Definitions of musical sounds, pitch; duration; intensity, color, clefs and scales (major/minor), key signatures, triads, intervals, etc.
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| MUSC 122 Fundamentals of Music Theory |
Musical relationships (melody, rhythm, harmony, and tonal relationship), musical organization (texture, structure and musical style), performing media (musical instruments and ensembles).
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| MUSC 123 Contemporary Music in Ghana |
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The development and current state of Ghanaian art-music, neo-traditional and popular music.
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| MUSC 124 Traditional Music of Ghana |
Context of traditional music making in Ghana. Performing groups and their music/social organization of traditional music. Recruitment and training of traditional musicians. Instrumental resources of Ghanaian traditional music. Students will watch video tapes and listen to audio cassette recordings of music and dance with emphasis on performance and its organization.
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| MUSC 211 Survey of History of Western Music |
Survey of styles in Western Music from ancient times to the present. Emphasis on acquiring a thorough knowledge of specific examples of music representing the principal styles.
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| MUSC 212 Introduction to Harmony and Counterpoint |
Primary triads in root position and their inversions. Writing for four vocal part. Cadences, figured bass, six-four chords, secondary triads, pivot chord modulation, harmonization of melodies, non – harmonic tones, diatonic seventh chord. Piano accompaniment. The single melodic line. Counterpoint as a property of polyphony. The indissoluble association with melody. Melody construction. Dissonance. Treatment in tonal counterpoint. Passing tone, neighbouring tone or auxiliary tone, suspension, appoggiatura, anticipation, échappée or escape tone, cambiata. Strict Counterpoint: all species in two parts. Free Counterpoint in two parts. Strict Counterpoint in three parts involving two species against Cantus Firmus. Free Counterpoint in three parts.
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| MUSC 213 Practicals I |
Progressive individual instrumental instructions ranging from elementary to advanced, covering Western and African musical instruments and the voice, out of which the student is guided to choose one as a MAJOR.
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| MUSC 214 Practicals II |
Continued individual instrumental instructions. A higher level of study is required at this stage.
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| |
| BACHELOR OF ARTS (MUSIC) |
| MUSC 311 Diatonic Harmony |
The diatonic triads of the major key and their inversions. The minor key: its diatonic triads and their inversions. The six‑four chord. The chord of the dominant seventh. Key relationships. Modulation to related keys. Unessential discords. Auxiliary notes, passing notes, anticipations, suspensions. The chords of the dominant ninth, dominant eleventh, dominant thirteenth. Prerequisite: MUSC 203
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| MUSC 312 Chromatic Harmony |
Chromatic triads and scales. Chromatic chords of the ninth ‑ False notation. Enharmonic modulation. Chromatic chords of the eleventh and thirteenth. The chord of the augmented sixth. Pedals and other sustained notes. Harmony in fewer and more than four parts. Modern harmonic tendencies. Prerequisite: MUSC 203
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| MUSC 314 The Orchestra and Orchestral Techniques |
The Orchestra: The Western orchestra: Past and Present. The instruments of the Western orchestra: strings, woodwind, brass, keyboard and percussion instruments. Orchestral musics: Conducting and conductors. Orchestral Techniques: Listening programmes with strategic exercises to test student's grasp of illustrated principles of orchestration. Aspects covered will include: ‑ texture, inter‑sectional blends, balance, influence of dynamics, selection of instruments, etc. Selections will cover Baroque, Classical, Romantic and 20th Century models. Critical reviews of ensembles of African instruments.
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| MUSC 317 Music of West and Central Africa |
West and Central Africa as geo-cultural areas and the concept of musical cultures. Historical background of music in West and Central Africa. Interaction of musical traditions in the pre-colonial period. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics and the relationship of music to its culture. Contemporary trends in West and Central African music.
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| MUSC 313 Counterpoint |
Renaissance Counterpoint: Listening and reading (including sight‑singing) of selected excerpts from the works of Palestrina, Victoria, Byrd, Lassus and others. The work of Fux in general aspects only. Species or Strict Counterpoint. Horizontal and vertical interval relationships. Exercises in all the five species up to three voices. Baroque Counterpoint: Study and analysis of J. S. Bach's Two‑Part and Three-Part Inventions. Quick review of favourite examples of 18th century contrapuntal writing. Elementary Two-Part writing and with imitation. Three and Four‑Part contrapuntal writing. Invertible counterpoint. Prerequisite: MUSC 203.
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| MUSC 315 Ghanaian Popular Music |
Evolution and development of Ghanaian popular music and performance since the 19th century to the present. Impact of traditional and imported performance norms.
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| MUSC 316 African Pop Music |
General introduction to the popular music of sub-Saharan Africa. Popular Music in terms of stylistic areas. Relation of popular music to traditional performance and modernisation.
|
| MUSC 318 Music of Southern Africa |
Southern Africa as a geo-cultural area and the concept of musical cultures. Historical background of music in Southern Africa. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics and the relationship of music to its culture. Contemporary trends in Southern African music.
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| MUSC 319 Music of the Baroque and Classical Periods |
Principal forms, their rise and development. Opera, the masque, the chorale, the oratorio (including the cantata). Occasional music. Baroque instrumental music, the Thorough Bass, Handel and Bach. The Classical Period – the break with the Baroque. The Sons of Bach, Mozart and Contemporaries. The symphony; chamber music, the Concerto.
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| MUSC 321 Introduction to Music Studio |
Recording Studio experience. The uses of analog and digital recording devices, special signal processing and digital and analog mixing.
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| MUSC 322 Romantic and Twentieth Century Music |
Social foundations of Western Romanticism. Heritage of Romantic composers and performers. Precursors to Romanticism in Western music. Prevailing course of development in the period: orchestral, structural and architectonic developments in Opera, symphonic music, song form, etc. Selected composers: Berlioz, Schumann, Wagner, Brahms. Compositional techniques of the twentieth century with emphasis on analytical techniques and style.
|
| MUSC 323 Practicals I |
Continued study of the instrument of the student’s choice at a still higher level of proficiency based on a systematic teaching programme.
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| MUSC 324 Practicals I |
Advance study of the instrument of the student’s choice. Steady progress is expected of the student at this stage (N.B.: This is a core course for the B.Mus student).
|
| MUSC 325 Process of Art I |
Exploration of elements, forms, functions, meaning and production of music in its socio-cultural context. Student outreach programs: both inviting experts to the university and sending students on work experience, research and contextual inquiry projects.
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| MUSC 326 Process of Art II |
Continuing exploration of elements, forms, functions, meaning and production of music in its socio-cultural context. Student outreach programs: both inviting experts to the university and sending students on work experience, research and contextual inquiry projects.
|
| MUSC 327 Musical Cultures of the World |
Contemporary concepts of a world view of music. The concept of a musical culture; social and stylistic differentiations within music cultures. Stylistic characteristics of music in the major geo-cultural regions of the world, illustrated through selected recordings, performance organization, musical instruments, concepts of aesthetics, artistic and philosophical values. Survey will include selections from Africa, Caribbean and Latin America, North America and Europe, the Near East and Asia.
|
| MUSC 411 Twentieth Century Composition |
Compositional techniques of the 20th Century including Secundal, Tertial and Quartal harmony, Dodecaphony, Microtonal and Aleatory music. Composition in the styles of the various African composers. Prerequisite: MUSC 302
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| MUSC 412 Extended Composition |
Harmonic textures in not more than six voices using both diatonic and chromatic harmony. Writing for strings, woodwinds, brass instruments and the piano. Piano accompaniment. Setting words to music. Unaccompanied choral composition including text‑tone relationship in African music. Contrapuntal writing in the 16th Century styles of Palestrina, Byrd and Victoria. Motet in not more than six parts. Prerequisite: MUSC 401
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| MUSC 413 Music of East Africa |
East Africa as a geo-cultural area and the concept of musical cultures. Historical background of music in East Africa. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics and the relationship of music to its culture. Contemporary trends in East African music.
|
| MUSC 414 Music of North Africa |
North Africa as a geo-cultural area and the concept of musical cultures. Historical background of music in North Africa. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics an the relationship of music to its culture. Western and Arabic influences on North African composers.
|
| MUSC 415 Research Methods |
This course is intended to equip undergraduate students in Music with the basic skills and tech-niques they would need in gathering, collating, analysing and interpreting research data for their own research work. Topics to be discussed include: Designs of research, methods and process of research, data collection techniques in the field. Tools of research in music. Analysis and interpretation of research data. Research proposal and report writing. Recording and transcription.
|
| MUSC 416 Musical Traditions of the African Diaspora |
African-American religious, cult and popular music from historical, cultural and stylistic perspectives and with special emphasis on the Caribbean and Latin America. The African heritage, retentions and re-interpretations. Thorough knowledge of examples of representative traditions.
|
| MUSC 417 Orchestration |
The Small Orchestra: Scoring for brass, percussion and harp. The full orchestral Tutti. Rearrangement of music for various sets of transposing instruments including African instruments. Reading from orchestral scores on the piano. The Full Orchestra: Advanced scoring for a full orchestra. Scoring for African ensemble. Microtonal and multiphonic scoring.
|
| MUSC 419 Fugue |
Basics: writing contrapuntal textures in the 18th century style: imitation, invertible counterpoint. subject and answer, Countersubject. Exposition of a fugue. (Prerequisite. MUSC 303 and 304). The Complete Fugue Development, writing of episodes, inversion, augmentation, diminution, stretto devices, canon. The final section. Fugue with not more than two subjects.
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| MUSC 421 Practicals I |
Continued instrumental study. A commanding performance level shall be the goal of the student at this stage of study.
|
| MUSC 422 Practicals II |
The student shall give a recital of prescribed pieces at the end of the semester to show the extent of skills acquired so far. N.B.: This is a core course for the B.Mus students.
|
| MUSC 423 Conducting |
Conducting patterns, use of hands , starting between beats, conducting techniques and discipline, chorus with accompaniment, dynamics, articulation, etc.
|
| MUSC 424 Theories in Western Music |
Detailed knowledge and understanding of music theories contained in music treatises and other writings by theorists such as Rameau, Hemholtz, Schenker, Hindemith, Stravinsky, Meyer, Hanslick, etc.
|
| MUSC 425 Seminar in Composition |
Perspectives in music theory and composition. Focus on theoretical and analytical approaches. Students original composition required
|
| MUSC 426 Form and Analysis in African Music |
An analytical study of form and structure of musical types in Africa. An examination of rhythmic and melodic structures of specific musical types in selected African cultural and social contexts.
|
| MUSC 427 African-American Music in North America |
Survey of the black music of the United States including the spirituals, ragtime, jazz, blues, gospel, rhythm and blues, soul, hip-hop, rap and other popular music styles.
|
| MUSC 428 Music Studio |
Music sequencing. General concepts. Tracks/channels. Programming instruments. Data input. Time signatures, tempo change, quantization, loops, editing, etc. Students will realise two midi composition projects.
|
| MUSC 430 African Drum Repertoire and Directing |
Performance techniques and directing through the preparation and practice of African (and diasporic) drumming repertoires.
|
| MUSC 432 Area studies I |
Introduction to cultural research and field-research to entail the study of ethnography, instruments and musical styles of prescribed areas in Africa. Field trips to specific cultural events under the guidance of staff.
|
BACHELOR OF MUSIC (BMus)
|
| MUSC 311 Diatonic Harmony |
The diatonic triads of the major key and their inversions. The minor key: its diatonic triads and their inversions. The six‑four chord. The chord of the dominant seventh. Key relationship, modulation to related keys. Unessential discords. Auxiliary notes, passing notes, anticipations, suspensions. The chords of the dominant ninth, dominant eleventh, dominant thirteenth. Prerequisite: MUSC 203
|
| MUSC 312 Chromatic Harmony |
Chromatic triads and scales. Chromatic chords of the ninth. False notation. Enharmonic modulation. Chromatic chords of the eleventh and thirteenth. The chord of the augmented sixth. Pedals and other sustained notes. Harmony in fewer and more than four parts. Modern harmonic tendencies. Prerequisite: MUSC 203
|
| MUSC 313 Counterpoint |
Renaissance Counterpoint: Listening and reading (including sight‑singing) of selected excerpts from the works of Palestrina, Victoria, Byrd, Lassus and others. The work of Fux in general aspects only. Species or Strict Counterpoint. Horizontal and vertical interval relationships. Exercises in all the five species up to three voices. Baroque Counterpoint: Study and analysis of J. S. Bach's Two‑Part and Three-Part Inventions. Quick review of favourite examples of 18th century contrapuntal writing. Elementary Two-Part writing and with imitation. Three and Four‑Part contrapuntal writing. Invertible counterpoint. Prerequisite: MUSC 203.
|
| MUSC 314 The Orchestra and Orchestral Techniques |
The Orchestra: The Western orchestra: Past and Present. The instruments of the Western orchestra: strings, woodwind, brass, keyboard and e percussion instruments. Orchestral musics: Conducting and conductors. Orchestral Techniques: Listening programmes with strategic exercises to test student's grasp of illustrated principles of orchestration. Aspects covered will include: ‑ texture, inter‑sectional blends, balance, influence of dynamics, selection of instruments, etc. Selections will cover Baroque, Classical, Romantic and 20th Century models. Critical reviews of ensembles of African instruments.
|
| MUSC 315 Ghanaian Popular Music |
Evolution and development of Ghanaian popular music and performance since the 19th century to the present. Impact of traditional and imported performance norms.
|
| MUSC 317 Music of West and Central Africa |
West and Central Africa as geo-cultural areas and the concept of musical cultures. Historical background of music in West and Central Africa. Interaction of musical traditions in the pre-colonial period. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics and the relationship of music to its culture. Contemporary trends in West and Central African music.
|
| MUSC 318 Music of Southern Africa |
Southern Africa as a geo-cultural area and the concept of musical cultures. Historical background of music in Southern Africa. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics and the relationship of music to its culture. Contemporary trends in Southern African music.
|
| MUSC 319 Music of the Baroque and Classical Periods |
Principal forms, their rise and development. Opera, the masque, the chorale, the oratorio (including the cantata). Occasional music. Baroque instrumental music; the Thorough Bass; Handel and Bach. The Classical Period – the break with the Baroque. The sons of Bach; Mozart and contemporaries. The symphony; chamber music; the concerto.
|
| MUSC 323 Practicals I |
Continued study of the instrument of the student’s choice at a still higher level of proficiency based on a systematic teaching programme.
|
| MUSC 324 Practicals II |
Advanced study of the instrument of the student’s choice. Steady progress is expected of the student at this stage N.B. This is a core course for the B. .Mus student.
|
| MUSC 316 African Pop Music |
General introduction to the popular music of sub-Saharan African Popular Music in terms of stylistic areas. Relation of popular music to traditional performance and modernisation.
|
| MUSC 321 Introduction to Music Studio |
Recording Studio experience. The uses of analog and digital recording devices, special signal processing and digital and analog mixing.
|
| MUSC 322 Romantic and Twentieth Century Music |
Social foundations of Western Romanticism. Heritage of Romantic composers and performers. Precursors to Romanticism in Western music. Prevailing course of development in the period: orchestral, structural and architectonic developments in Opera, symphonic music, song form, etc. Selected composers: Berlioz, Schumann, Wagner, Brahms. Compositional techniques of the twentieth century with emphasis on analytical techniques and style.
|
| MUSC 325 Process of Art I |
Exploration of elements, forms, functions, meaning and production of music in its socio-cultural context. Student outreach programs: both inviting experts to the university and sending students on work experience, research and contextual inquiry projects.
|
| MUSC 326 Process of Art II |
Continued exploration of elements, forms, functions, meaning and production of music in its socio-cultural context. Student outreach programs: both inviting experts to the university and sending students on work experience, research and contextual inquiry projects.
|
| MUSC 327 Musical Cultures of the World |
Contemporary concepts of a world view of music. The concept of a musical culture; social and stylistic differentiations within music cultures. Stylistic characteristics of music in the major geo-cultural regions of the world, illustrated through selected recordings, performance organization, musical instruments, concepts of aesthetics, artistic and philosophical values. Survey will include selections from Africa, Caribbean and Latin America, North America and Europe, the Near East and Asia.
|
| MUSC 411 Twentieth Century Composition |
Compositional techniques of the 20th Century including Secundal, Tertial and Quartal harmony, Dodecaphony, Microtonal and Aleatory music. Composition in the styles of the various African composers. Prerequisite: MUSC 302.
|
| MUSC 412 Extended Composition |
Harmonic textures in not more than six voices using both diatonic and chromatic harmony. Writing for strings, woodwinds, brass instruments and the piano. Piano accompaniment. Setting words to music. Unaccompanied choral composition including text‑tone relationship in African music. Contrapuntal writing in the 16th Century styles of Palestrina, Byrd and Victoria. Motet in not more than six parts. Prerequisite: MUSC 401
|
| MUSC 413 Music of East Africa |
East Africa as a geo-cultural area and the concept of musical cultures. Historical background of music in East Africa. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics and the relationship of music to its culture. Contemporary trends in East African music.
|
| MUSC 414 Music of North Africa |
North Africa as a geo-cultural area and the concept of musical cultures. Historical background of music in North Africa. A survey of the musical practices with particular reference to musical forms/styles, instruments and aesthetics an the relationship of music to its culture. Western and Arabic influences on North African composers.
|
| MUSC 415 Research Methods |
This course is intended to equip undergraduate students in Music with the basic skills and techniques they would need in gathering, collating, analysing and interpreting research data for their own research work. Topics to be discussed include: Designs of research, methods and process of research, data collection techniques in the field. Tools of research in music. Analysis and interpretation of research data. Research proposal and report writing. Recording and transcription.
|
| MUSC 416 Musical Traditions of the African Diaspora |
African-American religious, cult and popular music from historical, cultural and stylistic perspectives and with special emphasis on the Caribbean and Latin America. The African heritage, retentions and re-interpretations. Thorough knowledge of examples of representative traditions.
|
| MUSC 417 Orchestration |
The Small Orchestra: Scoring for brass, percussion and harp. The full orchestral Tutti. Rearrangement of music for various sets of transposing instruments including African instruments. Reading from orchestral scores on the piano. The Full Orchestra: Advanced scoring for a full orchestra. Scoring for African ensemble. Microtonal and multiphonic scoring.
|
| MUSC 421 Practicals I |
Continued instrumental study. A commanding performance level shall be the goal of the student at this stage of study.
|
| MUSC 422 Practicals II |
The student shall give a recital of prescribed pieces at the end of the semester to show the extent of skills acquired so far. N.B. This is a core course for the B.Mus students.
|
| MUSC 410 Long Essay/Original Composition/ Recital |
| MUSC 419 Fugue |
Basics: writing contrapuntal textures in the 18th century style: imitation, invertible counterpoint. subject and answer, Countersubject. Exposition of a fugue. (Prerequisite. MUSC 303 and 304). The Complete Fugue Development; writing of episodes, inversion, augmentation, diminution, stretto devices, canon. The final section. Fugue with not more than two subjects.
|
| MUSC 423 Conducting |
Conducting patterns, use of hands , starting between beats, conducting techniques and discipline, chorus with accompaniment, dynamics, articulation, etc.
|
| MUSC 424 Theories in Western Music |
Detailed knowledge and understanding of music theories contained in music treatises and other writings by theorists such as Rameau, Hemholtz, Schenker, Hindemith, Stravinsky, Meyer, Hanslick, etc.
|
| MUSC 425 Seminar in Composition |
Perspectives in music theory and composition. Focus on theoretical and analytical approaches. Students original composition required.
|
| MUSC 426 Form and Analysis in African Music |
An analytical study of form and structure of musical types in Africa. An examination of rhythmic and melodic structures of specific musical types in selected African cultural and social contexts.
|
| MUSC 427 African-American Music in North America |
Survey of the black music of the United States including the spirituals, ragtime, jazz, blues, gospel, rhythm and blues, soul, hip-hop, rap and other popular music styles.
|
| MUSC 428 Music Studio |
Music sequencing. General concepts. Tracks/channels. Programming instruments. Data input. Time signatures, tempo change, quantization, loops, editing, etc. Students will realise two midi composition projects.
|
| MUSC 430 African Drum Repertoire and Directing |
Performance techniques and directing through the preparation and practice of African (and diasporic) drumming repertoires.
|
| MUSC 432 Area studies I |
| Introduction to cultural research and field-research to entail the study of ethnography, instruments and musical styles of prescribed areas in Africa. Field trips to specific cultural events under the guidance of staff. |
