The Impact of Language on Musical Composition in Ghana: An Introduction to the Musical Style of Ephraim Amu

Ephraim Amu's "Bonwere Kenteŋwene": a celebration of Ghanaian traditional knowledge, wisdom, and artistry

“…In other discussions of Amu's choral works, I have observed the challenges inherent in writing works in strophic form, especially when spoken infl ections of tonal languages, here Twi and Ewe, dictate melodic movement and direction (Dor 1992: 90-92;Agawu 1984). It is important to observe that Amu similarly explores the device of substituting keywords in his other two solo songs, both of which are in strophic form.…”

Music Education in Britain and the School Curriculum: A Point of View

“…Kwami and Walter Blege (1992). The works of these composers mainly fall in Nketia's (1962) 'art' or Agawu's (1984, p. 38) 'classical' category, although some of the works can be put in my 'traditional music' categories (see Kwami, 1989, p. 124). The initiation needs to be well planned so that appraising -analysis and criticism (for example, see Kwami, 1991b) -can take place.…”

Authority, Deference, and Disregard in Catholic Liturgical Music in Central Cameroon

“…Correspondence between tonal accent and melodic contour can be observed in both music example 5 and music example 6 (for earlier discussions of "tone and tune, " see Jones [1959], Schneider [1961], Agawu [1984Agawu [ , 1988, Fürniss and Guarisma [2004], Schellenberg [2009], andEssele [2017]). It is clearest in music example 5, where the melodies setting "à sɔ ŋ à jób jés màpúbí mɔ ŋ" match the tonal patterning of the text exactly.…”