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Asante Court Music and Verbal Arts in Ghana is a comprehensive
portrait of Asante court musical arts. Weaving together historical
narratives with analyses of texts performed on drums, ivory
trumpets, and a cane flute, the book includes a critical assembly
of ancient song texts, the poetry of bards (kwadwom), and
referential poetry performed by members of the constabulary (apae).
The focus is on the intersections between lived experience, music,
and values, and refers to musical examples drawn from court
ceremonies, rituals, festivals, as well as casual performances
elicited in the course of fieldwork. For the Asante, the performing
arts are complex sites for recording and storing personal
experiences, and they have done so for centuries with remarkable
consistency and self-consciousness. This book draws on
archaeological, archival, historical, ethnographical and analytical
sources to craft a view of the Asante experience as manifested in
its musical and allied arts. Its goal is to privilege the voices of
the Asante and how they express their history, religious
philosophy, social values, economic, and political experiences
through the musical and allied arts. The author's theoretical
formulation includes the concept of value, referring to ideas,
worldview concepts, beliefs, and social relationships that inform
musical practices and choices in Asante.
Asante Court Music and Verbal Arts in Ghana is a comprehensive
portrait of Asante court musical arts. Weaving together historical
narratives with analyses of texts performed on drums, ivory
trumpets, and a cane flute, the book includes a critical assembly
of ancient song texts, the poetry of bards (kwadwom), and
referential poetry performed by members of the constabulary (apae).
The focus is on the intersections between lived experience, music,
and values, and refers to musical examples drawn from court
ceremonies, rituals, festivals, as well as casual performances
elicited in the course of fieldwork. For the Asante, the performing
arts are complex sites for recording and storing personal
experiences, and they have done so for centuries with remarkable
consistency and self-consciousness. This book draws on
archaeological, archival, historical, ethnographical and analytical
sources to craft a view of the Asante experience as manifested in
its musical and allied arts. Its goal is to privilege the voices of
the Asante and how they express their history, religious
philosophy, social values, economic, and political experiences
through the musical and allied arts. The author's theoretical
formulation includes the concept of value, referring to ideas,
worldview concepts, beliefs, and social relationships that inform
musical practices and choices in Asante.
Nnwonkoro is a genre of women's song found among the Akan-speaking
peoples of Ghana. It has become a hybrid musical form,
incorporating songs and dance movements based on traditional
practices alongside others reflecting Christian influence.
Nnwonkoro groups perform regularly at funerals, on state occasions,
for entertainment, and even in church. In common with other Akan
musical traditions, nnwonkoro is transmitted orally and aurally.
Based on extensive fieldwork in the Asante and Bono Ahafo regions,
and featuring many transcriptions of songs, this book investigates
the nature of composition in oral culture, together with issues
such as the scope of the poetic imagination and the transformation
processes that accompany modernization. This study illuminates the
musical style of nnwonkoro in a way which, it is hoped, will
facilitate future comparative study of African songs. A CD
recording is included.
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