Contemporary art songs for Different Ghanaian languages with Annotation on Vocal andragogy for tertiary students

Abstract

chorus due to the proliferation of choirs. Significantly, there have been few choral-solo compositions and instrumental forms in the Ghanaian sociocultural context. In fact, with regards to art song compositions, only few Ghanaian composers have attempted to explore in that direction. The dissertation therefore explored, established and created art songs in diverse Ghanaian sociocultural contexts, utilising various indigenous resources in terms of sonic materials and languages. The study sought to establish a creative model for composing contemporary or current art songs which are characteristically Ghanaian, and to the large extent, African; Kɔñadá, to give directions to modern art music composers and creative ethnomusicologists to create such works intended for educational purposes and or for a wide audience. Through bibliographic, discographic, creative ethnomusicology and creative designs, data were collected using observation and document analyses. Thirty (30) folk tunes were collected purposely from three indigenous musical ensembles: Simpa Dentsefo Asafo Company, Osimpam Ͻmpɛ cultural troupe and Nyame Yɛ Ͻdɔ fishing canoe, all in Winneba. Eight (8) Ghanaian languages were also selected purposely from various ethnolinguistic traditions of Ghana such as Akan, Guan, Ewe, Ga-Dangbe, Dagaaba, Dagomba, Kassena, and Frafra to aid the creation of the musical artefact. Significantly, these data were critically examined to sift out elements such as lineal and vertical sonorities, rhythms, textures, forms and compositional techniques, fused them with Western musical elements to create twenty (20) contemporary Ghanaian art songs. Of course, various annotations were also explored to aid effective facilitations in higher education. It is concluded, however, that the novelty created is an explicit symbiosis of African and Western musical idioms without losing both musical identities. It is, therefore, envisaged that art music composers and creative ethnomusicologists commence to use the creative model to augment the repertoire of African art song compositions whilst music departments of various tertiary institutions adopt the musical artefacts to aid the effective teaching and learning processes of African art choral music.