Abstract:
This thesis used the notion of life after death in the African traditional
religion to create a picturesque or an imaginary ‘African classicism’ about the
ancestors (Nananom Nsamanfo) coming out of their graves to dance. In
addition, the concept of cultural return to roots has been used to blend
Ghanaian traditional musical resources (tunes, rhythms, art, etc) and styles
with scholarly compositional techniques. Within the present study,
Asamanasaw is an instrumental composition for the orchestra, circumscribed
to the Piccolo, Flute, Clarinet, Bassoon, Flugal Horn, B flat Trumpet, Piano
Glockenspiel, Timpani, Bass drum, Snare drum ,Violins I and II, Viola, Cello,
and Double Bass. The music encompasses two musical trends, namely the
Intercultural, and the Atonal. This falls in line with theories of musical
reconstruction from traditional pre-compositional resources featured by Akin
Euba’s creative ethno-musicological approach and Nketia’s syncretic
approach to contemporary African composition.
