Inclusive Growth in Ghanaian Art Music: Challenging Definitions and Bridging Cultural Inequalities

Preserving Cultural Memory Through Choral Compositions: A Study of Nicodemus Kofi Badu

Joshua Alfred Amuah

Issue: Vol.5 October 2025 Issue Article 1 pp. 13 – 32
DOI: https://doi.org/10.38159/ejomur.2025512 | Published online 19th December, 2025
© 2025 The Author(s). This is an open access article under the CCBY license (http://creativecommons.org/licenses/by/4.0/).

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ABSTRACT

This study examined the integration of indigenous Ghanaian musical elements in the choral compositions of Nicodemus Kofi Badu, a leading figure among the third generation of Ghanaian art music composers. Grounded in intercultural theory and the Akan philosophical concept of Sankɔfa, the research explored how Badu fuses traditional and Western musical idioms to create culturally rooted yet technically refined works. Through the analysis of three selected compositions, Woana na ɔnye wo sɛ, Katakyi Nyame Bra, and Mara Nye Mara, the study identified his use of asafo music, mmoguo (folk storytelling interludes), tonal speech patterns, indigenous harmonic textures, and compositional devices such as scooping, repetition, and vocal layering. The methodology combined musical analysis, field interviews with the composer and performers, and rehearsal observations, providing insight into both creative processes and performance practices. The findings reveal Badu’s strategic fusion of traditional motifs with Western harmonic and formal structures, exemplifying a modern African intercultural aesthetic that preserves cultural identity while resisting cultural erosion. The study concludes that Badu’s works enrich contemporary Ghanaian choral music by revitalizing indigenous traditions and advancing scholarship in music education, choral programming, and cultural policy for heritage preservation.

Keywords: Ghanaian choral music, African art music, indigenous musical elements, intercultural composition, cultural preservation

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AUTHOR(S)

Professor Joshua Alfred Amuah is an Associate Professor of Music at the University of Ghana, Legon, and a leading scholar in Ghanaian choral art music and Theory & Composition. His research explores indigenous musical traditions, compositional processes, performance practice, and intercultural creativity, with numerous publications in reputable international journals and edited volumes. He has presented widely at conferences across Africa, Europe, and the United States. A respected composer and choral director, he also serves as an external examiner for several universities and contributes to national curriculum development. Prof. Amuah’s work continues to shape scholarship and practice in Ghanaian and African art music.

TO CITE ARTICLE

Ungar-Sargon, Julian. “The Importance and Efficacy of Music in the Therapeutic Encounter and Healing: Neuroscientific, Mystical, and Clinical Perspectives,” E-Journal of Music Research 5, no.1 (2025): 1-12. https://doi.org/10.38159/ejomur.2025511