DOCSLIB.ORG

Cultural Influences of Organ Music Composed by African American Women Author(S): Carol Rittersource: College Music Symposium , Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cultural Influences of Organ Music Composed by African American Women Author(S): Carol Rittersource: College Music Symposium , Vol Cultural Influences of Organ Music Composed by African American Women Author(s): Carol RitterSource: College Music Symposium , Vol. 55 (2015) Published by: College Music Society Stable URL: https://www.jstor.org/stable/10.2307/26574395 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:46:58 UTC All use subject to https://about.jstor.org/terms Cultural Influences of Organ Music Composed by African American Women Carol Ritter Volume 55 2015 Cultural Influences on Organ Music Written By African American Women 1 Abstract In this paper, major events in African American history are described and contrasted with the history of organ music written by African American women in the twentieth- and the twenty-first centuries. The discussion includes the emergence of women's rights, especially women composers. The author traces the beginnings of African American women composers from church music to all other forms of musical performance. Included in the paper are the history, works, and styles of Florence Price (1887-1953), Undine Smith Moore (1905-1989), Zenobia Powell Perry (1908-2004), Betty Jackson King (1928-1994), Shirley Scott (1934-2002), Judith Marie Baity (b. 1944), Sharon J. Willis (b. 1949), Eurydice V. Osterman (b. 1950), and Regina Harris Baiocchi (b. 1956). As this discourse reveals the struggles and history of women composers in general, it also gives hope to the future of exploration in this field. With easier exposure to this music and continued advancements in culture and technology, research will continue into black music history, and especially into the music of African American women. One misconception about African American classical music works is that they are only based on Negro Spiritual themes and folk songs.2 While it is true that many of them are from this source, other works of African American composers are a reflection of social changes in black history. In addition, African American composers were not only influenced by their culture. They were also affected by the changing styles and periods represented in music history as a whole. These musicians and their music were shaped by the African American experience. The struggle for justice, equality, integration, and acceptance in the large mainstream culture have led to the renewal of pride in African heritage and its incorporation into the European American milieu of art, literature, and music. “The works of African-Americans, particularly those writing for the organ, are based upon a rich and diverse set of influences that include not only spirituals but plainchant, general Protestant hymnody, German chorale tunes, themes of African origin, and original themes.”3 African American elements can also be heard in works by composers of European descent. “Dvorak, Ravel, Gershwin This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:46:58 UTC All use subject to https://about.jstor.org/terms and Bernstein are noted for their inclusion of elements that are considered African-American.”4 There is not one absolute definition of “black music” that pertains to every piece written by an African American composer. As stated by Mickey Thomas Terry: As with most other ethnic groups, African-Americans are heterogeneous by nature and, therefore, cannot always be said to approach all issues from the same point of view. As this is the case, one encounters not only the diversity of compositional styles but philosophical differences as well. One issue about which there has been a long-standing difference of opinion among black composers pertains to what constitutes ‘black music.’ 5 The Harlem Renaissance was an important movement both in the definition and the celebration of black music. The migration of African Americans in the early 1920s brought them to northern cities such as New York City, Chicago, and Washington, D.C. In the Harlem section of New York City, African American literature, art, music, dance, and social commentary began to flourish. African Americans were encouraged to celebrate their heritage. This came at a time when a nationalistic revival of folk music was flourishing in many areas of early twentieth-century music in Europe and America. “But it was in the realm of concert music that Renaissance thinkers hoped for great achievement, expecting that black folk music would serve as the basis for great symphonic compositions that would be performed by accomplished black musicians.”6 “Eileen Southern has ... identified as black nationalist composers such figures as Harry T. Burleigh, Clarence Cameron White, Robert Nathaniel Dett, Harry Lawrence Freeman, Florence Price, J. Harold Brown, and William Levi Dawson, writing that they all ‘consciously turned to the folk music of their people as a source of inspiration for their compositions.’”7 “In critical discussions of the first orchestral music by black American composers, William Grant Still’s Afro-American Symphony, Florence Price’s Symphony in E minor, and William Dawson’s Negro Folk Symphony are often cited in the context of American musical nationalism.”8 Although The Harlem Renaissance ended in the 1930s, African Americans continued to compose in a variety of genres. As Eileen Southern has written: “Though rarely discussed in the literature, black women composers of church music have played an important role in the development of the genre ever since the first independent black churches in the United States were founded in the 1790s.”9 The first known black woman church organist was Ann Appo (1809-28), who was given the position when St. Thomas Episcopal Church in Philadelphia purchased an organ in 1828. Notably, The African Methodist Episcopal (AME) and the African Methodist Episcopal Zion Church (AMEZ) published their own hymnals. Generally, in other denominations, the hymnals of the affiliated white churches were used. The following is a chronological list of African American women composers for the organ compiled in research for this article: Florence Price (1888-1953); Loretta Manggrum (1896-1992); Undine Smith Moore (1905-1989); Zenobia Powell Perry (1908- 2004); Evelyn Pittman (1910-1992); Julia Perry (1924-1979); Ruth Norman (b. 1927); Betty Jackson King (1928-1994); Shirley Scott (1934-2002); Charlene Moore Cooper (b. 1938); Judith Baity (b. 1944); Dr. Sharon J. Willis, (b. Cleveland, 1949); Eurydice V. Osterman, (b. Atlanta, 1950); Evelyn Simpson-Curenton, (b. Philadelphia, 1953); and Regina Harris Baiocchi, (b. Chicago, 1956). These composers were found in journals, books, music, and music periodicals at the beginning of the 21st century. There are undoubtedly more African American women composers, but these were the ones named and written about in the sources referenced. Without making this article overtly lengthy, nine of these composers and their works are highlighted in this discussion. It was not until the last decade of the 19th century that women composers emerged into the classical music scene in America as well as in Europe. Therefore, black women composers were also late to be recognized. “It was not until the white composer Mrs. H.H.A. Beach (1867-1944) wrote her Mass in E-flat Major, Gaelic Symphony, and Piano Concerto in C-Sharp Minor during the last decade of the 19th century that American women composers began to claim their place alongside their male colleagues. Performances of Beach’s music would have been heard by the black composer Florence Price while she studied in Boston, and may have inspired her own ambitions.”10 Florence Price (1887-1953) Scholars disagree on whether Florence Price was born on April 9, 1887 or April 9, 1888. But all agree that she was born in Little Rock, Arkansas, and died in Chicago on June 3, 1953. She began her piano study at age four in a public recital. She “received further musical training from her public school teacher, Charlotte Andrews Stephens, who also taught William Grant Still.”11 Her father James was a dentist in Little Rock and also a successful inventor and painter. Her mother Florence was a talented soprano and concert pianist.12 Since her parents were both artistic, they both guided her early musical training, and at age fourteen, she enrolled in the New England Conservatory of Music with a major in piano and organ. She studied with George Chadwick and Frederick Converse. After she graduated from college, Price returned to Little Rock and taught at Shorter College in North Little Rock, Arkansas (1906-1910), and then at Clark University in Atlanta, Georgia (1910-1912). Price was also an active church organist at this time in her life. “Humble in demeanor and deeply religious, Price often used the music of the black church and made a number This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:46:58 UTC All use subject to https://about.jstor.org/terms of arrangements of spirituals.”13 In 1927, Price moved to Chicago because of increasing racial tensions in the South.14 In Chicago, she studied at the Chicago Musical College, the American Conservatory of Music with Leo Sowerby, and Chicago Teachers College. At this time, Price “began to win awards for her compositions (1926 and 1927 Opportunity magazine prizes). In addition, [she] wrote musical commercials for radio.”15 “She was also an accomplished theater organist, accompanying silent films in movie theaters in Chicago.”16 Many of her pieces were played by organists, especially members of the Chicago Club of Women Organists.
Load more

Recommended publications
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]
  • December 1940) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1940 Volume 58, Number 12 (December 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 12 (December 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/59 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. —— THE ETUDE Price 25 Cents mueie magazine i — ' — ; — i——— : ^ as&s&2i&&i£'!%i£''££. £&. IIEHBI^H JDiauo albums fcj m Christmas flarpms for JfluStc Jfolk IS Cljiistmas iSnraaiitS— UNTIL DECEMBER 31, 1940 ONLY) (POSTPAID PRICES GOOD CONSOLE A Collection Ixecttalist# STANDARD HISTORY OF AT THE — for £111 from Pegtnner# to CHILD’S OWN BOOK OF of Transcriptions from the Masters Revised Edition PlAVUMfl MUSIC—Latest, GREAT MUSICIANS for the Pipe Organ or Electronic DECEMBER 31, 1940 By James Francis Cooke Type of Organ Compiled and MYllfisSiiQS'K PRICES ARE IN EFFECT ONLY UP TO By Thomas
    [Show full text]
  • Zenobia Powell Perry Scores and Music Manuscripts 1242012.ZPPSAMM.TJSDF Finding Aid Prepared by T.J
    Zenobia Powell Perry Scores and Music Manuscripts 1242012.ZPPSAMM.TJSDF Finding aid prepared by T.J. Szafranski and Dominique Fuqua This finding aid was produced using the Archivists' Toolkit November 21, 2013 Describing Archives: A Content Standard Center for Black Music Research, Columbia College Chicago 12/04/2012 Zenobia Powell Perry Scores and Music Manuscripts 1242012.ZPPSAMM. Table of Contents Summary Information ................................................................................................................................. 3 Biographical/Historical note.......................................................................................................................... 4 Scope and Contents note............................................................................................................................... 4 Administrative Information .........................................................................................................................4 Related Materials ........................................................................................................................................ 5 Controlled Access Headings..........................................................................................................................5 Cited Sources................................................................................................................................................. 5 Collection Inventory.....................................................................................................................................
    [Show full text]
  • Faurã©, Through Boulanger, to Copland: the Nature of Influence
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 4 Issue 1 Article 9 January 2011 Fauré, through Boulanger, to Copland: The Nature of Influence Edward R. Phillips [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Phillips, Edward R. (2011) "Fauré, through Boulanger, to Copland: The Nature of Influence," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 4 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol4/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. FAURÉ, THROUGH BOULANGER, TO COPLAND: THE NATURE OF INFLUENCE EDWARD R. PHILLIPS Nymphs of the woods, Goddesses of the fountains, Expert singers of all nations, Change your voices, So clear and high, To cutting cries and lamentations Since Atropos, the very terrible satrap, Has caught in her trap your Ockeghem, True treasure of music . Dress in your clothes of mourning, Josquin, Piersson, Brumel, Compère, And cry great tears of sorrow for having lost Your dear father. n the late fifteenth century, Josquin set this text—“Nymphes des bois,” La déploration sur la I mort de Johannes Ockeghem—as a commemoration of the older composer, “le bon père” of Josquin and his contemporaries Brumel, Compère, and Pierre de la Rue.
    [Show full text]
  • Encyclopedia of African American Music Advisory Board
    Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk.
    [Show full text]
  • The Music of Randall Thompson a Documented
    THE MUSIC OF RANDALL THOMPSON (1899-1984) A DOCUMENTED CATALOGUE By Carl B. Schmidt Elizabeth K. Schmidt In memory of RANDALL THOMPSON ' for VARNEY THOMPSON ELLIOTT (†) CLINTON ELLIOTT III EDWARD SAMUEL WHITNEY THOMPSON (†) ROSEMARY THOMPSON (†) RANDALL THOMPSON JR. HAROLD C. SCHMIDT (†) and for E. C. SCHIRMER MUSIC COMPANY a division of ECS Publishing Group © 2014 by E. C. Schirmer Music Company, Inc., a division of ECS Publishing 1727 Larkin Williams Road, Fenton, MO 63026-2024 All rights reserved. Published 2014 Printed in the United States of America ISBN 978-0-911318-02-9 Library of Congress Cataloging-in-Publication Data Schmidt, Carl B. The music of Randall Thompson (1899-1984) : a documented catalogue / by Carl B. Schmidt [and] Elizabeth K. Schmidt. pages cm Includes bibliographical references and index. ISBN 978-0-911318-02-9 1. Thompson, Randall, 1899-1984--Bibliography. I. Schmidt, Elizabeth K. II. Title. ML134.T42S36 2015 016.78092--dc23 2014044640 Since I first went to Rome in 1922, Italian culture, the Italian people and the Italian language have been the strongest single influence on my intellectual and artistic development as a person and as a composer. So true is this that I cannot imagine what my life would be without all the bonds that bind me in loyalty and devotion to Italy and to my Italian friends. 13 June 1959 letter from Thompson to Alfredo Trinchieri Thompson always makes you think there is nothing as beautiful, as rich, or as varied as the sounds of the human voice. Alfred Frankenstein, San Francisco Chronicle (24 May 1958) It is one of the lovely pieces our country has produced, that any country, indeed, has produced in our century.
    [Show full text]
  • Arthur Honegger'in Müziği Ve Viyolonsel Konçertosu
    T.C. ULUDA Ğ ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ MÜZ İK ANASANAT DALI YAYLI ÇALGILAR SANAT DALI ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU (YÜKSEK L İSANS SANAT ESER İ MET İN ÇALI ŞMASI) Ali Kaan KAPLAN BURSA - 2015 T.C. ULUDA Ğ ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ MÜZ İK ANASANAT DALI YAYLI ÇALGILAR SANAT DALI ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU (YÜKSEK L İSANS SANAT ESER İ MET İN ÇALI ŞMASI) Ali Kaan KAPLAN Danı şman: Prof. İsmail GÖ ĞÜŞ BURSA - 2015 ÖZET Yazarın Adı ve Soyadı : Ali Kaan KAPLAN Üniversite : Uluda ğ Üniversitesi Enstitü : Sosyal Bilimler Enstitüsü Anasanat Dalı : Müzik Sanat Dalı : Yaylı Çalgılar Tezin/Çalı şmanın Niteli ği : Yüksek Lisans Sayfa Sayısı : xii+112 Mezuniyet Tarihi : .../..../2015 Tez Danı şmanı : Prof. İsmail GÖ ĞÜŞ ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU Arthur Honegger, 20. yüzyılın bestecileri arasında, adı her ne kadar az telaffuz edilse de oldukça önemli bir yere sahiptir. Daha gençlik yıllarında önemli bir besteci olarak “Fransız Altıları”ndan birisi olmayı ba şarmı ştır. Ba şta Dmitri Shostakovich olmak üzere bazı bestecilere örnek olan Honegger, ya şamı boyunca ini şli-çıkı şlı dönemler ya şamı ş fakat her türlü durumda gererek büyük bir özveri ile çalışmı ş, sürekli eser üretmi ştir. Üretti ği eserlerde, birçok akımın özelliklerini kendi sanat vizyonu ile harmanlamı ş, klasik formlara yeni boyutlar kazandırmı ş ve kendi müzikal kimli ğini olu şturmu ştur. Hayranı oldu ğu Bach’ı ve Beethoven’ı sürekli olarak, Claude Debussy’yi de daha çok gençlik yıllarında örnek almı ştır.
    [Show full text]
  • EVERY VOICE Sunday, November 8, 2020 at 3:00PM EVERY VOICE PROGRAM Streamed Online Sunday, November 8, 2020 at 3:00PM
    EVERY VOICE Sunday, November 8, 2020 at 3:00PM EVERY VOICE PROGRAM Streamed Online Sunday, November 8, 2020 at 3:00PM PERFORMERS Reginald Mobley, director and countertenor Julia Scott Carey, organ and piano Porsha Olayiwola, Boston Poet Laureate Members of the H+H Orchestra and Chorus H+H Youth Choruses Concert Choir Dr. Jennifer Kane, conductor PROGRAM Queer Women Venite, laetantes, Op. 20, No. 12 Isabella Leonarda (1620 - 1704) what is the suffrage movement to a blk womyn? an anthem Porsha Olayiwola (b. 1988) Prelude for piano in A-flat Major Mari Esabel Valverde (b. 1987) Women of Color “Homage” Zenobia Powell Perry (1908-2004) Excerpt from an address to the Sojourner Truth First Annual Meeting of the American Equal Rights Association (1797-1883) “Kuumba” Zanaida Stewart Robles (b. 1979) Women of Boston “A White Rose” Florence Price “Out of the South Blew a Wind” (1887-1953) “Song to the Dark Virgin” Excerpt from the article “The Province of Women” (1847) Lucy Stone (1818-1893) Improvisation No. 1 in A Major, Op. 148 Amy Beach (1867-1944) Closing “Lift Ev’ry Voice and Sing” J. Rosamond Johnson Cassandra Extavour, soprano Reginald Mobley, countertenor Stefan Reed, tenor Dana Whiteside, baritone PROGRAM NOTES What makes a piece of music “good”? Is it that it has a good melody or a catchy rhythm? Is it that the performance was moving to everyone who heard it? Is it that other people (or people in authority) say it is good? What makes a piece popular? Is it that the piece is “good”? Is it that something about it is memorable? Is it that it has been played many times and is therefore familiar? The beautiful thing is that the world of music makes room for all of these.
    [Show full text]
  • 20Th Anniversary Celebration
    THE AFRICAN AMERICAN ART SONG ALLIANCE CONFERENCE 20th Anniversary Celebration February 9 – 12, 2017 Claire Trevor School of the Arts – Music The University of California, Irvine In collaboration with Christ Our Redeemer AME Church 45 Tesla, Irvine, Rev. Mark E. Whitlock, Jr., Pastor Host Hotel Transportation provided by COR AME Church Radisson Hotel Newport Beach via DMCLS, Inc. a minority-owned VIP transportation co. 4545 MacArthur Boulevard Mathurin Daniel, CEO Newport Beach, CA 92660 37 Rincon Way, Aliso Viejo, CA 92656 The African American Art Song Alliance artsongalliance.org Funding for this conference generously provided by: UCI Office of Inclusive Excellence Spirit Award Program; Christ Our Redeemer AME Church, 45 Tesla, Irvine, Rev. Mark E. Whitlock., Pastor; UCI Illuminations, the Chancellor’s Art & Culture Initiative; Hampsong Foundation; UC Consortium for Black Studies in California; COR Community Development Corporation (CORCDC); Chair’s Endowment, UCI Music Department; UCI African American Studies Department CONFERENCE PARTICIPANTS COMPOSERS SINGERS (cont) H. Leslie Adams, Cleveland, OH Kisma Jordan Hunter, University of Michigan, Flint, MI Judith Baity, Los Angeles, CA Albert R. Lee, University of Nevada, Reno, NV Brittney Elizabeth Boykin, Spelman College, Atlanta, GA Marquita Lister, Morgan State University, Baltimore, MD Maria Thompson Corley, Franklin & Marshall Coll., Lancaster, PA Leberta Lorál, Los Angeles, CA Marquez L.A. Garrett, Florida State University, Tallahassee, FL Jennifer Lindsay, Long Beach, CA Adolphus C. Hailstork, Old Dominion University, Norfolk, VA Oral Moses, Kennesaw State University, Kennesaw, GA Lori Celeste Hicks, Claflin University, Orangeburg, SC Marlaina Owens, Los Angeles, CA Charles Ingram, Los Angeles Southwest College, Los Angeles, CA Miranda Paulos, University of California, Irvine, CA Roy Jennings, New York, NY Willis C.
    [Show full text]
  • The Contribution of Twentieth Century African American Composers to the Solo Trumpet Repertoire: a Discussion and Analysis of Selected Works By: Ulysses S
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of Summer 6-16-2011 The Contribution of Twentieth Century African American Composers to the Solo Trumpet Repertoire: A Discussion and Analysis of Selected works by: Ulysses S. Kay, Adolphus C. Hailstork, Regina Harris Baiocchi, and Charles Lloyd, Jr. Orrin M. Wilson University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Wilson, Orrin M., "The Contribution of Twentieth Century African American Composers to the Solo Trumpet Repertoire: A Discussion and Analysis of Selected works by: Ulysses S. Kay, Adolphus C. Hailstork, Regina Harris Baiocchi, and Charles Lloyd, Jr." (2011). Student Research, Creative Activity, and Performance - School of Music. 42. https://digitalcommons.unl.edu/musicstudent/42 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 Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Contributions of Twentieth Century African American Composers to the Solo Trumpet Repertoire: A Discussion and Analysis of Selected works by: Ulysses S. Kay, Adolphus C. Hailstork, Regina Harris Baiocchi, and Charles Lloyd, Jr. by Orrin Wilson A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Scott Anderson Lincoln, Nebraska June 2011 The Contributions of Twentieth Century African American Composers to the Solo Trumpet Repertoire: A Discussion and Analysis of Selected Works by: Ulysses S.
    [Show full text]
  • Eastman Celebrates Debussy at 150 October 11–14, 2012
    EASTMAN NOTESSUMMER 2012 Eastman Celebrates Debussy at 150 October 11–14, 2012 • 50th reunion celebration Join your fellow (classes of 1961 and 1962) • Recognition of the 1961–62 Eastman Eastman alumni for Philharmonia European Tour • A tribute to Eastman’s legendary jazz a spectacular weekend! professor and renowned arranger, Rayburn Wright, and a reunion of his students Reunion class members, all alumni, • A Catherine Filene Shouse Arts parents, and families are welcome. Leadership Program (ALP) reunion • 20th anniversary celebration of Visit www.esm.rochester.edu/alumni/weekend Eastman’s guitar program for full information and regular updates! • Prismatic Debussy: Celebrate Debussy’s 150th birthday with an all-ensembles REGISTER BY OCTOBER 1, 2012 concert of his music in Kodak Hall { SUMMER 2012 } Before he was “Claude de France,” Debussy was a favorite son. The composer is shown here in a 1906 photograph with his mother, Victorine, and his father, Manuel-Achille. 3 Brief Notes 26 School News 30 Recordings 18 22 The Sound David 33 Celebrating Alumni Notes 10 World of Craighead 37 Debussy’s 150th a Baroque and Tributes, Master Zvi Zeitlin In Memoriam Extravagant, intimate, experimental, and more: Eastman explores the many Eastman Rochester A student and a 38 Organ Initiative colleague remember Faculty Notes facets of France’s great composer on his investigates J.S. Bach two legendary 39 150th birthday. and the organ. Eastman musicians. Student Notes 40 ON THE COVER: Our cover pays homage to Claude Debussy with a colorful collage by New York artist Doug Fitch From the Dean that brings together several Debussyan elements; see page 14 for a key.
    [Show full text]
  • 1 ORGAN WORKS by COMPOSERS from AFRICA and the AFRICAN-DIASPORA BIBLIOGRAPHY: See Also Calvert Johnson, Compi
    1 ORGAN WORKS BY COMPOSERS FROM AFRICA AND THE AFRICAN-DIASPORA BIBLIOGRAPHY: see also www.agoatlanta.org Calvert Johnson, compiler (2013) AFRICAN-AMERICAN COMPOSERS Adams, H. Leslie (b. Cleveland, 1932). Infinitas (1999). ______. Offering of Love [Offertory] (1991). Westlake OH: HCM, 1992. In Abbington vol. 1. ______. Prelude & Fugue for Organ (1978). Pullman WA: Vivace Press, 1998. http://www.hleslieadams.com; http://chevalierdesaintgeorges.homestead.com/Adams.html ARCHIVES: Leslie Adams Music Archives, Special Collections, Cleveland Public Library EDUCATION: BME, Oberlin (1955), studying composition with Herbert Elwell and Joseph Wood; further private study with Robert Starer and Vittorio Giannini; MM, California State University-Long Beach (1967) studying composition with Leon Dallin and Robert Tyndall; PhD, Ohio State University (1973), studying with Marshall Barnes. CAREER: Choral director, Stillman College (AL); Pianist for dance companies (1957-62); High School teacher, Soehl Jr High, Linden NJ (1962-63); Associate Musical Director, Karamu House, Cleveland OH (1964-65); Music teacher, New Mexico School for Performing Arts, Raton NM (1966-67);Assistant Professor, Florida A&M University (1968); Associate Professor, Choral director, University of Kansas (1970-78); Composer-in- residence, Karamu House, Cleveland OH (1979-80); Scholar-in –residence, Rockefeller Foundation, Bellagio Italy (1979); Fellowship, Yaddo Artists Colony, Saratoga Springs (1980, 1984); Cleveland Foundation Fellow (1980); Jennings Foundation Fellow (1981); Guest composer, Cuyahoga Community College OH (1980); Composer-in residence, Cleveland Music School Settlement (1981-84, 1991); Founder and President, Accord Associates (1980-1986); Executive Vice-President, Composer-in-Residence, Accord Associates (1986-92); Artist-in-residence, Creative Arts (1997-present); National Association of Negro Musicians Composer Award (2004); Composer Legacy Award, National Opera Association (2006); Distinguished Alumnus Award, California State University, Long Beach (2006); Gems of Cleveland Award (2007).
    [Show full text]