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The traditional musicology of Ghana may be divided geographically between the open and vast savanna country of northern Ghana inhabited by Ghanaians of Gur and Mande speaking groups; and the fertile, forested southern coastal areas, inhabited by Ghanaians speaking Kwa languages such as Akan.[7]

During the Gold Coast era lexie, the Gold Coast was a hotbed of musical syncretism. Rhythms especially from gombe and ashiko, guitar-styles such as mainline and osibisaba, European brass bands and sea shanties, were all combined into a melting pot that became high-life.

One Day Ghana Music Download

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Ghana became an independent nation in 1957. The music of Ghana often reflects a Caribbean influence, yet it still retains a flavour on its own. While pan-Ghanaian music had been developed for some time, the middle of the 20th century saw the development of distinctly Ghanaian pop music. High-life incorporated elements of swing, jazz, rock, ska and soukous. To a much lesser extent, Ghanaian musicians found success in the United States and, briefly, the United Kingdom with the surprise success of Osibisa's Afro-rock in the 1970s.

In the 1930s, Sam's Trio, led by Jacob Sam (Kwame Asare), was the most influential of the high-life guitar-bands. Their "Yaa Amponsah", three versions of which were recorded in 1928 for Zonophone, was a major hit that remains a popular staple of numerous high-life bands. The next major guitar-band leader was E. K. Nyame, who sang in Twi. Nyame also added the double bass and more elements of the Western hemisphere, including jazz and Cuban music on the recommendation of his producer and manager E. Newman-Adjiri. In the 1960s, dance high-life was more popular than guitar-band high-life; most of the guitar bands began using the electric guitar until a roots revival in the mid-1970s.

Dance highlife evolved during World War II, when American jazz and swing became popular with the arrival of servicemen from the United States and United Kingdom. After independence in 1957, the socialist government began encouraging folk music, but highlife remained popular and influences from Trinidadian music. E. T. Mensah was the most influential musician of this period, and his band The Tempos frequently accompanied the president. The original bandleader of The Tempos was Guy Warren, who was responsible for introducing Caribbean music to Ghana and, later, was known for a series of innovative fusions of African rhythms and American jazz. Ebo Taylor, King Bruce, Jerry Hansen (musician) and Stan Plange also led influential dance bands during the 1950s and 1960s. By the 1970s, however, pop music from Europe and the US dominated the Ghanaian scene until a mid-1970s roots revival.

By the beginning of the 1970s, traditionally styled highlife had been overtaken by electric guitar bands and pop-dance music. Since 1966 and the fall of President Kwame Nkrumah, many Ghanaian musicians moved abroad, settling in the US, and UK. High-life bands arose like Sammy Kofi's (also known as Kofi Sammy). In 1971, the Soul to Soul music festival was held in Accra. Several legendary American musicians played, including Wilson Pickett, Ike and Tina Turner and Carlos Santana. With the exception of Mexican-American Santana, these American superstars were all black, and their presence in Accra was seen as legitimizing Ghanaian music. Though the concert is now mostly remembered for its role as a catalyst in the subsequent Ghanaian roots revival, it also led to increased popularity for American rock and soul. Inspired by the American musicians, new guitar bands arose in Ghana, including Nana Ampadu& the African Brothers, The City Boys and others. Musicians such as C. K. Mann, Daniel Amponsah and Eddie Donkor incorporated new elements, especially from Jamaican reggae. A group called Wulomei also arose in the 1970s, leading a cultural revival to encourage Ghanaian youths to support their own countryman's music. By the 1980s, the UK was experiencing a boom in African music as Ghanaian and others moved there in large numbers. The group Hi-Life International was probably the most influential band of the period, and others included Jon K, Dade Krama, Orchestra Jazira and Ben Brako. In the middle of the decade, however, British immigration laws changed, and the focus of Ghanaian emigration moved to Germany.

The Ghanaian-German community created a form of highlife called Burger-highlife. The most influential early burgher highlife musician was George Darko, whose "Akoo Te Brofo" coined the term and is considered the beginning of the genre. Burgher highlife was extremely popular in Ghana, especially after computer-generated dance beats were added to the mix. The same period saw a Ghanaian community appear in Toronto and elsewhere in Canada. Pat Thomas is probably the most famous Ghanaian-Canadian musician. Other emigres include Ghanaian-American Obo Addy, the Ghanaian-Swiss Andy Vans and the Ghanaian-Dutch Kumbi Salleh. In Ghana itself during the 1980s, reggae became extremely popular.

By the late 1990s, a new generation of artists discovered the so-called Hiplife.[8] The originator of this style is Reggie Rockstone, a Ghanaian musician who dabbled with hip-hop in the United States before finding his unique style. Hiplife basically was hiphop in the Ghanaian local dialect backed by elements of the traditional High-life.[9] Ace music producer Hammer of The Last Two unveiled artistes including Obrafour, Tinny and Ex-doe who further popularized the Hiplife music genre respectively. Hiplife has since proliferated and spawned stars such as Reggie Rockstone, Sherifa Gunu, Ayigbe Edem, Samini and Sarkodie. Producers responsible for steering this genre to what it is today were Hammer of The Last Two, Ball J, EL and Jupitar Dancehall Artiste.

Ghanaian hip hop is a subculture and art movement which developed in Ghana during the late 1990s. The hiphop genre came into existence in Ghana through Reggie Rockstone, who is known as the hiplife father[10] and other notable musicians such as Jayso and Ball J. It first came to Ghana as Hiplife where Reggie Rockstone introduced a fusion of hiphop beats with African sounds to create a whole new genre known as Gh hiphop.

I wanted to share some amazing music from Ghana and start a conversation about popular (non-"traditional") music from the country. I am not an expert by any means but wanted to get thoughts from others who may be. From my limited exposure, the country has produced some *really interesting* musicians that I was shocked were not more popular - be it amongst my friends, the online community, or even on rating sites like RYM.

To start things off, I want to share the song Yemmpa Aba by Ata Kak, an artist who was largely introduced to the West thanks to the "Tapes from Africa" series put out by Brian Shimkowitz. The song, recorded in the early 90s while Ata Kak was an expat in Canada, is classified as "Hiplife" on RYM, but to me it sounds like old-school lofi house. Parts of it sound like they were recorded on a Wesley Willis Casio, but then the indelible female vocal hook (0:54s in) starts looping and bam - instantly addicted. The album Obaa Sima is a bit uneven but is catchy and listenable throughout, and uniquely FRESH. This just doesn't sound very familiar to me, despite the aforementioned elements of early 90s house. This music was pretty much lost/forgotten and never got any airplay. But I'm glad it surfaced again.

The second example is definitely less obscure, but still relatively unknown. Ebo Taylor is a well-known legend of Highlife/Afrobeat, but not nearly as celebrated internationally as contemporaries like Fela Kuti. I recently came across the song "You Need Love" off of his 1980 "Conflict Nkru!" album. Despite the painfully generic song title, this must be heard. The repetitive playful interplay between the electric piano and the trumpet are completely mesmerizing. How is this song not an absolutely ubiquitous standard across the globe? Feel good, fresh, original, irresistible. I can't help but play it on repeat, and I usually go for moody music over upbeat. A must listen.

Summary

This lesson is intended to develop knowledge regarding Ghanaian music. Students will experience the musical cultures of Ghana through listening, movement, game play, and percussion performance. Lesson segments are designed to stand alone, but sequential presentation may yield greater success as the experiences progress toward more rigorous performance requirements for both the students and instructor.

Assessment:

Students will display a more sophisticated perspective on the variety of African music in general and Ghana in particular. Students will be able to identify different instrumental and vocal constructions, and provide general information regarding the possible roles of music in the lives of Ghanaian people.

Assessment:

Students should be able to identify aspects of the role or function of the bell as conductor and time-keeper in some Ghanaian music. Students should be able to perform the gankogui pattern smoothly and at a consistent tempo.

Assessment:

Students should be able to successfully play one or more of the non-pitched percussion parts, with or without the support of additional musicians or instruments. Are they playing the proper rhythms? Are they successfully connecting other parts to the gankogui?

After Ghana qualified for the 2022 World Cup, more songs were released including most notably a freestyle track from Gyan who is now retired, as well as from highlife musician Akwaboah and rapper Kweku Flick.

This month has brought us some amazing heat from the camp of our favorite Ghanaian artists, from the established superstars to the emerging talents. As always, we bring all of that brand new heat right to your doorstep. Check out our picks of the best Ghana music you can lay your hands (and ears) on below.

Everytime I want to share with my students some examples of work songs, I turn towards the music made by Ghanaian postal workers in the act of cancelling stamps. e24fc04721