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Center for Black Music Research: Black Music Research Newsletter Publications
Fall 9-1-1986
Black Music Research Newsletter, Fall 1986
Samuel Floyd Columbia College Chicago
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Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1986" (1986). Center for Black Music Research: Black Music Research Newsletter. 23. https://digitalcommons.colum.edu/cbmrnews/23
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]. BLACI< MUSIC RESEARCH NEWSLETTER C II ,1 R COLUMBIA COLLEGE CHICAGO Vol. 8, No. 3- ISSN Number 0271-3799 Fall 1986
Introducing . . . Members of the National Advisory Board of 'The Center for Black Music Research by Bmce Tucke,: New Brunswick, New Jerset;
• "I joined the NaUonal Advisory the recordings o f Duke Ell ington, often stopped in to catch the act. 13o,wd of the Center for Black Music Dizzy Gillespie, and Marian Ander "They were always asking us how Research," savs Geraldine de Haas, son. "I also heard some incredible we got our vocal sound," she says. "because I wimt to see black music singing in the churches of the com "The sound came out of three un elevated to the stature it deserves and munity," she says, "and we always trained voices that gave us rather un to help show th1: world the contribu had some kind of piano in the house." ique harmony because of the notes tion black music has made to all As a teennger she was primarily in we chose to sing." music." In her ca reers as a singer, ac fluenced by the music of Marian An Beginning in 1958 the g roup, along tress, ~nd ,,ow as program representa derson. Gradually, s he was drawn with a rhythm section , toured Europe tive of the performing arts pmgrnm into jazz. With her younger brother for fifteen months. Back home they of the Illinois Arts Cow1cil, she has Andy and her older sister Salome, she performed at the Apollo, the Regal, made her own considerable contribu made up Andy and the l:ley sisters. Bird land, the Blue Note, and manv tion. In 1957 they began performing at other storied venues. They recorded Growing up in Newark, she was small Newark clubs like Teddy Pow Audy n11d tl,e Bey Sisters for RCA in sarrounded by black music. Her older ell's. Luminaries like Sarah Vaughan, brothers and sisters exposed her to Dizzy Gillespie, and Carmen McRae Co11ti 1111ed 011 page 2
IJ Though he's worked for the well cation, he says, is the thread that has taught civics to black adults, most of known General Artists Corporation run through his many activities, from whom were dockworkers just beg.in (GAC) talent agency, served two stints training initially as a teacher to joining ning to urlionize. as publisher -of Dow11 Bent magazine, the National Advisory Board of the After coll ege and the war he joined and founded numerous music related Center for Black Music Research. General Artists Corporation as an of companies, Charles Suber thinks of He was immersed in black music fice manager. At that time the agency himself primarily as an educator. Edu- early on. His gr,rndfather, his uncles, handled artists like Nat Cole, Peggy and his father were all professional Lee, and Jimmy Lunceford. While With this issue BMR News musicians. As an official of the New mulling over an offer from MCA, he letter completl:!s a shift from York musicians' union ,md as a dance ran into a f1iend who had recently an academic-year publication band drummer, his fotlier was a friend been named publisher of Down Bent. schedule, with two issues pub of Benny Carter, Chick Webb, and Ella The friend asked him how he liked lished in the fall and spring, to Fitzgerald. In 1935, at .ige fifteen, he the magazine. When Suber replied a c;ilendar-ye11r schl•dule with was given a lifetime pass to the legen "not much," the friend dared him to tw(l issues per year appeming in dary Savoy Ballroom. join the staff and do something about spring and fall. With Volume 9 In coileg,-i al Louisiana Stale Univer it. I-le accepted. Two years later he we return to two regularly sity, he ~tudied history and English became publisher himself, serving in scheduled issues per volume. and frequ (?nted the black clubs in Baton Rouge. I-le also surreptitiously Co11t i11 11cd 011 page 2 --- ·------rI 2 I I De Hass, co11Ji1111ed the music and raising it to the level I where it so rightfully belongs." ' 1961 and Here Now, Andy Bey and tire She has also produced and directed Bey Sisters for Prestige in 1963. They numerous jazz programs in Chicago's disbanded in 1966. Grant Park and South Shore Country As a solo artist she has performed Club Park. She says of those prog under her manied name of Geraldine rams, many of which have been tri de Haas. In addition to singing jazz butes to Duke Ellington, "I'm trying she has appeared in productions of To to bring the music-with a historical be Yo1111g, Gifted a11d Black; Don't Bother perspective- to people i11 the com Me, I Can't Cope; Showboat; and Hair. munity." In 1980 she earned a B.A. in music For her contributions to the life of education from Chicago State Univer Chicago, she was recently cited by sity, where she studied, among other Bright New City, a Chicago organiza things, classical music and voice. "I tion of ard1itects, city planners, and know classical music and jazz, and I people in the performing arts. Cur know the value and importance of rently, with the Illinois Arts Council, both," she says. "That's why I'm wil she consults with performing artists ling to participate in something like and performing arts organizations the Center for Black Music Researd1. and tries to help them secure grants It's doing the research and preserving to continue their work. Gem/dine de Hans
Su ber, co11ti1111ed "My whole thrust at Down Bent was Between stints at Dow11 Beal, Suber to use its pages for educational pur founded National Educational Ser poses," he says. "We published scores vices, the first mail order distributor and transcriptions of solos. We pub of specialized jazz books. He induced lished a series of books called Jazz Berklee College of Music to start a Styles n11d Analysis, and we put· ar press for which NES acted as dis rangements on the market." tributor. The company also did some He also used his column "First original publishing, including early Chorus" to educate the readers, fre books by David Baker. quently lamenting the lack of jazz The author of numerous articles in courses in university music education trade publications, Suber is also the programs. He also argued forcefully chair of the Education Committee, against the distinction between jazz Annotation Committee, and Jazz and "serious" music. Committee for the Grammy Awards In the late fifties he helped initiate and a member of the board of direc the stage band movement, which saw tors of the Music Industry Education jazz ensembles organized Ln high Association. He is currently director schools and colleges throughout the of the graduate program in arts, enter country. Under the auspices of Dmv11 tai11ment, and media management at Bent and the musical instrument com Columbia College, where he has panies, musicians like Thad Jones, taught full -time since 1983. Quincy Jones, and Clark Terry travel Of the Center for Black Music Re Clrnries S11ber led to the schools to give jazz clinics. search, he says, "The Center should Week-long national stage band camps do what it's doing-establishing a seri that capacity from 1955 until 1962 and offered instruction in arranging, ous place for the perpetuation and again from 1968 until 1982. theory, and section rehearsal. study of black music."
• National Advisory Board member became principal hornist of the Cin Klee was written for the Minneapolis Gunther Schuller is one of America's cinnati Symphony, appearing one Symphony with a grant from the Ford foremost conductors, composers, and year later as soloist in his own "Horn Foundation. For the seventy-fifth an educators. Concerto." At nineteen he joined the niversary of the Chicago Symphony, A native New Yorker, he was by age Metropolitan Opera Orchestrn where he composed his Co11ccrto for Or sixteen playing in the New York he remained as solo hornist until 1959, clu:strn. His SJ'ectrn was commissioned Philharmonic under Arturo Toscanini when he resigned to devote full lime by Dimitri Mitropoulos for the New · and in the American Ballet orchestra to composing. York Philharmonic. The Boston Sym under Antal Dorati. At seventeen he His Set>c11 Studi'-'~ 011 Tht>111rs of Pa11/ phony and the Toho School Orchestra 3
premiered his Deai, a work for two negie Hall from 1!963 to 1965. He was orchestras. The National Symphony partially responsible for the ragtime under the direction of Mstislav Ros revival of the 1970s when he iJ1tro tropovich premiered his Concerto for duced the New England Conserva Co11tmbassoo 11 a11d Orclzeslra. Octet was tory Ragtime Ensemble in the pre written for and premiered by the miere of his reor.d,estration of Scott Chamber Music Society of Lincoln Joplin's long-lost Red Back Book. The Center in 1979. Varia11ts was written subsequent record ing earned a for the New York City Ballet with Grammy award as the best chamber choreography by George Balanchine music performance of 1973. In 1975 and featuring the Modern Jazz Quar Trcc111011islza, Joplin's opera, opened on tet. Broadway with Schuller conducting. As a conductor, Schuller regularly He is also the author of Early Jazz: /Is makes guest appearances with the Roots a11d Musica l Dcvelo11111c11t (New Berlin Philhairmo1liC, the BBC Sym York: Oxford University Press, 1968). phony, French Radio Orchestra, Hel He has taught horn at the Manhat sinki Philharmonic, and Halle Con tan School of Music. In 1965 he was cert Society. [n the United States he appointed head of the composition has conducted the symphony orches department of the Berkshire Music tras of Boston, Chicago, New York, Center a t Tanglewood, succeeding Cleveland, Philadelphia, Washing Aaron Copland. From 1970 until 1984 Grmtlter Scltuller ton, St. Louis, Pittsburgh, New Or he directed the Center. From 1967 to leans, and many others. He is also 1977 he served as President of the Guggenheim fellowships, th e Darius Artistic Director of the Festival at New England Co:nservatory. Milhaud Award, the Alice M. Ditson Sandpoint (Idaho) and was Music Di A member of the American Conducting Award, a nd the Rodgers rector of the Spokane Symphony. Academy of Arts and Letters since and Hammerstein Award. He is a As a strong advocate for contempor 1980, he has received numerous hon member of the National Institute of ary music, he was responsible for the orary degrees from some of America's Arts and Letters a nd has served as "Twentieth Century Innovations" most distinguished institutions. He president of the National Council on series of concerts presented by Car- has also been the recipient of two the Arts.
An Alternative Index to Blad, Music in the United States by Do111i11ique-Re11e de Lerma, Morga 11 State U11ivcrsity
Sina Spiker's bzdexing Your Book: A lance in offering them yet anoth er B) Specific: 339-388 Practical Guide for Author·s (1964) opens index to add to those (of titles, names, Arkansas Art Center: 70, 341 with the following sta tement: "The and subjects) provided by the au Boston Public Library: 12 purpose in indexing a book is to give thors, that being one which addressed Central State University: 87 whoever may consult it a tool for the kind of informational needs I had. Detroit Public Library: 14, 364 quickly finding any item of detailed Working on a partial union catalog Eastman School of Music: 23 information that it may contain." within a comprehensive bibliography Fisk University: IS, 385 Quite so, but there remains yet a dif of music by black composers, I Howard University: 16, 17, 350 ferent kind of index, one based on the wanted to gather together from Floyd Indiana University: 61, 354-356 function a given reference book may Reisser those entries that registered Library of Congress: 18, 58, 59, be asked to fu Ifil I. the holdings of various libraries. In 107, LOS, 348, 349, A10-A 13 Soon after Kraus International is working with a name file of thousands New York Public Library: 20, 21, sued Black M11sic i11 tile U11ited Stales: of musicians, I sought those sources 376-378 An Annolaled Bibliogrnpltyof Selected Re which would aid in an indentification University of Virginia: 56 ference a11d Researclt Materials (1983), by of figures, active in all sorts of idioms. Wisconsin (state): 91 Samuel A. Floyd and Marsha J. Reis As a help in locating data on the music Yale University: 13, 345-347 ser, I was invited to be one of the in itself, I wanted lo pull together those II. Identification of Individuals itial speakers at a month-long confer entries ·that wou ld assist me. The ence on black music, held al Fisk Uni index that follows is a result of this A) General: 2, 4, 5, 10, 24, 27, 28, versity, my subject being related to re process. 34, 42, 46, 55, 57, 108, 112, 113, 126, search tools. I :regarded it as important 128, 131, 132, 145, 152, 196, 223, that the registrants become im 224, 241, 250, 283 mediately famil iar with this valuable I. Library Holdings manual, but I saw a degree of impor- A) General: 1, 6, 22, 49, A2, A9, Al4 Co11 ti11ued 011 Jlnge 4 4
Alternative Index, co11ti1111ed rhythm and blues: 97, 98 Latin-Americana: 147 spirituals: 42 popular music: 227, 228, 253 B) Topical: theater: 32, 45, 55, 241, 242, ragtime: 176, 177, 310 banjo: 252 245, 246 rhythm and blues: 83, 121, blues: 129, 161, 180, 253-255, 291 233-236, 239, 240, 253 concert music: 126, 130, 247-250, V. Discographies spirituals: 152, 154, 167, 170, 261, 262 A) General: 1, 3, 29, 30, 4 l, 58, 305, 307 dance: 217 82, 282, 283 theater: 206, 243-246, 253, 266 gospel: 44, 161 B) Topical: women: 250, 253 jazz: 48, 114-116, 120, 127, 194, blues: 75, 79, 98, 101, 139, 180 work songs: 291 197, 198,200,201,203,210,216, concert music: 84, 85, 94, 158 218, 220, 221, 250, 256-260 film: 282 VII. Narrative Histories and minstrelsy: 172, 174, 230 folk music: 59-61, 63, !OJ Commentaries popular music: 120, 123, 227-229, gospel: 31, 49, 62-65, 67-74, 81, 83, A) General: 137, 138, 141-144, 146, 232 97, 101, 189, 192, 205, 212, 224, 148-149, 150, 151, 282, 285-287 ragtime: 176, 177 228, 274 B) Topical: rhythm and blues: 119, 121-123, opera: 86 aesthetics: 140, 182, 215 125, 180, 234, 239 popular music: 158, 227, 228, 231 bands: 223-224 theater: 124, 130, '194, 232, ragtime: 66, 101, 176, 177 blues: 136, 165, 179-188, 231, 243-246, 253 rhythm and blues: 63, 76, 78, 80, 233, 235 women: 250, 251, 253 83, 97, 101, 240 concert music: 237-249 spirituals: 63, 84, 101 dance: 217 Ill. Identification of Music theater: 124, 227 fi lm music: 231 A) General: 19, 22, 41 , 58, 59, folk music: 152-164 V I. Internal Features 99, 106 gospel: 225-226 B) Topical: A) Bibliographies jazz: 136, 147, 109-222, 224, 231, blues: 105, 163, 292, 294, 314-3 16, general: 132, 137, 144-146, 148, 233, 280, 284 318-324, 329-331 149, 283 Latin-Americana: 147 choral: 57 bands: 223 minstrelsy: 172-174, 230 civil rights: 228, 289, 300 blues: 179,183,185,186,188,254, popular music: 231 concert m usic: 57, 102, !03, 282, 255, 314 ragtime: 175-178 309, 317, 337, 338 concert music: 250 rhythm and blues: 233-240 folk music: 56, 59-61, 295,297,318 dance: 133, 217 spirituals: 154, 156, 165-171, 226 gospel: 44, 301, 3 18 folklore: 134, 155, 156, 159, the;iter: 241-246 jazz: !04, LIO, 120, 273, 318, 324, 160, 294 332-336 jazz: 11 4-118, 192, 194, 195, 200, Vlll. Terminology minstrelsy: 292, 294, 318 206, 208, 213, 217, 228, 280 A) General: 111 popular music: 104, !05, 109, 120, Latin-American: 147 8) Jazz: 117, 188, 135, 193, 281 227, 232, 318 minstrelsy: 174 IX. Research Tools and ragtime: 175, 308-313, 335 popular music: 175-177 Techniques rhythm and blues: 329-331 rhythm and blues: 123, 239 spirituals: 56, 57, 60, 100, 102, 105, spirituals: 154, 156, 166, 297, 303 A) General: A I, A3, AS, A7, AB, 107, 164-171, 290, 292-294, terminology: 111, 117, 188, 135 Al5-A33 296-299, 302-307, 318, 324-328 women: 250 B) Eth omusicology: 8, 10, 52 theater: 55, 120, 124, 227, 242, work songs: 160 C) Literary Style: 7, A4, A6 246, 318 8) Photographs work song: 281 -293, 322-325 general: I 13, 141, 146, 148, 149, 151, 287 IV. Bibliographies bands: 224, 250 A) General: 24-26, 33, 35, 36, 38-40, blues: 129, 139, 179, 181-183, 185, This index is reprinled lrom Mu~ic RA/• (volume 2, no. 4), the ne"•slenerof lhe Morgan 43,46,50,54,92,93,95,282,283 186, [88, 254, 255, 291, 314 Slate University Music Deparlmenl. and B) Topical: concert music: 247, 248, 250, 261, Cotnge. a newsletter issued by the Music blues: 42, 97, 98 266 Library of lhe Peabody Conservatory. dance: 133 dance: 217 film: 210, 217, 242 films: 124, 242 fol kl ore: 139 folk music: 161 gospel: 42, 44 gospel: 225, 226 References jazz: 37, 42, 45, 49, 51, 53, jazz: 64, 68, 70, 73, 81, 114, 115, Floyd, Smm1el A., Jr., and Marsha J. 96, 97 127, 190, 191, 194-196, 198, 200, Reisser. 1983. 8/nck music i11 the minstrelsy: 246 203, 205, 209, 210, 212, 216-218, U11ited Stntes: 1\11 n1111ot11ted newspapers: 88-91, 145 220, 221, 224, 228, 256-258, 260, bibliogmpl1y of selected refere11ce 1111d ragtime: 41, 178 261 , 263-272, 277 resenrcl, 11111/erinls. Millwood, New 5
Jersey: Kraus International Spiker, Sina. 1964. l11dexi11g your book: Madison: The University of Publications. A practical guide for authors. Wisconsin Press.
Composers Comer Julian C. Work by Lucias R. Wyall, Prairie View A & M University
Julian C. Work (b. 1910), a member I hope that I have developed my own abounds. Quiet timbres in our of the famous Work family of style of orchestration, fitting that or wide variety of massed reeds and Nashville, Tennessee, lives in Tolland, chestration to a more lyric style of muted brasses find sensitive Massachusetts. Now retired, he con composition." treatment here at the skilled hand tinues to enjoy model railroads as his His fi rst major composition for band of one of America's gifted arran main hobby. He is currently revising is Portraits from tire Bible (1956), a work gers. two of his compositions-Refleclio11s, in three parts. Aathough the musical Inquiries concerning the music of settings of the biblical characters are Poem of Praise, written as a tribute to Julian Work may b€ addressed to Dr. Martin Luther King, Jr., and Festi not considered p:rogram music in the Shawnee Press, Inc., Delaware Water val i11 the Hills, a suite for band, literal meaning of that designation, Gap, PA 18327, or to Mr. Julian C. to appear m1der a new title, Forest Mr. Work has indicated that he was Work, Route 57, #155, Tolland, MA Images . influenced by the outstanding traits 01034. During his pre-college years in of Moses, Ruth, Shadrach, Meshach, Nashville, he participated in and Abednego. In Moses he saw The Music of Julian Work neighborhood musical groups and leaders/rip. "I was moved by his great Concert Band performed as a jazz pianist. He be power and his great compassion." In Portraits from tire Bible. "Moses," came a sociology major at Fisk Univer Ruth he saw a great example of con "Ruth," "Shadrach, Meshach, and sity where his brother, John W. Work, stancy. "Hers was not a happy life (she Abednigo." 1956. Delaware Water II I, was Professor of Music. However, had two great loves, both of which Gap, Md.: Shawnee Press. his interest in music was so strong were ravaged by tragedy), but she re Aulr111111 Wnlk. 1958. Delaware Water that he pursued composition studies mained constant." He saw Shadrach, Gap, Md.: Shawnee Press. with his brother. Meshach, and Abednego as impor Driftwood Pat/ems. 1961. Delaware In his professional career Work tant representatives of faith: "[These Water Gap, Md.: Shawnee Press. served as composer and arranger for werej three men who had unshakable Mnrclr: Stn11d tire Slor111. 1963. various television, radio, and record faith in God, regardless of the laws of Delaware Water Gap, Md.: ing companies in New York City. He the alien conqueror. It was de Shawnee Press. was staff arranger for the Columbia monstrated in the fiery furnace." Reflectio11s, Poem of Praise. Broadcasting System and was the sole Rich harmonies abound in the com unpublished. arranger for the old Firestone radio positions of Jul ian Work. Polychords Forest Images (formerly titled Festival in program with conductors Alfred Wal are found in such pieces as "Moses," tire Hills). unpublished. lenstein and Howard Barlow. He Driftwood Pallems, and Marclr: Stand scored orchestrations for Gladys tire Storm . In A11l1111111 Walk the com Chorus Swarthout and Paul Whiteman, and poser makes extensive use of lhe Processio11al l-ly11r11 (chorus and band). he composed original background minor-major seventh chord. All of his 1957. Delaware Water Gap, Md. : music for several radio programs. It compositions possess a very strong Shawnee Press. was during this period that Alfred lyrical quality. The handling of the or Orchestra Wallenstein and the Los Angeles chestration and the composer's sen Philharmonic Orchestra performed sitivity to the va-r"ious tone colors of Suite: Myoriama by Night. n.d. his Suite: Mycriama /,y Nisht. the wind ensemble are particularly Bibliography Most of Work's compositions are for outstanding. The liner notes by Fre Everett, Thomas. 1978. Concert band concert band. When asked about his derick Fennell from the Eastman Wind music by black American compos attraction to the b,md as a medium of Ensemble's record ing of A11t1111111 Walk ers. Tire Black Perspective in M11sic, 6 musical expression, he simply stated (Mercury Records MG-50220) aptly (no. 2):143-150. (This article that, "This was an opening that came d~scribe the efforts of Julian Work: contains brief comments on three to me and provided me an opportun of Julian Work's compositions.) ity to compose. I have always been Julian Work's Au/1111111 Walk fond of the woodwind instruments." suggests the nostalgia of that en Discography He admitted that he has been influ chanting season of the year. It is, A11/r11111r Walk. n.d. Eastman Wind enced by the music of Debussy and as well, a casual stroll amidst the Ensemble, Freder.ick Fennell, Ravel. However, he hastened to add, rich instrumental foliage in which conductor. Mercury Records "I am not wholly an impressionist, for the Eastman Wind Ensemble MG-50220. 6
The Music Collections at the Schomburg Center for Research in Black Culture '1y Deborra Richardson, Howard University
Arthur Schomburg, curator and au photographs, manuscripts and scrap lions Section also has severnl gems for thor, devoted much of his life to the books. Located in the Rare Books, Ar the music scholar. Comprised of ap accumulation of resources for the chives and Manuscripts Section are proximately ten thousand discs, five study of the history of the black dias the sheet music materials represent thousand hours of oral history inter pora. He was sought after as a lecturer ing the music of prodigies, popular views, 250 motion pictures, and sev and journalist and was often cited for and minstrelsy eras, concert and reci eral hundred video tapes, the collec his generosity in lending materials tal music, folksongs, jaz.z., spirituals, tion boasts radio broadcasts from the from his private library. ,ind blues. Several treasures can be early 1920s, as well as performances By 1926, when Schomburg had found among the sheet music, includ by a myriad of classic, blues, jazz, and amassed a collection of over five ing works by Philippa Schuyler (a gospel artists dating from 1910 to the thousand books, three thousand man child prodigy, born in I larlem in present day. Included in the collection uscripts, two thousand etchings, and 1932), Le Chevalier de Saint-Georges are the voices of such greats as Billie several thousand pamphlets, the Car (De11x Co11certo tl Vio/011 Pri11ci1'11I dated Holiday and Bessie Smith, who are negie Corpora lion made a grant of ten 1775), and Nicholas G. J. Ba llanta also documented on film. Also rep thousand dollars to the New York Pub Taylor (a 1925 analysis which also de resented are Langston Hughes, James lic Library for the purchase Clf Schom picts the relationship between the Weldon Johnson, and others whose burg's Collection. The collection was music of West Africa and that of the oral materials are as ensily accessible placed at the Library's 135th Street Saint l lelena Islands). Also interest as the Schomburg Center's printed re branch in Harle m. In 1932 Mr. Schom ing are the musical "tributes" fo11nd sourct?s. The music of Africa and the burg was hired as the Collection's among the sheet music. Examples (lre Caribbean is represented on sound re curator, a position in which he re "A Musical Service for Louis" (dated cordings and through films such as mained until his death in 1938. In 1940 1973) and several fnrewell pieces to Lnst Gmt't' at Dimbaw ( 1975), an explo the entire 135th street branch was re Florence Mills. Among these tributes ration of South AfriCil's apartheid pol named in Mr. Schomburg's honor, can be found realistic likenesses (il icy, and Cnrniml TNT (1979), a colorful ;ind in 1973 it became the Schomburg lustrations) of the honorees as well as journey into the C.irnival t>f Trinidad Center for Rese.irch in Black Cullure. contemporary wril ings about their and Tobago. It is now housed in an expansive new lives and crafts. The Schomburg Center for Rest•arch building on 135th Street ;ind Lenox There are some 3,500 printed mu in Black Cullure is open to the public Avenue in Harlem. sical compositions in the Schomburg from 12 noon lo 7:45 J'·"'· Monday The collection has grown to over Center, with the highest concentril through Wednesday and from I0:00 100,000 vol umes and includes, in ad lion of these materials in the areas of 11.111. to 5:45 11.111. Thursday through dition to the English-language jaz.z. and spirituals. Access lo the col Saturday. Summer hours arc 12 noon sources, materials in French, C.erman, lection can be gained through the lille to 7:45 1u11. Monday and Wednesday, Spanish, and African languages. The or the name of the lyricist, composer, and 10:00 a .111. lo 5:45 11.111. Tuesday, general collection of the Schomburg or arranger. A first I ine index is avail Thursday, and Friday. It is suggested Center contains periodicals, pam able, and a subject access catalog is that researchers make appointments phlets, playbills, clippings, programs, in preparation. if they wish to screen films in the motion pictures, video tapes, film The Schomburg Center's Moving Center's Moving Image a nd Recorded strips, art ant! artifacts, prints and Image and Recorded Sound Coll cc- Sound Collection Section.
News And Notes From . . . The Center for Black Music Research by /osephi11e Wrigi,t, The College of Wooster
In August 1986, The Lloyd A. Fry lion and distribution of the Union cords of all the black-music books, Foundation has awarded the Colum Cat.;[og of Black Music Holdings in sound recordings, and printed music bia College Center for Black Music Selected Chicago-Arca Libraries. In held in six Chicago-area collections: Research a second grant in the the second year of its development, the Columbi11 College Librnry, C.-.rter amount of $30,000 for the contim111- the first year also having been funded G. Woodson Regional Library of the tion of the development of the CBMR by the Fry Foundation, the Union Chicago Public Library, the Newberry Database-specifically for the com pie- Catalog will contain lbibfi ()grnphic re- Library, and the music li brari es of - 7
Roosevelt University, the University the National Teachers Examination, ganizations committed to the crea of Chicago and Northwestern Univer which is produced and ndministered tion, instruction, presentation, and sity. By July 1987, customized bibliog by the Educational Testing Services in preservation of jazz music. Contact: raphies will be available to Center Princeton, New Jersey. National Jazz Service Organization, patrons. Details of the availability and l201 Pennsylvania Avenue, N. W., acquisition of such lists will appear in Composer Leslie Adams reports Suite 720, Washington, DC 20004. Center publjcations, in announce the first performance of his cantata ments in professional journals and "The Righteous Man" at Northorp Judith Anne Still has informed us newsletters, and in a brochure to be Memorial Auditorium at the Univer that the music of William Grant Still distributed next Spring. In 1988 the sity of Minnesota on January 19, 1986. is now available through William companion Reference System will be The cantata, which is in four move Grant Still Music, 26892 Preclados available for use by scholars. The de ments, is dedicated to Dr. Martin Drive, Mission Viejo, CA 92691-9107. tails of this part of the CBMR Luther King, Jr. The work was com Database, and those of the Union missioned and performed by the Paul The Music Library Association is Catalog, appeared in an article by Don Kaye Singers. The cantata has been accepting applications for the second Krummel in the Sping 1986 issue of published by Ulake Productions, Walter Gerboth Award. Members of Black M11sic Research Newsletter. 12000 Shaker Blvd. #28, Cleveland, the MLA who are music librarians and OH 44120. in the first five years of their profes The American Music Center an sional careers are encouraged to apply nounces that American Music Week The Institute for Studies in Ameri for assistance for research projects in '86 is scheduled for November 3-9. can Music at Brooklyn College of progress in music librarianship or for The Center also wishes to remind the CUNY presented a series of lectures the preparation of bibliographies. public that it offers professional ser last fall that included a paper by Doris Contact: M. W. Davidson, Sibley vices to cOm[POSers, performers, and J. Dyen on "Oral and Written Trans Music Library, Eastman School of lecturers on contemporary American mission in Afro-American Shape Music, 26 Gibbs Street, Rochester, NY music, and that it maintains an exten Note Singing" and a discussion by the 14604. sive circulating library of musical English pianist Peter Dickinson on scores and bibliographical informa "The influence of Afro-American Nathan Carter of Morg,rn State Uni tion on contemporary composers. Music on British Composers." versity conducted a choral workshop Contact: The American Music Center, on the written tradition of music by 250 West 54th Street, Room 300, New Jacqueline Cogdell DjeDje of black composers at Re inbergcr York, NY 10019. UCLA (Los Angeles) recently led a Chamber Hall, Severance Hall (Cleve team of ethnomusicologists on a re land), on April 12, 1986. Special guest The Amistad Research Center, for search project to Accompong, speaker was Eva Jessye, who shared merly housed at Dillard University in Jamaica, to document events sur her knowledge of 01·al traditions of New Orleans, will relocate at Tulane rounding the January 6 celebrations Afro-Americans. Carter concluded University. The research collection in of the Jamaican Maroons, descen the workshop on Sundny, April 13, cludes more than eight million man dants of African slaves. This annual with a concert by the Morgan State uscripts, fiJteen thousand books, festival commemorated both the birth University Choir, which he directs. three hundred pieces of Afro-Ameri day of the Maroon ancestral leader Both the concert nnd workshop were can art, and more than 200,000 photo Kojo and his victory over the British sponsored by the Cleveland Musical graphs documenting black history during 1738-1739. A central part of the Arts Association. and culture. Tulane will charge Amis celebrations included singing of trad tad $1 a year in rent for expanded itional songs and dancing to the ac• The National Black Music Caucus space and support services. companiment of musical instru or MENC (the Music Educators Na ments. Video tapes, a udio tapes, and tional Conference) met at Anaheim, The Archive of Folk Culture in th e slides were collected by the inves California, from April 9-12, 1986. American Folklife Center of the Lib tigators for the purpose of preparing Among the presenters were Ren ee rary of Congress maintains a paid in a documentary film on Maroon music Boyer-White, who gave a paper on the ternship program for graduate stu and culture. The project was funded topic "The Inner Ci ty: A Source of dents in folklore, library science, an by the UCLA Center for Afro-Ameri Rhyme, Rhythm, and Song in [the] thropology, ethnomusicology, Ameri can Studies and the Institute of Ameri General Music Classroom," and Wil can studies, or related fields. Interns can Cultures. liam Moore, who spoke on "Afro receive a stipend of$247 per week dur American Roots in Choral Perfor ing flexible fifteen-week terms. Con Jazz performers, composers, and mance." tact: Folk Archive Intern Program, historians may wish to avail them American Folklife Center, Librarv of selves of the serviC€S of the National New Music competition deadlines Congress, Washington, DC 20540. Jazz Service Organization, which have been .innounced ns follows. The seeks to nurture th e growth and en· Bravura Chamber Ensemble seeks Carlesta Henderson is currently hancement of jazz as an American art works by women c01nposers. Contact: serving on the committee to re form by providing information and examine the music education test of encouragement to individuals and or- Co11fi1111ctf £>11 page 8 8
News and Notes, co11fi11ucd Cleveland. According to Robert of performer/composers, impro Townsend, local BMA treasurer, visors, and groups wlnose works "ex Kathleen Martin, 21 West 86th Street "what we want to do is the same thing tend the language, technique, and #306, New York, NY 10024. The dead a:: the people who have secured the form of a medium." For further infor line for the annual competition of the rock 'n roll hall of fame for Cleve mation, wri te: John Fonville, Project International Trumpet Society is land." The chapter seeks to promote Director, Creative Performer Archive, January 1, 1987. Contact: David black music and to publicize the con Music Department, UCSD, La Jolla, Greenhoe, School of Music, Univer tributions blacks have made to it. CA 92093. sity of Iowa, Iowa City, IA 52242. For Researchers of lblack women musi World Music Press is now consider details of the fo1Jrth annual competi cians will want to know that the ing book-length manuscripts, articles, tion for New England composers Center for Research on Women at sponsored by The League of Compos and individual pieces pertaining to Memphls State Urniversity has estab multicultural music. The press also ers-International Society for Contem lished a clearinghouse for information plans to publish a series of choral porary Music contact: League-ISCM, about women of color and Southern do Division of Fine Arts, Northeast music for children in grades three women. Specialized searches may be through twelve offering both tradi ern University, 102 The Fenway, Bos requested in any area of research. ton, MA 02115. tional music and original composi Contact: Center for Research on tions inspired by traditional folk Women, Clement Hall, Room 339, The New School for Social Re models. Contact: Judith Cook Tucker, search will introduce a new, four-year Memphis State University, Memphis, P.O. Box 2565, Danbury, er 06813. major in jazz this fal l. The curriculum TN 38152. will include ja:zz history, analysis, and Sage: A Scholarly Journal on Black The National Association of Negro melodic improvis11tion. The school Women has issued a call for papers Musicians held its 67th annual con will draw instructors for the program for its special edition devoted to black vention in Chicago during August 4-8, from jazz artists in the New York area. women as artists and artisans. The 1986. Panelists, artists, and workshop Thus far, Dizzy Gillespie, Chico deadline for submission of articles is leaders included Billy Taylor, George Hamilton, Milt Hinton, Major Holley, January 15, 1987. Contact: Sage: A Shirley, Eva Jessye, William L. Daw Tad Jones, Crady Tate, and Toots Scholarly Journal on Black Women, son, Reginald Bucl Call for Progran1 Participation The College Music Society's Thirtieth Annual Meeting October 15-18, 1987 Sheraton New Orleans Hotel, New Orleans, Louisiana The 1987 Program Committee of the consideration to musical influences, ship to French music, Creole music, College Music Society requests pro cultural and sociological context, American Indian music, Latin Ameri posals for presentations that will il manifestation, and formation as can and Caribbean jnfluences and luminate the indigenous musics of exemplified through the musics of the connections, concert music in early New Orleans and vicinity. The Com city and surrounding communities. New Orleans, zydeco, and others. mittee welcomes especially proposals To these ends, the committee encour The program committee is planning for panels, discussions, perfor ages proposals thc1t will treat New Or special concerts and other presenta mances, lecture/recitals, clinics, and leans jazz and related Afro-American tions that will feature some of the im other types of presentations that give musics, Cajun music and its relation- portant musical traditions of the are11 9 and exhibits and displays of materials pertinent to the teaching and study LESLIE THOMPSON of the musics under consideration. As in the past, the Program Com AN AUTOBIOGRAPHY mittee seeks the broadest possible rep as told to Jeffrey P. Green resentation from the members of the College Music Society. Therefore, Thompson's recollections o f lamaica. from his barefoot childhood in the 1900s proposals that deal with all aspects of through orphan school into the West India Regiment band. have valuable insights into college teaching will be given consid the nature of a colonial society which sti0ed aspirations and stunted ambitions. Music eration as usual. training brought him to England in 1919-1920. and he went with the regiment to Canada in 1922 and London in 1924. Active in Kingston's concert. recital. and cinema music world of the 1920s. Thompson settled in London in 1929 Hisskillsonavariety Guidelines for Submitting of musical instrtuments led to regular work in theatre orchestras, he also worked. P'roposals broadcast. and recorded with dance bands and jazz artists Louis Armstrong and Benny Carter. He formed an 'all coloured' swing band in 1936. He worked with an artistic elite • Al l proposals must be described including Noel Coward. William Walton. Constant Lambert. and Spike Hug,hes. as well iJ1 a one-page, double-spaced, type as mixing with Britain's Black residents and visitors such as Fats Waller. Edmundo Ros. written abstract. Duke Ellington. Marcus Garvey. and Ras Monolulu. He was a sergeant in the Royal • All proposals must include a list Artillery in the Hitler war. visiting Germany and Norway. He studied composition in of required equipment needed for the post war London but gave up professional music making in 1954 to become a warden of an undergraduate hostel. In the 1960s he was a probation o fficler and also worked presentation. in the London prison service. He has visited America. East Africa. and lamaica. Mis • Papers, panel discussion out autobiography details the Joys and sorrows of a busy life. and is an important addition lines, programs, cassette tapes, pre to Black history. Jamaican history. British social history. and the story o f popular sentation texts, and any other sup entertainment. porti11g material may be included with the proposal. PUBLICATION: December 1985 ISBN O 948775 00 9 • To facilitate review by the Pro gram CommiUee, please specify the GUIDE PRICE: £1 6.95 220 pages including: area (or areas) of music into which the Bibliography proposal falls. Index • Presentatiions 11 re generally li 42 photographs mited to thirty minutes. • The deadline for submission of propos11ls is February 1, 1987. From the same publishers, available Sp ring 1986 • Proposals should be sent to: Under the Imperial Carpet: Essays In Black History Research articles on aspects of the Black presence in Britain 1800 - 1950 Samuel A. Floyd, Jr., Chairman 1987 Progrn m Committee of The College Music Society RABBIT PRESS LTD. 29 High Street. Crawley. Sussex RH 10 I BD. England Center for Ulack Music Research EUROPE: Windmuhlenstr 4a. 5300 Bonn I. Federal Republic of Germany Columbia College U.S.AJCANADA: Your Heritage House. 110 E. Ferry, Detroit. Michigan 48202. U.S.A. 600 South Mich igan Avenue Chicago, IL 60605-1996 1987 National Conference on Black Music Research Center for Black Music Research October 15-18, 1987, Sheraton New Orleans Hotel, New Orleans, Louisiana "Researching Black Music in New • Researching New Orleans-Chi Musics and Their Influences on 131ack Orleans" will be the focus of the 1987 cago/New Orleans-Nationwide Con Music in New Orleans National Conference on Black Music nections • Using the CB.MR Datab11sc for Research. To be held concurrently • Researching Black Religious Music Research ing New Orlem1s-Chicago with the Ann.ual Meetings of the in New Orleans Connections College Music Society and the • Rese11rching Early Black Concert American Mus.icological Society, the Music in New Orleans conference will explore the following topics: • Rese11rching Latin American-New Complete details of the meeting Orleans Musical Connections will appear in the Spring 1987 issue • Researching Jazz in New Orleans • Researching Creole and Cajun of Black Mus ic Research Newsletter. 10 Black Music in Portland, Oregon Editor's 110/e. A concert of chamber PROGRAM and orchestral music by black compos I. CHAMBER MUSIC ers was presented on February 23, SUITE SPIRITUALE (1956) for lour clarinets ..... , ...... , , , , Charles Cameron White 1986, by the Portland State University (1880-1960) Orchestra. The program was chosen, Ava Brenneman Richard Spece prepared, and presented by the or Ronald Jensen Eileen Whitmore chestra's conductor, Gordon SoBe, IN THE BOTTOMS Suite for Pia no (1913) ..... ••.. ... • ...... R. Nathaniel Dett and represented a wide range of good IV. Juba Dance. (1882-1943) literature. Mr. Solie sent us a copy of Nancy Pollack a tape recording of the concert and a SUITE FOR VIOLIN AND PIANO (1945) ...... • . • .. . William Grant Still I. Suggested by Richard Barthe's ''l\lrkan Dancer" (1695-1978) copy of the printed program, the latter II. Suggested by Sargent Johnson's "Mother and Child" including, in addition to the expected Ill. Suggested by Augusta Savage's "Gamin" information, a list of "Books of In Ann Wal'tOn1 violin terest on Black Composers" and a list Michael Vukelich, piano of recordings of some of the music ECHOES FOR CLARINET AND ELECTRONIC TAPE (1974) .... . • . • ...... Olly Wilson performed on the program. The per Marion Schrock, clarinet (b. 1937) formance portion of the program is INTERMISSION reproduced here. Conducto:r Solie and clarinet soloist II. ORCHESTRA MUSIC Marion Schrock, Professor of Music PETIT SUITE DE CONCERT (1910) ...... , ...... Samuel Coleridge-Taylor I. !.ll C~prke de Nanette (1875-1912) at Western Oregon State College, par II. Demande et Response ticipated in a 1985 NEH Summer Semi 111. Un Sonnet d'Amour nar for College Teachers titled "Black IV. La Tarentelle Frctillente Music in the United States: Aspects BRIEF ELEGY for Oboe and Strings (1964) ...... • ...... Ulysses Kay of History, Philosophy, and Analy Dee Lewis, oboe (b. 1917) sis," held at Columbia College ONAWAY! AWAKE, BELOVED ...... Samuel Coleridge-Taylor Chicngo and led by the director of the from "Hiawatha's Wedding Feast" (1898) Center for Black Music Research. Bruce Browne, tenor It is our hope that such program SMORT SYMPMONY (1948) . . , ...... ~ . Ho\-vard S,,,an~on ming of black music li terature will I. All~gr<) modcrato (1909-1976) lead to its consistent inclusion on reg II. Andante ular programs throughout the year, Ill. Allegro giocoso all across the country. BAMBOULA a traditionnl Negro dance from Trinidad .... , • ...... John Urich BMR Newsletter is devoted to the encourage BMR Newsletter is, published by the Colum Inquiries regarding sub.scription, as well as ment and prornoti<)nol scholarship and cultural bia College Center for Black Music Research. subscription payments 0£ $2.00 per volume, activity in black American music and is in · Information subrnilled for inclusion should be should be sent to: lended to serve as a medi um for the sharing mailed to: Samuel A. Floyd, Jr.. Ed itor, Center Publications, Center for 81.ack Music Research of ideas and inf<.,rmation regarding current and for Black Music Research, Columbia College, Columbia College Chicag,o future research a nd activities in universities and 600 South Michiga n Avenue, Chicago, Illinois 600 South Michigan Avenue research centers. 60605-1996. Chicago, Illinois 60605-1996 Editor: Samuel A. Floyd, Jr. Associate Editors: Calvert Bean, Jr., Orin Moe Designer: Mary Johnson Ma naging Associate Editor: Marsha J. Reisser Production Manager: Gerry Gall Typesetter: Anita Strejc