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Journal Title: Ultimate reality and meaning.

Volume: 10
Issue: 1
Month/ Year: 19870301
Pages: 39-55

Article Title: A voice in the African process of crossing

from the traditional to modernity: The music of
Ephraim Amu
Author: Institute for Encyclopedia of Human Ideas on
Ultimate Reality and Meaning Turkson, Adolphus R.

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4.2
A Voice in the African Process of Crossing
from the Traditional to Modernity: The Music of
Ephraim Amu

Adolphus R. Turkson, University of Ghana, Legon, Ghana

1. THE LIFE OF AN AFRICAN COMPOSER

Ephraim Amu was born on 13th September, 1899, to Stephen Amuyaw and Sarah
Akora Ama at Peki Avetile in the Volta Region of Ghana. While his mother was not
musically inclined, his father was a distinguished drummer and cantor before he was
converted to Christianity. He was also a prominent farmer; and it was from him that Amu
acquired his knowledge of traditional African music and skill as a farmer.
Amu went to school at Peki A vetile and later transferred to Peki Blengo where he
showed extreme promise in music. His first music teacher was Ntem who taught him the
rudiments of music and introduced him to the harmonium. He continued his education at
the Basel Mission Seminary at Abetifi in the Eastern Region and graduated as
teacher-catechist as was the fashion in those days. He later taught at the Bremen Mission
Senior School at Peki Blengo from where he was transferred to Akropong Training
College, Akwapim.
His interest in music grew, and his primary aim became to write his own music.
Accordingly, he began studies in composition with the Rev . Allotey-Pappao ( 1887-
1980), a Methodist minister and a fine church musician who was the superintendent
minister at Peki Blengo. Even when the Rev. Allotey-Pappao was transferred to Accra,
Amu continued to study with him by correspondence as was the practice then. He visited
Accra frequently especially during vacation times to take lessons from him .
Amu taught at the Presbyterian Training College from 1926 untill933. The courses he
taught included music, scripture, nature study and agriculture . The wide range of
courses shows how versatile he was as a college teacher.
It is interesting to observe how social interaction and European educational systems
have to a very large degree tended to condition the character of many African musical
works. Several composers were trained locally and in Europe and lately the United States
of America and Canada. Because of the long period of colonial ties with Britain the
earlier composers became attracted to England. Obviously, some locally trained
musicians were also affected by certain European educational influences. Though
external interactions, to a large extent, affected the musical products of the composers, it
should be realised that their traditional artistic thinking, in the main, remained patently
African.

39
 Like many African composers, Amu was educated at the Royal Academy of Music in
London, England , where he acquired skill in choral composition. The skill he acquired
formed the basis upon which he expanded the scope of his traditional thoughts which
enabled him to achieve the goal he had set himself.
The development of creative musical thought in Africa has been very complex but
rich, full of remarkable achievements with enormous continuing promise. There is every
reason to believe that the new musical ideas and techniques of Africa mark a very
definitive break with the past. But the new music can only be understood as a unity if it is
considered against the traditional music of the past and the predominance of its
suggestive tonal ideas. The use of folk music elements in the new music is itself
suggestive of the key to the development of the creative musical thought of the present.
Strong currents of traditional conservatism and radical innovation have been observed
to exist side by side in the last decade or so in Africa. The old tradition with its classic
harmonic elements is represented by Ephraim Amu and a few of his followers who have
produced well known choral works in Ghana during the first half of this century. The
very strong personality of Amu became an attraction to his students most of whom later
began to show remarkable tendencies to strike out on their own. In the process all manner
of stylistic innovations began to emerge.
Among the contemporaries of Amu were the Rev. Gaddie! R. Acquaah, Charles
Graves , Isaac D. Riverson and Oman G. Blankson. Whereas Amu's music was designed
to be used by the singing bands of the Presbyterian churches and directed to the common
listeners, his contemporaries wrote mainly for the more sophisticated church choirs and
enlightened listeners. Their music is distinct because they lacked the originality of
purpose that Amu possessed sc., to satisfy the needs of the non-literate members of the
congregation .
The music of Amu's contemporaries represents another cultural area of Ghana . Their
harmonic innovations have been aptly described as 'Fante classical harmonies' . They
had considerably large followings , chiefly, among the Fanti speakers of Ghana . It is
evident that Amu ' s influence would be felt more by his followers who speak his native
language. In actuality this has been the case. But since Amu not only speaks Akwapim
Twi but also writes perfectly in it, this has given him a large following from this
linguistic area too.
Languages of Ghana are said to be tonal. Tone languages display regular patterns of
high and low pitch syllables, loud and soft syllables, long and short syllables. Different
languages give varying degrees of emphasis to these factors . Since patterns involving
these elements of pitch dynamics and durations are also found among the basic elements
of music, it is at least a reasonable hypothesis that there are cultures in which the spoken
language has played a part in conditioning the musical patterns of song (Turkson, 1982,
P: 1_18): Thus the music of a multilingual area such as Ghana is bound to show varying
dtstmcttve features of the music of the area. Therefore in Ghana, music is either
distinctively Akan (and also either Fante or Twi) Ga-Adangme, Ewe or Dagari as the
case may be.
The development of national styles of music is closely related to the general evolution
of modem music . The discovery and usage of folk music is one of the factors which have
contributed to the broadening horizons of the new music of Africa, especially by the

40
younger composers. The view has been expressed that no extensive developments of any
great importance can take place unless the dominance of the central common practice of
the major-minor tonal system has been side-stepped. Indeed some new kind of tonal
system is needed within which the distinctively African national idiom based on the
small forms of folk and dance music can be expanded into larger forms.
Ephraim Amu holds a contrary view on the issue. It is not that he is unconcerned about
current development of a national style of music and the evolution of new trends in
musical composition, but that his principal aim has always been the interpretation and
reinterpretation of ultimate reality in music. He addresses his music to the ordinary
music lover, the non-literate in the society, and the not too sophisticated choral groups
such as the singing bands. And this is the main reason why Amu adopted the singing
bands instead of church choirs for his experimentation. And for the same reason he wrote
the texts of his vocal works in the vernaculars and not in the English language. His motto
was, that all may understand the message of his text and appreciate his music. In time his
music became very popular with the literate and the non-literate alike, and was much
sought after by many choral groups.
An era of intense musical activity emerged in the Akwapim district of Ghana where
the Presbyterian Church was greatly patronized: it was the largest Christian denomina-
tion in the area. This musical activity was led by Ephraim Amu who soon founded two
choral groups at Akropong and the vicinity. These were the Akropong Choral Society
and the Union of Akwapim Choral Societies. With the formation of new choral societies
in the Presbyterian Church in other districts, Amu's music became very popular and
spread throughout the southern part of the country.
He left Akropong under some very disturbing circumstances. The synod of the
Presbyterian Church disapproved of his African way of doing things. He had often
clashed with them over dressing in the native attire, the use of traditional music and the
singing of his own religious compositions during worship. These are some of the
circumstances which led to his dismissal from the college. Soon Amu was offered
appointment at Achimota College in 1934 to teach, compose, and carry on his research
into African music. One of his students was ready to continue the new choral tradition
which Amu had established in Akropong. R.O . Danso became the new music teacher at
the Training College and assiduously continued the work of Amu in the college and in the
choral societies. With Otto Boateng, Danso provided more choral music for the new
choral societies after the Amu tradition.'
Amu has played a very important leadership role in the educational system of Ghana,
particularly, in the area of music education. Upon leaving the Akropong Training
College, Akropong, he was offered appointment to teach music at Achimota School
where he remained for many years. He later became the head of the Department of Music
at the Achimota Training College in 1948 on transfer from the School. When the college
moved to Kumasi to become the nucleus of the University of Science and Technology in
1951, Amu went with it. He retired from the service of the University in 1960, and was
soon invited, as in the past, to become the head of the newly established School of Music
and Drama, now the School of Performing Arts, University of Ghana, Legan, in 1962
and remained there until he finally retired in 1971.
Throughout this period he helped in formulating policies on music education for the

41
Ministry of Education in Ghana, a viable programme which has become a model of
excellence for the entire African continent. His influence and spirit are still felt in several
places in Africa. Not only was he an excellent teacher and a perfect role model, he also
played a significant role in research into musical traditions and culture in Ghana.
He encouraged a number of innovative ideas into the educational system in Ghana.
For example, at Achimota School, he reaffirmed the wearing of native attire on Sundays
during evening church services, at a time when mission schools were enforcing
European style attire for all occasions. He himself always dresses in native attire, even
today.
Participation, by all students and staff, in what became known as tribal music and
dancing at Achimota School was also introduced by him. Achimota soon became a
model of excellence for other schools. It had acquired an image of the African
Personality leading the way to a cultural emancipation, even before the era of
independence, a tradition made possible for the entire country to follow .
When he was at the University of Science and Technology, then known as the K warne
Nkrumah College of Science and Technology, he introduced drumming as a cultural
function to announce the time of day and change of period. This function was performed
on a roster basis by students of the music department. The drumming was based on a set
text composed by him. The practice has been carried over to many first and second cycle
institutions throughout the country. Playing drums and double bells is now widely used
in schools to announce parade and assembly times as well as change of lessons .
One may look at Amu as a nationalist whose aim has always been to make his music
truly reflect national sentiments. As far as he is concerned European music regularly
heard in churches and schools in Africa does not wholly embody the African ideals. He,
therefore, advocated for a new music that must evolve to provide for the spiritual needs
of the African, and, accordingly, set himself the task of creating the kind of music that
would be meaningful. This he did by using certain elements in African musical traditions
such as the hemiola (see below, p. 51), the simple duple time rhythm (see below, p. 51),
text and music fusion and blended these with very simple harmonic idioms. But the most
important element was an appropriate choice of text and verbal art. The final product was
a kind of art music that could be described as characteristically African.
His platform for propagating his ideas about African music was the classroom, and his
audience was his students. He attempted to inculcate in his students the virtues of the
African musician thinking African, and the importance of writing his music in the
African idiom, and moulded their minds to accept certain built-in choices. For example,
he preferred the use of the simple duple time to any other, because, according to him,
the simple duple time with triplets was the most ideal time that brought out the rhythm
effect in African music.
Debate on the use ofthe simple duple time still continues in Ghana. Three schools of
thought have emerged on the issue. Amu and his students, some of whom are still faithful
to him, represent one school of thought. They argue that the simple duple time or 2/4
wit~ triplets (see below, p. 51) is the best for African music. Another school of thought
whtch advocates the use of the compound duple time of 6/8 (see below, p. 51) is ted by
Professor 1.H. Kwabena Nketia, a renowned African musicologist. This school also

42
includes the present writer and some of Amu's older pupils who later came under the
influence of Nketia at the Institute of African Studies, University of Ghana, Legon,
where they studied African music. This school does not wholly dismiss Amu's idea of
the 2/4 with triplets as unsuitable but it contends that Amu's system is too complex and
that it could be reduced to a more comprehensible system by using the compound duple
or 6/8 which does away with triplets. A third school of thought led by Phillip Gbeho, the
composer of the Ghana national anthem, strongly believes that Ghana's folk music can
best be notated in compound quadruple time or the 12/8 (see below, p. 52). Other
members of this school of thought include a Dr. Seth Cudjoe, a medical practitioner,
artist and musician, and Father A.M. Jones, a priest who did extensive research into Ewe
drumming techniques . Father Jones evidently has come under the influence of Gbeho
and Cudjoe, two experts in Ewe drumming technique. Amu, also an Ewe, was so
convinced of his system of notating African music that now he has entirely deleted the
2/4 time signature from his music .
The story of Amu's 'discovery' of the system of notating African music is an
interesting one. In fact his early compositions were written in purely western style until
one day an expatriate colleague at Akropong Training College drew his attention to work
songs sung by some labourers who work on the college campus, and asked Amu if he
could transcribe those beautiful native songs to be taught to his students. Amu accepted
the challenge which at the beginning proved to be a difficult task for him. He had never
until that time thought of doing any African music. He studied the work songs and
other folk songs of the area and attempted to transcribe some of them. After several years
of diligent research he came up with a system of notation that has stood the test of time.
The drolleries in Amu's works paradoxically are simple parables and like parables
found in his native oral traditions they appear to live in a continuum. He profited
immensely not only from his association with his contemporaries, both artists and
musicians, but also from his students such as Atta Annan Mensah, Nicholas Nayo, and
J.S. Maison. He evolved a style all his own both in his religious and secular works. The
secular works which include Ab::>fo::> Ndwom (Hunters' Songs), and Bonwere
Kentewene (Bonwere Kente Weaving Song) are dramatizations of the hunters' everyday
life and the industry of kente weaving respectively. The latter even contains a monologue
spoken by the singer. Many of his secular works have similar treatment.
His religious songs are not intensely devotional pieces of the extended type; they are of
the simple strophic type. They have been used extensively in the country. The texts were
taken from the Bible (see below, p. 52). The biblical texts are treated so beautifully that
one almost sees an identity of purpose associated with them; they are highly poetic, and
demonstrate Amu's artistic command of language. The religious songs include Krista
Asafomma (Soldiers of Christ), Awurade Wodin Mu (Lord, in Thy Name) and Wo Nsa
Mu Mew:> (In Thy Hands I Commit Myself). The Twenty-five African Songs, published
in 1932, became a landmark of a new era in the musical practice of Ghana. Before its
publication, African music in Ghana and in fact in all Africa had been practised largely
by oral tradition. Several educators and travellers had made attempts at writing down a
few songs, but it was the pioneer work done by Amu rather than these that helped to
establish a tradition of literate African music and a new idiom of African music in Ghana.

43
Apart from the Twenty-five African Songs and Isaac D. Riverson 's Songs ~f the Akan
People published in 1939 and reprinted later in 1954 as Akan Songs, very httle else of
any intrinsic musical value has appeared as folksongs to maintain this literacy or help
those who have acquired this literacy to expand their experience of the African musical
idiom.
There has not been any elaborate authenticated biographical documentation on him
except, perhaps, for brief mention in periodicals and newspapers, here and there, and
citations for some awards describing his life and his contribution to the development of
African musical heritage. Some of these were provided by Professor J.H. Kwabena
Nketia, a former colleague and director of the Institute of African Studies, University of
Ghana, who in dedicating his book, The Music ofAfrica to him, wrote 'To Dr. Ephraim
Amu who did so much for African music study' (Nketia, 1974). Other listings include an
award of hononary degree of Doctor of Music from the University of Ghana in 1965; the
Medal of the Grand Order of the Volta (Civil Division) in 1969; a citation and prize by
the Arts Council of Ghana; and a citation and trophy by the International Music Council
in Czechoslovakia in 1977.
Amu is considered as one of the most original and most adventurous of African
composers; but unlike many original adventurers, he is a consummate master within the
limits of his exquisite style. His music has won a permanent place in the repertory of
many a choral group in Africa.

2. MUSICAL INTERPRETATION OF CULTIC REALITY

2.1 Basic African Rhythm

From his compositions we get the impression of a magical convergence of classical

harmonic treatment and what he himself calls the basic African rhythm (see below, p.
51) . This impression seems too strong to be ignored by those interested in the
formulation of theories of African music. Amu's concept of basic African rhythm is seen
as a combination of two equal sections of duple and triple pulse structure commonly
referred to as a hemiola. The use of additive rhythms in duple, triple, and hemiola
patterns is the hallmark of rhythmic organization in African music.

2.2 Symbiosis of Melody and Text

Amu has remained very original, declining the use of contrafacta or parody of songs, a
process by which a given melody is retained but the text is either replaced by new words
or else altered so as to give it some properly spiritual meaning.
The bulk of his compositions are choral. A study of his works shows his demonstration
of the mastery of the technique of text distribution which at every point makes his melody
complementary to the ideas set forth in the text. One of the demands of this technique is
that the fusion of text and melody must be seen to be complete and unbreakable.

2.2. 1 Word Painting

Amu employs various techniques and approaches to bring about identity of purpose

44
between melody and text. One such approach is what may be described as word painting
which implies imitation in the music of what might be described as the skin of the text.
His choral work Momma yenk:Jso mforo (Let Us Continue to Climb) exemplifies this
approach. The music, as the meaning of the phrase, sequentially treated, implies,
continues to climb gradually each time the phrase is repeated. A few of his other choral
works have this kind of sequential treatment.

2.2.2 Soggeto Cavato

A second approach, perhaps the more subtle of them all is described as soggeto cavato,
the expression in the music of what the text suggests; the hinting in various ways at what
lies beneath the surface of the meaning . An example of this may be found in Bonwere
Kentewene. The use of such nonsense syllables as Kro and hi, onomatopoetically, is to
imitate the sound made by the throwing of the shuttle of the loom. The use of such
naturally associative words, though without meaning is commonly found in his
compositions and are meant to enhance the rhetorical value of the verbal text of the
music.

2.2.3 Joining Together the Element of Text and Tone

Another approach is the magical formula which has become the most telling resource in
his compositions. He attempts to rub together the elements of text and tone until they
appear to possess a common identity. When every shade of meaning in the text is
reflected with utmost religious fidelity, and the musical setting is tightly knit together
with the verbal substance so that even when the text is withdrawn, its spirit and literary
identity still seem to be present in the music.

2.2.4 Text-Music Fusion

One of Amu's greatest contributions to the development of African music study is the
discovery, by him and use, of what has come to be generally known as 'text-music
fusion'. Amu discovered that in Akan language, registers of syllables are observed for
the proper understanding of the language and since music is closely related to language,
'melodic lines have to follow the natural intonation of the words'. Akan is a tone
language, and in tone languages speech-melody becomes part of communication. And
expressive quality of speech-melody has musical forces. However, in non-tonal
languages speech-melody does not function as a vehicle of effective expression. It is
mainly used in the formation of vocabulary and grammar, just as vowels and consonants
(Herzog, 1934, p. 455) .
Nonliterate composers sometimes consider patterns of speech-melody during the
process of composition. Like the drum, melodies also follow speech patterns. Melodies,
therefore, can be said to evolve from the speech patterns of the text because each note in
the melody has direct relationship to the pitch of the particular syllable to which it is
assigned. Thus a high pitched syllable must be sung to a high note, and similarly a low
pitched syllable must have a low note. A tone language, therefore, must have at least two
contrastive pitches. It must be realized that the pitches are only relative. Amu frequently
applies these principles in his compositions.

45
 Amu at one time commented on the relationships between music and speech-melody
in this way:
I was once asked whether in writings my songs, the words came first or the melody. I really don't know .
It is my practice to work out both words and tune together since the melodic line has to follow the
natural intonation of the words . (Amu, 196la, p . 51)

His vocal work, Adikanfo Mo' (Well Done, Ancestors) (see below, p. 52) provides a
good illustration of the text-music fusion process. Parallel motion of thirds in Amu's
music is the result of the influence of speech-melody over music. It must be noted that
parallel thirds and other intervals common in the folk music of the Akan and other tone
language users are also the result of the same principle.
Further illustration of the text-music fusion process is found in the choral works of
Atta Annan Mensah, a pupil of Ephraim Amu. His melodic process is particularly
interesting because it shows even the subtle element of the slurring effect in the language
of the Fanti. Strict observance of the rules governing speech-patterns in tone language is
made by most literate composers. They attempt to evolve melody from a combination of
tone levels and durational values of syllables of the verbal text. The phrase a-dze-J..yee
fojor (A New Morning) (see below, p. 53) in Mensah's choral work, for example, has
five syllables which could be spoken in a monotone, but this would distort their correct
inflection and therefore affect meaning. A slight variation of tone level in the last
syllable of adzekyee is very important, hence Mensah observes it in his melody. These
are features that are also commonly found in traditional compositional practices by
non-literate composers which have greatly influenced literate composers.

2.2.5 Organization of the Solo

Another feature of traditional compositional practice which Ephraim Amu extensively
employs in his compositions is the organization of the solo or cantor and chorus in vocal
and instrumental music. The style has been termed call and response by leading
musicologists. This has become a special feature in Amu's works, and it is also a strong
feature in many a traditional music in Africa.
The technique is not at all simple; its organization requires extreme care. For the
singing to convey any meaning to the listener, both the cantor and chorus must observe
the speech-melody of the language. The cantor sings a phrase which is answered by the
chorus. A situation may arise when there is active interplay between cantor and chorus.
The important thing to be considered is that the initial syllable of the chorus in the
response section must find its proper pitch level from the final syllable of the cantor's
'call'. In a complex situation where the two sections overlap, each section has to observe
its own speech-melody in the singing.
Perhaps some light should be shed on speech-melody in tonal and non-tonal languages
to illustrate the essential differences between them. It should be noted that speech-
melody also has some influence upon European music even though languages of Europe
are not tonal. Considering such forms as the recitations in the rituals of most Christian
Churches, or the mourning songs or dirge among certain European peasantry, we find
that rhythm and melodic inflection are the two elements of speech which are deeply

46
involved in such fonns. In the non-tonal languages there is some coordination between
the rhythm of the music and the rhythm of speech, which includes accent and syllabic
length. In tone languages, however, the coordination is between speech-melody and
song-melody. The two are closely interrelated.
Effective communication in non-tonal languages depends more extensively upon
syllabic length and accent rather than on melodic inflections, which are rather loose,
flexible and evanescent. Effective communication in tone languages depends not only
upon syllabic length but also upon pitch levels of the syllables. Accent, here, is utilized
differently and is subservient to pitch.
We should realize that the melodic elements which are strongest in tone languages
intrude upon the music of the people who speak such languages. What is significant in
non-tonal languages is accent or stress, and syllabic length and rhythm. It has been noted
that these elements have figured strongly in the musical development of Europe. It is
evident, therefore, that in all cases the elements that are strongest in a language are those
which have consistently affected the vocal music of the people who speak that language
(Turkson, 1982, pp. 117-125).

2.2.6 Songtext
Apart from the cost benefit advantage to the institutions, one sees the practice as an
extension of a tradition practice and a demonstration of Ephraim Amu' s concern for the
preservation of culture. Drumming is still perfonned largely by rural communities to
announce messages from their rulers.
Folk songs may be classified in tenns of historical depth, social depth, or cultural
level. These songs are sung by simple peasant communities sharing common ideals and
beliefs, common customs and institutions, common folk tales and oral traditions, and are
perfonned in very much the same way as they used to be in the past.
A common tradition in African societies is the use of song text as an outlet for creative
verbal expression. The use of songtext, therefore, was important as a literary medium
and as a means of recording oral traditions and events of historical importance. Songtext
may also be considered as an important factor in determining emotional effect of musical
sound. Songtext, therefore, must bear some aesthetic value because the African shows
more interest in the text of the song rather than musical sound. Songtext, therefore, may
be seen as an inducement of emotion. He gives thought to the ultimate meaning of the
text, the substance of which he probably may identify himself with. Thus it is viewed as a
functional aesthetic, the usage of which is widely found among Africans.
The texts of Amu's songs are based on these principles. The wit in the songs provides
reference points for the listener: the listener identifies himself with the subject matter of
the song. A few of Amu's songtexts are provided here to illustrate their high degree of
wit, and moral and poetic values. Agyinamoa Wuo (The Death of a Cat) is a good
example.

Alas, that I a cat among men must die.

And the mice among men must live
To rejoice in my death

47
Notice the imagery of the cat and mice in Agyinamoa wuo (The demise of the cat). The
cat considers itself as the friend of men, and useful as a pet in the house, which also hunts
and kills the mice regarded as pests. It therefore cannot understand why the mice should
live to rejoice in its suffering. 'Death' is often used to indicate 'suffering'. Amu
probably composed this song to symbolise his dismissal from the staff of the
Presbyterian Training College, Akropong.
Many of his songs were designed to serve as warning to society. For example, in San
Bcfa (Tum back and take it), he admonishes those who have left their cultural
traditions behind to come back for them.

Oman,
In your eagerness to achieve your object of pursuit
You have gone past it and left it behind;
So, tum back and take it.
Be it money, or riches,
Be it knowledge, or fame,
Be it peace, or happiness,
You have gone past it and left it behind;
So, tum back and take it.

In Agroanya, 'Jdomma, he advises society to think of 'love' between men as one of

the greatest assets in life, and with it also come peace and tranquility. He also points out
to us that 'gains' in competition are of least importance in the game of life. In all his
teachings he stressed on the value of love among men.

Men who have met in a friendly competition.

Some may win trophies
And some may lose.
But these are of little importance.
That which is of greatest value is
Love between the competing teams.

Amu wrote Akwaabadwom (Song of Welcome) for those who fought to liberate
mankind. In this song he was probably thinking of the Aborigines Rights Protection
Society of Ghana.

0 grandsires, sons of men .

You fighters and conquerors of this land.
0 grandsires, we give you welcome.
You have done what men are expected to do,
0 grandsires, we give you welcome.

Hunger made you faint,

The rains fell on you,
The sun baked you hard .
You suffered only to give us a place to stand on .
0 grandsires, well done, well done.

48
 0 grandsires, you are indeed citizens,
And, Alas, you fought to win our freedom for us.
Grandsires, we give you welcome.
Freedom must truly be yours, you citizens,
0 grands ires.

0 grandsires, we give you welcome.

You did search and search, you did call and call.
You stumbled and stumbled, and struggled and struggled
To give us everlasting peace .
0 grandsires, well done, well done.

It has been the practice of Ephraim Amu to dedicate his songs to friends, relatives , as
well as national figures who may have contributed in no small measure to the progress of
the nation. It has been the general practice to omit the names or labels identifiable with
such persons from the text so that the songs may be used for others too. One such
example is Akwaabadwom which he dedicated to the Aborigines Rights Protection
Society of Ghana. There is one exceptional case in which the name of General Kotoka
who was assassinated during an abortive coup d'etatin the year 1967, was included in the
song.
In Nkradi (Fare You Well), which he composed for his own farewell at Akropong, he
stressed on the virtues of patience and diligence, and advised his audience to consider
the patience and humility of the chameleon, and learn from it.

The chameleon walks gently and patiently,

And will ultimately reach the place it came from .
I say good-bye to you,
And fare you all well .

May it be well with you wherever you go,

This is my greatest wish for you.
I say good-bye to you,
And fare you all well.

Amu possesses the gift of epigram which is foreshadowed in his songtexts. He makes
use of a great deal of proverbs and imagery to achieve a purpose. A good deal of his
materials is based on the folklore of the land.

3. CONCLUSION

For Amu music must serve a purpose, and that purpose is service to God. In fact, in
this regard, his music may be described as a sort of Gebrauchmusik; he did not approve
of music as /'art pour /'art, that is, music merely as an art form intended chiefly for
concert performance. Music, for him, must be used as a vehicle of communication
between man and his Supreme Being, and it must serve the Supreme Being, the Ultimate
supra-natural power to whom man owes his destiny, and who is entitled to man's

49
obedience, reverence, and worship by virtue of man's dependency on him. Amu,
indeed, succeeded in achieving his ultimate goals. This, for Ephraim Amu and his fellow
African Christian worshippers, is the interpretation and meaning of ultimate reality.
The importance of serious study of African musical traditions by musicians in Africa
has now been very widely appreciated. But the need for a carefully thought out study in
this area cannot be overestimated . Simply collecting information about this music and
the musicians is not enough. There must be some sort of conscious effort made to
interpret, clarify, analyse and where appropriate and after critical evaluation, assimilate
and develop a body of thought therefrom. The critical evaluation of the study of this kind
ought to be both theoretically and practically motivated . The theoretical aspect of the
study may be taken for granted because studies in musical traditions, particularly of folk
music, involve a quest for pure understanding. But, unfortunately, the practical aspect is
often overlooked.
Contemporary Africa is in transition from the purely traditional society to a modem
society. Its arts, particularly the performing arts and fine arts, are in the process of
crossing from the traditional to modernity. The process involves changes in the physical
environment as well as the mental outlook of its people, manifested in their explicit
cultural beliefs, customs, and thoughts, their music and related arts, and, indeed, their
day to day habits, behaviours and pursuits.
In a fast developing society like Ghana there are people who are constantly reaching
out for new forms of expression in social life, music, literature and art. The study of the
African heritage of music becomes very important, because it is in this idiom that
African musical values which have been developed over a long period of time are
enshrined. The traditional system of cultural reality as represented by Amu's works, it is
hoped, will continue to spread all over the continent, in an attempt to find its total
expression in a world of rapidly changing meanings.

REFERENCES

Amu, E. 1961a. 'Choral Music in the African Idiom.' Music in Ghana . Journal oft he Ghana Music Society, 2:
50-53 .
- 196lb. Three Solo Songs With Pianoforte Accompaniment. Accra: Presbyterian Book Depot Ltd.
Berliner, P.F. 1981 . The Soul of Mbira . Berkeley: University of California Press.
Cudjoe, S. 1953. 'The Techniques of Ewe Drumming and the Social Importance of Music in Africa. PhYlon
14:280-291 . .
Davidson, M. 1964. ' A Luanda Kalendi' African Music. 3: 107-113.
Fiagbedzi, N. 1979. Religious Music Traditions in Africa: A Critical Emluation of Contemporary Problems.
Accra: Universities of Ghana Press.
Herzog, G. 1934. 'Speech-melody and Primitive Music' Musical Quarterlv 20: 452-466 .
Idowu, E. B. 1962. Oludumare: God in Yoruba Belief. London: Longmans. Greene and Company, Ltd.
Jones, A.M. 1954. 'African Rhythm' Africa. 24: 26-47.
- 1959a. Studies in African Music. London: Oxford University Press.
- 1959b. Africa and Indonesia. Leiden: E.J . Brille .
Nketia, J.H.K. 1954. Funeral Dirges of the Akan People . Achimota: University College of the Gold Coast.
- 1963a. Drumming in Akan Communities of Ghana. Accra: Universities of Ghana Press.

50
- 1963b. Folk Songs of Ghana. Accra: Universities of Ghana Press.
- 1974. The Music of Africa. New York: W .W. Norton and Co. , Inc.
Sowande, F. 1965. The deelopment of National Tradition of Music: Language in African Music . Nsukka:
University of Nigeria Press.
Tracey, A. 1970. 'The Matepe Mbira Music of Rhodesia . ' African Music 4: 37-61.
Turkson, A. 1973. Ghanaian Wit in Song . Accra: Ghana Information Services Department.
- 1974. 'Evolution of the Fante-Sacred Lyric' Research Review (Institute of African Studies, University of
Ghana) . 9,3: 1-12.
- 1982. 'Language behaviour in Akan music' The International Portland Reiew. 2: 117-125.

APPENDIX

Musical Examples

1. The Basic African Rhythm

(i) (ii)

:T~ I;~;
~- :
2 j ~

: ~-
4 J j
7
4
J ; I J ; :: L. 8
J J.

2. The Hemiola

a. 2
4 J"lr'J ; J~ b. 2
4 J j I j~J ~

c. 6 ; ; J J. ~ II
d.
6
8
J ;. I ) J ; It
8

3. The Various Time Signatures

Amu may decide to use (b) if re requires a special effect. Notice that
version (b) is the same as (a)

(i) TheS~l~J~
~
a. 2
4
; ~ J 110 J J J 3J J
I '.f. ,) ,)
-2./ fl
~

b. 2
4
J--fJ'~ I 11 j J 3J J + ;. J II
(ii) The Compound Duple Time
~
6 J ; J I ~ ; ;. II
8

51
 (iii) The Compound Quadruple Time

12 I)
8

4. Biakon. (Unity) Ephraim Amu

own

-,
com - U - ni-ty
't
for his

Biakoy~ is an example of Amu 1 s earliest choral works written before the

the onset of his African style. It is in the style of S. Sankey.

s. Adikanfo l.fo (Well done ancestors) Ephraim Amu

-._/
A - di-kan fo mo, Mo-a

~
di nim, a - ma YEn

~'i~ ~
ko, a - ko, a - ko mo, Mo a - di nirr. a - rna YEll

52
6. Ad zekyee fofor (A neli morning) Atta Annan Hensah

__lL..l.
"
Soprano
I" .......-----
A - dze-kyee fa-for a - kye - 0 1\-d ze-kyee
II _1 It~~~ __l._

Piano -< '""' t ... ... ........_ v

........... ~

-
i L./ "i._./ l J "1~

53
 ULTIMATE REALITY AND MEANING
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