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Spring 4-1-1984

Black Music Research Newsletter, Spring 1984

Samuel Floyd Columbia College Chicago

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Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Spring 1984" (1984). Center for Black Music Research: Black Music Research Newsletter. 18. https://digitalcommons.colum.edu/cbmrnews/18

This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH NEWSLETTER COLUMBIA COLLEGE CHICAGO/FISK UNIVERSITY Volume 6, No. 2 ISSN Number 0271-3799 Spring1984

Afro-American Folksong Scholarship

by Darius Thieme, Fisk University Originally published as the text for a brochure of the Fisk University Learning Library Program, 1982. Presented here in revised form.

The repertoire of Afro-American such as the John Connu festival, autobiographical study, Really The folksong is extensive, and scholarship described by Nancy R. Ping in "Black Blues, presents the urban social in the field has been concerned with Musical Activities in Antebellum context from a white musician's several genres, principally the blues, Wilmington, North Carolina ." Replete perspective. A very interesting spirituals, gospel songs, secular with special costumes, song repertory. footnote should be added. T he folksongs, and instrumental music. and dances, this event is clearly of literature concerning the blues has The subject of the African heritage has African derivation. The same festival long included scholarly speculation also received attention. has also been reported in Jamaica by concerning its African heritage. Judith Bettelheim and others, and its Michael Coolen's recent detailed For interested readers, there are source lies in West African analysis, 'The Fodet: A Senegambian several bibliographies that list and masquerade celebrations. Among the Origin for the Blues?" presents classify the extensive literature of this early essays that discuss the African compelling evidence in a particular field. The first major compilation is musical heritage are the articles case. Perhaps a new ray of l ight may given in Charles Haywood's reprinted in Katz's The Social have been shed upon this vast topic, Bibliography of North American Implications of Early Negro Music in suggesting new avenues for Folklore and Folksong. Successive the United States. Dating prior to the comparative research. bibliographies have included those by Civil War, these sources report the use Zelma W. George, Portia K. A few of the landmark studies on the of African and African-derived spiritual are John W. Work's Folk Maultsby, John F. Szwed and Roger musical instruments, dances and Abrahams, Dominique-Rene de Songs of the American Negro, John songs. Also worthy of mention are Lerma, and this writer. W. Work lll's American Negro Dena J. Epstein's study. "The Folk Spirituals, and Miles Mark Fisher's The Maultsby work is a model for Banjo: A Documentary History," Negro Slave Songs in the United selectivity, classification. and breadth which traces the development of the States. George Pullen Jackson's White of study. It is helpful, accessible, and banjo from its basic source in Africa, and Negro Spirituals ignited a forest thorough within its stated limits. The and Charles Wolfe's Tennessee Strings: fire of controversy concerning the two-volume work by Swed and Tlte Story of Country Music in musical interrelationships delineated, Abrahams, which lists over 6,450 Tennessee. and questioned the degree of influence entries in some 870 pages. is the first Turning next to the blues, a number of of one genre upon the other. recent attempt at being significant works have appeared Subsequent scholars have since aligned comprehensive. Perhaps the best way dealing with the genre, its country and themselves on both sides of the issue of to keep in touch with the most current city (or rural and urban} song types, influence; others have straddled the writing in this field is to check the and their history in performance. A fence. Recent studies of the spiritual recent issues of The Black Perspective few of the more prominent of these are include Portia K. Maultsby's "Black in Music and the "Current LeRoi Jones's Blues People, Jarry L. Spirituals: An Analysis of Textual Bibliography" section of Oster's Living Country Blues, Jeff Forms and Structure," William £thnomusicology. compiled by Joseph Titan's Early Downhome Blues: A Tallmadge's "The Black in Jackson's C. Hickerson and Louise S. Spear. Cultural Analysis, and Charles Keil's White Spirituals," John E. Taylor's The topic of African heritage and its Urban Blues. Mezz Mezzrow's classic "Somethin' On My Mind: A Cultural impact upon folksong has been and Historical Interpretation of discussed widely. One area of interest has been special holiday celebrations, Continued 011 page 2 - 2

Spiritual Texts," and James H. Cone's Americans, John Storm Robert s's Boyer, Horace C. "Gospel Music The Spiritual and the Blues: An Black Music of Two Worlds. John Comes of Age." Black World, 33 Interpretation. Lovell's Black Song: The Forge and the (November 1973), 42-48; 79-86. Flame, Harold Courlander's Negro Recent scholarly studies of gospel Brewer, J. Mason. American Negro Folk Music, U.S.A., J. Mason Brewer's music have inc;luded Jacqueline C. Folklore. Chicago: Quadrangle Books, American Negro Folklore, Richard DjeDje's analytical work, American 1968. Dorson's Folklore and Folklife: An Black Spiritual and Gospel Songs from Introduction, Lawrence M. Levine's Cone, James H. The Spirituals and the Southeast Georgia, Pearl Williams­ Black Culture and Black Blues: An Interpretation. New York: Jones's "Afro-American Gospel Music: Consciousness, and Dominique-Rene Seabury Press, 1972. A Crystallization of the Black de Lerma's Reflections on Afro­ Aesthetic," Horace C. Boyer's "Gospel Coolen, Michael T. "The Fodet: A Music Comes of Age," and Irene V. American Music. Senegambian Origin for the Blues?" Jackson's Afro-American Religious In a yet wider context, the song is seen The Black Perspective i11 Music, 10 Music: A Bibliography and a as a dynamic continuum-as part of a (1982), 69-84. Catalogue of Gospel Music. worldwide cultural matrix which, on a Courlander, Harold. Negro Folk broad social level, may be subjected to The first major collection of Afro­ Music, U.S.A. New York: Columbia analysis. Alan Lomax and his research American folksongs was W. F. Allen's University Press, 1963. associates have developed Slave Songs of the United States. De Lerma, Dominque-Rene. Many other anthologies have since cantometrics, a methodology and system for objective song analysis, and Bibliography of Black Music, Volume appeared, inchuding Alan Lomax's have projected its utility in viewing the I: Reference Materials. Westport, Folk Songs of North America, Jerry Connecticut: Greenwood Press, 1981. Silverman's Folk Blues, Lydia Parrish's position of song as a cultural element. The methodology is described in two Slave Songs of the Georgia Sea DjeDje, Jacqueline C. American Black books by Lomax, Folk Song Style and Islands, and the collections by John Spiritual and Gospel Songs from W. Work Ill and George Pullen Culture, and Cantornetrics: A11 Soutlteast Georgia. Monograph No. Jackson previously mentioned. Approach to the Anthropology of 7. Los Angeles: University of California, Music. Analyses using the Center for Afro-American Studies, An intriguing footnote to the topic of cantometrics method show the 1978. folksong is the impact of modern homogeneity of African and Afro­ radio, television, and recorded American musics as cultural Dorson, Richard, ed. Folklore and productions 0111 the definition of components, and the relation to other Folklife: An Introduction. Chicago: folksong. Walter Wiora traces the factors in these cultures. The prospect University of Chicago Press, 1972. history of folksong in '"Reflections on is that the analysis of musical data by Epstein, Dena J. 'The Folk Banjo: A the Problem: How Old Is the Concept using the cantometrics method may Documentary History." Folksong?" Historically, the term enable comparisons on a worlwide Ethnomusicology, 19 (1975), 347-371. folksong meant a song of a particular basis among cultures, customs, people. orally transmitted, and traditions, beliefs, and musical Fisher, Miles M. Negro Slave Songs in existing in a repertoire, usually with elements. the United States. Ithaca: Cornell several versions. One must ask, in this University Press, 1953. In summary, the research briefly cited context, where do composed songs George, Zelma W. A Guide to Negro that are absorbed into the repertoire fit above has cast some light upon the complexity of the problems which Music: An Annotated Bibliograplry of in, as in the case of gospel song, and Negro Art and Music by Negro how does one compare a modern scholars of Afro-American folksong encounter. Few solutions have been Composers. Ann Arbor: University singer (and his repertoire) such as a Microfilms, 1953. Charley Pride or B. 8. King with a reached, but many promising trends Mississippi John Hurt or Blind Lemon have been noted in the research. Haywood, Charles. Bibliography of Perhaps most progress has been made Jefferson 7 Also, consider the case of a Nortlr American Folklore and popular song by a black composer that in describing the boundaries of the Folksong. 2nd rev. ed. New York: is absorbed and reemerges many years topic and the breadth and depth of the Dover Publications, 1961. African heritage, developing later as a country song, as reported in Jackson, George Pullen. White and qualifying terms and definitions, and William Kearns's "From Black to Negro Spirituals. New York: J.J. White: A Hillbilly Version of Gussie moving towards a deeper Augustin, 1943. Davis's 'The Fatal Weddfog'." understanding of folk music as an element of the black aesthetic. Jackson, Irene V. Afro-American For a summary of the topic of Afro­ Religious Mus ic: A Bibliograplry and a American folksong as seen in its Selected Bibliography Catalogue of Gospel Music. Westport, overall social and historic context, one Allen, W. F. et al. Slave Songs of the Connecticut: Greenwood Press, 1979. may turn to several valuable general United States. New York: A. Simpson studies. Among these are Eileen & Co., 1867. Continued on page 3 Southern's The Music of Black Bettelheim, Judith. "The Jonkonny Festival and Its Relation to Caribbean and African Masquerades." Jamaica Journal, 10 (l976), 20-27. 3

Jones, LeRoi. Blues People. New York: Structure." The Black Perspective in Taylor, John E. "Somethin' on My William Morrow & Co., 1963. Music, 4 (1976), 54-69. Mind: A Cultural and Historical Interpretation of Spiritual Texts." Katz, Bernard, ed. The Social Mezzrow, Mezz. Really the Blues. Ethnomusicology, 19 (1975), 387-399. Implications of Early Negro Music in New York: Random House, 1946. Thieme, Darius L. "Negro Folksong the United States. New York: Arno Oster, Harry. Living Country Blues. Press, 1969. Scholarship in the United States." Hatboro, Pennsylvania: Folklore African Music, 2 (1960), 67-72. Kearns, William. "From Black to Associates, 1969. Titon, Jeff Todd. Early Downhome White: A Hillbilly Version of Gussie Parrish, Lydia, comp. Slave Songs of Davis's 'The Fatal Wedding'." The Blues: A Musical and Cultural the Georgia Sea Islands. New York: Analysis. Urbana: University of Black Perspective in Music, 2 (1974). Creative Age Press, 1942. 29-36. Illinois Press, 1977. Ping, Nancy R. "Black Musical Williams-Jones, Pearl. "Afro­ Keil, Charles. Urban Blues. Chicago: Activities in Antebellum Wilmington, University of Chicago Press, 1966. American Gospel Music: A North Carolina." The Black Crystallization of the Black Aesthetic." Levine, Lawrence M. Black Culture Perspective in Music, 8 (1980), Ethnomusicology, 19 (1975), 373-385. and Black Consciousness. New Yo rk: 139-160. Oxford University Press, 1977. Wiora, Walter. "Reflections on the Roberts, John Storm. Black Music of Problem: How Old is the Concept of Lomax, Alan. Cantometrics: An Two Worlds. New York: William Folksong?" Yearbook of the Approach to the Anthropology of Morrow & Co., 1974. International Folk Music Council, Music. Berkeley: University of Silverman, Jerry. Folk Blues. New 3 (1971), 23-33. California Press, 1976. York: Macmillan Co .. 1958. Wolfe, Charles. Tennessee Strings: Folk Song Style and Culture. Southern, Eileen. The Music of Black The Story of Country Music in Washington; American Assodation Americans. 2nd ed. New York: W.W. Tennessee. Knoxville: University of for the Advancement of Science, 1968. Norton, 1983. Tennessee Press, 1977. Folk Songs of North America. Szwed, John F. and Roger Abrahams. Work, John W. Folk Songs of the London: Cassell. 1960. Afro-American Folk Culture: An American Negro. Nashville: Fisk Lovell, John. Black Song: The Forge Annotated Bibliography of Materials University Press, 1915; reprint, New and the Flame. New York: Macmillan from North. Central and South York: Negro Universities Press, 1969. Co., 1972 America and the West Indies. Work, John W. III. American Negro Philadelphia: American Folklore Maultsby, Portia K. "Black Spirituals: Songs and Spirituals. New York: Society, Bibliographical and Special Bonanza Books, 1940. An Analysis of Textual Forms and Series, Vols. 31-32, 1978. Tallmadge, William. "The Black in Jackson's White Spirituals." The Black Perspective in Music, 9 (1981), 139-160.

Composers Corner

by Lucius R. Wyatt, Prairie View A&M University, Prairie View, Texas

Roger Dickerson, Composer sophisticated," "Mr. Dickerson's Dickerson grew up in New Orleans confidently written, somber piece where he began studying the piano at a Roger Dickerson (b. 1934), whose made a positive impact," and "Mr. very early age. He was graduated from successful compositions have won him Dickerson has achieved a personal Dillard University with honors in high praise from some of the leading style, which while American and 1955. At Indiana University he studied critics in America, is a composer of dearly twentieth-century makes a composition with Bernhard Heiden outstanding abili,ty. Evidence of his distinctive and valuable musical and completed the master's degree in talent and deep commitment to statement." Famed actor Roscoe Lee composition in 1957. His later tour of composing music is demonstrated in Browne, who served as narrator in the duty in the United States Army found three of his best known works: A first performance of Orpheus An' His him performing and writing music for Musical Service for Louis: Requiem for Slide Trombone, was so moved by the the USAREUR Headquarters Band in Louis Armstrong (1972), Orpheus An' musical content of the composition Heidelberg, Germany. Subsequently, a His Slide Trombone (1974-75), and that he declared, "You are aware of Fulbright grant and private New Orleans Concerto for piano, someone with passionate intellect has sponsorship enabled him to study and soprano, and orchestra (1976}. written it." compose for three years in Vienna Concerning these musical works, with Karl Schiske and Alfred Uhl at critics have made the following statements: "His technique is Continued on page 4 4 the Akademie ftir Musik and and spirit. The songs of defiance Listening to a taped performance of Darstellende Kunst. He also received inform of resistance, of open and bold the New Orleans Concerto by pianist a John Hay Whitney fellowship which opposition to authority . ... Ethnic Leon Bates and the Symphony of the assisted him in his work. Returning to music occupies a profoundly New World conducted by Leonard De New Orleans after his sojourn in important and mysterious position in Paur is a memorable experience. The Vienna, he cont inued to compose and the lives of people and history. The piece, written in three movements and work as a jazz pianist in the French music is a true reflection of life, and, requiring a high level of technical Quarter. as such, changes as t he world facility on the part of the pianist, is changes." He expresses his personal Roger Dickerson believes New Orleans ably performed by Bates. Movements is a good place to compose music. philosophy regarding music one and three are very rhythmic while Although he has had many composition in this way: ··1 believe the second movement is slow. The that my work is an expression of inner soprano soloist in the middle opportunities to live and work devotion and freedom; an expression elsewhere, his strong attachment to the movement is used as an instrumental that combines love of art with human Crescent City has been like an voice in the texture since a text is not relationships and the sense of Godly irresistible magnet. He feels his used. duty. I see my creativity as a release of compositions should be rooted in his Because of his demonstrated success as my spiritual self and all that self own unique cultural heritilge. Thus, he a composer, America is sure to hear reimmersed himself in the rich musical reflects from the conscious and more from Roger Dickerson in the unconscious worlds we live in and life of his native city. His association future. move through." with conductor Werner Torkanowsky and the New Orleans Philharmonic Dickerson has powerful creative The Music of Roger Dickerson brought the premieres of four major instincts. It is evident that he is a Orchestra works for orchestra. In addition to master craftsman in his orchestral A Musical Service for Lo11is (Requiem composing andl performing, Dickerson works because of the effective writing for Louis Ar111strong), 1972. Southern teaches privately and serves as an and the superb handling of the Music Publishing Company, Inc. adjunct professor at Xavier University orchestra. He is equally as successful Orpheus A11 His Slide Tro111bo11e for and Southern University at New with musical works written for other orchestra and narrator, 1974-75. Orleans, where he teaches theory, media. For instance, his S011ati11a for New Orlea11s Concerto for piano, composition, and orchestration. Piano was included in the repertory of soprano, and orchestra, 1976. the 1981 International American Music Dickerson has pursued other Co11cert Overture for Orc/1estra, 1957. Competition sponsored by Carnegie Te11 Co11cert Pieces for 8cgi1111i11g rewarding activities which attest to his Hall and The Rockefeller Foundation. commitment to creativity. His work as String Players for youth orchestra, a consultant with the Washington­ Roger Dickerson's musical 1973. Southern Music Publishing based Institute for Services to compositions provide interesting Company, Inc. Reviewed by Education, Inc. resulted in his listening for the audience. For Dominique-Rene de Lerma in The editorship of three books: Man and instance, A Musical Service for Louis Black Perspective in Music, 7 (Fall His Creative Awareness (1973). begins in a slow and deliberate manner 1979), 267-268. Humanities Catalog I: Starting Points with sensitive writing in the strings, Chamber Music for Teaching and Leaming (1973), and woodwinds, horns and trombones. Variations for Woodwind Trio. 1955. £xperime11ts in Humanities (1975). He The mood established is a meditative fl., cl., bn. has been a featured speaker and one with religious overtones. String Quartet. 1956. presenter on the campuses of many Eventually the tempo accelerates to a Quintel for Wind Instruments, 1961, historically black colleges and faster section in which the members of for woodwind quartet. universities. A documentary film, New the choir clap ha nds with the driving Music for String Trio, 1957. Orleans Concerto, containing rhythms carried by a jazz drummer. Prekussion for percussion ensemble, biographical information about the The musical strata in the strings, 1954. composer, was aired nationally on the woodwinds, and brass instruments Public Broadcasting System's network continue in a contrapuntal manner, Chorus of affiliate television stations in 1978. bringing the piece into an area of Fair Dillard (SA TB). unaccompanied, Recently he read a paper at a festival increased rhythmic activity and 1955. devoted to ethnicity held at tension. This finally gives way to an Psalm 49 (SATB). and three timpani, Jacksonville State Universi ty in Adagio section in which the chief 1979. Alabama. In his paper, "Ethnic Music: motive is an ostinato figure played by Keyboard Works Songs of Solace, Songs of Defiance," the trombone. The choir begins to sing So11atina for Pia110, 1960. Southern he expresses the following philosophy: on the syllable "Ah" with the Music Publishing Company. Inc. ·The songs of solace are concerned orchestra. The piece ends quietly with Chorale Prelude: Das Neugeborne with the easing of grief, loneliness, and three statements of the ostinato figure Kindelein, for organ, 1956. discomfort. They serve as consolation, by an offstage trumpet. This writer a relief, a com fort to the heart, mind, believes that if Louis Armstrong were Continued on page 5 alive and had witnessed the performance of A Musical Service, he would have been immensely pleased with the work of Roger Dickerson. Voice Band serves his city, students and the Music I Heard, for soprano and piano, Essay for Band, for symphonic wind human spirit." Scholastic, 122, No. 8 1960. ensemble, 1958. (April, 1981), 22-24. The Negro Speaks of Rivers, for Fugue 'n Blues, for jazz band, 1959. Tischler, Alice. Fifteen Black soprano and piano, 1961. Composers: A Bibliography of Their Bibliography Solo Instrument Works. Detroit: Information Sonata for Clarinet and Piano, 1960. Dickerson, Roger. "Ethnic Music: Coordinators, 1981. Movement for Trumpet and Piano, Songs of Solace, Songs of Defiance." 1960. Unpublished paper given at a Festival The Music of Roger Dickerson is represented Incantation for Violin and Piano, on Ethnicity, Jacksonville State by: 1983. Universi ty, Jacksonv ille, Alabama. Southern Music Publishing Company, Inc .. Expressions for Violin and Piano. 1983. 1740 Broadway. New York 10019. 1983. Scarbrough, Ken. "With humility and piety, Composer Roger Dickerson

A Selected List of Music for Organ Solo by Black Composers

The following was prepared by Dominique-Rene de Lerma (Morgan State University) and Herndon Spillman (Louisiana State University). based on research conducted by Dr. Spillman, Clarence E. Whiteman (Virginia State University), Loma Daniels (Wilmington, DE) and Eugene W. Hancock (Manfiattan Community College). Dates following titles indicate year of com­ position, when known. Works without an indicated imprint are probably available only from the composer.

Bankole, Ayo, 1935-1976 holy number. " New York: St. Philip's Dickerson, Roger Donald, 1934- Toccata and fugue. lfE-lfE: University Press, 1969. Chora/ prelude on "Das neugeborne of lfE Press, 1977. (lfE music editions, In the beginning (1962). Kinderlein" (1956). 8) Lord, keep us steadfas t in thy word; Duncan, John, 1911-1974 3 Toccatas. chorale prelude. Dover: Flammer. Diversion, 110. 4, organ. Beard, Ivy Lee , 1943-1978 Meditation 011 'Tm so glad trouble Fax, Mark, 1911-1974 Lyric piece. don't lastalways." New York: n.p. (? ]. 1969. Bridal procession (1968). Charlton, Melville, 1883-1974 Meditation on "Steal Away." 2 Choral preludes (1974). Double fugue. E minor. Paraphrase on "Every time I feel the Fantasy on "We shall gather together" (1968). Childs, John, fl. 1980 spirit." New York: n .p. (7). 1966. Prelude {1974). Pastorale (1973). New York[?]: Offertory in F (19727). Dangerfield Music. 3 Pieces (1965). Clark, Edgar Rogie, 1913-1978 Procession liturgique. 6 Pieces. Prelude bacl1inegras (a rr. from the Rhapsody on the name F-E-L-A­ Postlude on ''I'll never turn back no original piano version by Eugene W. S-O-W-A-N-D-E (1977). New York more" (1972). Hancock). [7]: Dangerfield Music. Prelude and chorale (1952). Coleman, Charles 0., 1926- Symphony, organ. 3 Preludes (1964). lmpromptu for pedals. Detroit(?]: Toccatina (1975). New York [?I: The quiet church {1974). Northwestern School of Music Press. Dangerfield Music. Study 011 Morecambe. Toccata (1974). Sonata, no. 1. Detroit I?): Da Costa, Noel, 1929- Variations 011 Mary/on (1960). Northwestern School of Music Press. C/zi/io-/o, based 011 an African lament Coleridge-Taylor, Samuel, 1875-1912 (1970). New York: Atsoc Music. Hailstork, Adolphus Cunningham, 1941- Album. London: Augener. Mary/011; hymn-tune variations Prelude (1967). Ariette, F major. London: Novello, (1955). New York: Atsoc Music. Suite (1967). 1898. (The village organist, 16) Prelude, procession, postlude (1971). New York: Atsoc Music. Hancock, Eugene Wilson, 1929- Elegy. London: Novello. {The village 2 Negro spirituals. Prelude for organ after an East African organist, 15) An organ book of spirituals. Dayton: lament, Chilio-lo. 3 Impromptus, op. 78. London(?]: Lorenz Publishing Co., 1966. Spiritual set (1974). Melville: Belwin­ Weekes. Swing low. Melody. London: Novello. (The Mills, 1977. (Contemporary organ village oranist, 12) series) Hayes, Joseph, 1920- Triptych {1973). Praeludium. Cooper, William B. , 1920- Air on a child's flute (1976). Henry, Joseph, fl . 1980 Bread of heaven {1976). New York 17]: 2 Hymn-tune preludes. "Eugen" & Dangerfield Music. "King's Lynn" (1973). Diferencias co11 quattro {1962). Fantasy on tlie spiritual "/olm saw the Continued on back cover

• 6

Kay, Ulysses, 1917- Hour glass. The Negro in sacred idiom. London: 2 Meditations (1 950) . New York: Impromptu. Chappell, 1955. H.W. Gray, 1951. In quiet mood. New York: Galaxy, Oyigijigi; introduction, theme and 1951. (Plate no. G.M. 1882-4) variation. New York: Ricordi. Kerr, Thomas H., 1915- Offertory. Prayer; oba a bake. New York: Anguished American Easter (1968). Sandman. Ricordi, 1958. Arietta. Evanston: Summy-Birchard. Sonata. Yoruba folk theme. New York: (American organ music, 2) Suite. Ricordi, 1958. Concert variations on a merry Xmas tune, Good King Wenceslas (1951). Price, John Elwood, 1935- Sweeney, John Albert, fl. 1980 Somber variations on Handel's Meditation for April third (1956). Prelude. "Thanks be to thee. " Organ piece I (1977). Terry, J. Roy, fl. ca. 1950 Suite Sebastieene [sic) (1974). Piece (1967). Sonata, D minor. Thanksgiving (1969). Ross, George J ., 1938- Walker, George, 1922- King, Betty Lou Jackson, 1928- M iniature, op. 4. Chorale prelude, Liebster Jesu A nuptial suite. Simpson, Ralph Riccardo, 1932- [withdrawn?]. Lampley, Calvin Douglas, fl. 1980 Jacob's ladder. Invocation lwithdrawn? I. Lament and variations. Roll, Jordan, roll (1963). White, Clarence Cameron, 1880-1960 Swing low, sweet chariot. Lateef, Yusef, 1921- Magnificat. Fantasia. Still, William Grant, 1895-1978 White, Don Lee, fl. 1980 Elegy, published in The California Lovinggood, Penman, 1895- By the waters of Babylon. organist (November 1963). Meditation. Compton: Lovinggood, Christmas fantasy. Summer/and, arr. from Visions (1936) 1965. Jesus, keep me near the cross. by Edouard Nies-Berger. Glen Ro,k: Nocturne. Compton: Lovinggood, J. Magnificat (1961). Fischer & Bro. 1969. Thanksgiving fantasy (1966). Sowande, Fela, 1905- Phillips, Arthur A .. 1918- Williams, Julius P., fl. 1980 C/oria. New York. Rieordi, 1958. Chorale. variations and fugue. C Sounds of colors. Jesu olugbala. London: Novello. minor. Jubilate. Wilson, Olly, 1937- Pichardo Vicioso, Miguel, 1939- Ka mura. London: Novello. Expansions (1979). Preludes. Ka mo rokoso. Work, John W., 1901-1967 Price, Florence B., 1888-1953 Kyrie. Frolic. Adoration. Dayton: Lorenz Publishing From the deep South. Co. Plaint. An elf on a moonbeam. Spiritual. Evening. A summer evening.

A.A.C.M. 19th Anniversary Festival

May 11, 12, 1984, 8:00 p.m. May 13, 1984, 3:00 p.m.

T he Association for the Advancement Joining the AACM's celebration this BMR NEWSLETTER is devoted to the year will be world renown alto encouragement and promotion of scholarship of Creative Musicians, Inc. w ill be and cultural activity in Black American music, celebrating nineteen years of saxophonists Jackie McLean and his and is intended to serve as a medium for the presenting innovative, o riginal music quintet featruring his son, Rene sharing of ideas and information regarding a t its Anniversary Festival, May 11, McLean; Amiri !3araka, poet; David current and future research and activities in 12, and 13th. The venue for the three Murray, saxophonist; Steve universities and research centers. day musical extravanganza is McCall, percussionist .and one of the BMR NEWSLETTER is published iointly by the Columbia College's Ferguson founders of the AACM; and trumpeter Columbia College Center for Black Music Theater, 600 South Michigan. The extraordinare, Don Cherry. Research and Fisk University lnsti tute for AACM will be providing Chicagoans Research in Black American Music. Information Tickets will be available beginning submitted for inclusion should be mailed to: w ith the latest compositions of such May 1, l 984 at the foll owing costs: Samuel A. Floyd. Jr., editor, Center for Black composer/ musicians as multi-reedists General Admission: Music Research, Columbia College. Chicago. Anthony Braxton, Mwata Bowden. Series Ticket, $20.00 Illinois 60605. Douglas Ewart , and Edward Students with l.D., $15.00 1nquirics regarding subscription, as well as Wilkerson. Other members expected Single T icket. $8.00 subscription payments. should be sent to: to participate are Ernest Dawkins. Students with l.D .. $6.00 Steve Berry. Malachi Favors Publications. Institute for Research in Black For Further Information Call: American Music. Fisk University, Nashville. Maghostut, Ameen Muhammad, (312)752-2212 between 10:00 a.m. and Reggie Jon Tennessee 37203. Nicho lson, Hanah Taylor. 6:00 p.m.

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