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Art Music by Caribbean Composers: Introduction to Volume 1: Bahamas, Guadeloupe, Haïti, Jamaica, & U.S

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Art Music by Caribbean Composers: Introduction to Volume 1: Bahamas, Guadeloupe, Haïti, Jamaica, & U.S BIBLIOGRAPHY Art Music by Caribbean Composers: Introduction to Volume 1: Bahamas, Guadeloupe, Haïti, Jamaica, & U.S. Virgin Islands Christine Gangelhoff Cathleen LeGrand 1 The College of The Bahamas INTRODUCTION The vast scope of the project requires the Musical genres associated with the Caribbean authors to adopt a modular approach. This region typically include popular and system will allow for an intense focus on each traditional styles such as reggae, calypso, area, to result in a comprehensive data soca, merengue, and zouk, among others. collection. The first stage of research will These musical styles are, in general, well focus exclusively on art-music composers documented both in the scholarly and popular born in the Caribbean region. Composers realm; writings on and recordings of these who relocated to the Caribbean from other styles are easy to locate. Art music from the regions are not included here. For the Caribbean region is much less examined and, purposes of this project, Caribbean region is indeed, less well known. Many composers of defined as all Caribbean-island nations of any art music have emerged from Caribbean colonial affiliation. Bermuda and The nations, often to little notice. Research and Bahamas are included. Mainland nations documentation of this tradition exists but is bordering the Caribbean (Belize, Guyana, and scattered, easily overlooked and, in general, Suriname, for instance) are not. Later stages difficult to locate. of research will include composers of significance to, but not native to, the The goal of this project, now in its first Caribbean region. Mainland nations with volume, is to identify and list all available strong cultural ties to the Caribbean (e.g., information on the art-music tradition of the Guyana) may also be included in future Caribbean region. It will, ultimately, form a stages. comprehensive document of value to musicians, ethnomusicologists, historians, The authors recognize that this is, inherently, researchers, educators and students. an unfinished work; even once all stages of 1Christine Gangelhoff, Assistant Professor, School of Communication and Creative Arts; Cathleen LeGrand, Public Services Librarian, Libraries and Instructional Media Services; The College of The Bahamas, P.O. Box N-4912, Nassau, Bahamas. Cathleen LeGrand is now Librarian at Royal Thimphu College, Ngabiphu, Thimphu, Bhutan. Acknowledgments: The authors are grateful to The College of The Bahamas for the grant that made this research possible. E-mail: [email protected] How to cite this article in APA 6th ed. style: Gangelhoff, C. & LeGrand, C. (2011). Art music by Caribbean composers: Introduction. The International Journal of Bahamian Studies, 17(1), 1-5. Retrieved from http://journals.sfu.ca/cob/index.php/files © C. Gangelhoff & C. LeGrand, 2011. Journal compilation ©The International Journal of Bahamian Studies, 2011. C. Gangelhoff & C. LeGrand. Caribbean Art Music: Introduction. 2 research are completed, the document will popular traditions, the style remains require constant updating as new works are formal, often with advanced musical composed, new performances are recorded, structure. etc. • Art music is fully composed. Parts are This first volume of the project provides a arranged and are written in western staff listing of scores and sheet music; recordings notation. Music preserved only by oral (sound files, CD's, etc.); websites; a tradition and not fixed in a written bibliography of books and articles; and a medium does not qualify. (This criterion listing of research institutions and libraries serves to distinguish classical music of regarding composers of Caribbean art music. non-western traditions.) Whenever possible, the authors include • All parts are played as written. information on the potential sources of these Interpretation, as opposed to materials (directions to where they can be improvisation, is the dominant focus of acquired, either by purchase, by download, or the performer. (Accordingly, music by borrowing). played from a lead sheet or a jazz chart is The authors have intentionally excluded excluded under this definition.) materials existing exclusively in outdated • The composition and performance or formats (such as 78 LPs, audiocassettes, and interpretation of art music requires microform). The authors also have excluded specialized skill and knowledge, unique to those works for which a record exists but no the classical style. copies can be located. (If an item cannot at least be borrowed from a library or purchased • The experiential focus of art music is on from a vendor, it is not included here.) listening to the performance as opposed to physical engagement such as dancing. DEFINING ART MUSIC Art music is a difficult concept to define. The VOLUME ONE distinction between art music and folk music This first volume includes composers born in is indeed blurred and, as a result, is difficult the following nations: The Bahamas, to articulate. Guadeloupe, Haïti, Jamaica and the U.S. For this project, the authors used the Virgin Islands. Other nations will be covered following criteria to distinguish art music in subsequent volumes. from popular, traditional and folk music This bibliography is separated by country. (styles which, again, are not covered here, Within each country, it is divided into the being already well-represented elsewhere). following sections: These criteria do not arise from elitist • Composers: Composer information intentions and are outlined in order to includes names, dates, and country of demonstrate clearly which works are included origin. This list is arranged alphabetically in the scope of this project: by last name of composer • Art music descends from the western • Compositions: This list is arranged first classical tradition. by composer (alphabetically by last name) • Art music may draw inspiration from or and, within each composer, alphabetically make use of melodies from folk music or by title of work. Whenever possible, titles dance tunes, as composers have done of works are given in their original throughout history. But, while the subject language: English, French or Haïtian matter may be borrowed from the folk or Creole. The date of publication and The International Journal of Bahamian Studies Vol. 17, no. 1 (2011) C. Gangelhoff & C. LeGrand. Caribbean Art Music: Introduction. 3 instrumentation of each work, when • Books, articles, theses and dissertations, available, are also included. and films: These works are arranged • Scores and sheet music: These lists are alphabetically by the last name of the also arranged first by composer author of the work. (alphabetically by last name) and, within • Libraries and research institutes. These each composer, alphabetically by are arranged alphabetically by name of performer or by title of work. institution. • Recordings: Arranged by composer, the A YouTube channel, CariClassical, format of the recording (whether CD or accompanies this bibliography. This channel online soundfile) is indicated. features examples of works of art music • Relevant websites: Arranged highlighted in the bibliography as well as alphabetically by title of website. examples of folk musical styles that have influenced art-music composers of the Caribbean region. Hyperlinks to the videos included on CariClassical may be found throughout the introductions to each of the chapters of this bibliography. The International Journal of Bahamian Studies Vol. 17, no. 1 (2011) C. Gangelhoff & C. LeGrand. Caribbean Art Music: Introduction. 4 GENERAL WORKS WEBSITES Black musicians leading the way. (1982). Center for Black Music Research. (2010). Music Educators Journal, 68(6), 46-48. Bibliographies & music lists. Chicago, IL: doi:10.2307/3397768 Columbia College. Retrieved from de Lerma, D. R. (1990). Black composers in http://www.colum.edu/CBMR/Resources/Bi Europe: A works list. Black Music Research bliographies_and_Music_Lists.php Journal, 10(2), 275-334. Center for Black Music Research. (2010). doi:10.2307/779389 Discography of music by black composers. de Lerma, D. R., McKenzie, D., & Vlaun, L. Chicago, IL: Columbia College. Retrieved (1984). A concordance of scores and from recordings of music by black composers. http://www.colum.edu/CBMR/Resources/Di Black Music Research Journal, 4, 60-140. scography_of_Music_by_Black_Composers Available at .php http://www.jstor.org/stable/779474 Classical composers database. (2010). Floyd, S. A. (1999). Black music of the Retrieved from http://www.classical- circum-Caribbean. American Music, 17(1), composers.org/ 1-38. doi:10.2307/3052372 [Composers are searchable alphabetically by Floyd, S. A. (Ed.). (1999). International last name or by group. Groups include dictionary of black composers (2 vol.). nationality, periods and styles.] Chicago, IL: Fitzroy Dearborn. Composers of African descent. (2009). Gray, J. (1988). Blacks in classical music: A AfriClassical.com: African heritage in bibliographic guide to composers, classical music. Retrieved from performers and ensembles. New York, NY: http://chevalierdesaintgeorges.homestead.co Greenwood Press. m/index.html Inanga, G. (2008). Genre theory, western LIBRARIES & OTHER ORGANIZATIONS classical music and the Caribbean musical The Center for Black Music Research arts. Journal of the University College of the (CBMR), Library & Archives Cayman Islands, 2, 4-17. Columbia College, Chicago, IL Kuss, M. (Ed.). (2007). Music in Latin 618 South Michigan Avenue, 6th Floor America and the Caribbean: An Chicago, IL 60605 encyclopedic history,
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