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RESOUND a QUARTERLY of the Archives of Traditional Music Volume IV, Number 4 October 1985

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RESOUND a QUARTERLY of the Archives of Traditional Music Volume IV, Number 4 October 1985 RESOUND A QUARTERLY OF THE Archives of Traditional Music Volume IV, Number 4 October 1985 From the Director For years the staff of the Archives of Traditional Music that has characterized American music for over a hundred has been trying to fit more and more collections and ac­ years and is found increasingly around the world. tivities into the same amount of space. Generous gifts of The Hollywood career of Hoagy Carmichael encourages records, large tape collections, and grants have often been our move into videotape-for musicians in many musical greeted with as much consternation as delight because it traditions do more than produce sounds: they also dance, was so hard to find a place for them. interact with each other and the audience, and combine the That is over. Construction has begun on a new home for visual and aural in their performances. Increasingly, eth­ the Archives in Morrison Hall, which is appropriately lo­ no musicologists are using videotape as part of their re­ cated between Anthropology and Music, part of a quiet search. The Archives is applying for grants for the storage quadrangle formed with Memorial, Goodbody, and Syca­ and use of videotape throughout its new facilities. more Halls. Our storage space will initially double, and the The new quarters will also have a seminar room, an office floor of the storage room is being reinforced to permit the for Professor Emeritus George List, working space for vis­ construction of a loft that will increase the total storage iting scholars, and more laboratory space. We are no longer space by another sixty percent should it be needed. The wondering where we will put collections, and have recently storage area and sound laboratories will be served with acquired some large ones whose quality and variety reflect state-of-the-art climate control for better preservation. The the essence of the Archives of Traditional Music. Some of listening library will have two rooms for group listening, them are described elsewhere in this issue. Construction as well as carrels; administrative offices will be consolidated will take ten months; with luck we will be fully installed in on a single floor; and the whole physical plant will be more a year. attractive, twice as large, and more functional. The Friends of the Archives have been instrumental in The Archives will also have space for entirely new kinds our activities during the past year. Your generosity has of activities, thanks to the generosity of the family of the supported the publication of this quarterly, and its new late multi-talented Bloomington native, Hoagy Carmichael. expanded format, as well as expenses to bring a collection The family will be donating much of his memorabilia to the here and the purchase of equipment not covered by other Archives, where it will form the core of our growing jazz funds. Your donations add flexibility for our daily opera­ collection. Some of the memorabilia will be displayed in a tions and indicate support in a way University administra­ room tentatively named the Hoagy Carmichael Suite. At tors can understand. When I argued for the importance of the family's request, this will not be a quiet museum but a the Archives, I used the growing number of Friends to lively place, designed for active use by the university com­ demonstrate the broad support the Archives enjoys. I hope munity. The handsome 960 square foot room, with attached you will make a donation to the Friends of the Archives of kitchenette and storage area, will be equipped with a small Traditional Music this year, and direct your attention to the modular stage and audio-visual equipment. It will be used form in this issue. for displays, receptions, and for informal music events: small Finally, I must announce a further personnel change here jazz concerts, groups of African drums or xylophones, fid­ at the Archives. Mary Russell, who as an outstanding vis­ dlers, penny whistlers, singers, salsa, and even chamber iting librarian here for two years put us "on-line" with music. The room will give the Archives a place to make OCLC, and had just been promoted to Acting Associate music as well as to store it, a place to appreciate performers Director, accepted a permanent position as Music Librarian as well as performances. It will also allow us to emphasize at Middlebury College. The experienced staff of the Ar­ the mixture of commercial and traditional musical forms chives is clearly attractive to other institutions. As with l Louise Spear a few months before, we rejoiced with Mary tion were issued on commercial discs in the early 1950s , for her success, and were very sorry to see her leave. She and notations made by John Benson Brooks were published has been replaced by James Smart, formerly a reference in 1960. 4 librarian at the Library of Congress, who will serve through Following a visit to Tuskeegee Institute and some stim­ June 1986. In a year we should have new quarters and a ulating conversations with Thomas M. Campbell, Field Agent larger permanent staff. I would like to thank Marilyn Graf, for the Department of Agriculture (for work among Negro James Smart, and Brenda Nelson for their hard work to farmers), I spent a week or ten days in the neighborhood keep the Archives going in the meantime. of Selma, mostly talking to people and keeping a eye out for recording possibilities. S. W. Boynton, Negro County Agent for the Department of Agriculture, took me with him on his various rounds to farmsteads in the area. I told C. J. Hurston, Principal of the Dallas County Training School at Beloit, that I wanted to record some local church services, and he gave me the name of Mrs. Rebecca Anderson, dea­ coness of the Shiloh Primitive Baptist Church at Bogue Chitto. The next morning my wife and I drove to Bogue Chitto. It was raining and the road was a river of red mud. I stopped Resound here and there to ask the whereabouts of Sister Rebecca A Quarterly of the Anderson, but no one seemed to know her. Eventually we stopped in front of a dilapidated open shed-three walls Archives of Traditional and a roof-where six or seven men had taken refuge from Music the rain. I sloshed my way in, greeted them, and asked if they could direct me to Mrs. Anderson's house. Everyone Marilyn B. Graf, Editor looked puzzled at the mention of her name. One of them asked, "Who's that again?" I repeated the question, this Resound is issued in January, April, July, and October. time calling her Sister Rebecca Anderson, and I mentioned Comments, letters, and items of interest are welcome and that Mr. Hurston had sent me. They all shook their heads. may be addressed to the editor. "No, ain't no Sister Rebecca Anderson around here." One of them said to another, "You ever hear about her?" The Archives of Traditional Music other man said, "No, sure never did." Maxwell Hall 057 I :mad~s.ome ~lllall talk about 'Y-e.fl.thecand crops. After Inaiana university about five minutes of this, one of the older men said, "Guess Bloomington, Indiana 47405 you from the F.B.I. Or ain't you?" I said, "No, sure ain't." (812) 335-8632 Suddenly we were all laughing. Then one of them asked, Anthony Seeger, Director "Now, just who is it you say you lookin' for?" I said, "Sister Rebecca Anderson." He said, "How come you didn't say James R. Smart, Acting Associate Director so? That's her house right down there." Brenda L. Nelson, Librarian I thanked him and went about a hundred yards down Marilyn B. Graf, Secretary the road. Mrs. Anderson received me amiably, and I told her about wanting to record a Sunday service at her church. ISSN 0749-2472 It required a lot of explaining, including several references to the Library of Congress' special interest. I don't believe Mrs. Anderson had ever heard of the Library of Congress, but she was very cordial and invited me to come to the Sunday service, nine o'clock. Recording in Alabama In 1950 Sunday morning we put our tape recorder in the car and Harold Courlander headed for Bogue Chitto. We picked up an elderly man who was walking along the road and asked where he wanted to go. He said, "Shiloh P.B. Church." I told him it was My recording trip to rural Alabama in 1950 1 had the fa­ exactly where we were going. He said, "Fine, fine! Look miliar open-ended objective of documenting whatever I could like everybody go in' there today. We got four churches in of Afro-American music and narrative in its natural setting. Bogue Chitto, and I ought to known 'cause I'm the preacher I particularly hoped to be able to record in depth within of one of them, but everyone goin' to Shiloh P.B. They say local, defined areas rather than to wander about from one something special goin' on there, and from the look of it, place to another. And I also wanted to hear and see enough must be you." to be able to compare musical concepts and practices with When we arrived at the church, a group of people, in­ those found elsewhere in Afro-America, including the Car­ cluding Mrs. Anderson, was standing in front of the door, ibbean. As it worked out, my recording areas were in the obviously having a serious discussion. Mrs. Anderson wel­ general environs of Selma, Livingston, and Tuscaloosa, Al­ comed us and introduced us to the preacher, Rev.
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