A Theoretical Review Towards a Conceptual Framework for Creating ‘Neoclassic Big-Band Highlife Music’

Mark Millas Coffie
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Abstract

It is a truism that highlife, Ghana’s first acculturated popular music, presents various styles employing various musical ensembles and playing to different audiences. However, the diverse highlife stylistic trends have declined in musical works recently due to generational differences and tastes. As a result, modern-day recorded highlife compositions sound similar and, in some cases, the same. Despite its iconicity in Ghanaian popular music, it is also quite surprising that highlife music still struggles for compositional and theoretical relevance in Ghanaian academic programmes of schools, colleges and universities. This paper, therefore, presents a characterisation of the diverse highlife music trends as an attempt to develop a conceptual framework for creating ‘neoclassic big-band highlife music’ that transcends diverse styles and generational tastes. Drawing on my experience as a highlife practitioner and music educator, I reviewed theories, concepts, and literature relevant to highlife music to conceptualise a framework for creating works that transcend the generational differences and tastes of highlife music. This paper expands the frontiers of highlife music practice and scholarship. Therefore, it is not just a recommendation but a call to action for Music composition professors to adopt this conceptual framework as a blueprint to begin a taught course on ‘Highlife Music Composition’ in music institutions. The involvement of Music composition professors in this process is crucial to enhancing the structural and theoretical trajectory of highlife music.
创建 "新古典主义 Big-Band Highlife 音乐 "概念框架的理论回顾
不言而喻,作为加纳最早的文化流行音乐,highlife 音乐采用不同的音乐组合,面向不同的听众,呈现出不同的风格。然而,由于代际差异和口味不同,近来音乐作品中多样化的高来乐风格趋势有所减弱。因此,现代录制的 "highlife "作品听起来大同小异,有时甚至雷同。尽管 "高来乐 "在加纳流行音乐中具有标志性的地位,但令人惊讶的是,"高来乐 "在加纳中小学和大学的学术课程中仍在努力争取作曲和理论上的相关性。因此,本文对各种不同的 "高来乐 "音乐趋势进行了描述,试图为创作 "新古典主义大乐队高来乐 "制定一个概念框架,以超越不同的风格和世代的品味。根据我作为高来音乐从业者和音乐教育者的经验,我回顾了与高来音乐相关的理论、概念和文献,为创作超越高来音乐代际差异和品味的作品构思了一个框架。本文拓展了高来音乐实践和学术研究的前沿。因此,这不仅仅是一个建议,而是呼吁音乐创作教授们采取行动,采用这一概念框架作为蓝图,在音乐院校开设 "高来音乐创作 "教学课程。音乐创作教授参与这一进程对于加强高来音乐的结构和理论轨迹至关重要。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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