DOCSLIB.ORG

Black Music Research Newsletter, Fall 1983

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Black Music Research Newsletter, Fall 1983 Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1983 Black Music Research Newsletter, Fall 1983 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1983" (1983). Center for Black Music Research: Black Music Research Newsletter. 17. https://digitalcommons.colum.edu/cbmrnews/17 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH NEWSLETTER COLUMBIA COLLEGE CHICAGO/FISK UNIVERSITY Vol. 6, No.1 ISSN Number 0271-3799 Fall 1983 News and Notes From ... The Institute for Research in Black American Music at Fisk University by William T. Dargan, Fisk University Samuel A. Floyd, Jr. has resigned as there should be some movement More than a decade ago in the Institute Director to accept a position toward establishing an archive of aftermath of M.L. King's at Columbia College in Chicago as black folk music and culture that will assassination, the Indiana University Director of its Center for Black Music enhance the already signikant community made a commitment to the Research. Through his work in holdings of the Fisk University greater utilization of blacks in all founding the Black Music Research Library. facets of JU opera productions, and to the commissioning of works by black Newsletter at Southern Illinois, and his Several recent musical events and composers. The production of Porgy work as fou nding Director of the developments come to mind that and Bess several years ago, and the Institute for Res,earch in Black should be mentioned, including the American Music (IRBAM) at Fisk, his world premiere of an opera by T.J. world premiere of Dr. Anderson's contributions to research in this field Anderson, the release of a very opera based on a libretto by poet and novelist, Leon Forrest, are noteworthy are well-documented. We at Fisk are important documentary film on black indebted to him for the excellent gospel music, and the induction of beginnings. The hope is that other standard that has been established. He William Christopher Handy, commissions and performances will has agreed to continue his association immortalized as the "father of the follow. with the Institute as a member of the blues", into the Nashville Songwriters While the reviews of Soldier Boy, Advisory Board. Dr. Floyd will also Association lnternational's Hall of Soldier have been mixed, the continue to edit the Journal and the Fame. composer has indicated that he was Newsletter, which will be continued as Commissioned by the Indiana "very pleased" with the conception of joint publications of Columbia College the work and its performance. Sources and Fisk University. University Foundation in conjunction with the School of Music and Office of in a major American city have As of September 26, 1983, I have Afro-American Affairs, Soldier Boy, reportedly expressed interest in formally accepted the position of Soldier, an opera in two acts, received producing a second performance of the Institute Director. By way of its world premiere performance at the opera. introduction, I received the doctorate Indiana University Opera Theater in Dr. Anderson is continuing his work in ethnomusicology from Wesleyan October, 1982. with music in multi-media contexts University in 1983 for a dissertation The opera tells the story of the through a collaboration with Chicago entitled, "Congregational Gospel sculptor, Richard Hunt, Stan Madeja, Songs in a Black Holiness Church: a Vietnam War's effect on members of an inner-city black community­ Dean of Performing Arts at Northern Musical and Textual Analysis." This is niinois, and Michael Harper, my second year as Assistant Professor Clarence Cratwell, a black Vietnam War veteran (William Brown); distinguished poet on the faculty at of Music and Director of the Jazz Brown. Entitled "Thomas Jefferson's Ensemble at Fisk. My hope is that the Priscilla Jones, Cratwell's ex-girlfriend (Alteouise DeVaughn); Delores-Sue Orbiting Minstrels and Contraband," Institute will continue its scholarly this work is targeted for a 1984 publications and annual conferences as Tobias, Cratwell's fiancee (Robert Gumbel); Rev. thuston Norwood, performance in Chicago, and follows means by which scholars and upon an earlier work "Thomas educators can exchange and debate Pastor of the Rock of the Redeemed ideas and information. In addition, Heart Baptist Church (Kevin Maynor); and jazz bass player/street-wise hip Continued on page 2 talker, Main Man Crutchfield (William Johnson). 2 Jefferson's Minstrels," scored for black Produced with major funding from by Mr. Handy. Reflecting on the interlocutor and white glee club and NEH and NEA, this film gives witness occasion, Moses Dillard, the first and premiered at Tufts. According to the to the possibility that documentary only black on the NSAl's Board, noted composer, the earlier work deals with film can constitute high entertainment that the "Manny Award" to Mr. minstrelsy in the 19th century, while as well as surpassing creativity. Handy follows upon the Songwriters' the more recent effort considers Or. Pearl Williams-Jones, the movie's induction of other legendary black minstrelsy in the world of the 21st chief technical advisor, was also composer-performers into their Hall of century. Bruce Thompson is writing a featured in the leading role of Fame in recent years, such as biography on the life and work of Or. "Mahalia's Song," a play on the life of Leadbelly, Thomas A. Dorsey, and Anderson. MahaJja Jackson. Directed by Michael Chuck Berry. The movie "Say Amen, Somebody" Malone, this work was presented in IRBAM recently received a planning has opened in several art theatres early September as the first production grant from the Tennessee Committee around the country to rave reviews. of the 1983-84 season at the Howard for the Humanities to develop the Produced and directed by George University Theatre. concept of a radio program series on Nierenberg and his wife, Karen, who On October 9, 1983, the Nashville the religious music of Black America. is Co-Producer, with technical advice Songwriters Association International This project would address the from Pearl Williams-Jones, Jeff T. inducted William Christopher Handy relationship between music/ musicians Titon, and John Szwed, the film into its Hall of Fame. On hand to and the communities/ cont,exts in features Thomas A. Dorsey, the accept the posthumus award was Mrs. which they function through broadcast renowned "father of gospel music" on W.C. (Inna Louise) Handy. As the interviews, commentary, and full­ whom Fisk University conferred an climax of the awards ceremony, length musical examples. honorary doctorate in 1982, and Bobby Jones and the New Life Singers Finally, IRBAM is planning a Mother Willie Mae Ford Smith, the performed a medley of secular and conference to be held in Nashville legendary gospel singer from St. Louis sacred compositions and arrangements during the fall of 1984. A call for who is known for her use of papers and further details will be distinctively Afro-American vocal announced at a later date. elements in gospel song performances. News and Notes From ... The Center for Black Music Research at Columbia College Chicago by Samuel A . Floyd, Jr., Columbia College Columbia College is proceeding with Advancement of Creative Musicians the vertical file materials held by the plans to establish and develop an (AACM) with its members and former Center. international Center for the study of members spreading a new music • A vertical file of materials on, of, black music and black music history. around the world and influencing and by black composers and Such a Center, because of its untold numbers of their performers, to include sheet music, resources, would emerge as tl,e place contemporaries. scores, lead sheets, news clippings, for substantial research in any branch promotional flyers, and ot her suitable Columbia College, with its central of the discipline of black music, location in the city, with its programs matHials. including concert music, jazz, blues, that will effectively compliment the A Research Institute ragtime, gospel, and other genres. activities of the Center, and with the It is expected that the Center, with its vision of its leadership, is a perfect The city of Chicago is an excellent material resources, will also be a location for such a Center because of home for the concept. There is not in research institute for scholars. To its distinction as perhaps the only city existence anywhere a Center such as facilitate this aspect of the program, a in the world where all black music the one proposed here. Research Fellows program will be genres have actually flourished, with a A Research Library established to provide encouragement high level of quality and visibility, at and sustenance for black music one time or another. Black music in all The Columbia College Center will be based upon and will function around a scholarship, and to attract scholars to its fom1s has always been important in the Center. the city at-large. Important national resource library that will include the and international influences and following: A Publishing Program movements have emerged from the • A collection of all the important The results of Center-sponsored city's creative cauldron-witness, for books and sound recordings pertinent scholars will be published in Center example, the modem blues movement, to black music research.
Load more

Recommended publications
  • The New York Concert Singers
    THE MASK New World Records 80547 New York Concert Singers Virgil Thomson (1896–1990) led a double life—as a composer and a critic. Besides bringing a highly original and typically American sensibility to his musical works, he was for many years a respected voice of high musical taste as chief music critic for the New York Herald Tribune. When he wrote that he admired the music of Erik Satie for its "consequence, quietude, precision, acuteness of auditory observation, gentleness, sincerity, and directness of statement," he might have been describing his own personality as a composer. Despite Thomson's years of study in Paris and musical collaborations with European intellectuals, the influence of nineteenth-century American church and popular music gives this Missouri-born composer's music a decidedly Midwestern accent. Thomas Campion (1567–1620) is one of the great poets of the English language, and he set his own poetry to music in dozens of solo songs accompanied by lute. In the original, solo version of "Four Songs to Poems by Thomas Campion" (composed in the summer of 1951), Virgil Thomson re- created the sound-world of the Elizabethan lute song with a voice and harp; in the choral arrangement, there is also something of the sensuous blending of voices that one hears in an Elizabethan consort of viols. Both versions make subtle use of an obbligato clarinet and viola— these two instruments, which sound in the same pitch range as the human voice, provide "other voices" of melodic commentary; they also recede and blend with the harp to enhance the lute effect.
    [Show full text]
  • Natalie Hinderas and Leota Palmer Papers
    Natalie Hinderas and Leota Palmer papers G94.025 Finding aid prepared by Celia Caust-Ellenbogen and Faith Charlton through the Historical Society of Pennsylvania's Hidden Collections Initiative for Pennsylvania Small Archival Repositories. Last updated on April 28, 2014. African American Museum in Philadelphia Natalie Hinderas and Leota Palmer papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 6 Controlled Access Headings..........................................................................................................................6 - Page 2 - Natalie Hinderas and Leota Palmer papers Summary Information Repository African American Museum in Philadelphia Creator Hinderas, Natalie Title Natalie Hinderas and Leota Palmer papers Call number G94.025 Date [bulk] 1940-1989 Date [inclusive] 1904-1993
    [Show full text]
  • NWHP 2016 Democratic Convention
    Welcome Democratic Delegates and Visitors to Philadelphia! Learn here how Pennsylvania has written women back into American history and the value of “Remembering the Ladies” as Abigail Adams cautioned us March 31, 1776. NATIONAL WOMEN’S HISTORY PROJECT 2016 DEMOCRATIC DELEGATE CONVENTION GUIDE TO WOMEN’S HISTORY ASSETS In Philadelphia and Pennsylvania NATIONAL WOMEN’S HISTORY PROJECT 2016 Democratic Delegate Convention Guide To Women’s History Assets in Philadelphia and Pennsylvania The National Women’s History Project (NWHP) is a nonprofit, nonpartisan organization whose mission is to recognize and celebrate the diverse and historic accomplishments of women by providing informational services and educational and promotional materials. We work to Write Women Back Into History. What You Should Know About Pennsylvania Women. The Democratic Party is about to nominate the first woman as any major party nominee, an historic FIRST. Pennsylvania women have been leaders in just about every field of endeavor. Several firsts belong to Pennsylvania women, including the first woman industrialist, Rebecca Lukens (1794-1854), who took over her family’s iron business in 1825; Pearl Buck (1892-1973), the first woman to win both the Nobel and Pulitzer prizes in literature; Betsy Ross (1752-1836), viewed as the first to make an American flag; Dolley Payne Todd Madison (1768-1849), who pioneered the first public role for a First Lady; Loretta Perfectus Walsh (1896-1925), the first woman allowed to serve as a woman in any of the U.S. armed forces in a role other than a nurse in 1917; Violet Oakley (1874- 1961), the first woman to receive a commission for her murals in 1900; Crystal Bird Faucett (1894-1965), the first African-American woman elected to a state legislature in 1938, and C.
    [Show full text]
  • TAYLOR-MASTERSREPORT-2017.Pdf (156.6Kb)
    Copyright by X’ene S. Taylor 2017 The Report committee for X’ene S. Taylor Certifies that this is the approved version of the following report: Classically Black APPROVED BY SUPERVISING COMMITTEE: ________________________________________ Charles Carson, Supervisor __________________________________________ Andrew Dell’Antonio, Co-Supervisor Classically Black by X’ene S. Taylor Report Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Masterr of Music The University of Texas at Austin August 2017 Classically Black X’ene S. Taylor, M.M. The University of Texas at Austin, 2017 SUPERVISORS: Charles Carson, Andrew Dell’Antonio This master’s report will revisit Saidiya Hartman’s account of how to 1) combat violence found in the archives and 2) mitigate silences imposed on marginalized bodies in her essay, “Venus in II Acts.” This work contributes to public musicology because it impacts the way scholars interact with musicians who are historically othered. Through attention to the lives and works of Philippa Schuyler, Hazel Scott and Nina Simone, I ask critical questions like how can we view these pianists’ lives in a way that does not reinforce canonic violence. I simultaneously weave my personal narrative into this discussion as I find myself occupying the spaces of researcher, performer and all the interstices found within the classical piano tradition. Through the work of Hartman, as well as Julia J. Chybowski, Karen Chilton and Elizabeth Taylor Greenfield, I argue that Venus is a pianist like Schuyler, Scott and Simone whose usefulness is often tied to diversity within classical music's canon.
    [Show full text]
  • Concert: Gershwin by Request
    Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 2-21-1989 Concert: Gershwin By Request Leon Bates Benjamin Matthews Eddye Pierce Young Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Bates, Leon; Matthews, Benjamin; and Young, Eddye Pierce, "Concert: Gershwin By Request" (1989). All Concert & Recital Programs. 7659. https://digitalcommons.ithaca.edu/music_programs/7659 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons IC. Ithaca College School of Music ITHACA- ITHACA COLLEGE CONCERTS '88-'89 GERSHWIN BY REQUEST LEON BATES, Plano BENJAMIN MATTHEWS, Bass-Baritone EDDYE PIERCE YOUNG, Soprano WAYNE SANDERS, Plano "An Evening of the Music of George Gershwin" Three Preludes I. Allegro ben ritmato e deciso II. Andante con moto e poco rubato Ill. Allegro ben ritmato e deciso Three Songs Fascinatin' Rhythm Somebody Loves Me Liza Leon Bates Selections from Porgy and Bess Summertime A Woman Is a Sometime Thing My Man's Gone Now I Got Plenty o'nuttin' Strawberry Chant Bess, You Is My Woman Now Benjamin Matthews, Eddye Pierce Young, Wayne Sanders INTERMISSION Three Songs The Man I Love I Got Rhythm Strike Up the Band Leon.Bates Selections from Porgy and Bess It Takes a Long Pull to Get There There's Boat Oat's Leavin' Soon for New York I Love You Porgy Oh Lawd, I'm on My Way Benjamin Matthews, Eddye Pierce Young, Wayne Sanders Rhapsody in Blue (solo piano version) Leon Bates * * * * * WALTER FORD HALL AUDITORIUM Tuesday, February 21, 1989 8:15 p.m.
    [Show full text]
  • The Ursinus Weekly, January 11, 1965
    Ursinus College Digital Commons @ Ursinus College Ursinus Weekly Newspaper Newspapers 1-11-1965 The rsinU us Weekly, January 11, 1965 Craig S. Hill Ursinus College Helen Simmons Ursinus College John Bradley Ursinus College Sue Hartenstine Ursinus College Candace Sprecher Ursinus College See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/weekly Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Hill, Craig S.; Simmons, Helen; Bradley, John; Hartenstine, Sue; Sprecher, Candace; Anderson, Alexis C.; Atkinson, George; Walker, Samuel; Dingman, Carlton; Murphy, Marianne; and Rader, Linda, "The rU sinus Weekly, January 11, 1965" (1965). Ursinus Weekly Newspaper. 238. https://digitalcommons.ursinus.edu/weekly/238 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ Ursinus College. It has been accepted for inclusion in Ursinus Weekly Newspaper by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Craig S. Hill, Helen Simmons, John Bradley, Sue Hartenstine, Candace Sprecher, Alexis C. Anderson, George Atkinson, Samuel Walker, Carlton Dingman, Marianne Murphy, and Linda Rader This book is available at Digital Commons @ Ursinus College: https://digitalcommons.ursinus.edu/weekly/238 r5tnu~
    [Show full text]
  • National Endowment for the Arts Annual Report 1979
    National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1979. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1980 1 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs Deputy Chairman’s Statemen~ 8 Dance 10 Design Arts 30 Expansion Arts 50 Folk Arts 84 Literature 100 Media Arts: Film/Radio/Television 118 Museum 140 Music 172 Opera-Musical Theater 202 Special Projects 212 Theater 222 Visual Arts 240 Policy and Planning Challenge Grants 272 Evaluation 282 International/Fellows 283 Research 286 Special Constituencies 288 Office for Partnership Executive Director’s Statement 296 Education (Artists-in-Schools) 299 Federal-State Partnership (State Programs) 305 Intergovernmental Activities 312 Financial Summary 314 History of Authorizations and Appropriations 315 Chairman’s Statement A Common Cause for the Arts isolated rural coraraunities to the barrios and Perhaps nothing is raore enviable--or raore ghettoes of our inner cities. The dreara---that daunting--than the opportunity to raake a prac­ of access for all Araericans to the best in art-­ tical reality out of a visionary dreara. I happen is becoraing reality. to have this unusual privilege. As special assist­ But reality, as we all know, is a thorny ant to Senator Claiborne Pell frora 1963 to thing, with catches, snares and tangles.
    [Show full text]
  • MU Newsletter, January 29, 1987 Office Ofni U Versity Relations
    Marshall University Marshall Digital Scholar MU Newsletter 1987-1999 Marshall Publications 1-29-1987 MU NewsLetter, January 29, 1987 Office ofni U versity Relations Follow this and additional works at: http://mds.marshall.edu/oldmu_newsletter Recommended Citation Office of University Relations, "MU NewsLetter, January 29, 1987" (1987). MU Newsletter 1987-1999. Paper 43. http://mds.marshall.edu/oldmu_newsletter/43 This Article is brought to you for free and open access by the Marshall Publications at Marshall Digital Scholar. It has been accepted for inclusion in MU Newsletter 1987-1999 by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. r«J.! NEWSLETTER ••••• OFFICE OF UNIVERSITY RELATIONS • HUNTINGTON, WEST VIRGINIA 25701 • JANUARY 29, 1987 Speakers set for Black History Month Appearances by a commiss ioner on the United States to her position on the Civil Ri ghts Commission by a fed- Commission on Civil Rights and a world renowned clas- eral court, after being dismissed by Pres ident Reagan. sical pianist will highlight Marshall University's obser- She is a former president of the American Historians vance of Black History Month this February. Association and previously se rved as the United States Dr. Mary F. Berry, a commissioner on the United States assistant secretary for education in the Department of Commission on Civil Rights and a professor of history Health, Education and Welfare. She has received numer- and law at Howard University, will be a guest speaker ous honorary degrees and awards in recognition of her at Marshall University on Thursday, Feb.
    [Show full text]
  • In 1971, After the Release of Pianist Natalie Hinderas
    NWCR721 Gay American Composers David Del Tredici: Fantasy Pieces (1960) ................ (9:28) 10. I – Adagio ................................................. (1:56) 11. II – Poco allegretto ................................... (1:37) 12. III – Allegro minacciando (…Diabolique) (1:25) 13. IV – Largo ................................................ (4:34) David Del Tredici, piano 14. Robert Maggio: Desire-Movement from Two Quartets (1993) ........................................... (7:28) Bart Feller, Kathleen Nester, flute; Fred Sherry, Jonathan Spitz, cello; Bradley Lubman, conductor 15. Conrad Cummings: In the Department of Love (1988) ......................................................... (3:59) Text by James Sienna Cummings Ensemble: Dora Ohrenstein, soprano; Larry Adams, baritone; Gregory Fulkerson, violin; Daryl Goldberg, cello; Andrew Sterman, woodwinds; Conrad Cummings, keyboard 16. William Hibbard: Bass Trombone, Bass Clarinet, Harp (1973) .......................................... (8:01) Jon English, bass trombone; Charles West, bass clarinet; Motter Forman, harp; William Hibbard, 1. Robert Helps: Hommage à Rachmaninoff (1972) (2:13) conductor Robert Helps, piano 17. Jerry Hunt: Excerpt from Transform 2. Lee Hoiby: “I Was There” from Five Songs (Stream) (1977) ................................................... (3:16) on Poems of Walt Whitman (1988) ..................... (3:03) Jerry Hunt, voice and original instruments Peter Stewart, baritone, Lee Hoiby, piano 18. Lou Harrison: Serenade for Betty Freeman & Lou Harrison:
    [Show full text]
  • National Endowment for the Arts Annual Report 1981
    National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1981. The fiscal year covered in this report preceded my tenure as chairman. Respectfully, F.S.M. Hodsoll Chairman The President The White House Washington, D.C. May 1982 Contents Chairman’s Statement 3 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Dance 8 Design Arts 38 Expansion Arts 64 Folk Arts 118 Inter-Arts 140 International 166 Literature 170 Media Arts: Film/Radio/Television 192 Museum 228 Music 282 Opera-Musical Theater 358 Theater 374 Visual Arts 406 Policy and Planning 462 Challenge Grants 464 Endowment Fellows 474 Research 478 Special Constituencies 480 Office for Partnership 486 Artists in Education 488 Partnership Coordination 497 State Programs 500 Financial Summary 505 History of Authorizations and Appropriations 507 I , i li,ili~il|illlililil|liilil ill, i ,,I, llili,, lil I i iill,a liiilili,L,,i I i,i,i i,i,i ..... ii, 3 Chairman’s Statement sympathetic to the very real needs of our cultural What follows reflects much more than an outline of programs and a listing of grants. Rather, it organizations." Calling on us to redouble our efforts to leverage new private support for the presents a picture ~f the vitality of America’s artistic life--stretching from Alaska to Florida, arts, the President quoted Henry James: "It is art that makes life, makes interest, makes impor­ from Maine to Hawaii.
    [Show full text]
  • R. NATHANIEL DETT New World Records 80367 Piano Works DENVER OLDHAM
    R. NATHANIEL DETT New World Records 80367 Piano Works DENVER OLDHAM As a black musician of his time, Robert Nathaniel Dett (1882-1943) had options for the evolution of his talent. Most readily, he could write songs for minstrel shows (as did James Bland and Ernest Hogan), ballads for the parlor (Gussie Davis), or instrumental Gebrauchsmusik (Frank Johnson). Had he participated in the idioms which evolved during his youth, he might have turned to musical theater, or created blues or ragtime pieces. With the exception, however, of After the Cakewalk, a ragtime piece, his lifework centered upon spirituals, as did that of his older contemporary Harry Burleigh (1866-1949), and the use of folkloric ideas. Two individuals provided substantial impetus for Dett's exploration of Afro-American compositional sources during his youth: Antonin Dvořák, who had counseled Americans to look to their own roots for the basis of a native school, and the Afro-Britisher Samuel Coleridge-Taylor (1875-1912), whose respect for the music of both native and black Americans was manifest even before his visits to the United States. Dett (who chose to be known as R. Nathaniel) was born in a suburb of Ontario's Niagara Falls, a terminus on the underground railroad for escaped slaves. His mother's family had been Canadian residents for at least two generations, and his father was a first-generation expatriate. "I played the piano ever since I can remember; no one taught me, I just picked it up: I used to follow my two older brothers to the house while their lessons were in progress," he recalled.
    [Show full text]
  • School Catalog, 1960-1961
    ,P2, ™<5-*S The Philadelphia Conservatory of Music eighty-fourth season 1960-1961 Digitized by the Internet Archive in 2010 with funding from Lyrasis Members and Sloan Foundation http://www.archive.org/details/schoolcatalog196061phil The Philadelphia Conservatory of Music FOUNDED, 1877 Main Line Studio Main School INCORPORATED, 1884 The Rittenhouse, 52 East Lancaster Ave. 216 South Twentieth Street Ardmore, Penna. Philadelphia 3, Penna. Telephone, LOcust 7-6215 William Ezerman, President Board of Directors Allison R. Drake Allison R. Drake, Dean Maria Ezerman Drake Willem Ezerman Maria Ezerman Drake, Director Merle S. Schaff Harry E. Sprogell A. Hendrik Drake, Assistant Director Catalogue 1960-1961 EIGHTY-FOURTH SEASON Hendrlka S. Jurrjens Mary V. Hagerty Nancy Hall Secretary to Director Assistant Secretaries "The best insurance against material losses is the education that develops inner resources. Olga Samaroff Stokowslci THE PHILADELPHIA CONSERVATORY OF MUSIC The oldest chartered Music School in the State of Pennsylvania EIGHTY-FOURTH SEASON While highly endowed institutions provide opportunities for Not only to teach professional players, but also to start a free musical education to a limited number of outstanding the musical training of children in the right way, to teach talents, the task of offering a thorough musical training to the layman to enjoy the art of music, to prepare capable the general public on a sane and sound basis cannot be ne- teachers and give them a valuable musical background, glected if music is to take its rightful place in the civic and is the aim of The Philadelphia Conservatory of Music. national life of the United States.
    [Show full text]