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A portfolio of neoclassic big-band highlife music based on indigenous Ghanaian children’s rhyme and game resources

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dc.contributor.author Coffie, M.M.
dc.date.accessioned 2024-07-25T13:55:20Z
dc.date.available 2024-07-25T13:55:20Z
dc.date.issued 2023-10
dc.identifier.uri http://41.74.91.244:8080/handle/123456789/4012
dc.description A Dissertation in the Department of Music Education, School of Creative Arts, submitted to the School of Graduate Studies in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy (Music) in the University of Education, Winneba en_US
dc.description.abstract A vast world of art music-based creative ethnomusicological study could be found in Ghana and Africa in general. However, popular music-based creative ethnomusicological study is still a desideratum in Ghanaian music scholarship. Hence, this study draws on Sankofa, indigenous knowledge and expression, interculturalism, transculturation and social reconstructionism theories to create neoclassic big-band highlife works based on indigenous Ghanaian children’s rhyme and game resources. It also provides annotations for creating similar global appeal and consumption works. To this end, creative ethnomusicology, practice-based, bibliographic and discographic research designs were employed. Data were collected using interview and document analysis. In all, 20 indigenous children’s rhyme and game resources were collected from two linguistic traditions in Ghana (Akan and Ga), of which ten were sampled and explored for songwriting. Furthermore, four were sampled for the neoclassic big-band highlife works. Findings show a practical approach to how popular music composers can draw on indigenous children’s rhyme and game resources to generate innovative methods for composing, arranging and recording neoclassic big-band highlife music with global appeal. Aside from the cultural values embedded in the indigenous rhyme and game resources, it is concluded that they are also a good source of creative elements for songwriting. In addition, the novelty can be considered a contemporary music interculturalism and musical transculturation, which shows a ratio of a return to sources and modernisation of a musical genre. In recommendation, Ghanaian composers should also consider composing children-friendly songs for their consumption. Also, “Music Theory & Composition” professors should adopt this novelty as a blueprint to begin a course on “Highlife Music Composition & Performance Workshop” to enhance and entrench popular music studies in music institutions in Ghana. en_US
dc.language.iso en en_US
dc.publisher University of Education, Winneba. en_US
dc.subject Indigenous Ghanaian en_US
dc.subject Neoclassic big-band en_US
dc.subject Highlife music en_US
dc.title A portfolio of neoclassic big-band highlife music based on indigenous Ghanaian children’s rhyme and game resources en_US
dc.type Thesis en_US


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