Relevant bibliographies by topics / Ghanaian Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Ghanaian Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Ghanaian Music"

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Otchere, Eric Debrah. "Music teaching and the process of enculturation: A cultural dilemma." British Journal of Music Education 32, no. 3 (November 2015): 291–97. http://dx.doi.org/10.1017/s0265051715000352.

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The history of music in Ghanaian school programmes can hardly be separated from the general history of education in Ghana. Since the time of colonial administration in Ghana, music (especially as manifested through singing) has formed part of the educational curriculum for different reasons, one being a tool for promoting the culture of the colonialists. Several advances (particularly after independence in Ghana) have been made to incorporate aspects of the Ghanaian culture into the educational curriculum. Over 50 years down the line, what is the extent to which Ghanaian (African) music is studied in Ghanaian schools? In this paper, the extent to which African music is taught in African (Ghanaian) universities is analysed by looking at the undergraduate music course content of two Ghanaian public universities. Although African music is taught, it only forms an infinitesimal proportion of the total music courses that are offered to music students in these two universities. Considering that the process of music education is also a process of enculturation, the concluding recommendation is that although a multicultural music programme is necessary, the teaching of African (Ghanaian) music in Ghanaian universities should be the dominant feature.
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Dzansi, Mary. "Playground Music Pedagogy Of Ghanaian Children." Research Studies in Music Education 22, no. 1 (June 2004): 83–92. http://dx.doi.org/10.1177/1321103x040220011101.

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Adinkrah, Mensah. "Witchcraft Themes in Popular Ghanaian Music." Popular Music and Society 31, no. 3 (July 2008): 299–311. http://dx.doi.org/10.1080/03007760802009791.

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Agawu, Kofi. "The Amu Legacy." Africa 66, no. 2 (April 1996): 274–79. http://dx.doi.org/10.1017/s0001972000082437.

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AbstractEphraim Amu, 1899–1995, was the leading Ghanaian composer of ‘art music’ (the music of concerts, churches, schools and formal performance). This article is both a brief appreciation of the man as his ideas, personal practice and musical style developed over the years, and an account of the influence Ephraim Amu exercised over Ghanaian musical life.
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Adjoteye, Eugene Agbasi. "The Cultural Environment of Popular Music Discourses in Contemporary Ghana: A Media and Communication Approach." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 4, no. 1 (January 16, 2021): 330–35. http://dx.doi.org/10.33258/birci.v4i1.1597.

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The field of popular music is important within the cultural matrix of contemporary Ghana. This paper posits the cultural environment of contemporary music discourses in Ghana as a relevant and significant terrain of media and communication worthy of research in Africa. The paper also sets off the relationship between popular music discourses and micro-identity formation in Ghana and subsequently sets off the nexus between the systemic world and the life world of contemporary Ghanaian quotidian sphere. The first part discusses the terrain of contemporary music discourses in Ghana, whilst the second part treats the emerging issues in terms of popular music discursive functionality and dysfunctionality within the interstices of the Ghanaian cultural environment.
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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.

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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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Kwami, Robert. "A Framework for Teaching West African Musics in Schools and Colleges." British Journal of Music Education 12, no. 3 (November 1995): 225–45. http://dx.doi.org/10.1017/s0265051700002722.

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Existing classifications of West African musics seem to have a limited applicability as models for music education in schools and colleges. Hence, a more comprehensive classification, highlighting a range of syncretic forms, is merged with a structure in Ghanaian drum ensembles to yield a sequential, two dimensional, model. It is then argued that the model can be used as a framework for teaching West African musics in primary, secondary and tertiary educational institutions. A more general discussion is followed by an integrated arts application; finally, a musical perspective, including compositions by the present writer, is presented.
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Avorgbedor, Daniel Kodzo. "Nigerian Art Music: with an Introductory Study of Ghanaian Art Music (review)." Research in African Literatures 32, no. 2 (2001): 219–22. http://dx.doi.org/10.1353/ral.2001.0043.

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Vercelli, Michael B. "CONSTRUCTING DAGARA GYIL PEDAGOGY: THE LEGACY OF BERNARD WOMA." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 60–67. http://dx.doi.org/10.21504/amj.v11i2.2314.

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Bernard Woma (1966–2018) was a virtuoso musician and global ambassador of Dagara music. From his extensive outreach, workshops, and touring, Bernard’s work teaching the Dagara gyil (xylophone) around the world is recognisable through his detailed compositions emphasising the use of Dagara musical forms. His founding of the Dagara Music Center in Medie, Ghana in 2000, provides instruction on Ghanaian music and dance to hundreds of non-Ghanaian students. Bernard’s pedagogical pieces for gyil introduce Dagara music systematically, building students’ technique and facility on the instruments in addition to ensuring student comprehension of Dagara musical practice. Based on sixteen years of apprenticeship with Bernard, this article investigates his pedagogy, detailing his methodical process through his use of cultural and educational scaffolding techniques theorised as “deliberate practice” by Ericsson and Pool (2016) and underscores the importance of recognising the individual African musician in academic and educational settings.
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Collins, John. "The Introduction of Popular Music Studies to Ghanaian Universities." IASPM@Journal 2, no. 1-2 (February 29, 2012): 34–44. http://dx.doi.org/10.5429/2079-3871(2011)v2i1-2.4en.

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Dissertations / Theses on the topic "Ghanaian Music"

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Uehlin, Robert. "Digitized Ghanaian Music: Empowering or Imperial?" Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17878.

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In the wake of the digital revolution, the Musicians' Union of Ghana has begun a massive campaign to re-establish its membership base, advocate for enforceable copyright policy changes, and introduce the technology necessary to make its members' music available for sale to digital consumers. However, despite the excitement behind this project, the vision of a professional class of musicians, enabled by the digitization and digital sale of Ghana's new and existing music, is problematic. Recent revenue reports collected from musicians based in the United States suggest that revenue collected from digital sales may not be the silver bullet Ghanaian musicians hope it will be. Analyzing corporate, government, development, and news documents, this study examines the history and the political economy of the current digitization efforts in Ghana to determine who claims to benefit from the project and who stands to bear the costs. Overall, this study recommends the introduction of new forms of cultural protectionism alongside existing copyright protections to avoid the potential exploitation associated with musical success. The empowering and imperial effects of the project are also debated.
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Eckardt, Allison Lenore. "Kpatsa: An Examination of a Ghanaian Dance in the United States." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214242024.

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Feay-Shaw, Sheila J. "The transmission of Ghanaian music by culture-bearers : from master musician to music teacher /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11281.

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Greco, Mitchell J. "THE EMIC AND ETIC TEACHING PERSPECTIVES OF TRADITIONAL GHANAIAN DANCE-DRUMMING: A COMPARATIVE STUDY OF GHANAIAN AND AMERICAN MUSIC COGNITION AND THE TRANSMISSION PROCESS." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398073851.

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Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
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Addo, Akosua Obuo. "A survey of music teaching strategies in Ghanaian elementary schools as a basis for curriculum development." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28808.

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Changes occurring in the educational system of Ghana since independence in 1957 have been many and varied. The recent inclusion of the Cultural Studies program as part of the compulsory core curriculum is an example of such a change. The Cultural Studies program was designed to nurture cultural awareness and appreciation in the Ghanaian school child through music, drama, religion and social systems. The focus of this study was Music in the Cultural Studies program. The approach of the music teacher to music teaching and learning determines the successful realization of the curriculum. Music teaching strategies employed in Ghanaian elementary schools are many and varied. The content of the curriculum the teacher has to work with also enhances the realization of the program objectives. The purpose of this study was to identify and describe music teaching strategies and their degree of use in Ghanaian elementary schools and also offer suggestions for improving music instruction drawing on Ghanaian indigenous methods of music education, the Orff-Schulwerk, and Kodály pedagogy. In a survey involving fifty-six music teachers from five of the ten regions of Ghana, the researcher drew the following conclusions: a) the most frequently used teaching strategies included singing games, vocables, solfege, speech and poetry, movement and dance. b) there was evidence to suggest that the music teaching strategies of teachers are not related to their regional location, district, gender, teaching experience, or academic qualifications. c) It is feasible to combine the approaches of the Kodály pedagogy, the Orff-Schulwerk, and Ghanaian indigenous forms of music education in the development of a curriculum framework aimed at improving music instructional methodology in Ghanaian elementary schools.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Flolu, Emmanuel James. "Re-tuning music education in Ghana : a study of cultural influences and musical development, and of the dilemma confronting Ghanaian school music teachers." Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/14045/.

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Burns, Lianne. "The transmission of Ghanaian music by Abdul Adams in Calgary, Alberta, Canada, teaching and learning Kpanlogo of the Ga and Adowa of the Ashanti as social expression." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64934.pdf.

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Addo, Akosua Obuo. "Ghanaian children’s music cultures : a video ethnography of selected singing games." Thesis, 1995. http://hdl.handle.net/2429/7453.

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This dissertation is a video ethnography of the enculturation and learning patterns among children on three school playgrounds in the Central Region of Ghana, West Africa. It includes a) a discussion of colonialism on the redefinition of Ghanaian cultural identity in relation to play culture and the school curriculum b) performance-based case studies of six singing games, which comprise a description of sound and structural features and an explanation of cultural forms evident in singing games and c) a discussion on the role multimedia technologies (video, audio, and computer technologies) played in configuring my explanations and the explanations of all participants: children, teachers, and community members. Goldman-Segall' s "configurational validity" is the conceptual basis of this ethnography of Ghanaian children's music cultures. Configurational validity is a collaborative theory for analyzing video documents that expands on the premise that research is enriched by multiple points of view. Performance stylistic features of singing games emerge that reflected the marriage of two music cultures, indigenous Ghanaian and European. These include: speech tones, onomatopoeia, repetition and elaboration of recurring melodic cliches, portamentos or cadential drops, syncopations, triplets, melisma, polyrhythms, vocables, anacrusis, strophic, circle, lines, and partner formations. During play, the children were cultural interlocutors and recipients of adult cultural interlocution as they learned about accepted and shared social behavioural patterns, recreated their culture, and demonstrated the changing Ghanaian culture. The culture forms that emerged include community solidarity, inclusion, ways of exploring and expressing emotions, coordination, cooperation, gender relations, and linguistic code switching. For children in Ghana, knowledge is uninhibited shared constructions; knowledge grows when every one is involved; and knowledge is like "midwifery." I recommended a teaching style that encouraged the expression of children's wide ranging knowledge by a) offering opportunities for cooperative learning through group work, b) encouraging continuous assessment, c) establishing stronger ties with the adult community, and d) recognizing that the ability of children to hear, interpret, and compensate for dialectic differences in closely related languages can be used to enrich the language arts curriculum and also e) recognizing that the cultural studies curriculum can be enriched by the ability of children to re-create hybrid performing arts cultures.
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Canon, Sherri Dawn. "Music, dance, and family ties: Ghanaian and Senegalese immigrants in Los Angeles." Thesis, 2005. http://hdl.handle.net/2152/1520.

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Books on the topic "Ghanaian Music"

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Omojola, Bode. Nigerian art music: With an introductory study of Ghanaian art music. [Bayreuth]: Co-published by IFRA Ibadan and Bayreuth African Studies, 1997.

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Omojola, Bode. Nigerian art music: With an introductory study of Ghanaian art music. Ibadan [Nigeria]: Institut Français de Recherche en Afrique, 1995.

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Living the hiplife: Celebrity and entrepreneurship in Ghanaian popular music. Durham, N.C: Duke University Press, 2013.

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The sound of worship: Liturgical performance by Surinamese Lutherans and Ghanaian Methodists in Amsterdam. Leuven: Peeters, 2011.

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Shipley, Jesse Weaver. Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music. Duke University Press, 2013.

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Donkor, David Afriyie. Spiders of the Market, Enhanced Ebook: Ghanaian Trickster Performance in a Web of Neoliberalism. Indiana University Press, 2016.

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Carwile, Christey. From Salsa to Salzonto. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.026.

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Since its emergence among Spanish-speaking immigrants in New York City in the 1960s, salsa dance (and music) has become a quintessential symbol of Latin identity in and outside of the United States. The worldwide adoption of the dance has opened up new possibilities for identity construction. Using field research from Accra, Ghana, this chapter explores the ways in which salsa dance has come to inform a pan-African identity, creating moments where local ethnicities become deemphasized. “Traditional” dances in Ghana have historically been viewed as reflecting local “tribal” and/or ethnic identities and later appropriated by national dance companies as a way to construct and display a Ghanaian “national culture.” However, the adoption of salsa dance in Ghana is what I call an “inventive dance tradition,” one not espoused by colonial administrators or postcolonial leaders, but pioneered by a new generation of urban youth with more global agendas.
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Book chapters on the topic "Ghanaian Music"

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Ampofo, Akosua Adomako, and Awo Mana Asiedu. "Changing Representations of Women in Ghanaian Popular Music." In Feminisms, Empowerment and Development. Zed Books Ltd, 2014. http://dx.doi.org/10.5040/9781350220096.ch-007.

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Oduro-Frimpong, Joseph. "The Pleasure(s) of Proverb Discourse in Contemporary Popular Ghanaian Music:." In Being and Becoming African as a Permanent Work in Progress, 259–80. Langaa RPCIG, 2021. http://dx.doi.org/10.2307/j.ctv1rcf2gh.14.

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"From Burger Highlife to Gospel Highlife: Music, Migration, and the Ghanaian Diaspora." In The Globalization of Musics in Transit, 263–83. Routledge, 2013. http://dx.doi.org/10.4324/9780203082911-21.

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"»OBIAA PƐ SƐ ƆKƆ international.« Negotiating the Local and the Global in Ghanaian Hiplife Music." In Speaking in Tongues, 33–44. transcript-Verlag, 2015. http://dx.doi.org/10.14361/9783839432242-003.

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Osumare, Halifu. "Dancing in Africa." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0006.

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Chapter 5 records the author’s bold move to Ghana, West Africa for nine months to study and research the basis of black dance in the Americas. She studies the curriculum of the School of Music, Dance, and Drama (SMDD) at the University of Ghana, Legon, under the ethnomusicologist Dr. Kwabena Nketia and the dance ethnologist Professor Albert Opoku. She examines the development of the internationally touring Ghana Dance Ensemble. She also explores her personal relationships with other African Americans and Ghanaians to further interrogate race and blackness from the point of view of living in West Africa. She reminisces about how her dance fieldwork in five regions of Ghana and her excursion to Togo and Nigeria broadened her perspective on herself as African American in Africa.
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