Ghana has many different tribes and ethnicities, which each have their own form of music. Due to its location in Western Africa, the country is home to many cultures, which further adds to its rich musical history. Contemporary festivals, funerals and cultural events often have traditional Ghanaian music.
Players often improvise melodies, and rhythms are complex compared to Western music. Typical are syncopated drumbeats and polyrhythms, where various rhythms are happening at the same time.
In the south of Ghana, the predominant genres of traditional music stem from the Akan, Ga and Ewe people, and they have further sub-genres within these. The Ewe and Foh ethnic groups perform Agbekor music. It has multiple percussive patterns and, therefore, a complex rhythm. Agbekor music was once for performance in battle, but contemporary cultural presentations feature this music. The Ga people originated Kpanlogo, but it has become popular throughout the country. The Ewe people have their own music of the same name.
In the north, gyil folk music prevails, as well as many other genres pertaining to the different tribes, such as the Dagomba and Fulani people. They have a bigger emphasis on string and wind instruments than in the south.
The more modern 'highlife' style of music is a mixture of traditional and Western music. This is the most well known form of music in Ghana.
Hourglass-shaped talking drums are typical of northern Ghana, where talking drum ensembles are common. Fiddles and lutes are also popular in this region. The gyil, which is a type of xylophone, and the musical bow, which is usually an archery bow used for music, are also common in the north.
Various drums and rattles are typical of southern music, as well as a 'seprewa,' a harp with 6 to 10 strings, and a 'kidi,' which is a 2-foot tall drum. Other instruments are the Gankoguis, or double bells played with sticks, and high-pitched gongs called atoke.
It's traditional to perform music at funerals, which last a number of days. While the songs played on the first day of mourning are slow and sorrowful and consist mainly of percussion, the music on the second day is often livelier, with the intention of emphasizing the continuation of life. Religious festivals are also highly musical affairs; the Fanti people have even translated Christian hymns into their own language and incorporated Ghanaian instruments, resulting in a new genre called 'abibindwom.'