Curriculum, Genre, and Power: Interdisciplinary Challenges in Ghanaian Music Theory, Composition, and Sound Engineering

Abstract

This study analyses the interdisciplinary challenges and genre bias present in Ghanaian tertiary music education, specifically addressing music theory, composition, and sound engineering. The study employs a mixed-methods approach with 200 participants, including students, alumni, and instructors, revealing notable dissatisfaction with curricula that favour Western (in theory) and popular genres (in sound engineering) at the expense of other forms. This study, rooted in genre-neutral pedagogy and Freirean critical pedagogy, demonstrates that faculty specialisation, institutional rigidity, and uneven exposure across disciplines lead to structural inequities in music instruction. Quantitative data indicate significant student dissatisfaction, especially among those focused on theory and composition, whereas qualitative findings emphasise the influence of lecturer training on curriculum design. Participants suggested various reforms, such as modular course structures, interdisciplinary teaching teams, faculty development initiatives, and student participation in curriculum governance. The research advocates for a curricular philosophy that integrates global adaptability with local musical traditions. By focusing on student experience and addressing genre hierarchies, Ghanaian institutions can create a more inclusive and dynamic model for music education that aligns with cultural diversity and the practical needs of the 21st-century music environment.