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Fall 9-1-1985

Black Music Research Newsletter, Fall 1985

Samuel Floyd Columbia College Chicago

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Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1985" (1985). Center for Black Music Research: Black Music Research Newsletter. 21. https://digitalcommons.colum.edu/cbmrnews/21

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 Vol. 8, No. 1 ISSN Number 0271-3799 Fall 1985 l A Brief Introduction to the Zulu Choirs i l by Doug Sero{{, Greenbrier, Tennessee

i Black American four-part vocal har­ represented on South African conglomerate of traditional Zulu and mony has roots which predate the Civil phonograph records. Literally hun­ Western elements. Recordings made by 1 War. Although African traditional dreds of vocal groups have been com· numerous male, a cappella vocal g roups d uring the 1930s and 1940s ' music is rich in polyphonic singing and mercially recorded there since about i its own peculiar harmonies, the simple 1930. The earliest recordings yet un­ (quartets to choruses all categorized as triad is praclically never found. The covered come from a Columbia Record "choirs") feature strong bass singing I triad is a fundamental substructure of Company session by the Wilberforce and full, deep-pitched, close harmony. l We~tern quartet harmony, and Institute Singers of South Africa under The character and quality of the har­ perhaps for this reason it has been the direction of Dr. Herman Gow. a mony heard on these recordings has black American educator living in much in common w ith American li mistakenly assumed that there are no strong African quartet-singing tradi­ Africa. His group recorded American community-based quartets recorded l tions. In fact, an expansive parallel spirituals in English. sung in the during the immediate "pre-gospel" j hcril·agc of lour-part vocal music exists "straight spiritual" style of contem­ period (1926-1931) . in South Africa, its origins dating back poraneous American university Around 1940 Solomon Linda's Even­ 1 to the nineteenth century. quartets. ing Birds, the greatest ingoma ebusuku ,l Missionaries and white troupes were In 1930 HMV Record Company choir of its day, recorded the song no doubt the first to introduce four­ brought to London the Zulu musician "Mbube" (translatiorn: "Lion"). The 'J part vocal harmony on the African and composer Reuben T. Caluza and song was successfully adapted by the continent. During the 1890s, an il­ his double quartet, consisting of four Weavers as "Wimoweh" and later by lustrious black musical company, Or­ men and four women. One hundred the Tokens as 'The Lion Sleeps i pheus M, McAdoo·s Virginia Jubilee and fifty si:kctions were recorded, Tonight." Linda's song was so popular Singers, spent a great deal of time per­ featuring a fine mixed chorus with in South Africa that the ingoma forming in the country of South piano accompaniment and Zulu fo lk ebusuku style became commonly Africa. They sang not only for the songs rendered by an excellent a cap­ known as "mbube," a term still in white colonists but also for the in­ pella male quartet. In 1931 Caluza usage today. digenous black population, touching traveled to Virginia to attend Hampton Extensive interaction between in­ off an outbreak of chorus and quartet Institute. While .a student there, he goma ebusuku choirs and hot jazz in· groups among black South Africans. formed a quartet of West Africans and strumcntalists from the working class At the same time. male quartets were taught them Zulu songs. This troupe nightclubs took place in the recordings being trained to sing American toured the eastern United States with of _Mseleku's Merrymakers, M . spirituals, in English, in missio n t~e Hampton Institute Quartette. Masoleng & Company, and others. schools and black universities. The The popularity and prestige of By the 1940s phonograph records same precepts of good harmony sing­ mission-school trained quartets in­ from America had become an over­ ing practiced at American universities, spired a similar movement among the whelming influence on black South the same refinement of four even, black laboring class. "lngoma ebusuku African music. Harmony groups pat­ balanced. and blended voices were be­ c hoirs," li ke community-based terned after the Ink Spots and other ing taught to educated Zulus and other quartets in A labama and Virginia, first American rhythm &: blues pioneers South African peoples. appeared amon,g Zulu industrial became popular. They sang '40s jive An i:npressive variety of vocal har­ workers at the close of World War I. mony styles are reasonably well Their music was a distinctive hybrid, a Continued on page 2 2

tunes in Zulu and English. The most a new plateau in mbube singing. Olukoya, Daniel. Berkshire, England widely recorded of these groups was Ladysmith Black Mambazo has ap­ and Lagos, Nigeria, November 23, the Manhattan Brothers. peared in documentary films and twice 1983 to October 25, 1984. The profoundly "Zulu" elements in performed in Germany to enthusi<;1stic ·· Tracey, Andrew. Rhodes University, ingoma ebusuku singing cannot be audiences. Only one of their albums; Grahamstown, South 'Africa. overlooked. To begin with, these "lnduku Zethu" (Earthworks 2006), January 17, 1985. groups sing primarily in the Zulu has been released. in the West; and it is, Webb, Vaughan. Blue Ridge Institute, language. Many of the background unfortunately, among the least satisfy­ Ferrum College, f,errum, Virginia. chants used are dearly non-Western. ing of their recordings. May 14, 1984. Percussive "clicks," glides, trills When heard at its best, despite the executed with the tongue, slide whistle strangeness of the language, all the imitations, and other unexpected pleasures of the classic American har­ Selected Discography delights are strictly African in origin. mony masters are present in the music In a deeper sense, after nearly one hun­ of Ladysmith Black Mambazo; the LP Records (/11 -Print) dred years of intermixture, it is im­ fascinating, complex song arrange­ possible to separate the Western and ments; the expressive lead vocals of Baseqhudeni, Abafana (The Cockerel Zulu elements in this conglomerate Joseph Shabalala; the booming, reso­ Boys). From Soweto: Mbube jive music form. nant bass; and the rich, enveloping & soul. L & R 44.009 (West "Gospel quartet" was one movement quality of distinct, yet thoroughly Germany). that did not happen among the Zulu blended voices in. velvet harmony. Jazz and /rot dance in Soutlr choirs. One does not hear the "pump­ As distinctive black quartet har­ Africa, 1946-1959. 1985. Harlequin ing bass," the "switch lead," and other mony approaches the point of extinc­ HQ 2020 (England). characteristics of the gospel quartet tion here in the United States, it is com­ Ladysmith Black Mambazo. Ezinku/11. style. Because the Zulu choirs did not forting to find the form alive and thriv­ Ezombadu BL 186 (South Africa). take the gospel path, the older spiritual ing among the black South African Ladysmith Black Mambazo. 1984. harmony influence remained pro­ people. lblrayiblre/i Liyindela. Ezombadu nounced. The influence is preserved BL 472 (South Africa). in the music of the present day Ladysmith Black Mambazo. lnduku descendants of the ingoma ebusuku References Zetlru. Earthworks 2006. and mbube choirs, known as Ladysmith Black Mambazo. Umthom­ "isicathamiya" groups. The repertoire bo Wamanzi. Ezomdabu BL 353 of these groups is rather evenly divided Books and Articles (South Africa). between sacred and secular songs. Music of black South Africa. 1978. Singing contests have always been an Virgin Records (England). important aspect of this tradition and a Austin, Chris, and Jeremy Marre. common element of life in black South 1978. Record album liner notes to African townships and labor hostels. Music of black Soutlr Africa. Vintage Recordings (78 rpm) Synchronized dance steps are a promi­ Virgin Records. nent adjunct to the vocal perfor­ Coplan, David. 1980. The urbaniza­ Caluza's Double Quartette. mances, and uniform dress is another tion of African, performing arts in lmbaba/a/ Lits/1e Ii Ka Ntunja111bili. item of critical importance, just as it South Africa. Ph.D. diss., Indiana Zonophone 4281. has always been among American University. Caluza's Double Quartette. Kwela gospel quartets. Indigenous musics. Sou/Ir African Wetu! Umgobo U Selrawini. HMV lsicathamiya singing is presently Music En cyclopedia. Cape Town: GU 70. flourishing in South Africa, inspired by Oxford University Press, 1979-. Manhattan Brothers. Hey ba-ba-re­ the unprecedented success of the Maile, Sam R. 1973. Record album bob/ Patience a11d fortitute. Singer greatest of all Zulu choirs, the incom­ liner notes to Amabutlro. Motella GE 947. parable Ladysmith Black Mambazo, Records. Manhattan Brothers. Wami Wa111il originally of Ladysmith, South Africa. Sumner, Dwight. 1931. African Amazw'a11111a11di. Gallotone GB The group is among the most popular quartette on school campaign. 1277. groups on the African continent. Hampton Script September 30. Motsieloa Masoleng & Company. Organized in the late 1960s by their Serontabule/ Selina. Singer GE 150. brilliant lead singer/ song writer/ar­ Personal Correspondence Mseleuku & His Merrymakers. ranger Joseph Shabalala, the group Amabadil lsiklronyani. HMV SP began recording in 1973 for Motella, 17. one of the Gallo group of South Allingham, Rob. Yeoville, South Solomon Linda's Original Evening African labels. To date they have Africa. November 1, 1984 to May Birds. Mbube/ Ngi Ha111bile. recorded at least nineteen albums 29, 1985. Gallotone GB 829. which have sold more than four Erlmann, Dr. Veit. University of Wilberforce Institute Singers of South million copies. Their 1984 album Natal, Durban, South Africa. Africa. 011 Mary, don't you "lbhayibheli Liyindela" (E,:omdabu BL November 7, 1984 to May 21, weeplSl1011t all over God·s heaue11. 472) is a crowning effort, representing 1985. Columbia GR 7. 3

Beethoven As a Black Composer1 by Dominique-Rene de Lenna, Morgan State University

Perhaps it was late in the 1960s when These relationships are confirmed by Spanish ancestry, the African might Charlie Brown's diminutive pianist, on the celebrated cantigas of Alfonso X "el have been there, no matter how hearing unequivocally that Beethoven Sabio" (king of Castile and Leon from remote. was black, exclaimed, "I've been play­ 1250 to 1284) and the slave-singers in It has been thought the story of ing soul music all my life and didn't the Moslem courts of Abd-er-Rahman Beethoven's alleged black ancestry know itl" The question of Beethoven's III (912-961) and Almanzor (978-1002). began with J. A. Rogers (1944), but African ancestry has been raised at And when the Moors were gone, we Berwick Sayers (1969, 203) reports on various times. If the story reached the find 11egritos, negros, and qui11eos in an interview conducted with comic strips, where did it begin? Spain, Portugal, and Mexico; these Coleridge-Taylor by Raymond I've no idea when I first heard the were sixteenth-century songs in the Blathwayt (not further identified, un­ story, but l knew that Beethoven's language of the country, but on black fortunately) no later than 1907 in forebears were Flemish and that that themes and with African accents, which the matter is brought up. Ber­ region had become Spanish when Joan witnessing the continued presence of wick Sayers was asked by the com­ "The Mad" married the Hapsburg Africa in Spain. poser to review the transcribed inter­ Philip I. Durimg the sixteenth century, An iconograph'ic study that relates view. "In it he returned to the theory Spain carried its inquisition into the to this question is Tlie Image of I.lie that Beethoven had coloured blood in area, where neither the protestant nor Black in Western Art {1979). On page his veins. The supposition, he thought, catholic inhabitants really wanted to 193 of the second part of volume 2 was supported by the great composer's benefit from Spain's church-state ("From the Early Christian Era to the type of features and many little points union. But perhaps an ancestor of Age of Discovery"), plate 193 offers a in his character, as well as by his Beethoven's was Spanish. That would detail from a 1520 painting, held by friendship for Bridgetower, the mulat­ open the door for African background. Lisbon's Museu Nacional de Arte An­ to violinist. And he could not avoid a Africa was firmly entrenched in tiga. The panel. called the Santa Auta sarcasm: 'I think that :if the greatest of Spain well before 711 A.D., when the Altarpiece and taken from the all musicians were alive today, he Islamic chaptter of Spanish history Monastery Madre de Deus in Lisbon, would find it somewhat difficult, if not begins. There was no wall separating shows a sextet of black musicians per­ absolutely impossible, to obtain hotel· Africa from Spain, such as the forming on trombone and shawms for accomodation in certain American 11,000-foot Pyrennes mountain range the wedding of St. Ursula. This work cities."' It really must be said that which defines the Franco-Spanish and its many companions document Beethoven's friendship with border. The Strait of Gibralter is only a African presence in Europe's earlier Bridgetower cannot be considered as few miles wide and, in much earlier days, particularly in Iberia and Italy. evidence. We have no reason to think, times, there was not even water Ernst Bornemann (1969) has advanc­ for example, that Bartelemon, At­ separating the areas. A few instances of ed the belief that Caribbean traditions twood, o r Giornovichi were relationships follow: About 250 B.C., and the evolution of jazz in the United "coloured" because they had accepted Spain was the site for Carthaginian States is based partly on the Bridgetower as a student. But we are l trade in the Medjterranean and the Africanization of music in Spain, well aware that Beethoven was dark source for much of the Carthaginian before Columbus, despite Schuller's complexioned and had features which armies until 201 B.C., when the second objections (1968, 59). This is further were noted by his contemporaries. Punic War put Spain under Roman suggested by "l[)onde esta la Ma J. A. Rogers treats tihe subject in Sex control. The Vandal king, Gaiseric, ac­ Teodora?" by Teodora Gines, a son and Race (1944, vol. 3, 306-309), bas­ cepted an invitation to establish a Van­ from 16th century Cuba, and any ing his argument in·itially on these dal kingdom at Carthage in 428 A.O., number of works from Renaissance rather provocative observations; but l which was accomplished by his 80,000 Spain.' These ideas alone open the he comes to the conclusion that "In I subjects. During the time of the possibiEty that, if Beethoven had short, there is no evidence whatever to Moslems (politically until 1492, show that Beethoven was white." And although the culture and the language 2 For commentary on 1he Cine$ sisters, see "A the darkened reproduction of i glimpse of Afro-Caribbean music in the early letronne's portrait of Beethoven were of permanent influence in Spain), i 17th century," Black Music Researcl, Newsletter (Rogers 1944, vol. 1, 8) is compared there were some Arabs and Syrians in 4, no. 2 (Fall 1980): 2--3. To this may now be ad­ Spain, but m.ost of the new citizens ded the following musical example: with a photograph of Clarence were Berbers from Africa. Between Cameron White. No matter how cir­ times of political and religious conflict, cumstantial or speculative Rogers's there was trade, as well as intermar­ arguments might be, they are certainly riage between the Spanish and Moors. ardently posed and are most pro­ vocative for those who still think of a 1 This is a revision or an article by the same name that appeared in Music Rap; the newsletter of the Morgan State University Music Depart­ ment, February ]985. Continued on page 4 4

black/white dichotomy. They deserve Behr-Pinnow. 1928. Die Beethoven­ Hesse, Werner. 1879a. Die Familie notice. Legende. Volksaufartung, Erd­ van Beethoven in Bonn und ihre Someone relatively new to kunde, Eheberatung 3:60. Beziehungen. Monatssc/1rift fiir die musicology might wonder why there is Berwick Sayers, W. C. (1915] 1969. Geschic/1te Westdeutsc/1/ands literature on a composer's physicians Samuel Coleridge-Taylor, musi­ 5:200. or family. Netti's study (1956), for ex­ cian: His life and letters. Reprint. ·--- · 1879b. Die Famille van ample, tells us of Beethoven's favorite Chicago: Afro-Am Press. Beethoven in Bonn und ihre taverns and foods, how his morning Borneman, Ernest. 1969. Jazz and the Beziehungen. Allgemeine Deutsche coffee was prepared, what books he Creole tradition. Jazzforscl1u11g Musik-Zeitung. 6:157, 265. read, and how he felt about bathing, 1:99-112. Kerman, Joseph. 1980. Beethoven, although he does not stop with these Borren, Charles van den. 1927. Les Ludwig van, by Joseph Kerman points. SmalI wonder then that a com­ ascendants flamandes de Beethoven. and Alan Tyson. In Tlte new poser's ancestry is traced. During the Revue musicale 8, no. 11:210. Grove dictionary of music a11d time of the Nazis, studies identified Boschot, Adolphe. 1927. Les origines musicia11s, 2:354-414. 6th ed. Lon­ those who were not Aryan (African or flamandes de Beethoven. Courrier don: Macmillan. Jewish blood would have caused musical et thei'itral 29:64. Knight, Frida. 1974. Beetl,oven and Beethoven to fail the test, but he pass­ Boxmeer, Philip van. 1926. the age of revoluti,on. New York: ed). Flemish scholars took pride in fin­ Beethoven's ancestors. Neue International Publishers. ding so solid!ly a Flemish background Zeitschrift fiir Musik 103:7. Kolodin, Irving. 1975. The interior with Beethoven. Donald W. MacArdle ___. L'atavisme musical du Beethove11: A biography of the (1897-1964) sought to prove nothing da Grand van Beethoven et son ascen­ music. New York: Alfred A. Knopf. capo with his serious genealogical dance brabasonne. Le folklore Kossmaly, Carl. 1884. Beethovens studies, which culminated with his brabafonne 15 no. 85/ 86:34. Abstammung. Neue Berliner 1949 article in Musical quarterly, and Brassine, J. 1929. Apropos de Musikzeitung 38:82, 90. his resume in Beethoven abstracts I' origine liegoise des van Le Maire, Octave. 1937. Les origines (1973, 346-347). He shows that the Beethovens. Chronique archeologi­ braba~onnes de Beethoven. Le par­ Beethoven family appeared before que du pays de Liege 20, no. 4:74. chemin 2, no. 10:135. 1500 and, continuing to 1917, was Closson, Ernest. 1927a. Beethoven als Ley, Stephan. 1951. Anna Catherina populated totally by the Flemish-no vlaming. Dietscl1e warande en Bethoffen. N eue Zeitsc/1rift fiir Spanish, no Belgians, no Dutch, no be/fort. 27:266. Musik 112:304. Africans. ___. 1927b. L'heredite flamande Lohmeyer, Karl. 1917. Rheinische In New Orleans a few years back, I de Beethoven. Revue Pleyel no. Almen Ludwig van Beethoven. In joined Joh111 Henrik Clarke and 48:376. Kolnisclie Zeitw1g, Beilag 50, Josephine Wright for a panel on black ___. 1927c. Les particulairites Literatur- und Unterhaltungsblatt contributions to eighteenth-century flamandes de Beethoven. (December 16). Europe at a meeting of the Association Beethoven-Zentenarfeier 16-18. Ludwig, Emil. 1943. Beetliove11: for the Study of Afro-American Life _ _ _ 1933. Grandfather Life of a conqueror, translated by and History. One of the auditors, a Beet_hoven. Musical Quarterly George Stewart McManus. New school teacher, looked as if his entire 19:367. York: G. Putnam's Sons. career and reputation had crashed Devise, Jean. 1979. The image of MacArdle, Donald W. 1949. The from under him when Dr. Wright and I the black in Western art. Vol. 2 , family van Bee thoven. Musical agreed that Beethoven lacked African From the early Cliristian era to the Quarterly 35:528. an·cestry. I have twice been questioned age of discovery. Part 2, Africans - --· 1973. Beetliove11 abstracts. about the matter on radio broadcasts; in the Christian ordinance of the Detroit: Information Coordinators. and then, as I served as a guest speaker world (fourteenth to tlie six teenth Marek, George R. 1969. Beethoven: on a college campus, a member of the century), by Jean Devise and Biography of a genius. New York: a1,1dience wanted to know by what Michael Mollat. New York: Funk and Wagnalls. authority l had disenfranchised William Morrow. Nauwelaers, J. 1939. Les Beethovens Beethoven. A partial listing of the Doorslaer, van. 19Z8. Les Beethovens en Brabant. Le folklore brabafonne authorities is included below, not one de Malines. Mechlinia 7, no. 5:77. 107:366. of whom, as noted by my college cam­ Dubois, Maurice. 1927. More about Netti, Paul. 1956. Beethoven pus questioner, was a genealogist. Beethoven. Musical Digest 12, no. encyclopedia. New York: Myths d~ hard. 12:22. Philosophical Library. Erkmann, Fritz. 1938. Die Familie van Poiree, Elie. 1913. Beethoven et les Beethoven. A/Jgemei11e peintres de l'ecole flamande. Cour­ References Musikzeitung 65:433, 449. rier musical 16:62. Fitzmaurice-Kelly, James. 1911. Pols, Andre M. 1927. Is Lodewijk Aerde, Raymond van. 1939. A la Spain, by James Fitzmaurice-Kelly van Beethoven van Antwerpse recherche des ascendants de and Alfred Morel-Fatio. In The e11- oorsprong7 Gulden passer 9:51. Beethoven .. Revue beige d'ar­ cyclopaedia brittanica. 25:527-591. - --· 1937. Beethovens c/1eologie et d'Jiistoire de /'art 11th ed. New York: The En­ flamische Abstammung. Neues 9:121. cyclopaedia Co. Beet/iove11-Ja/irbuc/1 7:17. 5

Rasuchenberg. Walther. 1934. Donald MacArdle, translated by me11t. New York: The New Rassenmerkmale Beethovens und Constance S. Jolly. Chapel Hill: American Library. seine nachster Verwandten. Volk The University of North Carolina Tiersot, Julien. 1928. L'atavisme de imd Rasse. 9:194. Pr!!SS. Beethoven, C:ourrier musical et Redlich, Otto. 1928. Der Herkunft Schmidt-Gorg, Joseph. 1938. Koiner t/1ei'itral 30:141, 171. der Familie van Beethoven. Neue Ahnen Beethovens. Neues Tyson, Alan, ed. 1973. Beetlzove11 Zeutscl1rift fiir Musik 95:327. Beetl1ove11-Jalirbuc/1 8:53. studies. New York: W. W. Rogers, Joel Augustus. 1944. Sex ___. 1941. Beethovens · Norton. and race. New York: Helga M. flamische Vorfahren. Neue ___. 1977. Beet/10-ven studies 2. Rogers. Zeitsc/1rift fiir Musik New York: Oxford University _ _ . 1194711972. World's great 108:299. Press. 111e11 of color. Reprint. New York: Schuller, Gunther . 1968. Early jazz. Vincent, Auguste. 1931. Le nom de Collier Books. New York: Oxford University Beethoven. In lsidoor Teirlinck Scherman, Thomas K. 1972. The Press. Album. Louvain: De Vlammsche 8eetl1ove11 compa11io11, ed. by Slonimsky, Nicolas. 1978. Baker's Drukkerijj, 133. Thomas K. Scherman and Louis biograplzical dictio11ary of 111usi­ Wagner, J. 1918. Neues Uber Biancolli. Garden City: Doubleday cia 11s. 6th ed. New York: Schirmer l3eethovens G rosseltern miitterliche & Co. Books. Seite. Ko/11isc/1e Volkszeitung, 2. Schindler, Anton Felix. 118401 1966. Sullivan, J. W. N. [ 192711953. 131att, Sonntags-Ausgabe ' Beethoven as l knew him. ed. by Beetl1oven: His spiritual develop- (December 8). Composers Corner William L. Dawson at 85 by L11cius R. Wyatt, Prnirie View A&M U11iversity An 111/erview Co11ducted 011 May 15, 1985

L.W.: You once told me that a hometown we had I two great dancers, I but they would say, " He ain't go' come famous conductor declared that 11a­ T. King and Dick Lewis. We learned out, he's blowing that horn." So. final ­ tio11alism i11 11111sic is dead. Do you that they had been to 81 Decatur Ito ly Mr. Gresham said, "You know tlzi11 k lie was right? danceJ. That was a theater in Atlanta. William is making so much progress. I W.L.D.: No, he was wrong. This theater was tops just like the think I will give him special attention." Apollo in New York. So, we made up W/1y do you t/1 i11 k he was wrong? dances. We had dances about the Later you came to Tuskegee Institute When he said that, I said to him, Titanic and about Jack Johnson, the to study. W/1e11 you arrived 011 cam­ "You are wrong." As long as there is a boxing champion. That's true in the pus, were you immediately assigned lo family, you will have nationalism. The West Indies and it's true in Africa. So. tlze band? basis of nat.ionalism comes from !the people are still doing what they grew No, not immediately. Well, concept ofl the fam ily or a group. up with. We are truly fortunate in everyone had heard about the When a member of a family puts forth America. We have colored this country Tuskegee Band. The band played for his best foot, or when a member of a and we have had a great influence on drills and it marched to dinner every tribe is doing his best, or a member of a its cultural life. day. I wanted to be in that band. I society does his best, that's na­ knew a few fellows who were in the tionalism. That's all it is. We still have Tell me about you,- early experiences band: Manassah Gray, Stanely nationalism. When we had the Civil in music in A1111isto11. Williams, and a fellow whose last Rights Movement during the 1960s, My first band teacher was Mr. S. W. name was Barnes. from Indianapolis. that was nationalism. Gresham. I later found out that he These fell ows had played and toured taught at Tuskegee Institute. I had a with the band under N. Clark Smith, Tlze ,iotio11 of 11atio11alis111 i11 music trombone. A man by the name of Mr. and they were much older than I. I was often implies the use of folk materials Fleming could play that instrument. He about fifteen or sixteen years old at i11 composition. Do you tl,i11k that said to me one day, "William, let me the time. there is still a case to be made for tl,e have your trombone and I will get an Well, Stanley Williams was rehears­ use of folk materials in music? alto horn for you. When you go home, ing the band one day while I watched. Yes. I do. They are still using fo lk you can tell your father that it belongs He had Barnes playing the euphonium. materials in music. Agnes DeMille (the to Mr. Gresham." You see. my father I could hear Barnes playing. Then he famous choreographed once said, did not want me to be in music. So, l stopped and said to Barnes. "Who told "The Negro has given us our music and played the mellophone. I practiced that you that you could play7" Man, I got our dance." That's true. When J was a instrument so much until my lips were kid, the thing was buck dancing. I swollen. Some of my buddies wanted learned how to buck dance. ln my me to come outside and play marbles, Co11ti11ued 011 page 6 I,,------

6

out of there through the window. They performed quite well. As the result, I the program of the Philadelphia Or­ were not going to gel me. was selected as one of the band con­ chestra. I went to Philadelphia and So, after dinner one day I went back ductors and a judge for the World's they_ rehearsed my Sympl,011y every to the band cottage to try out for the Fair. morning for a week. Then, Mr. Tuskegee Band. All I wanted was just a Stokowski would have me to come in chance. They wanted me to play the Mr. Dawson, I would like to ask you and sit with him after every rehearsal. I march, Our Director. You won't about several perso11a/ities a11d how · went upstairs as far away as I could I lo believe this. The rhythm that I had the you remember them. How do you listen! . I was just flabbergasted. So, I greatest trouble with was } ) } in remember Jo l,11 W ork, fr. ? said, "Mr. Stokowski, it doesn't sound i time. l just couldn't play it. I was so John conducted the Fisk Jubilee like a thing, anc.1 1 am not going back to despondent, I cried. I didn't even go to Singers. I conducted the Fisk Universi­ Alabama." He smiled and said "Come supper. So I purchased the self­ ty Choir. John and I got along very on, have a drink of vodka." The next instruction book Music Steps by J. W. well. John . had wonderful oppor­ morning [it sounded) a little brighter. I Pepper. I went up to my room and tunities. His father, John Work, Sr., came a little closer. About the third or worked in the Pepper book. Soon, I had a good tenor voice. You see, all of fourth morning, I was sitting closer was ready for another tryout. The next the.Oaw~ons in my family went to Fisk right down with him. time, I qualified on trombone and An­ except me. I didn't have any money. The orchestra first performed it on a thony Taylor, a trombone player, was This includes my cousin, Congressman Wednesday night for the youth. On transferred to the euphonium section .. William L. Dawson from Chicago, Friday night it was broadcast to the Eventually, J became the first trom­ who attended Fisk. I went up there for country on radio. They told me that on bonist in the band. one year !after-Tuskegee) and John and Friday night not to expect much of a I became Captain Frank Orye's office I got along beautifully. reception because the audience would boy. He had a set of encyclopedias on be made up of principally old Qu<1ker his desk. When he would go fishing, I women. Well, they applauded after the How do you remember Leopold would read all of his books because I first movement and Mr. Stokowski Stokowski? turned around and chastised them for wanted to know about music. He was one of the greatest men applauding I inappropriately When have met . He was very kind to me. J. I rea~ a few years ago lo my surprise they performed it in New York, the 1/,at you were quite active as a profes­ audience applaud ed after each How did Leopold Stokowski become movement. sional jazz m11sicia11 in Chicago. I-low interested in pe1Jonni11g your Negro did you gel involved in jazz bands? Folk Symphonyl · In Kansas City I went to Erskine Did you meet Scolt fop/in? · Well, I played in the Chicago Civic No, I never saw him, but they were Tate who had the Vendome orchestra Symphony. l let Mr. Frederick Stock and I played for him. He wouldn't hire playing his M111Jle Leaf Rag when I see the,score tot he Sy111µli o11y. At that came lo Tuskegee. It was a hit! I read me. So, I went to Charlie Cook who time they were saying that the time was was the head arranger for Remick. He about Scott Joplin. and I learned that not right for us. Mr. Stock never did his wife was living in New York City had a good band. I played for him and do anything with it. Although I played he hired me as one of his two trom­ on 139th Street. I was living on 138th in the orchestra, the musicians in that Street, so I went over and introduced bones. Freddie Keppard was one of the orchestra didn't speak to me. trumpet players in the band. We myself to her. I even purchased a score However, I composed a piece for to Tree111011isl,a from her. recorded a tune called Cookies and chorus and orchestra, Break, Break, Ginger Snaps. This was around Break, based on Tennyson's poem, and 1927-1928. I also played with such How rlo you remember Rola11d I had the orchestra to go through it one Hayes? musicians as Johnny St. Cyr, Jimmy day. Noone, and Earl Hines. We were He was king of kings and lord or Later, S. L. (Roxy) Rothafel !of lords wit h his voice. I talked with him featured in the Equire Magazine's 1946 Radio City Music Hall famel came issue of Jazz all-stars. My experiences once after he joined the faculty at through Tuskegee one day from Atlan­ Boston University. as a performer in these groups came ta in route to Montgomery. While before I joined the faculty at Tuskegee. Roxy was visiting, he saw the score, Tell 111e abo11t lfo/µJ, Ellison. and he sent it lo Stokowski in We have been good friends for a You also organized and conducted a Philadelphia. Later, while I was aUen­ long time. Ellison rode freight trains to special band for the CJ,icago World's ding a football game with Captain come here to Tuskegee. He didn't finish Fair Band Contest in 1929. Frank Drye in Savannah, Georgia, I here because he didn't have enough Yes. The union first recommended received a telegram from Stokowski lo money. Here is an autographed copy Charlie Cook. Charlie didn't want to send the score and the parts to the or his Invisible Mm, which he sent me. do it and he referred them to me. The Symphony immediately. I went to band was composed of professional Chicago and got the parts from Did you ,11eet /cu11es Reese Europe? musicians who played in the cabarets. Frederick Stock. He pleaded with me, Yes, I met him. He came here and I It took me a half day to get them in "We will play it on Thursday." I tune. I finally got them in tune on the replied, "No, Mr. Stock, I must take it night we gave the concert. The band to Philadelphia." Stokowski put it on Co11ti1111ed 011 µago 7 7 played under him in the band. He came give me a counterpoint assignment of Booker Washington loved music and here before he took the Regiment Band five musical examples. I would bring he wanted every student to have the to Paris. He had the Clef Club [Or­ him thirty examples. Mrs. Hall sug­ opportunity to study music. He chestral, and he wrote music for the gested that I study with Adolph Weidig assembled some of the finest minds Castles. at the American Conservatory of here on the facu lty .. Not only did he Music in Chicago. She felt that Mr. bring George Washington Carver here, How do you remember your Weidig would give me what I needed. but others such as R. R. Taylor, a teacher, Alice Carter Simmons? So, I did, and Weidig drew out the best · graduate in architecture from the She was my first piano teacher. She from me. Massachusetts Institute of Technology. was Booker T. Washington's niece. She Three American presidents­ was Roscoe Simmons's sister. She William McKinley, Theodore In concluding this inten,iew, I am Roosevelt, and William H. Taft- call­ taught piano at Tuskegee before she going to ask you to reflect 011 Booker went to Fisk. I asked her one day if she ed on Booker Washington during his T. Washington. lifetime. would teach me harmony because l He was the gr,eatest. He was a giant. had learned that the study of harmony I marched in the Tuskegee Band in his Mr. Dawson, I want to tlrank you was essential to the musician. So, she funeral procession behind his coffin for a most inspiring interview. taught me. here. I have even saved a flower from Before you leave, I want to whistle a his funeral. You see, after the funeral tune that I bet you cannot pat your What about your teachers, Carl they placed all of the flowers received foot to. (Mr. Dawson whistles a tune Busch and Regina G. Hall? in the form of a pyramid, and I have consisting of clra11ging meters and I had some wonderfuJ experiences kept this flower in my scrapbook all slrifting accents to wliiclr the writer /,as studying with them. Mr. Busch would these years. difficulty patting his foot.)

The Music Department at the Moorland-Spingarn Research Center by Deborra Richardson, Howard University

The Moorland-Spingarn Research 1958 with the acquisition of the Arthur lect ion consists of approximately 2400 Center, loca.ted in Howard University's B. Spingarn music materials, and in items, including printed music and Founders Library, was established in 1961 when the Washington Conser­ music manuscripts . .All of the music in 1914 as the Moorland Foundation. It vatory of Music Collection was the Spingarn collection was written by began with Dr. Jesse Moorland's dona­ acquired. black artists. As in the rest of the tion of his sizeable collection of In 1973 the Moorland-Spingarn Col­ Spingarn donation, the music collec­ materials on black people in Africa and lection was reorganized and renamed tion boasts works of early black America-a substantial core resource the Moorland-Spingarn Research Americans such as Samuel Lucas for a "Negro-Americana Museum and Center. Or. Michael R. Winston Milady's "Listen to -the Mocking Bird" Library" that could become central became the Director, and the Center and music by Afro-Cuban and Afro­ to "a center for research and instruc­ was separated from the Howard Brazilian composers such as Amadeo tion."1 University Library system. It was dur­ Roldan and A. Carlos Gomes. In 1930 a new era of expansion was ing this time that the Center's Music ThP Washington Conservatory of begun with the appointment of Department was established, becoming Music Collection is primarily a Dorothy B. Porter as librarian of the operational in 1980 with the addition teaching one. The larger part of it con­ Moorland Foundation. She devoted of a music librarian and the transfer of sists of instructional or concert forty-three years to the development of the music from the Alain Locke Papers materials for voice and/or piano. its collections. It was through her ef­ to the Music Dei()artment. The Depart­ There are approximately three hundred forts that the core of the music collec­ ment had begun as a sheet music collec­ compositions of some one hundred tions at MSRC were acquired. In 1939 tion, initiated in conjunction with the twenty composers. The most well­ the Foundation was able to expand due original Foundation's intention to ac­ represented personality in the collec­ to the opening of Founders Library. quire every type of resource material tion is W. C. Handy, with about forty Then, in 1946, "the unique library of related to the b lack American. The works. Arthur B. Spingarn" was purchased Moorland-Spingarn Research Center The Alain L. Locke Collection con­ and added to the Foundation. With this now consists of a Library Division, a tains primarily popular songs and addition, the Foundation became the Manuscript Division (of which the spiritual arrangements- some loose, Moorland-Spingarn Collection. Music Department is a unit}, a Support many in song book albums. Significant additions were made in Division, Howard University Ar­ The Jesse E. Moorland Collection, chives, and the Howard University 1Mkhael R. Winston. New Directions (Summer. Museum. 1974). The Arthur B. Spingarn Music Col- Continued on page 10 Introducing . . . Members of the National Advisory Board of the Center for Black Music Research I by Bruce Tm:ker, New Bru11swick, New Jersey Boston where his trumpet playing in day, and Abbie Mitchell. From 1969 to local clubs attracted the attention of 1979, she served as head of the Norfolk Oscar Pettiford, who asked him to State University music department. I write two arrangements for an album. She has been a panelist for the National Soon the eighteen-year-old prodigy Endowment for the Arts and the Na­ was meeting his id ols in the jazz world. tional Endowment for the Humanities. He left Berklee and went on the road She is active as a voice teacher, ensem­ with Lionel Hampton's band as ble director, and lecturer. She serves trumpeter, arranger, and sometime on numerous arts organizations at the nation al, state, and local levels and, as Continued 0 11 page 9 a founding member of the Virginia Arts Commission, she is currently engaged in arts advocacy and in aiding promising black artists. In her scholarship she concentrates on black folk music, especially spirituals, and on black composers. Neither is an acquired taste; rather, she says, both interests spring directly

Co11ti11ued 011 page 9

Quincy /oms

"Check your ego at the door," said the sign Quincy Jones posted in the studio for the "We Are the World" recording session. Perhaps no figure in American music was more qualified to take the distinctive styles of the forty­ one musical luminaries who par­ ticipated in the project and mold them into a stirring, unified anthem, raising, in the process, millions of dollars for Georgia A. Ryder the victims of Ethiopian famine. For four decades, as a composer, Georgia A. Ryder, music scholar, producer, artist, arranger, co nductor, educator, and Dean of the School of instrumentalist, and record company Arts and Letters at Norfolk State executive, he has mastered many University, recalls an earlier effort to musical styles and pioneered many promote black music-the Institute for more. As a member of the National Black America n Music, which flourish­ Nat Lelm11a11 Advisory Board of the Center for Black ed briefly in Chicago in the late '60s Music Research, he is supporting the and early '70s. She also recalls Another enthusiastic member of the preservation, study, and promotion of meetings of that pioneering organiza­ National Advisory Board is Nat one of the many musics at which he has tion attended by, among others, Q uin­ Lehrman, president of the publishing excelled. cy Jones. Today she serves along with division of Playboy Enterprises, Inc. As a teenager, he formed a band him on the National Advisory Board of and associate publisher of Playboy with Ray Charles and played trumpet the Center for Black Music Research. magazine. Through its annual jazz and for Billie Holiday and Billy Eckstine. Among her many scholarly publica­ pop polls, its musical Hall of Fame After a semester at Seattle University, tions are articles on spirituals, socio­ awards, and numerous musically he accepted a scholarship at the cultural images of black women in prestigious Berklee College of Music in song , American cantatas, Billie Holi- Co11ti1111ed 011 page 9 9

Greer, Masters and Johnson, Mary Lehrman, co11 tim1ed Playboy and Oui. From 1978 until his promotion to president in 1982, he Calderone, and Mort Sahl. In 1980 he oriented articles, the magazine, almost served as senior vice president and received Brandeis University's since its inception, has been deeply in­ director of the magazine division , disling1,1ished community service volved in bringing musical awareness Born in Brooklyn, he graduated award, and in 1982 he received the to a wide audience. In addition, from Brooklyn College in 1953 with a human relations award from the Lehrman has a strong personal interest bachelor or arts degree in English and American Jewish Community. in music, espcially black music. French. In 1961 he received his master . In addition to serving on the Na­ I-le joined the company in 1963 as of arts degree in English and linguistics tional Advisory 13oar,d of the Center associate editor of Playboy and from New York Universit y. for 131ack Music Research, he serves on became senior editor in 1967. I-le was After serving in the Army, he the board of directors of the Playboy promoted to assistant managing editor became a travel writer and editor for Foundation, Essence magazine, Pine in 1970 and tihen to editor in 1972. ln th.' international travel department of Mountain Cablevision, Inc., and 1973, he became editor of Oui the American Automobile Association. Publishers In formation Bureau, Inc. magazine and in early 1976 was ap­ From 1957 to 1963 he worked for West and on the special advisory board of pointed vice president and associate Park Publications, a magazine the Masters and Johnson Institute. He publisher. Later that year, he was nam­ publisher in New York. has taught creative writing courses at ed senior vice president and associate He is the author of "Masters and Columbia College, and he is a member publisher of Playboy. Then in 1977, he Johnson Explained" and the editor of of the Midwest C lassical Guitar became group execu ti ve in charge of Playboy interviews with Germaine Society ..

Can't Stop Lovin.g You," he won the currently planning a Broadway Jones, continued first of his fifteen Grammy awards. musical that will explore four decades pianist. Between tours he did session The same year he scored Sidney of black musical styles. In addition, he work and arranging in New York for a Lumet's The Pawnbroker, the first of is entering film production for the first variety of jazz and r&b artists. his fhirty-three major motion picture time, helping produce Alice Walker's In 1957, Mercury records signed him scores. Films occupied most of his time The Color Purple for Warner Brothers. as artist. Meanwhile, he studied with for the rest of the decade. But in 1969, Reflecting on the changes in pop Nadia Boulanger, the legendary Pari­ he returned to recording, signing with music over the years, he says, "If there sian tutor to such composers as A&M records and subsequently mak­ are any common denominators, they Leonard Bernstein and Aaron ing a long string of groundbreaking are spirit and musicality. I've heard the Copland. Returning to the United records. rhythm section change many times. States in 1958, he arranged Ray He also found time to produce But looking at it more broadly, you Charles's landmark album The Genius numerous other a-rtists, to score Roots, find the same things coming back in of Ray Charles. to compose "A Black Requiem," which different fo rms. Life is about patterns. I-le took a job as A&R director for was performed by the Houston Sym­ With Basie, you had four-to-the-floor Mercury and soon rose to vice­ phony Orchestra, and to adapt the beat. and then it came round again president. He also distinguished music of Tl,e Wiz to the screen. He wi th disco. Sooner or la ter it all comes himself as an artist. recording la ter produced M ichael Jackson's Off back-then I go for the music that numerous albums for the label. In the Wall and Tlr.-i/ler. Today, he con­ gives me goosebumps-and that'll be 1%3, i!S arranger fo r Count Basie's "I tinues to record and produce and is the truth."

teacher introduced her to the piano n1usic." Ryder, continued music of Wi lliam Grant Still, with "But," she adds, "I had no idea what from her personal experiences. whom she was to work closely some I was letting myself in for when I went "The spirituals are a part of my own years later when she was completing in to formal research. As with any field, tradi tion," she says. "I grew up in the her doctoral dissertation at New York I soon learned that how much I didn't center of that tradition, first encounter­ University. kno;v was overwhelming.''. ing them at home as a child and contin­ As an undergraduate at Hampton, She became committed to promoting uing with them thereafter." she had her interest in black composers black music as a field of study and to She grew up in Newport News, spurred on by one her professors, the making it more accessible to Virginia, at a time when R. Nathaniel arra nger-composer Noah Ryder, everyone- scholars, musicians, and Dett and Clarence Cameron White whose work was being published by the public. That's why she joined the were teaching at nearby Hampton In­ W.C. Handy and whom she would advisory board. stitute. With older siblings at Hamp­ la ter marry. Through him she came in "My enthusiasm was rekindled by ton, she already fel t as a child some contact with b lack composers the Center for Black Music Research; connection to a larger world of music. throughout the United States. which I knew was going to be r.tm ·by Her interest in black composers "Gradually," she says, "I was people who knew what needed to be began when a high school music enveloped by the whole world of black done and could do it." I 10 Music Department at Moorland­ San,uel Coleridge-Taylor. composer, title and, in most cases, by Spingarn, continued Thus, each collection has a par­ added entry, the latter including addi­ ticular strength. The Spingarn collec­ tional composers, lyricists, performers, the Department's general collection, is tion is noted for its rarities, the show titles, etc, Access is obtained composed of do::iations made to the Moorland collection for its autographs through an in-house card catalog, Center by musicians, music educators, and donations by music personalities; which at present is open only to staff. and/or music enthusiasts. Like the A. the Locke collection is composed of Researchers are requested to make ap­ B. Spingarn collection, it is also rather music that centers on its black origins, pointm ents so that staff can be varied. The collection consists of more while the Washington Conservatory of prepared to fulfill patrons' needs to the than eight hundred compositions in Music collection concentrates on well­ fullest extent. both manuscript and printed form. known black composers and con­ The Music Department is open for Among the more than two hundred cert/ recital compositions. The Music research Monday through Friday from composers are Will Marion Cook, Department's sheet music collections, 9:00 AM to 1:00 PM and again from William L. Dawson (represented by, then, consist of some four thousand 2:00 PM to 4:30 PM. A Guide to tire among other iiems, an autographed varied titles by some 350 to 400 com­ Collections at tire Music Department of copy of his Negro Folk Symphony), R. posers. tire Moorland-Spingarn Researclr Nathaniel Dett, W. C. Handy, and The collection can be accessed by Center is in preparation.

ABSTRACTS OF PAPERS to be delivered at The 1985 NATIONAL CONFERENCE ON BLACK MUSIC RESEARCH at the John F. Kennedy Center for the Performing Arts Terrace Theater Free Admission Black Music Biography Richard A. Long, Atlanta University

For the biographer's craft and art posed. tionships and influences, and adjudges there are genera I criteria which must be Up to the present, much work con­ accomplishment and impact. A met, considered., and understood if we sidered as black music biography is biography should have a sense of pur­ are to set a meaningful agenda for essentially pre- or proto-biographical, pose, focus on an intended audience, black music biography. Beyond these consisting either of connected and be mindful of values. Few black there are the particularities of black life fragments of source material or of a music figures have been the subject of and of black music which must also be loose chronicle of a subject's life. full biographies. Such pioneers as fully assessed. 'Building on these two Biography in the full sense takes ac­ Harry T. Burleigh and Wi ll Marion areas of understanding, prescriptive count of the milieu in which a subject Cook offer excellent challenges to the and critical strategies should be pro- moves and functions, explores rela- biographer.

Black American Music in Pictures Some Themes and Opportunities Frederick Crane, University of Iowa

For all periods, from prehistory to words. Very often the pictures have in­ and often the real reward as well. the present, pictures are among the formation that simpJy cannot be found A stereograph of about 1870 shows a most important sources of information elsewhere. young black man playing a string in­ for the history of music. Interpreta­ A picture or a collection of pictures strument. The photo doesn't lie- that's tions of pictorial data are most suc­ may tell a lot right on the surface, the way he looked at the moment. But cessful when there are verbal sources especially if subjects, places, and dates what a strong burden of attitudes and that complement them, but the pictures are well identified. It is in in terpreting ca n be very telling even withou.t the images that the real challenge lies, Co11tin11ed 011 µage 11 11

convention the picture carries! The matter. tion. Great quantities of pictures exist subject has been molded to fit the Three kinds of iconographical im­ as holdings in museums .ind archives stereotypes held by the photographer ages provide samples of types of and as illustrations scattered through and by the potential white purchasers sources and of problems of interpreta­ magazines, newspapers, sheet music, of his card. The minstrel-show come­ tion: nineteenth-century depictions of and advertising fliers from the early dian and the Zip Coon-type black dan­ musical life on the plantation, photos nin.eteenth century to the present. dy are the models. In many other as evidence of integration in musical These public photographs will always cases, the image is undoubtedly much groups; and the many jubilee singers be there for the researcher, but the closer to real life, though there is in­ groups that were active in the early resources in private hands may not. In­ variably an element of posing, selec­ twentieth century. terview all the old-timers and copy tion, and artistic convention at work. The pictorial record of the history of their photos and other memorabilia. To date, not much critical interpreta­ jaiz has been presented more fully in Get the full identification of the sub­ tion of historical images of black musi­ publication than any other aspect of jects of each picture, and try to secure cians has been published- or of American music, but there are many the deposit of the original material in American music in general, for that opportunities for study and publica- some archive.

A Question of Value Black American Music and Criticism Orin Moe, Naslwille, Tennessee

In music, the word criticism is usually cumstances of composition remain Present analytical techniques are ex­ taken to mean daily or weekly reporting unknown, and a reliable text does not ceptionally sophisticated, although a of concerts. Criticism in the more im­ exist. This approach, however, tends certain dogmatism prevails with most portant sense- a consideration of the to be allied with an attitude that practitioners. The analyst of black meaning and value of a work of art- is assigns importance to a work based on music must pay close attention to virtually nonexistent. Scholars have its place in an assumed pattern of characteristics of the black musical been more concerned with the development. The more it anticipates tradition as it has been practiced in documentable and the quantifiable later compositions, the greater its Africa and in this country. Although (ch ronology, place of composition, value. Since black American concert localized instances of such establishment of an authentic text) or music tends to be conservative­ characteristics have been frequently with a work's place in an evolutionary probably because artists generally like observed, more significant is their ef­ scheme of development. The more dif­ to work within a tradition and usually fect on the larger structure of a work. ficult and more "subjective" task of do not value innovation for its own Viewed in this way, the Afro­ evaluation has been avoided. The study sake-it has received little attention Americ1111 Symphony presents a of black American concert music may from mainstream scholars. Consider fasci nating interplay between the struc­ very well lead to the establishment of William Grant Still's Afro-A111eric1111 tural impulses resulting from its use of criticism in American musical scholar­ Sy111plzo11y. There is nothing advanced a blues theme and those coming from ship, since without criticism the value of about its musical techniques, although the history and tradition of the this music will never be known. its historical place in the Americanist symphony. The positivism of traditional musical movement of the 1930s deserves more Criticism, however, takes in more scholarship has made and will continue attention than it has been given. Judg­ than analysis. General history, musical to make valuable contributions to the ed critically, however, it is a valuable history, black American musical study of black American music. After and significant work of art. How do we history, and the composer's biography all, criticism cannot take place if the arrive at this judgment? One of the are some of the other things that need music has not been discovered, the cir- principal means is analysis. to be incorporated.

Theory and Method in Black Music Oral History Ro11 We/bum, Alba11y, New York

Successful oral history projects histories that come directly from those allow flexibility to the one giving the benefit from sensitive interviewers who who created a particular style are history. k now their subject-interviewees' essential to scholars and the lay public The simple interview is the main careers well and who can guide, not to have a clear understanding of a procedure familiar lo rthc oral history dictate, the flow of discussion and musical culture and the individuals interviewer, but oral history demands monologue. Jazz and ethnomusical who comprise it. Oral history is yet a less the focus of the journalist than the oral histories are rich fields of study young field without a fixed method. ear and patience of a sympathetic full of insights and obsure details about The fundamental approach to conduc­ I cultural and social history. Musical ting the oral history interview must Co111i11ued 011 page 12 12

listener who is a cultural or other history project is essential. In music in cassel le recorders and tapes in the historian. Oral histories, then must dif­ this includes studying the discog­ 1980s, some well-meaning and even in­ fer in form from the press release or raphies, being aware of routes of ternationally acclaimed writers and magazine feature. Oral histories in the travel. of fellow musicians, of valets, musicians have used low-quality tape ultimate sta te of the transcribed promoters, and managers. Jazz, for ex­ for oral histories and have then sloppi­ man uscript reflect as much­ ample, numbers among its staunch ly labeled the tapes and their boxes. sometimes more-about the person devotees individuals possessing an en­ Here, most of all, the significance of conducting the oral history as they pre­ cyclopedic knowledge of performance 'the l,istory contained in these inter­ sent the thoughts and memories of the dates and personnel. Sometimes oral views must continually be emphasized. subject-interviewees. Manner and flex­ history can clarify the obscure and cor­ Oral history is not merely biography ibility reflect interpersonal courtesies, rect errors "written in stone." and anecdote, but is also a source of and the fixed opinions and dogmatism Finally, oral history procedures de­ history. The preservation of such that some jazz and ethnomusical critics mand the use of high quality sound historical raw data is important to the and historia.111s may hold are on trial recording equipment. Despite there continuing documentation of black and in view. Preparation for an oral having been enormous improvements music history.

A Preliminary Investigation Into the Preparation o f a Black Music Dictionary Jol,n Goldman, New World Dictionaries

In the preparation of any dictionary lengthy definition s, amounting in some There are other practical considera­ the first 11uestions that need lo be cases to small essays. If the book is tions which must also be explored, answered are based on practical con­ aimed at a commercial market, ihe such as the proximity of the staff office siderations which will determine the work could be done by a small staff of to available archives. access to com­ character and specifications of the lexicographers with some degree of puters, the size of the staff budget. the book. How long should it be? For musical expertise, whereas a larger method of collecting ci tational whom is it being prepared? ls it to be work would require an additional evidence, etc. The scope of the word self-sustainin.g or subsidized? The group of experts and specialists. stock and subject areas to be included answers to these and other questions Whether some biographical entries will be determined by the musical will shape the suggested plan for a for composers, arrangers, instrumen­ genres that are selected for the book, Black Music Dictionary that is the sub­ talists, or vocalists would be ap· e.g., blues, jazz, gospel, popular, ject of this paper. propriate would also be determined by rhythm and blues. To what extent will While a subsidized multi-volume the scope of the dictionary. The black composers in the European tradi­ dictionary/encyclopedia would allow feasibility of including such items as il- tion (symphonic, chamber, and others) for a widely varied staff and group of 1ust rations, musical examples, be included? There is a lso a question of contributors and could include photographs. and citational evidence geographical limit. Will the dictionary material relating to a wide range of is another issue relating to format and be confined to American forms or will sources, a one-volume dictionary the potential for commercial sales. black African, Caribbean, and Latin would be limited to a listing of terms Would the dictionary have a cut-off terms be included, and to what degree? with definitions, pronunciations, date to enable the editors to restrict Finally how is the term "black music" perhaps etymologies, and examples. their research to a manageable level? to be understood for !this dictionary? Certainly some terms would require This question too wi ll be considered.

NEWS AND NOTES FROM . . . the Center for Black Music Research by Josephine Wrig/rt, Tlie College of Wooster

Author Verna A rvey has announced contains Still's Symphony No. 3 (Tlie Composer Leslie Adams has an­ the publication of her biography of Sunday Symp/rony) and selected nounced two in-progress performances composer William Grant Still, entitled c horal-chamber pieces, and a of his new four-act opera, Blake (based ln One Lifetime (Fayetteville, Arkan­ documentary film, entitled "William on the novel of Martin R. Delany), at sas: University of Arkansas Press, Grant Still: Trailblazer of the South," Oberlin College Conservatory on April 1984). Other commemorative offerings which was produced by the Arkansas 11 and the Cleveland Playhouse on that have been issued within the past Educational Television Network. The June 20. The cast of performers includ­ year to honor the late composer in­ records may be obtained from The ed tenors Paul Adkins and Irwin Reese, clude a recording, made by the North Symphony Society (P.O. Box 1724, Arkansas Symphony Orchestra, which Fayetteville, AR 72701). Continued on page 13 13

baritones Mark Doss and Stephen America. Therefore, it is my University, Romeoville, IL, "A Com­ Szaraz, sopranos Gurcell Henry and privilege to present fo r the parati ve Study of the Music of Florence Kathleen Orr, mezzo-soprano Jane Honorary Degree of Doctor of Price and Margaret Bonds"; Norman Gunter-McCoy, the William Appling Arts, Eileen Jackson Southern. B. Chapman, Rust College, Holly Spr­ Singers and Orchestra, narrator Rick Lynnette Geary has advised us of her ings, MS, 'Tempo in the Works of Young of Channel TV 8 (Cleveland), current research on the biography of Scott Joplin"; Ra lph M. Eastman, Mt. and William Appling, musical director. concert singer Jules Bledsoe, who was San Antonio College, Walnut, CA, active professionally from 1924 to 1943 "Black Music and Contemporary Eileen Southern (Harvard Universi­ and is best remembered for his role of Society"; Clark D. Halker, Albion Col­ ty) received .an honorary degree of Joe in Florenz Ziegfeld's 1927 produc­ lege, Albion, Ml, "Black Music, Black Doctor of Arts at Columbia College on tion of 5/iowboat. She requests infor­ Culture, and Black Consciousness"; June 7. She was presented fo r the mation about Bledsoe's residence in Ellistine P. Holly, Jackson State degree by Samuel A. Floyd, Jr., with Chicago between the years 1920 and University, Jackson, MS, "Emma the following citation: 1924. Kindly address all cor­ Azalia Hackley, 1867-1922: The As author of the definitive respondences directly to her at 716 Chicago Years"; William R. Hullfish, work in the field of black music Camp Drive, Waco, Texas 76710. State University College, Brockport, history and as editor of a scholar­ NY, "James Bland: An Analysis of His ly journal, you have been the The New York Times has recently Music and Contribution to American leading contributor to and reviewed a new album by composer Music"; Carol L. Quin, Lane College, recorder of missing pages in George Russell, entitled ''The African Jackson, TN, "William Grant Still's American social history. As Game" (Blue Note), the first of his Role in the Expression of American Na­ author of works on European recordings released on an American tionalism in Music"; William R. Renaissance music, you have label in the last thirteen years. The Rogers, Jr., Hampton University, demonstrated your intellectual album contains nine movements, Hampton, VA, "Dorothy Maynor: Ar­ versatility and broad back­ which Russell calls "events .. . [that! tist, Academician, Altruist"; Paul W. ground. As a graduate of the portray the evolution of life on earth Schmidt, Wartburg College, Waverly, University of Chicago and of from the first unicellular organisms to IA, "The Roles of the Guitar in Black New York University, you em­ the development and growth of human American Music"; Marion D. Schrock, body the best aspirations of consciousness." The work was record­ Western Oregon State College, Mon­ liberal education and have ex­ ed in Boston at Emmanuel Church by mouth, OR, "Oll y Wilson: Composi­ ecuted these with courage and in­ Russell and his twenty-five-piece liv­ tional Process and Black Music tegrity. ing Time Orchestra. Characteristics in Selected Works"; As a result of your thorough Opera Ebony presented perfor­ Gordon A. Solie, Portland State and impeccable scholarship, mances of _two new operas in New University, Portland, OR, "Latin writers of the historical record York at Aaron Davis Hall of City American-U.S. Musical Connections: must take into account your University on February 24: Va lerie The Syncretic Process"; Richard A. work; thus, it has changed the Caper's Sojourner, featuring Loretta Wang, University of Illinois at presentation of American music Holkman in the title role, and Howard Chicago, Chicago, IL, "Chicago Jazz: history. Your book, The Music of Roberts's Movin'. choreographed by An Analytical Study." Black Americans, and your jour­ Kev in Jeff. nal, T/ie Black Perspective in The Sonneck Society has scheduled Roland Braithwaite (Talladega Col­ its annual meeting for 1986 at the Music, have fil led great voids in lege) reports that he has spent a the scholarly literature, reaching University of Colorado (Bo ulder) on research leave investigating the April 17-20. A call has gone out for a national public and a consti­ Richard Allen 1801 hymnals with tuency beyond these American proposals for papers, workshops, assistance from an NEH Fellowship for panels, and performers. Topics dealing sh ores. Your dictionary College Teachers. celebrates 1500 previously un­ with music and musical activities in the sung Amer ican mus1c,ans, Samuel Floyd conducted an NEH Great Plains, Southwest, and West are documentin.g their achievements Summer Seminar for College Teachers encouraged, but proposafs on all and giving them a long-awaited al Columbia College from June 17 to aspects of American music are invited. place in the annals of American August 9. Entitled "Black Music in the Performances of American music are social history. Institutions of United Stales," the seminar examined also solicited, preferably accompanied many la nds seek your counsel black music in the Un ited States since with a cassette tape. Copies of pro­ and laud your accomplishments. 1800, focusing upon selected aspects of posals should be sent, in six copies, by We celebrate you: master the music's history. Participants began October 1, 1985 to: John Graziano, researcher, recorder of history, their investigation through research of 1986 Sonneck Society Program Chair, exemplar of the best and highest various sources and bibliographical Department of Music, City College of ideals of scholarship. materials, and applied traditional CUNY, Covent Avenue &: 138th Your consummate scholarship historical and analytical methodologies Street, New York, New York 10031 . has recorded a permanent lesta­ to the study of a variety of traditions , ment to the comprehensive and styles, The participants and their richness of the music of black topics were: Daniel A. Binder, Lew is Co11ti1111eri 011 page 14 14

Soprano .Martina Arroyo has been ample of southern stage entertainment music, the art song, and classical in­ appointed Professor of Voice at Loui­ during the 1920s. strumental music. Among the par­ ticipants were musicologist Eileen siana State University. She will accept The Universit y of Michigan School Southern, pianist Billy Taylor, and twelve students for the 1985-1986 of Music (Ann Arbor) hosted a na­ academic year. composers Kermit Moore and Hale tional symposium on black American Smith. A series of workshops for per­ Thomas Riis (University of Georgia music August 9-15, where participants formers were held in conjunction with at Athens) r-eports that he has received explored various aspects of the Afro­ the symposium, and several pre­ funding to pursue research on the American musical experience with professional (ages ] 6-30) performers, Morgan Theatre and the Theatre panels of established scholars and per­ composers, scholars, and educators, Owners Booking Agency (T.O.8.A.). formers. Topics ranged from discus­ attended the conference on scholar­ sions of black church music, jazz, and His investigation will focus upon the ship. Morgan Theatre as a representative ex- music education, to black women in

BMR Newsletter is devoted to the encouragement BMR Newsletter is published by !he Columbia Inquiries regarding subscription. as well as and promotion of scholarship and cultural activity College Center fo r Black Music Research. subscription payments, should be sent to: in black American music, and is intended to serve Information submitted for inclusion should be Publicationsr Center fo r Black Music Research as a medium for the sharing of ideas and mailed to: Samuel A. Floyd. Jr., editor. Center Columbia College Chicago information regardu,g current and future research for Black Music Research, Columbia College. 600 South Michigan Ave,nue and activities in universities and research centers. Chicago, Illinois 60605-1996. Chicago, Illinois 60605-1996.

Black Music Research Newsletter Center for Black Music Research Columbia College Chicago 600 South Michigan Avenue Chicago, Illinois 60605-1996