Medical Menus, Unicef and Communism, World Tolerance & of Course, the Children
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
25 Recommended Recordings of Negro
25 Recommended Recordings of Negro Spirituals for Solo Vocalist Compiled by Randye Jones This is a sample of recordings recommended for enhancing library collections of Spirituals and, thus, is limited (with one exception) to recordings available on compact disc. This list includes a variety of voice types, time periods, interpretative styles, and accompaniment. Selections were compiled from The Spirituals Database, a resource referencing more than 450 recordings of Negro Spiritual art songs. Marian Anderson, Contralto He’s Got the Whole World in His Hands (1994) RCA Victor 09026-61960-2 CD, with piano Songs by Hall Johnson, Harry T. Burleigh, Lawrence Brown, J. Rosamond Johnson, Hamilton Forrest, Florence Price, Edward Boatner, Roland Hayes Spirituals (1999) RCA Victor Red Seal 09026-63306-2 CD, recorded between 1936 and 1952, with piano Songs by Hall Johnson, John C. Payne, Harry T. Burleigh, Lawrence Brown, Hamilton Forrest, Robert MacGimsey, Roland Hayes, Florence Price, Edward Boatner, R. Nathaniel Dett Angela Brown, Soprano Mosiac: a collection of African-American spirituals with piano and guitar (2004) Albany Records TROY721 CD, variously with piano, guitar Songs by Angela Brown, Undine Smith Moore, Moses Hogan, Evelyn Simpson- Curenton, Margaret Bonds, Florence Price, Betty Jackson King, Roland Hayes, Joseph Joubert Todd Duncan, Baritone Negro Spirituals (1952) Allegro ALG3022 LP, with piano Songs by J. Rosamond Johnson, Harry T. Burleigh, Lawrence Brown, William C. Hellman, Edward Boatner Denyce Graves, Mezzo-soprano Angels Watching Over Me (1997) NPR Classics CD 0006 CD, variously with piano, chorus, a cappella Songs by Hall Johnson, Harry T. Burleigh, Marvin Mills, Evelyn Simpson- Curenton, Shelton Becton, Roland Hayes, Robert MacGimsey Roland Hayes, Tenor Favorite Spirituals (1995) Vanguard Classics OVC 6022 CD, with piano Songs by Roland Hayes Barbara Hendricks, Soprano Give Me Jesus (1998) EMI Classics 7243 5 56788 2 9 CD, variously with chorus, a cappella Songs by Moses Hogan, Roland Hayes, Edward Boatner, Harry T. -
Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 8-26-2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography" (2016). Faculty Publications: School of Music. 64. http://digitalcommons.unl.edu/musicfacpub/64 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 08/26/2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. They are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012/2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. None of them is any kind of finished, polished document; all represent work in progress, complete with missing data and the occasional typographical error. -
Record Series 1121-113, W. W. Law Sheet Music and Songbook
Record Series 1121-113, W. W. Law Sheet Music and Songbook Collection by Title Title Added Description Contributor(s) Date(s) Item # Box Publisher Additional Notes A Heritage of Spirituals Go Tell it on the Mountain for chorus of mixed John W. Work 1952 voices, three part 1121-113-001_0110 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals Go Tell it on the Mountain for chorus of women's John W. Work 1949 voices, three part 1121-113-001_0109 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals I Want Jesus to Walk with Me Edward Boatner 1949 1121-113-001_0028 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals Lord, I'm out Here on Your Word for John W. Work 1952 unaccompanied mixed chorus 1121-113-001_0111 1121-113-001 Galaxy Music Corporation A Lincoln Letter Ulysses Kay 1958 1121-113-001_0185 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus Like as a Father Ulysses Kay 1961 1121-113-001_0188 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus O Praise the Lord Ulysses Kay 1961 1121-113-001_0187 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus Sing Unto the Lord Ulysses Kay 1961 1121-113-001_0186 1121-113-001 C. F. Peters Corporation Friday, November 13, 2020 Page 1 of 31 Title Added Description Contributor(s) Date(s) Item # Box Publisher Additional Notes A Wreath for Waits II. Lully, Lully Ulysses Kay 1956 1121-113-001_0189 1121-113-001 Associated Music Publishers Aeolian Choral Series King Jesus is A-Listening, negro folk song William L. -
Hall Johnson's Choral and Dramatic Works
Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Wittmer, Micah. 2016. Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939). Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718725 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) A dissertation presented by Micah Wittmer To The Department of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Music Harvard University Cambridge, Massachusetts January, 2016 © 2016, Micah Wittmer All rights reserved. Dissertation Advisor: Professor Carol J. Oja Micah Wittmer -- Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) Abstract This dissertation explores the portrayal of Negro folk culture in concert performances of the Hall Johnson Choir and in Hall Johnson’s popular music drama, Run, Little Chillun. I contribute to existing scholarship on Negro spirituals by tracing the performances of these songs by the original Fisk Jubilee singers in 1867 to the Hall Johnson Choir’s performances in the 1920s-1930s, with a specific focus on the portrayal of Negro folk culture. -
Lift Every Voice: Celebrating the African American Spirit
Lift Every Voice: Hear My Prayer Moses Hogan Celebrating the African American Spirit Set Me as a Seal Julius Miller Saturday, February 22. , 2014 7:30 pm Lord We Give Thanks to Thee Undine Smith Moore Campus Auditorium Lift Every Voice and Sing arr. Roland Carter South Bend Symphonic Choir How Great is Our God Chris Tomlin Naomi Penate, alto Jake Hughes, tenor CONDUCTOR BIOGRAPHIES For Every Mountain Kurt Carr Gwen Norwood, alto David Brock was born and raised in Benton Harbor, Mich. to the union of Walter and the late Doris Brock. He started playing I’m Determined Oscar Hayes the piano at the age of six and began taking lessons at age 11. He also began playing piano at churches when he was 11. Mr. Brock Hallelujah Elbernita “Twinkie” Clark performed in bands and orchestras throughout his education. He IU South Bend Gospel Choir attended Olivet College where he studied music. Mr. Brock is Formatted: Font: Not Bold currently employed at Benton Harbor High School as a pianist and Dich Teure Halley Richard Wagner assistant music teacher. He teaches keyboard theory and voice. He has been playing the keyboard for 44 years. Witness Hall Johnson Marvin Curtis, dean of the Ernestine M. Raclin School of You Can Tell the World Margaret Bonds the Arts at Indiana University South Bend is director of the South Denise Payton, soprano Bend Symphonic Choir. Dean Curtis has held positions at Intermezzo, Op. 118, No. #2 Johannes Fayetteville State University, California State University, Brahms Stanislaus, Virginia Union University, and Lane College. He earned degrees from North Park Troubled Water Margaret Bonds College, The Presbyterian School of Christian Education, Formatted: Indent: First line: 0.5" Maria Corley, piano and The University of the Pacific, and took additional studies at Westminster Choir College and The Julliard School of Music. -
Proquest Dissertations
Leonard de Paur's arrangements of spirituals, work songs, and African songs as contributions to choral music: A black choral musician in the mid-twentieth century Item Type text; Dissertation-Reproduction (electronic) Authors Woods, Timothy Erickson, 1958- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 18:42:48 Link to Item http://hdl.handle.net/10150/282726 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Singing African-American Spirituals: a Reflection on Racial Barriers In
451_486_JOS May_June05 Features 3/27/05 5:59 PM Page 451 Lourin Plant Singing African-American Spirituals: A Reflection on Racial Barriers in Classical Vocal Music tive communication across historic complex racial legacy, African- racial dividing lines. American spirituals provide positive Although the world enjoys African- means to that end. The path to under- American solo spirituals everywhere, standing our nation’s racial legacy American singers in the last half cen- passes through our shared joys, pains, tury have found fewer occasions to and sorrows, not by painfully forget- sing or record them. This may be due ting or fearfully ignoring them. in part to the troubled racial history Learning to love, teach, and especially of the American performing stage, to sing solo spirituals brings us closer especially in the shadow of blackface to humbly reconciling the truth of minstrelsy, and in the larger realm of what we are, together. a nation struggling mightily with its racial legacy. With race and spiritu- PART ONE— als in mind, I explore the subject for A CALL TO REFLECTION Lourin Plant solo singers in two parts. Part One explores a combination of elements: “. the problem of the Twentieth Century INTRODUCTION the barrier of race in solo spirituals; is the problem of the color-line.”1 (W. E. white discomfort with Negro dialect B. DuBois) America witnessed the passing of and the conjuring ghosts of blackface More than one hundred years after three leading late twentieth century minstrelsy; possible rebuke by some DuBois raised the veil on his prophetic exponents of the African-American African-Americans who believe The Souls of Black Folk (1903), his spiritual within seven months of each America’s largely unaddressed racial thoughtful statement remains a sen- other: William Warfield, solo artist/ history creates an atmosphere of dis- tinel of American racial history and educator; Eileen Southern, Harvard trust of whites who sing these sacred again calls the nation to reflection. -
S. HUROK Presents Marian Anderson, Contralto KOSTI VEHANEN at the PIANO Ararat Temple 11Th & Grand Kansas City
[page 1] S. HUROK Presents Marian Anderson, Contralto KOSTI VEHANEN AT THE PIANO Ararat Temple 11th & Grand Kansas City, Mo. Tuesday Evening, February 16, 1937, 7:20 o’clock Auspices: Music Scholarship Award Exclusive Management: Hurok Attractions, Inc. 30 Rockefeller Plaza, New York City Booking Direction: N. B. C. Artist Service QUALITY PRINTING CO., 1710 E. 18TH ST. [page 2] The Annual Douglas Celebration With Music Under Auspices of Music Scholarship Award Program I. Begrussung Handel Son, see down the cheeks of your aged father, tears are streaming. Long after I have been in the grave, your name and glory will fill the world. Chio mai vi possa Handel I hope I shall never cease loving you, believe me, dear eyes. Nor that I will ever in jest betray you—No! No! You have been and are my inspiration and you will always be, dear eyes, my ardent fire—as long as I live. Siciliana Handel If I give thee honor due, Mirth, admit me of they crew! Let me wander, not unseen, By hedgerow elms, on hillocks green, Where the plowman, near at hand, Whistles o'er the furrowed land, And the milkmaid singeth blithe, And the mower whets his scythe, And every shepherd tells his tale, Under the hawthorne in the dale. Ah Spietato (Armadigi) Handel Oh, how cruelly you make me suffer; Are you not moved by the sincere love Which fills my heart, for you alone. II. Liebesbotschaft Schubert Murmuring brooklet, so silv'ry and clear, Soon will thou see her, the lovely and dear, Then, little brooklet, convey thou my tale, Soft as the greeting of balmiest gale. -
The Greatest Legal Movie of All Time: Proclaiming the Real Winner
MORRIS II FINAL POST-AUTHOR PAGES (2) (DO NOT DELETE) 7/19/2010 9:19 AM The Greatest Legal Movie of All Time: Proclaiming the Real Winner GRANT H. MORRIS* In August 2008, the ABA Journal featured an article entitled The 25 Greatest Legal Movies.1 A panel of experts, described in the article as “12 prominent lawyers who teach film or are connected to the business,”2 selected “the best movies ever made about lawyers and the law.”3 Those experts included a United States district court judge, the Dean of the Yale Law School who has since been confirmed as Legal Adviser to the United States Department of State, five law professors, four practicing attorneys, and a law-trained, ABA Journal assistant managing editor who wrote the article and who characterized himself as “a film geek since childhood.”4 This distinguished panel ranked its twenty-five top legal movies, choosing To Kill a Mockingbird as its number one legal movie.5 The panel also selected twenty-five films as “honorable mentions,” which were listed in alphabetical order.6 Surely, the panel worked long and hard on its task. Their selections are certainly worthy of inclusion on any list of great legal movies. However, an injustice has been done that must be confronted. The real greatest legal movie of all time was not selected as the winner. It was * © Grant H. Morris 2010. Professor of Law, University of San Diego School of Law; Clinical Professor, Department of Psychiatry, School of Medicine, University of California, San Diego. 1. Richard Brust, The 25 Greatest Legal Movies, A.B.A. -
Expanded General Index
1 SYWTSS Index (Expanded Version) A B C D E F G H I J K L M N O P Q R S T U V W X Y Z So You Want to Sing Spirituals by Randye Jones General Index (Expanded Version) This version of the index for So You Want to Sing Spirituals includes contents from both the print book and the online appendices: Ap1: Appendix 1 – Recommended Recordings Ap2: Appendix 2 – Concert Spiritual Singers and Their Recordings Ap3: Appendix 3 – Spirituals in Musical Anthologies Ap4: Appendix 4 – Song Literature Classification Ap5: Appendix 5 – Relevant Resources Ap6: Appendix 6 – African–American Art Songs Resource List Ap7: Appendix 7 – Composers Brief Biographies Ap8: Appendix 8 – Art Songs by African American Composers in Musical Anthologies Ap9: Appendix 9 – Spirituals in Choral Music Anthologies Entries from the book are in black and include references for figures that are italicized, with indexed notes consisting of a page number, the abbreviation “n,” and the note number. Appendix entries are direct links consisting of appendix number and page. Please access the song index for listing of individual song titles. A abdomen, 219 abduction, 223 Abromeit, Kathleen, 59 accents, syllabic, 13, 86, 126, 127, 166–67, 175, 231. See also syllables, stressed and unstressed affected by dialect, 107 ACDA, 185, 189, 255. See also American Choral Directors Association Adams, H. Leslie, Ap8p1-2, Ap8p11, Ap8p12 Adams, Lydia, 201, Ap9p3 Adderley, Cedric, Ap8p3 Aframerican Folksong: Telling the Story of the Life of Christ (Hayes, 1961?), Ap2p7 Aframerican spirituals. See spirituals Africa dance, 126 ; language, influence of, 86 ; music, 7–8, 35, 126–27, 197, 203n5 ; spiritual growth and purification, 66 ; tracing musical roots, 25, 64–65, 179n7 African American Art Song Alliance (AAASA), 34 African American English (AAE) dialect, 206–13, 208. -
SONGS of the SOUL: an Evening of Music by African American Composers
School of the Arts and the Arts Diversity Series present Christopher C. Jordan, baritone Cindy St. Clair, piano in SONGS OF THE SOUL: An Evening of Music by African American Composers Sunday, February 21, 2021 Brock Recital Hall 7:00 p.m. Program Drei Lieder für Bariton mit Klavierbegleitung (Hesse) Robert Owens Fremde Stadt (1925–2017) Eine Geige in den Gärten Im Nebel Five Creole Songs arr. Camille Nickerson Chère, Mo Lemmé Toi (Creole Love Song) (1888–1982) Danse Conni Conné! (Creole Nursery Song) Lizette, Ma Chêre Amie (Creole Love Song) Fais Do Do (Creole Lullaby) Michieu Banjo (Creole Folk Song) Intermission (10 minutes) The Negro Speaks of Rivers (Hughes) Margaret Bonds (1913–1972) The Barrier (McKay) Charles S. Brown (b. 1940) I, Too (Hughes) Bonds Spirituals from Twenty-Four Negro Melodies, Op. 59 arr. Samuel Coleridge-Taylor Sometimes I Feel Like a Motherless Child (1875–1912) Cindy St. Clair, piano Sometimes I feel like a motherless child, A long way from home, a long way from home. Witness arr. Hall Johnson (1888–1970) Give Me Jesus arr. Moses Hogan (1957–2003) Ride on, King Jesus! arr. Johnson We appreciate your assistance in silencing all devices during the performance. Photography and unauthorized recording of the performance are prohibited. Recital ushering provided by the Omicron Gamma Chapter of Delta Omicron International Music Fraternity. Robert Lee Owens III (1925–2017) was born into a musical family in Denison, Texas. Shortly after his birth, the family moved to Berkeley, California. He first studied piano with his mother starting at the age of four. -
Fisk University Concert: 'Let Freedom Sing'
Click here for Full Issue of Fidelio Volume 3, Number 1, Spring 1994 The FiskJubilee Singers celebrate "the dignity of man. " Quartet, along with Marian Anderson's great teacher, tenor Roland Hayes. Mrs. Lee became the first Black pro fe ssional musician at the New York Metropolitan Opera, as vocal coach in 1954-56, hired just before Marian Anderson's 1955 debut, and was profes sor at the Curtis Institute of Music in Philadelphia fo r over twenty years. She is known as the teacher and inspiration fo r dozens of singers, including Kathleen Battle and Jessye Norman. Baritone Robert McFerrin studied at EIRNS/Dianne Sare Fisk University himself; there, after see ing Marian Anderson perform, he Fisk University Concert decided on the spot, with little knowl edge of European music, that he wanted to become a singer of German lieder and 'Let Freedom Sin ' Italian opera. After fu rther studies at g Chicago Musical College, he won the etropolitan Opera baritone The musical program began with New York Metropolitan Opera's MRobert McFerrin and musical the Nashville Boys' Choir performing "Auditions of the Air" in 1953. After Civil Rights leader Sylvia Olden Lee led "Come Bow Down and Worship Him." Anderson's ground-breaking debut as a tribute to the dignity of man at Fisk They were fo llowed by the Fisk Jubilee the firstBlack artist at the Metropolitan, University Memorial Chapel in Singers, directed by Delisse Hall, McFerrin became the fi rst African Nashville, Tenn. on Nov. 10, on the singing "Oh, Freedom," "Precious American male artist at the Met the fo urth anniversary of the fa ll of the Lord," and "Wasn't That a Mighty same year (1955), singing Amonasro in Berlin Wall, and in celebration of the D ay.?" Verdi's Aida, and starring in Rigaletta birthday of Friedrich Schiller, the Poet and other roles.