University of Ghana http://ugspace.ug.edu.gh 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 University of Ghana http://ugspace.ug.edu.gh 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 i University of Ghana http://ugspace.ug.edu.gh 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. ii University of Ghana http://ugspace.ug.edu.gh 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. iii University of Ghana http://ugspace.ug.edu.gh DEDICATION To God Almighty And My Beloved Family iv University of Ghana http://ugspace.ug.edu.gh 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. v University of Ghana http://ugspace.ug.edu.gh 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 vi University of Ghana http://ugspace.ug.edu.gh 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 vii University of Ghana http://ugspace.ug.edu.gh 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 viii University of Ghana http://ugspace.ug.edu.gh 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 ix