THE late part of 2002 saw a resolve by a number of Ghanaian musicians to move away from computer-generated music and rather launch into the recording of live band music. For many up and coming musicians in today’s competitive music industry however, the use of computerised facilities to assist in music production remains a very necessary option.

Since December 2000 the British Council, Accra, has been holding workshops on music technology that seek to expose participants to innovations in software and equipment for music technology in the United Kingdom. The six workshops held so far, have focused on the application of MIDI (Musical Instrument Digital Interface) technology— a format for digital audio which also serves as an interface to which music can be recorded and played— backed by a music suite at the British Council fully equipped with modern music software and equipment.

The strength of the project has been its easy accessibility. The only requirement for the fee-free workshops has been knowledge in the use of computers and ability to play an organ or synthesiser. Among the 92 participants who have gone through the programme has been aspiring young Ghanaian artistes, sound engineers, established musicians, recording engineers and some music studios committed to learning and adopting state-of-the-art technology in the music business.

In its three-year existence, the programme has been a unique opportunity for musicians and recording artistes to build upon their skills in using music software to create all kinds of music. At the end of the workshops, participants form a network for discussing, disseminating and applying new developments in music technology and also collaborate with other music technologists in other countries through the Internet.

Behind the project has been a senior lecturer at the Liverpool Institute of Performing Arts in the UK, Dr Gordon Ross, an accomplished composer, producer, sound designer and music technologist who has led similar workshops in many countries including Italy, Norway and Tanzania.

After the November 2001 workshop, Dominic Ansah, a participant in two previous workshops who had gained the most competency in the area, was given the chance to lead the three beginners workshops held in 2002, in which 60 young Ghanaians, mostly students and professionals, acquired knowledge and skills in the basics of MIDI and sound technology and learnt to record their own music.

Dominic Ansah, having been at the MIDI workshops from day one, undoubtedly represents the success story of the project in Ghana. In addition to leading the beginners workshops, he also operates his own music studio in Accra. “I think my enthusiasm, fuelled by the exposure from the workshops, facilities at the music suite and the mentoring by Dr Ross, made the difference” he says.

According to Robert Agbozo of the British Council, the MIDI technology has been “the rage among electronic musicians since its introduction in the mid ’80s”, and “music experts world-wide have acknowledged the enormous growth in the quality of music as a result of the MIDI phenomena.”

In the next few months, a CD project containing various new compositions by the participants would be launched. The British Council also intends to run the music technology course as a online distance learning programme after which certificates from the Liverpool Institute of Performing Arts would be awarded.