university of ghana, legon an analytical study of the choral compositions of james tsemafo-arthur by

245 Pages·2016·7.67 MB·English

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
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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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