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University of Education, Winneba an Analytical University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA AN ANALYTICAL STUDY OF FIVE SELECTED WORKS OF WALTER K$MLA BLEGE PHILEMON DOH KWAME AGBENYEGA 2015 University of Education,Winneba http://ir.uew.edu.gh University of Education,Winneba http://ir.uew.edu.gh UNIVERSITY OF EDUCATION, WINNEBA AN ANALYTICAL STUDY OF FIVE SELECTED WORKS OF WALTER K$MLA BLEGE PHILEMON DOH KWAME AGBENYEGA A THESIS IN THE DEPARTMENT OF MUSIC EDUCATION, SCHOOL OF CREATIVE ARTS, SUBMITTED TO THE SCHOOL OF GRADUATE STUDIES, UNIVERSITY OF EDUCATION, WINNEBA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR AWARD OF THE MASTER OF PHILOSOPHY (MUSIC COMPOSITION) JUNE, 2015 University of Education,Winneba http://ir.uew.edu.gh DECLARATION STUDENT'S DECLARATION I, Philemon Doh Kwame Agbenyega, declare that this Thesis, with the exception of quotations and references contained in 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. Signature: ……………………………...……… Date: ……………...…………..………………. SUPERVISORS' DECLARATION We hereby declare that the preparation and presentation of this work was supervised in accordance with the guidelines for supervision of Thesis as laid down by the University of Education, Winneba. Professor Cosmas Worlanyo Kofi Mereku (Principal Supervisor) Signature: ………………………………….…. Date: ………………………………..……….... Dr. Joshua Alfred Amuah, (Co-Supervisor) University of Ghana, Legon Signature: ………………………………..….. Date:……………………………………….... ii University of Education,Winneba http://ir.uew.edu.gh ACKNOWLEDGEMENTS Glory is the omniscient God and to men, peace. I salute the majesty of God for taking me through successfully, the onerous task I assigned myself. One of the greatest appreciations I need to give goes to Mr. Walter K4mla Blege who, despite his old age, made himself readily available for what I sought to do with him. The next mention goes to Professor Cosmas Worlanyo Kofi Mereku (the Dean of Student Affairs and a lecturer in the department of Music Education at the University of Education, Winneba) and Dr. Joshua Alfred Amuah (the Head of Department of Music and Performing Arts and a lecturer at the University of Ghana, Legon), who respectively were the principal and supporting supervisors; for the various roles they played in making this work see the light of day. Many thanks to them. I owe a debt of gratitude to a number of lecturers in the department of Music Education including Rev. Michael Ohene-Okantah (who was the Head of Department of Music Education at the time I enrolled on this programme), the late Dr. Pascal Zabana Kongo, Professor Eric Akrofi, Professor Mary Priscilla Dzansi-McPalm (the Dean of Creative Arts Faculty and a lecturer), Dr. Eva Ebeli (Head of Department of Music Education) and other lecturers elsewhere in the University of Education, Winneba for the diverse roles they played in my academic life and more especially, for making this work stand as it is. iii University of Education,Winneba http://ir.uew.edu.gh To Bayo-Vorah Theresa, Vivor Selina and my children, the suffering this venture I undertook presented to us was enormous. The repercussions were frightful but God took us through the turbulence. Yours is the thanks. To other family members and friends who were supportive in kind, cash and prayers I say congratulation. I salute Messrs Elias Kwao Siabi, Francis Dominic Kofi Kudolo, Divine Cyprian Kofi Anaglate, Frank Kofi Kodjogan, Johnny Mawufemor Kobla Agornyo & family, and Christoph Kwami Wuasi who were all colleague teachers of Awudome Senior High School and all others who assisted me in one way or the other during the execution of this work. I finally register my sincere appreciation to the choir groups, the choirmasters and all those who contributed to the success of this study. I owe all of them debt of gratitude. iv University of Education,Winneba http://ir.uew.edu.gh DEDICATION To the troubled tribes of Africa and Messrs Donkor Kroti Rimond & Kudolo Dominic Francis Kofi who were respectively the Headmaster and Assistant Headmaster Administration under whom I worked at Awudome Senior High School. v University of Education,Winneba http://ir.uew.edu.gh TABLE OF CONTENTS DECLARATION ii STUDENT'S DECLARATION ii SUPERVISORS' DECLARATION ii ACKNOWLEDGEMENTS iii DEDICATION v LIST OF MUSICAL EXAMPLES x GLOSSARY AND ABBREVIATIONS xiv ABSTRACT xvi CHAPTER ONE 1 INTRODUCTION 1 1.1 Background to the Study 1 1.2 Statement of the problem 3 1.3 Purpose of the Study 3 1.4 Objectives of the Study 3 1.5 Research Questions 4 1.6 Significance of the Study 4 1.7 Scope and Limitation of the study 5 1.8 Criteria for Selecting the Chosen Songs for Analysis 5 1.9.0 Theoretical framework 6 1.9.1 Studying Art Music Composer 7 vi University of Education,Winneba http://ir.uew.edu.gh 1.9.2 Cultural Analysis 8 1.9.3 The Theory of Mastery 8 1.10.1 Overview 9 1.10.2 Research design 10 1.10.3 Descriptive Phase 10 1.10.4 Population 11 1.10.5 Sample Size 11 1.10.6 Sampling Procedure 11 1.10.7 Data Collection Instruments and tools 12 1. 10.8 Analytical approach to the selected works 13 CHAPTER TWO 14 LITERATURE REVIEW 14 2.1 Africa's Encounter with Western Musical Tradition 14 2.2 Traditional music as African identity. 25 2.3 The importance of text in musical composition in African music. 27 2.4 The position of the new African Art Music Composer 34 2.5 Musical analysis 39 CHAPTER THREE 42 THE BIOGRAPHY OF WALTER K$MLA BLEGE 42 3.1 Birth and Origin 42 3.2 Formal Education 44 3.3 Professional Career 45 vii University of Education,Winneba http://ir.uew.edu.gh 3.4 Administrative Responsibilities 47 3.5 National and International Assignments 48 3.6 Musical Development 49 3.6.1 The Non-Formal Music Education of Walter Blege 50 3.6.2 The Informal Music Education of Walter Blege 50 3.6.3 The Formal Education of Walter Blege 52 3.7 Contributions to National Development 53 3.8 Extended choral work 55 3.9 Blege as expert Translator 56 3.10 Blege as a Transcriber and as somebody who Repackages 60 CHAPTER FOUR 61 MUSICAL ANALYSIS 61 4.1 The compositional styles of Blege 61 4.1.1 Categories of Blege's Music 61 4.1.2 The Stylistic Features of Blege 62 4.1.3 Setting Music to Traditional Dances with Accompaniment 63 4.1.4 Setting Music to Traditional Dances without Accompaniment 64 4.1.5 Compositions that he founded on Key and Metrical Modulations 65 4.1.6 Blege as Intercultural Composer 66 4.1.7 Blege the opera writer and a brief commentary on Opera Kristo 66 4.2. Other qualities of Blege's compositions 73 4.2.1 Blege the story teller 73 4.3.1 Ameyib4viwoe (Black Africans) 74 viii University of Education,Winneba http://ir.uew.edu.gh The compass of the various voices in solo or choral work 84 4.3. 2a Goliyatie (Goliath) 85 Translation of the appellation from E3e language into English language 88 4.3.2b @avi2i Zu Zevi Tukui (David as a Little Pot) 90 4.3.3 Agbe Yia Dzie Míele (This Life Style of ours) 95 4.3.5 Nidze Mia ~u (Be Content with your Possessions) 110 CHAPTER FIVE 119 SUMMARY, CONCLUSION AND RECOMMENDATIONS 119 5.1 Summary 119 5.2.0 Conclusion 124 5.2.1 The Rectangular Theory of Cultural Analysis 129 5.3 Recommendations 130 REFERENCES 132 DISCOGRAPHY 138 APPENDICES 139 APPENDIX A 139 The Selected Pieces of Songs that were Analysed 139 APPENDIX B 196 Titles of Some Other Works of Blege 196 TITLES IN EWE LITERAL TRANSLATION 196 APPENDIX C 197 ix University of Education,Winneba http://ir.uew.edu.gh Other Publications 197 MONOGRAPH 197 APPENDIX D 198 A Brief Analysis of the Selected Songs in Tabular Form 198 APPENDIX E 199 Interview Guide I – WALTER BLEGE HIMSELF 199 Interview Guide II – CHOIRMASTERS 200 Interview Guide III - CHORISTERS 201 APPENDIX F 202 Some Instruments that are mentioned in the work 202 LIST OF MUSICAL EXAMPLES Example: 1 Notational part of Golomake 19 Example: 2 Avu mats4 nyigbadz1 19 Example: 3 Folk music from E3edome 31 Example 4 F4nt4mfr4m Orchestral Score 71 Example 5 Gbe-Dodo-@a 71 x University of Education,Winneba http://ir.uew.edu.gh Example: 6 Agoo Na Mi A5et4nyewoe 72 Example: 7 Mawue Mawue 72 Example 8 Mía5e Mawu La 73 Example 9 Extract from Nuku Wula 74 Example 10 Ameyib4viwoe in G-major 75 Example 11 The appearance of #ukpo 76 Example 12 The fragmentation of parts 77 Example 13 The introduction of the double bell 78 Example 14 Introduction of Asafo dance 79 Example 15 The use of 'S' for Spoken 79 Example 16 We have a long way to go 80 Example 17 Modulation into D-major 81 Example 18 Canon- compositional devise 81 Example 19 Return to the home key 82 Example 20 Cross of part 83 Example 21 Call to fight the enemy 83 Example 22 Recapitulation 84 Example 23 Compass of human voice 84 Example 24 Voice ranges in Ameyib4viwoe 85 Example 25 Call by a cantor in free style 86 Example 26 Response from mixed chorus 86 Example 27 Celebration of heroism 87 Example 28 Technique of appellation 88 xi University of Education,Winneba http://ir.uew.edu.gh Example 29 Voice ranges in Goliath music 90 Example 30 David song set to Gbolo dance 92 Example 31 Responsorial singing 93 Example 32 Use of minuscule substances 94 Example 33 Voice Ranges in @avi2i song 95 Example 34 Heptatonic scale 96 Example 35 Pentatonic scale 96 Example 36 Intercultural display 97 Example 37 Metrical shift 98 Example 38 Modulation to C major 99 Example 39 Use of dynamics 100 Example 40 Use of plagal cadence 100 Example 41 Progression of F→Gm7 101 Example 42 Perfect cadence 101 Example 43 Vocal ranges in this Song 102 Example 44 Fugal exposition 103 Example 45 The turning point 104 Example 46 Variation in modulation 105 Example 47 Instrumental assessment 106 Example 48 Transient modulations 107 Example 49 Modulation from F major to B major 107 Example 50 African glissando (i.e.
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