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Organ Literature of Twentieth-Century Black Composers: an Annotated Bibliography

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Organ Literature of Twentieth-Century Black Composers: an Annotated Bibliography 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. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I Un1vers1ty Microfilms International A Bell & Howell InformatiOn Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313.'761-4700 800.'521-0600 Order Number 9314581 Organ literature of twentieth-century black composers: An annotated bibliography Harrell, Paula Denise, D.M.A. The University of North Carolina at Greensboro, 1992 Copyright @1992 by Harrell, Paula Denise. All rights reserved. U·M·I 300 N. Zeeb Rd. Ann Arbor, MI48106 ORGAN LITERATURE OF TWENTIETH-CENTURY BLACK COMPOSERS: AN ANNOTATED BIBLIOGRAPHY by Paula Denise Barrell A Dissertation Document Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 1992 Approved b~ ~ ,:J-. &~(}- Dissertation Adviser APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro. Dissertation v -, ~ Advisor---~--~~~----~-·~---~--· _____~__ .( __ _ Committee Membersa; ~ a?11& ...?. zt:~ / Date of Final Oral Examination ii (c) 1992 by Paula Denise Harrell HARRELL, PAULA DENISE, D.M.A. Organ Literature of Twentieth­ Century Black Composers: An Annotated Bibliography. (1992) Directed by Dr. Kathryn Eskey. 131 pp. The purpose of this document is twofold: (1) to provide a comprehensive and available source of organ music by black composers and, (2) to acknowledge the composers and their compositions. A substantial amount of existing organ music by black composers is being overlooked mainly because of the lack of knowledge of its existence. The existence of a bibliography of this music would draw attention to the many works that are available and increase public awareness of lesser known composers. A bibliography of organ music by black composers does not exist. This author has addressed the problem by compil- ing an annotated bibliography which includes the following: (1) the identification of as many composers as possible, (2) a brief biography of each composer, (3) a complete listing of each composer's works, whether published or in manuscript, and (5) comments pertinent to the music. The compositions chosen for this document are works for solo organ, works for organ with instruments, and organ arrangements of instrumental or vocal music written by black composers. ACKNOWLEDGEMENTS A project of this nature would not be possible without the cooperation and support of many institutions and individuals. I wish to acknowledge the members of my committee for their guidance and support: Dr. George Kiorpes, Dr. Paul Stewart, Dr. Eleanor McCrickard, and especially my adviser, Dr. Kathryn Eskey. A special thanks goes to Mr. Theodore Hunter, Jr. for his technical assistance in the final preparation of this document. I would like to thank Mr. Fritz Malval, director, and the staff of the University Archives at Hampton University for their services and cooperation during my research. I am grateful to Esme Bhan of the Moorland-Spingarn Research Center at Howard University for providing manuscripts for this project. I am especially indebted to Dr. Dominique­ Rene de Lerma and Ms. Suzanne Flandreau of the Center for Black Music Research for their guidance and interest in this topic. A special thanks goes to Mr. Alva Stewart and the reference staff of the Bluford Library at North Carolina A & T State University for their invaluable assistance. Many people provided help in the preparation of this document; however, several individuals deserve special recognition for their expertise and for providing access to their personal music libraries. I would like to thank Dr. iii Eugene Hancock for his cooperation and interest as well as Dr. Herman Taylor, Dr. Don White, Mr. Harvey van Buren, Mr. Myron Munday, Mr. James Jarrell, and Dr. William B. Cooper for their continued support and generous assistance in the location of manuscripts. To Dr. William Smiley, Mr. Robert Hayes, Mr. Kenneth Ruff, and Mrs. Theodora Parker, many thanks for technical assistance. Finally, a very special thanks to my friends and especially my parents for their constant encouragement and patience. iv TABLE OF CONTENTS APPROVAL PAGE ii ACKNOWLEDGEMENTS . iii CHAPTER I. INTRODUCTION . 1 Purpose . 3 Justification of the Study 4 Relationship of This Document to Previous Studies in Organ Literature 6 Relationship of This Document to Research Pertaining to Black Composers 9 II. A BIBLIOGRAPHY OF ORGAN LITERATURE BY TWENTIETH-CENTURY BLACK COMPOSERS 11 List of Abbreviations for Publishers, Libraries, and Composers Addresses 13 III. SUMMARY AND CONCLUSIONS 74 APPENDIX A. BIOGRAPHICAL SKETCHES . 91 APPENDIX B. ADDITIONAL ORGAN COMPOSITIONS . 107 APPENDIX c. DISCOGRAPHY 112 BIBLIOGRAPHY . 113 INDEX A. CHORALES, HYMNS, AND SPIRITUALS . 120 INDEX B. TITLES . 125 v 1 CHAPTER I INTRODUCTION Historically, music research has focused mainly on the western European tradition and until recent years has not given adequate attention to the music of twentieth-century American composers. Also apparent is the lack of attention to the music of twentieth-century black composers. African­ American music is an inseparable part of American music al­ though its repertoire, other than jazz, is still unfamiliar to the general public as well as to many musicians. Music by black composers--African, African-American, and Euro­ African--encompasses all types of literature from folksongs to the avant-garde. The rhythms, melodies, and spirituals of blacks have provided important sources for the music of twentieth-century American and European composers. Examples of composers and their works that have been influenced by black idioms include Debussy's "Golliwog's Cakewalk," Gershwin's "Porgy and Bess," and Stravinsky's "Ragtime." A bibliographical source about the compositions and contributions of black musicians would provide teachers and performers with additional music that would broaden the existing repertoire. Dorothy Sims summarizes very pointedly 2 the necessity for the study and performance of music by black composers:l Although the classical ~usic of Black composers has received an increasing amount of attention in recent years, ... it still remains largely an unknown quantity to the public. When references are made to the music of Black composers by the press and the media, it is generally assumed that such references are to blues, spirituals, gospel or jazz. Only when this music is provided the opportunity to be heard can a valid judgement be made as to its worth and whether it should have a place in the concert repertory and in music history. This document will address one area of music, the organ music of twentieth-century black composers, an area of lesser known music that would provide another level of interest for organists as well as an historical perspective for all musicians. lDorothy Sims, "An Analysis and Comparison of Piano Sonatas by George Walker and Howard Swanson," The Black Perspective in Music 4 (Spring 1976), 70. 3 Purpose The purpose of this document is twofold: {1) to provide a comprehensive and available source of organ music by black composers and (2) to acknowledge the composers and their compositions. With the emergence of multiculturalism in the American educational system, there has been a greater interest in ethnomusicology and minority composers, particularly black composers. Although the works of black composers have received greater attention in recent years, the organ repertoire is practically unrecognized. A bibliography of organ music by twentieth-century black composers does not exist. This author has addressed the problem by compiling an annotated bibliography which includes the following: (1) the identification of as many composers as possible, (2) a brief biography of each composer, (3) a complete listing of each composer's works, (4) the availability of the work (whether it is published or in manuscript), and (5) comments pertinent to the music. In addition, a quick reference index including the composers, titles of works, and corresponding page numbers in the bibliography will be included. An index of the organ compositions based on spirituals,
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