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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

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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 University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2001 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 Burns, Lianne Burns, L. (2001). 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in Calgary, Alberta, Canada: teaching and learning Kpanlogo of the Ga and Adowa of the Ashanti as social expression (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/11326 http://hdl.handle.net/1880/40843 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Transmission of Ghanaian Music by Abdui Adams in Calgary, Alberta, Canada: Teaching and Learning Kpdogo of the Ga and Adowa of the Ashanti as Social Expression Lianne Bums A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLlMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC IN MUSIC EDUCATION DEPARTMENT OF MUSIC CALGARY, ALBERTA APRIL, 2001 Q Lianne Burns 2001 National Library Bibliothhue nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographic Servicss services bibliographiques 395 WoPington Street 395. rue WeiliigbMI Oltawa ON KIA ON4 Ottawa ON KIAON4 Canada Canada The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive pennettant a la National Llhmy of Canada to Bibliotheque nationale du Canada de reproduce, loan, distriiute or sell reproduire, praer, distriiuer ou copies of this thesis in microform, vendre des copies de cetk these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format &xtronique. The author retains ownership of the L'auteur conserve la propriete du copyright in this thesis. Neither the droit #auteur qui protege cette these. thesis nor substantial extracts fiom it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent &re imprimis reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract This ethnographic research examines how Abdul Adams, a Ghanaian Canadian living in Calgary, Alberta, transmits drumming represented by the Ga and Ashanti peopIe of Ghana. The processes of transmission examined are relevant to the classroom music teacher in Calgary because they represent a fusion of teaching and learning styles from two cultures. This fusion helps to dispense the sensibility of Ghanaian music while offering accessibility to all students. The personal history of Abdul Adams is exiunined both in Ghana and in Canada. The term "drumming" is investigated from a Ghanaian and a Canadian perspective. The instruments used in a Ghanaian ensemble are determined and described. Two rhythms-Kpanlogo of the Ga and Adowa of the Ashanti-are analyzed and the context in which these rhythms are used is illustrated. An accompanying interactive CD-ROM allows tbe user to hear and view the rhythms performed by Abdul Adams. TABLE OF CONTENTS .. Approval Page ................................................................................................................ ...u Abstract .......................................................................................................................... ul Table of Contents .......................................................................................................... iv CHAmROm: mODUmON ............................................................................. 1 Introduction ......................................................................................................... 1 Statement of Problem .......................................................................................... 2 Significance of the Study .................................................................................... 6 Definitions........................................................................................................... 9 Detimitations ..................................................................................................... 13 CHAPTER TWO: LITERATURE REVIEW ................................................................. I5 Drumming: Its Meaning and Role in Africa ....................................................... IS Ghanaian Instruments ..................................................................................19 The Transmission of African music ...................................................................23 CHAPTER THREE: METHODOLOGY .................................................................. CHAPTER FOUR: GHANAIAN CULTURE AND MUSIC ........................................ 36 Western Influence ........... ...... ................. .. ................................................ 36 Ghanaian Customs ............................................................................................. 37 [ndividual Roles in Ghana ............................................................................... 39 Integration of Music and Life in Ghana ..................... ......... ............. 42 Communication Through Tdking Dmms ........................................................... 47 Oracy and History in Ghana ............................................................................. 49 CHAPTER FIVE: KPANLOGO OF THE GA AND ADOWA OF THE ASHANTI ..... 51 Instruments ................... ... ............................................................................ 51 Kpanlogo Ensemble ............................................................................... 51 Adowa Ensemble ................................................................................... 57 Transmission of Kpanlogo in Ghana .................................................................. 62 Transmission of Adowa in Ghana ...................... .......................................... 64 Transmission of Ghanaian Drumming in Calgary .................... ... ................... 68 Kpadogo in Calgary .................... .... ........................................................... 69 Adowa in Calgary .............................................................................................. 74 CHAPTER SIX: CONCLUSION .................................................................................. 79 The Vdue of Studying Music as Culture ............................................................ 79 Teaching Ghanaian Music in Calgary ................................................................ 81 Plans for Implementation .............................................................................. 84 Questions for Future Research ........................................................................... 85 Bibliography ...................................................................................................... 88 Video and Film Resources ...................................................................... 92 Appendix A: SampIes of Fieidnotes ........................................................... 93 Appendix B: Domain Analysis .......................................................................... 97 Appendix C: Taxonomy ..................................................................................... 98 Appendix D: Abdul Xdams Biography ............................................................ 100 Appendix E: Consent Form .............................................................................. 101 Appendix F: Map of Ghana .......................................................................... 103 Appendix G:Interactive CD-ROM .................................... Inserted on Back Cover CHAPTER ONE: INTRODUCTION Introduction In spring 2000 a course was offered at the University of Cdgary, Faculty of Fine Arts, Department of Music, titled An Introduction to Culture Studies and World Musics in the Classroom. New to the Department of Music, this course was organized and taught by Professor Jerry Kerlin who saw a need for world musics to be shared among undergraduate and ,mduate University of Calgary students, and Cdgary music educators. Class members had little or no experience with musics of other cultures. Through a series of Iecture/demonstrations given by guests from six cultures-Bdi (Indonesia), China, Ghana, Iran, Ireland, and North India-students were initiated inta the world of multicultural music. It was during one of these lecture/ demonstrations that Abdul Adams was introduced. Abdul Adarns is a Ghanaian Canadian who has been residing in Calgary for eleven years. He gave a particularly inspiring lecture that touched on differences in cultural beliefs and value systems between Ghanaians and Canadians. His presentation exposed students to the sound of Ghanaian instruments and rhythms. From this exgosure this researcher developed an interest in knowing more about Abdul Adams, Ghanaian music, and Ghanaian traditions. This research will focus specifically on two ethnic groups in Ghana-the Ga and the Ashanti. See Appendix F for a map of Ghana. The data collected is not meant to translate directly to other countries or people in Africa. Klaus Wachsmann
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