An Analytical Study Of The Choral Compositions Of James Tsemafo-Arthur

ABSTRACT

This study investigates the choral compositional techniques, styles and creative

interests associated with the choral works of James Tsemafo-Arthur, an African art

music composer. The study outlines how this composer utilizes some intrinsic African

elements in his compositions, the influence of his cultural and religious background on

his composition, as well as his compositional philosophies. The study, apart from

serving as a record of another African art music composer, will motivate and serve as a

guide to budding composers to compose more inspiring choral music, and also enable

readers to better appreciate Tsemafo-Arthurs’ individuality, originality and ingenuity as

a composer.

This feat was achieved through the collection of primary and secondary data which

included interviews and analytical study of representative works. Also to facilitate the

above, a tripartite methodology of historical, descriptive and analytical methods was

adopted. The following analytical parameters: formal structure, musical texture,

dynamics/performance directions, Melody, Harmony, Rhythm and Metre,

Interpretation of song texts, Cadential points, Text and Tune relationship, were

employed for the analysis of the representative choral works and how he addresses the

issues of identity, enculturation and hybridity through his compositions.

Major findings of the study reveal a mastery of the composer over the Fante language

in which he has the bulk of his compositions. His compositions span a wide variety of

themes categorised as follows: Philosophical, Adapted/Arrangements, Patriotic, Church

music and Occasional. In his composition, Tsemafo-Arthur explores the major and the

pentatonic scales and uses varied compositional styles.

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In conclusion, Tsemafo-Arthur is one of the African art music composers whose

religious and cultural backgrounds have had great influence so much on. His mastery

over the Fante language really makes him a poet and a great composer who has

contributed tremendously to the growth of choral music in Ghana. Throughout his

compositions, Tsemafo-Arthur identifies himself as a Methodist, a Fante, a Ghanaian,

and an African. Most of his compositions are structured to strictly follow after the

spoken language, punctuated at cadences with some traditional modes which reinforce

their African authenticity and the ebibindwom flavour for his Methodist identity.