnsor Kwawunyi anaa Nkran nyi biara nhw]
S & b · Î . ä Ï Ï · · · ·
ampa
A & bb · Î . ä Ï Ï · · · ·
ampa
b
T V b · Î . ä Ï Ï · · · ·
amp
? bb · Î . ä Ï Ï
a
B · · · ·
ampa
115 b
Sop. & b Ï Ï Ï JÏ Ï ÏJ Ï JÏ Ï Ï Ï Ï Î . Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï bÏ .
As[r- a- s[r biara ndod[ h[n ho meka mekyer] homNyame N'ara na Onyim akoma 'i
S & bb · · · · Î . Î JÏ Ï Ï Ï bÏ .
b Onyim akoma 'i& b · · · · Î . Î ÏjA Ï Ï Ï Ï .
Onyim akoma 'i
T V bb · · · · Î . Î ÏJ Ï Ï Ï Ï .
Onyim akoma 'i
?
B bb · · · · Î . Î ÏJ Ï Ï Ï Ï .
208 Onyim akoma 'i
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
121 b U j
Sop. & b Ï . Ï JÏ Ï JÏ Ï Ï bÏ ÏjÏ Ïj Ï Ïj Ïj Ï Ïjä ä Î .
% ·
mu a { man Ghna e, A s[r nyi naa ny] kor w[ { man yi m'
& bb Ï .
U
Ï ä Î . Î Ïj bÏ ÏjS Ï Ïj Ï Ïj Ïj Ï Ïjä ä Î .
%
JÏ Ï Ï ä
A s[r nyi naa ny] kor w[ { man yi m' Ghana man
& bbA Ï . Ï . Î . Î Ïj Ï ÏjÏ Ïj Ï Ïj Ïj Ï Ïjä ä Î .
%Î ÏJ Ï ÏJ
A s[r nyi naa ny] kor w[ { man yi m' {man yi
T V bb Ï . Ï . Î . Î ÏJ Ï ÏJ Ï ÏJ Ï Ï
j Ïj Ï ÏJ ä ä Î .
%Î ÏJ Ï JÏ
A s[r nyi naa ny] kor w[ { man yi m' % {man yi?
B bb Ï . uÏ . Î . Î Ï
j Ï ÏjÏ Ïj Ï Ïj Ïj Ï Ïjä ä Î . Î ÏJ Ï ÏJ
A s[r nyi naa ny] kor w[ { man yi m' {man yi
127 b
Sop. & b · · · · ·
S & bb ÏJ Ï JÏ ä ä Ï n ÏJ ÏJ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï ÏJ Ï
Ghanaman, Ghana man, hom mma y]nsesa y]n suban na y]ny] dza{man
& bb Î ÏjÏ Ïj jA Î Ï Ï Ïj Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ïj Ï
{man yi, {man yi hom mma y]nsesa y]nsuban na y]ny]dza{ man
T V bb Î ÏJ Ï Ï Î Ï jJ J Ï JÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï ä Ï Ï Ï Ï Ï Ï
{maÏn yi,Ï {man yi hom mma y]nsesa y]nsuban na y]ny]dza{ man? bb Î ÏB J J Î Ïj Ï JÏ Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
JÏ Î . Î ÏJ
{man yi, {man yi hom mma y]nsesa y]nsuban Gha na o {-
209
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
132 b
Sop. & b · · · · ·
& bb Ï Ï Ï ÏJ ä ä Ï ÏS n Ï ÏJ Ï Ï Ï Ï JÏ ä ä Ï Ï Ï Ï
j Ï Ï Ï Ï Ï ä Ï
yi b[k[ do y]ny] dza { man yi b[ k[ do y]ny] dza {man yi b[ k[ do E-
A & bb Ï Ï Ï Ïjä ä Ï Ï Ï ÏjÏ Ï Ï Ï Ïjä ä Ï Ï Ï Ïj Ï Ï Ï Ï Ï ä Ï
yi b[k[ do y]ny] dza { man yi b[ k[ do y]ny] dza {man yi b[ k[ do E-
T V bb Ï Ï Ï ÏJ ä ä Ï Ï bÏ Ï
jÏ Ï Ï Ï Ïjä ä Ï Ï Ï ÏJ Ï Ï Ï Ï Ï ä Ï
Ïyi b[kÏ[ dÏo y]ny] dza { man yi b[ k[ do y]ny] dza {man yi b[ k[ do E-? bb J Ï ä Ï Ï Ï JÏ Ï Ï Ï Ï JÏ ä ä Ï Ï Ï JÏ Ï Ï Ï Ï JÏB ä ä
man yi Ghana y]ny] dza { man yi b[ k[ do y]ny] dza {man yi b[ k[ do
137 b
Sop. & b · · · · ·
& bb Ï Ï Ï ÏJ Ï Ï Ï ä ä Ï Ï Î ÏJ ÏJ Ï ÏJ Ï ä
Ï Ï ÏJ ÏS J Ï
bi bi man mu a-bakan hom mma hom mma y]ny] kor ma{-man yi ny]{-
A & bb Ï Ï Ï Ïj Ï Ï Ï ä ä Ï Ï Î JÏ JÏ Ï ÏJ Ï ä bÏ Ï Ïj Ïj Ï
bi bi man mu a-bakan hom mma hom mma y]ny] kor ma{-man yi ny]{-
T V bb Ï Ï Ï JÏ Ï Ï Ï ä Ï Ï ä Î ÏJ ÏJ Ï JÏ Ï Î . Ï ÏJ JÏ Ï
bi bi man mu a-bakan hom mma hom mma y]ny] kor ma{-man yi ny]{-
?
B bb · Î JÏ Ï Ï ä Ï JÏ Ï Ï Ï Ï . Ï Ïj Ï ÏJ ä Ïj ä
y]ny] dza { -man yi b[ k[ do o { man yi ny] {
210
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
142 b
Sop. & b · · · · · ·
& bb Ï ÏJ ÏS ÏJ Ï ÏJ Ï ÏJ Ï JÏ ÏJ ä ä Ï Ï Ï Ï Ï Ï Î JÏ JÏ Ï ú .
kra b[ hw] , [ kra b[hw] [ kra b[hw] hom mma y]nsesa y]nsesa koraa
& bb Ï ÏjÏ Ïj Ï ÏjÏ Ïj Ï ÏjÏjä ä Ï Ï Ï Ï Ï Ï Î ÏjÏjA Ï ú .
kra b[ hw] , [ kra b[hw] [ kra b[hw] hom mma y]nsesa y]nsesa koraa
V bb Ï ÏJ Ï Ïj Ï JÏ Ï JÏ Ï JÏ ÏJ ä ä Ï Ï Ï Ï ÏT Ï Î ÏJ JÏ Ï ú .
kra Ïb[Ïhw] , [ kraÏb[Ïhw] [ kra jb[jhw] hom mma y]nsesa y]nsesa koraa? bb Ï J ÏJ Ï J JÏ Ï Ï Ï ä ä Ï Ï Ï Ï Ï Ï Î ÏB J ÏJ Ï ú .
kra b[ hw] , [ kra b[hw] [ kra b[hw] hom mma y]nsesa y]nsesa koraa
148
& bb FineSop. · · · · · · ·
& bb Fiúne. Ï Ï Ï Ï ä Ï Ï JÏ ÏJ ä ä Î . ä Ï Ï Ï Ï ÏJ Ï Î JÏS JÏ Ï Ï JÏ JÏ ä ä
b Sesa wo su na y]ahotsew gya e fifidze yi na hy] atar papa
A & b Fineú . · · · · · ·
V bb Fiúne.T · · · · · ·
? bb FiúneB . · · · · · ·
211
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
155 b
Sop. & b · · · · · ·
& bb Ï JÏ Ï Ï ä ä Ï Ï . Î JÏ ÏJ Ï Ï JÏ ÏJ Ï ÏJ Î ä Ï Ï ÏS ä Ï Ï ä
yi fi akwa koraa mma nngyaa gyaa fi bi- ara y] a hotsew mapa
A & bb · · Ï Ï Ï Ï ä Ï Ï JÏ ÏJ ä ä Î . ä Ï Ï Ï Ï ÏJ Ï
sesa wosu na y] ahotsew gyaa efifi dze yi,
T V bb · · · · · ·
?
B bb · · · · · ·
161
Sop. & bb · · · · ·
& bb Ï ÏJ Ï Ï Ï Ï Ï Ï ä Ï ÏJ Ï Ï ÏS ä Î ÏJ Ï Ï ä Î JÏ JÏ Ï
sie sie woho na bu mpanyin, na a- bo fra biara daa daa daa daa
& bb Î ÏJ ÏA J Ï Ï ÏJ ÏJ ä ä Ï Ïj Ïj Ï ä Ï Ï . Î bÏj Ïj Ï
na hy] a- tar papa yi fi a kwa koraa mma nngyaa
T V bb · · · · Ï Ï Ï Ï ÏJ
Se sa wo su, na
?
B bb · · · · ·
212
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
166
& bbSop. · · · · ·
& bbS Ï Ï ä Ï Ï ä Î ÏJ JÏ Ï Î JÏ ÏJ Ï Î JÏ ÏJ Ï Ï ä Ï JÏ ä ä
b y]ny] j pjapa j daa daa daa daa daa daa fa o bu
A & b Ï Ï Ï Ï Ï Î ä Ï Ï Ï ä Ï Ï ä Ï Ïj Ï Ï Ï Ï Ï Ï JÏ Ï
gyaa fi bia ra y] a hotsew mapa sie sie wo ho na bu panyi na a
T V bb Ï ÏJ JÏ ä ä Î . ä Ï Ï Ï Ï ÏJ Ï Î JÏ JÏ Ï Ï JÏ JÏ ä ä
y] a ho tsew gya e fifidze koraa na b[ bra papa
?
B bb · · · · ·
171 b
Sop. & b · · · · ·
& bb n Ï ÏJ Ï Ï ä Ï . Ï .S Î ÏJ Ï Ï ä Î JÏ Ï Ï ä Ï ÏJ JÏ Ï
y] pa pa daa daa y] papa y] papa gyaa fi y]
& bb ÏjÏ ÏjÏ Î Ïj ÏjA Ï Ï ä Ï Ï ä Ï Ï Ïj Ï bÏ Ï Ï ä Ï Ïj Ï
bofra biara daa daa y] papa na gyaa suban b[n yi gyaa gyaa
b Ï Ï Ï Ï Ï Ï Ï Ï Ï n Ï
T V b Ï J Ï ä ä Ï Ï . Î J J Ï J J J Î ä
dzi o -biara nyi koraa mma nngyaagyaa Ïfi Ï bia ra Ïy] a?
B bb · · Ï Ï Ï Ï ä Ï Ï J J ä ä Î . ä
Sesa wo su na y] a hotsew gyaa e
213
University of Ghana http://ugspace.ug.edu.gh
GHANA MPUNTU
D.S. al Fine
176 b
Sop. & b · · · · ·
& bb Î JÏ Ï Ï ä Î ÏJ Ï Ï ä Ï Ï ä Ï Ï ä Î JÏ Ï Ï Ï Ï Ï
D.S. al Fi
ä Ï Ï
ne
S ä
y] papa y] papa sesa sesa y] papa ma w[mb[ wo dzin
b j D.S. al Finej
A & b Î Ï Ï Ï Ï Î Ï Ï Ï Ï ú . Î Ïj Ï Ï Ï Ï Ï ä Ï Ï ä
y] papa y] papa daa y] papa ma w[mb[ wo dzin
V bb Ï Ï
D.S. al Fine
T ä Ï Ï ä Ï JÏ Ï Ï Ï Ï Ï Ï JÏ Ï ÏjÏ ÏjÏ Î ÏJ ÏJ Ï
hotsew papa siesie wo ho na bu panyin na a bofra bia ra daa daa
? b Ï Ï Ï Ï Ï
D.S. al Fine
B b ä Î
ÏJ ÏJ Ï Ï JÏ JÏ ä ä Ï JÏ JÏ Ï ä Ï Ï .
fifidzi yi na hy] a tar papa yi fi a kwa koraa
214
University of Ghana http://ugspace.ug.edu.gh
NWABA NKWAN
JAMES KOFI TSEMAFO-ARTHUR
& bb 86 Ï Ï Ï Ïj
.
. Ï
Î
Ïj ÏÏ Ï Ï Ï . Ïä ä ä Î Ï î Ï Ï
j Ï
J ÏÏ
j Ï Ï ä
J J Ï JÏ
Ï
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Ï
8 Ïî . Ï Ï Ï Ï Ï ÏÏ ÏÎ .
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5
& bb ÏÏ ÏÏ ÏÏ ÏÏ . Ï
j Î j
. Ï . Ï Ï ÏÏ .. ÏÏ ÏÏ ÏÏ ÏÏ ÏJ Ï Î Ï
Ï Ï
J Ï
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o - nuae
nwa-ba y] d]o nwa-ba y] d]o nwa-ba y]e-nyi-gye [ - b]-ma wo d[-kon a - k[ do
? bb ÏÏ ÏÏ Ï Ï . Ï Ï Ï Ï . ÏÏ Ï ÏÏ Ï
j j j
Ï Ï . ú . JÏ
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Ï ÏÏ ÏÏ ÏÏ ÏÏ n ÏÏ ÏÏJ
10
& bb ú . Ï bÏ Ï Ï Ï ä Î Ïj ÏÏ ÏÏ ÏÏ ÏjÏ Ï Ï Ï Ï Ï Ï Ï ÏÏ n ÏÏ ÏÏj ÏÏ ÏÏ
j ÏÏ ÏÏ ÏÏ ä Î ÏJ ä Î J J J J
Ï
nwa-ba y]e-nyi-gye [j- b]-ma wo fuj- fua - k[ doo [ - b]-ma wo
? bb úú
. j. n Ï
j Ï Ï Ï Ï
Ï ÏÏ ÏÏ ÏÏ ÏÏ ä Î ÏÏ Ï ÏJ Ï Ï Ï
Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏJ Ï ÏJ Ï Ï ÏJ
215
©
University of Ghana http://ugspace.ug.edu.gh
NWABA NKWAN
15
& bb ÏÏ ÏÏ ÏÏ ÏÏ ÏÏj ÏÏ bÏÏj ÏÏ ÏÏ ÏÏ ÏÏjJ J J ÏÏ ÏÏ
j
JÏÏ úú .. ÏÏ ÏÏ ÏÏ ÏÏ ..
d[ - kon - a - dae - dziojo [j- b] - ma wo fuj- fue - tu m - ponoo nwa-ba y] d]oo
? bb
ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ Ï Ï ÏÏ Ï Ï Ï Ï
j
J J Ï Ï Ï ÏÏ ÏÏ úú .. Ï Ï Ï Ï .J J Ï Ï Ï Ï .
20
& bb ÏÏ bÏÏ ÏÏ ÏÏ .. ÏÏ ÏÏ ÏÏ ÏÏ .. úú .. · ÏÏ jJÏÏj ÏJÏ ÏÏ
nwa- ba y] d]oo nwa-ba y] d]oo ma n - k]- tsen -
? Ï nÏ Ï . Ï Ï Ï . ú .bb ÏÏ Ï Ï Ï . ÏÏ Ï Ï Ï . ú . ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
j
J Î Î .
Po-t[w a - b] na mo - ko
25 j j
& bb bÏÏ ÏÏ Ï Ï ÏJ JÏ Ï Ï ÏÏ
j
ÏÏ
j Ï Ï ä j
J J Ï Ï ä ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï JÏÏ
. Î
k[ m' a - nwewn - k[m' n - toosn - k[m' m[ - m[en - k[m' oo
? bb ÏÏ Ï
j
Ï ÏÏ
j ÏÏ ÏÏ
j Ï Ï Ï j j
J J J Î Î . Ï Ï Ï JÏ
Ï ÏÏ ÏÏ Ï Ï .J Ï Ï .
fa si gya do m[-m[e ka - kran - k[ muo
29 b nwa-ba y] d]oo nÏwa - bÏa y] d]oo. nwa-bÏa y] d]oo. . Î nwja - ba& b ÏÏ ÏÏ ÏÏ ÏÏ .. Ï b Ï ÏÏ ÏÏ . ÏÏ Ï ÏÏ ÏÏ . úú . Î Ï ÏjJ J ÏÏ
[ - wo siw
? b Ï Ï Ï Ï . ÏÏ Ï .Ï n Ï Ï ÏÏ ÏÏ Ï Ï . ú . Î .
tuÏmjb Ï Ï Ï Ï . Ï Ï . Ï Ï . ú . JÏ Î Î .
Î
tum
216
University of Ghana http://ugspace.ug.edu.gh
NWABA NKWAN
b y]ej-nyi - gye Î nwja - jba y]ej-nyi - gyjeÎ Î nwja -j bÏa y]ej-nyi - gye34& b Ï äÏÏJ Ï
ÏÏ .J Ï JÏ Î Ï äÏ
ÏÏ ÏÏ ÏÏ ÏJ JÏ Ï Ï
ÏÏJ Ï
Ï
J Ï ÏJÏÏ Ï Ï
Ï
J Ï
fu - fu to mu dzi siw fu.- fu to mu dzi [ - wo siw fu - fu to mutumj tumj Î Î tumj tumj tum? .bb ÏÎ Î ÎÏ. Î Î
.
Ï Î ÎÏ. Ï Î ÏÎ . Î Î
. Î ÎÏ. Î Î . Ï
j Î
J J J JÏ JÏ Î Î .
tum tum tum tum tum
39
& bb Î Ïj ÏjÏ ä Ï Ï Ï Ï
j Ï Ï Ïj Ï Ïj Ïj j
î . Î Ïj ÏjÏ Ï
J Ï JÏ Ï Ï ÏJ Ï ÏJ ÏJ ÏÏ î . Î ÏJ ÏJ Ï
dzi
A - raj- bae hwe hw]a - tser ma m'o A - ra - bae j j Aj- raj- bae? bb Î
.
Ï ÏJ Î Î .
Î î . î . ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏJ J J JÏ Ï
tum Hwe-hw]a - tser ma m'o A - ra - bae
tum
b j . nwa - ba y] d]oo n -44& b ÏÏ ÏÏ Ï Ï
j j j j î Ï j
J Ï Ï Ï
Ï Ï Ï ÏJÏ ÏJ ÏÏ î . Ï
Ï Ï ÏÏ ÏÏ . Ï
J
nwa - ba y] d]oo
hwe-hw]a - tser ma m'o A - ra - bae
? bb î . î . ÏÏ
j Ï ÏÏ ÏjÏ Ï ÏÏ Ï
j
Ï Ï
j
J J J JÏ
ÏÏ
Hwe-hw]a - tser ma m'o A - ra - bae
48 b kan - kaj ne tsijr n'a [j- nonj - s]m - pa [j- nonj-s]m - pa, [j- nonj-s]m -& b ÏÏ ÏJÏ
Ï
JÏ Ï
Ï Ïj ÏÏ Ï ÏÏ ÏÏ . Ï Ïú . Ï Ï Ï Ï
Ï Ï ÏÏ ÏÏ . Ï
'ka ne tsir nwa - ba y] d]ojo nwa - ba y] d]ooka wo ho ka wo ho ka woho] brao brao brao
? bb ÏÏ ÏÏ ÏÏ Ï Ï
Ï Ï Ï ÏÏj ÏÏ j
JÏ Ï J
Ï ÏÏ ÎÏ. JÏ ÏJÏ . Ï ÏÏ . Ï ÏÏ .J J Ï
fa d[-kon ka ho, fa d[ - kon bra o brao, y]n - ts]m brao y]n - ts]m
217
University of Ghana http://ugspace.ug.edu.gh
NWABA NKWAN
b paa MÏaja -ÏjmÏeA - mae fa me -dze ma m'o maa - meA - mae fa me - dze ma52& b ÏÏ bÏJ ÏJ Ï ÏÏ JÏÏ
j ÏÏ ÏÏ ÏÏ Ïú Ïj Ïj. Ï ÏÏ ÏÏjJ ÏÏ ÏÏ ÏÏ
paa maa - meA - mae fa me -dze ma m'o fa me - dze ma
mÏaja -ÏjmeA - mae fÏaj mÏe - dÏze mÏa mÏ'o maja - meA -? bb ÏÏ Ï Ï ÏÏ úÏ. Ï Ï Ï Ï
j Ï
J J J Ï Ï Ï Ï JÏ ÏJ Ï Ï ÏJ Ï Ï Ï
brao, y]n - ts]m brao fa me -dze ma m'o maa - meA - mae fa me - dze ma
56
& bb
m'o man -
ÏÏ ÏÏj ÏÏj
kw
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an 'kÏ[ hÏo man -j 'kwÏan kÏ[ hÏo man -jkwÏan 'kÏ[ hÏo mÏan Ï-jkwanÏ Ï ÏÏ
J J Ï Ï ÏÏ JÏÏ Ï Ï Ï Ï ÏJ Ï Ï Ï Ï JÏ
m'o man - kwan k'[ ho man - kwan 'k[ ho man - kwan 'k[ ho man - kwan
mae majn - jkwan 'k[ ho man - kwan 'k[ ho m? b Ï Ï Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
j
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an
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b Ï Ï Ï ÏÏ Ï
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'k
60
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. Ï JÏ
j ÏjJ Ï Ï
j
J Ï Ï Ï Ï Ï ÏjJ Ï ä Ï
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j Maa - meA - mae won-kwan y] d]w am - pa - ra n -'k[ hoo
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.
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ú .. Ï Ïj Ïj Ï ÏjJ J J Ï Ï Ï Ï Ï Ï
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65
& bb Ï Ï Ï Ï Ï Ï Ïj
j
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j Ï ÏÏ ÏJÏ JÏÏ
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j
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kwana w[ - nom w[ - taj- fern - sa ho Maa - mÏeAj Ï- jmae m]Ï Ï Ï j
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74
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j
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.
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23
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28 .
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33 Ïj- h& ú. Ï
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221
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47
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52
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67
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223
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Nya-me y] d]o, Nya-me y] d]o
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bra, n'{ - b]- gyew' daa Tempo de Staccato.expressivo.Allegro
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Ï . b Ï . ú .
î ú . ú . .. · ·bra n'{ - b]- gyew' daa
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86
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Kaa daa - kyea -
? · · · · Ï Ï Ïî .
224
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97 ÏjnsÏae - nnsi [ - w[ h[ daa w[ sor o Î Î Î [ - w[ h[& Ï Ï ÏÏ ÏÏ . Ïj ÏÏj Ï Ï . b ÏÏjJ Ï Ï . ÏÏ Ï JÏÏ . ä ä ÏÎ Ï Ï Ï Ï Ï Ï
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102
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? ÎÏ ÏÏ ÏÏ Ï JÏ
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b] - y] wo dzje Kaa wo Nya - me b] - y] Noa-ra n'{ - b[[ wo107
& ÏÏ ÏÏ ÏÏ ÏÏ ä ää ä .. 42 Ï
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J Ï .. ÏÏ ÏÏ
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b] - y] wo dzje kaa wo Nya - me b] - y] kaa, { - b] - y] b]-y]o
? ÏÏ ÏÏ ÏÏ ÏÏ ä ä .. .42 ÏÏ . ÏÏ Ï ÏÏ Ï ÏJ ä ä ä . #RÏ
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b] - y] wo dze Kaa, { - b] - y] {-b] - y] kaa wo Nya - me b] - y]
112 K
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KaaE - li - jah na kaa Steph - en kaa kaa
225
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kaa Steph - en; Kaa, o
118 Ï ú Ï . Ïj
kaa, oj kaa wo Nya - me b]- y]D/S al Fine
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Î
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. #Ïr Ï . Ï Ï Ï Ï Ï ÎÎ î Ï Ï
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{a - y]a - ma E - li - jah Kaa, kaa, kaa Nya - me b]- y]
226