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Vice-President [John Mahama] on behalf of the government and people of Ghana expressed his condolences to the Zimbabwean government, people and the family of the late vice-president. The Zimbabwean ambassador to Ghana, Pavelyn Tendai Musaka, thanked the government and the people of Ghana for sympathizing with them.

His scholarly interests broadened to include Verdi and, later, Beethoven. His first book, however, sprang more from his journalism than from his academic work. This was Opera and Drama (1956, revised 1988), a polemical book that contained the notorious line about Tosca. It was in response to \"a need to address the technical minutiae of music\" - and also, one senses, to escape from the shadow of that book - that [Joseph Wilfred Kerman] returned to Elizabethan music, producing a study of [William Byrd]'s Latin-text music whose tone was, as he put it, \"descriptive, objective and measured\". Work on the book necessitated long periods of study in Britain, a country he enjoyed because \"the general musical literacy over here is more concentrated and there's more of it\". His appointment as professor of music at Oxford in 1971 should have been the happy culmination of the love-affair, but Kerman chafed at the administrative burden placed on him. The university, for its part, was aggrieved to discover that Kerman still retained a post in Berkeley in his absence, though the fact that Kerman sold his house in Berkeley surely proved he was serious about the move to Oxford. During his time there, he published Listening, a primer in western art music for college students written in collaboration with his wife Vivian, whom he had married in 1945. In 1974, Kerman moved back to Berkeley, where he remained until his retirement in 1994. Among his honours were an honorary fellowship of the Royal Academy of Music (1972) and a fellowship of the American Academy of Arts and Sciences (1973). In Kerman's eyes, this application of analysis marked a failure of critical judgment. In formulating his goal of a critical musicology, Kerman's model remained the Edinburgh professor Donald Tovey, whose Essays in Musical Analysis had first inspired him. \"Tovey's final appeal was always to what he called the 'naive listener', the interested, earnest non-musician whom he could cajole again and again into appreciating the subtleties of tonality, invertible counterpoint at the twelfth, and so on - we need him to keep our criticism honest.\"

To the wider public, he will be most readily remembered for the haunting incidental music he wrote for The Great War series on BBC television, with its whooping signature tune reminiscent of Mahler. Among many other television scores, there was his equally striking music for the BBC adaptation of Robert Graves's I Claudius. In the widest range of genres he was always prolific, even when suffering chronic ill-health. Happily, his 70th birthday this year was celebrated by a series of performances, including the belated British premiere of his oratorio, Mortales, written for Cincinatti in the late 1960s.