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ORAL DEFENCE

ORAL DEFENCE. School of Graduate Studies. UNIVERSITY OF EDUCATION, WINNEBA DEPARTMENT OF MUSIC EDUCATION. By Emmanuel Obed Acquah 9161750013. Date: Thursday, January 24, 2019 Time: 9:00a.m. Topic Towards a 21 st Century African Traditional Musical Drama: Anansegorndwom.

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ORAL DEFENCE

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  1. ORAL DEFENCE School of Graduate Studies ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  2. UNIVERSITY OF EDUCATION, WINNEBA DEPARTMENT OF MUSIC EDUCATION By Emmanuel Obed Acquah 9161750013 Date: Thursday, January 24, 2019 Time: 9:00a.m. ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  3. Topic Towards a 21st Century African Traditional Musical Drama: Anansegorndwom ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  4. Outline of Presentation • Introduction • Statement of the Problem • Objectives • Research Questions • Theoretical Frameworks • Review of Related Literature • Methodology • Corpus ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  5. Outline of Presentation Cont’d • Excerpts • Findings, Conclusions, Recommendations ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  6. Introduction • Traditional Music making in the African Continent and the emergence of art music compositions • Domination of choral and instrumental Art Music compositions ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  7. Statement of the Problem • Predominant compositions of choral art music and instrumental forms as against the creation of other musical arts in the 21st century • Few intercultural musical dramas in existence • Unexplored traditional stories for musical dramas in various forms • Non existence of African musical drama compositional models ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  8. Purpose An advocate of a new paradigm for the 21st century African scholar-composer. Anansegorndwom – Its Etymology ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  9. Objectives • Develop a conceptual model for creating African traditional musical drama 2. Examine selected musical elements and indigenous resources as tools for a creative product 3. Create a drama piece from indigenous folktales 4. Compose a traditional nonlinear musical dramatic work using the conceptual model 5. Analyze the novelty created within the context of African identity ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  10. Research Questions 1. What conceptual model can be developed for creating African musical drama? 2. What musical elements and indigenous resources can be used in creating a musical drama? 3. What drama piece can be produced from indigenous folktales? 4. What musical artefact can be created using the conceptual model? 5. How does the novelty created typify an identity of African? ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  11. Theoretical Frameworks • Cho Wen-Chung’s Musical Synthesis of Syncretism (Chang, 2001) • Theory of Multiculturalism (Schalk-Soekar & Van de Vijver, 2008) • Stage Theory by Wallas (1926) ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  12. Cho Wen-Chung’s Musical Synthesis of Syncretism Fig. 2:Cultural experience Fig. 1:Western educational experience ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  13. Theory of Multiculturalism Fig. 3:Demonstrating multiculturalism ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  14. Stage Theory Fig. 4:Walla’s Stage Theory ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  15. Review of Related Literature • Music and Theatre (Fergusson, 2015; Cook, 2001; Kendrick & Roesner, 2012) • Compositional Elements and Techniques (Deras, 2015; Petrovic, 2015) • Operetta - Asomdwee Hen (Mereku, 2011) - Kristo (Blege, 1978) ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  16. Review of Related Literature • Folk Songs, Folktales and Folk Dances (Ebeli, 2018; Dorson, 2015; Uzochukwu & Ekwugha, 2015; Sokpor, 2014; Cohen, 2012) • Ananse in Ghanaian Folk Tradition (Asante & Edu, 2018; Owusu, 2016; Addo, 2013) ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  17. Conceptual framework Fig. 5:Anansegorndwom conceptual framework ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  18. Methodology • Paradigm: Qualitative • Research Design: Phase one - Exploratory bibliographic, discographic, narrative analysis • Phase 2 -Creative designs – use of the Anansegorndwom conceptual model ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  19. Methodology Cont’d • Population: Ghanaian language lecturers of universities where Ghanaian languages are taught • Books, CDs, • Sample: University of Education, Winneba, Ajumako campus • Sampling techniques: (1) Purposive sampling (2)Convenience sampling ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  20. Methodology Cont’d ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  21. Methodology Cont’dSampled stories ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  22. Corpus Sounds ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  23. Fig. 8:Traditional instruments - membranophones ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  24. Instruments cont’d Fig. 9: Atenteben Fig. 10: Gyile (Xylophone) ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  25. Western instruments Fig. 11: Trumpet Fig. 12:Synthesizer - keyboard ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  26. Corpus Cont’d • Form/style - Call and Response, Ebibindwom Singing Style, Falling Tones and Spoken Texts, Voice textural Forms • Stage – Costume, Make-up, Properties, Light and Sound, Set Design ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  27. Excerpts • Anansegorndwomenyim (Prelude) - apatampa • Anansegorndwomfinimfin (Interlude) • Atsiagbeko • Kpanlogo • Anansegorndwomekyir (Postlude) – Adowa • Anansesɛmtowfo (Narrator) • Whose food / marriage of the princess/The wisdom pot ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  28. Findings Fig. 13 :Anansegorndwom conceptual model ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  29. Findings Cont’d 2. Folk stories, folk dances, folk music, and other media were examined and merged with scenery, properties, lighting, sound, costumes and make up. 8 folk stories and 19 folk songs were collected. Four folktales were stringed together for the artefact. 3. Emergence of a traditional drama/musical drama titled Hɛn Anansesɛm (Our story) ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  30. Findings Cont’d 4. Modes Voice textural forms Traditional harmonies AdowaKpanlogo/Apatampa Atsiagbeko/Bawa dance styles Indigenous instruments Folk media Falling tones Spoken texts Polyrhythm Unison Call and response Ebibindwom singing style ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  31. Conclusions 1. The Anansegorndwom conceptual model sublimates the framework of the whole drama plot of the hero of Ghanaian and African folktales, Kweku Ananse (The Spider). It is therefore a compositional model for African musical drama 2. African folk media or the folk resources are indeed rich sources for creating non-linear musical artefacts that involve oral and kinetic performance culture ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  32. Conclusions 3. Dramas and musical dramas crafted from oral rendition of folktales are independent theatrical artefacts for not only the stage but other digital forms 4. Analytically, HɛnAnansesɛm reveals our African cultural elements and values thereby placing the work within where it belongs to. Aesthetically, the work is such a potential, which can touch on the emotions of the audience to express their inner feelings and expectations. ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  33. Recommendations 1. Increasing musical dramas using the Anansegorndwom conceptual (compositional) model. Scholar-composers to expose the Anansegorndwom concept to further debate 2. Twenty-first century art music composers can take advantage of our traditional stories from books, recorded dances and music making from CDs, self- created and from the communities as creative tools for traditional musical dramas. ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  34. Recommendations Cont’d 3. Dramas and the musical dramas can be broken into single dramas and musical dramas for short performances either on the stage or in movie or digital forms by institutions to expand its audience. 4. An implication for practice for schools, colleges, universities and Examination bodies and the film industries ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

  35. Thank You ACQUAH E.O. (C)2019 SCH OF GRADUATE STUDIES - UEW - PHD ORAL DEFENCE

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