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Journal Article
Black Sacred Music (1991) 5 (2): 20–22.
Published: 01 September 1991
... Russian, and Tchaikovsky's work forms one of the finest examples we have of the use of folk tunes in the more elaborate phases of art-form development. Something of My Early Years 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...
Journal Article
Black Sacred Music (1991) 5 (2): 91–101.
Published: 01 September 1991
..., D.C. My father, Robert Tue Dett, came from Reistertown, near Baltimore. Therefore, although I was born under the British flag, my ancestors came from the "States." My mother, however, was born in Canada, at Niagara Falls. Both my father and my mother were educated and both were musical. Father played...
Journal Article
Black Sacred Music (1992) 6 (2): 86–87.
Published: 01 September 1992
... unique, for he alone has dared to present American compositions at Roches­ ter on a large scale, meanwhile wisely not forgetting to play the works of others. The result is a fine orchestra under the direction of an excellent musician (who is also an American composer of great prominence...
Journal Article
Black Sacred Music (1992) 6 (1): 162–169.
Published: 01 March 1992
... "Jazzland" was the name of any small group which played with a beat; then the "Swing" era with Andy Kirk's Orchestra; the "Bop" -the Dizzy Gillespie era. 1. The term "jazz," used for the black man's contemporary musical expression, has many derogatory connotations due to its historical source...
Journal Article
Black Sacred Music (1989) 3 (2): 50–56.
Published: 01 September 1989
... Leonard, fazz: Myth and Religion (New York: Oxford University Press, 1987), 74. lmp,onsolion andlndmduolion 53 gettable episode in his life, he recalled that "She preached and healed and we played."B His experience on the deliverance trail, however, did not "save" him from an eternal life as a jazzman...
Journal Article
Black Sacred Music (1992) 6 (2): 136–143.
Published: 01 September 1992
... a melodic characteristic, a typical cadence, a harmonic scheme, orchestral man­ ner or style of playing and then say; "This and this and this and this comes from the Negro," how could he prove it? How could it be traced to its origin? And yet all of us who know Negro music would know beyond a doubt...
Journal Article
Black Sacred Music (1992) 6 (2): 114–123.
Published: 01 September 1992
... MacGimsey and George Gershwin. Mr. MacGimsey came from the South to New York with the manuscript of his "Shadrack," and I orchestrated it and first played it over the "Deep River Hour." Any­ one who knows the song will recognize its similarity to "Joshua Fit de Battle of Jericho." Later, this composer came...
Journal Article
Black Sacred Music (1992) 6 (2): 88–90.
Published: 01 September 1992
... symphony orchestras the world over play my music because I am a Negro. If one can believe the letters that have come from conductors and listeners, and the notices from critics, my music is played because it is liked; because it says something to those who hear it. There would be no point in playing...
Journal Article
Black Sacred Music (1995) 9 (1-2): 35–65.
Published: 01 September 1995
... "coonjine." They also sang "Coonjine Baby," instead of the Creole "Conjai Babete." Herewith was born the most famous American dance name in music. For some reason Negroes all over the South loved to dance the Coonjine Baby. It was the one musical piece everyone tried to play on the piano and that everyone...
Journal Article
Black Sacred Music (1992) 6 (2): 252–256.
Published: 01 September 1992
...?" This question shouldn't be settled at random. Neither should a passage be assigned to some instrument merely because it can be played easily upon that instru­ ment. The desired mood should be considered first, and that mood should govern not only the choice of instruments for that passage but also the choice...
Journal Article
Black Sacred Music (1994) 8 (2): 72–74.
Published: 01 September 1994
...J. A. Rogers Copyright © 1994 by Duke University Press 1994 "The Green Pastures" and Other Ruminations f. A. Rogers Impressions of "The Green Pastures" as a play. Stage setting: A delight. Acting: good, Charles Winter Wood is impressive, supple, masterly, pleasing. Singing: unforgettable...
Journal Article
Black Sacred Music (1992) 6 (2): 245–251.
Published: 01 September 1992
... friends were both white and colored. So were my playmates. In many instances, their friendship lasted over into adulthood. Stanley and Clifford, for example, were two little white boys who played with me. Their father was a friend of my stepfather. Boy-like, we arranged an elaborate series of signals. We...
Journal Article
Black Sacred Music (1992) 6 (2): 157–163.
Published: 01 September 1992
... University were cho­ sen with a B.S. degree in mind. I, on the other hand, had made up my mind that I would go into music as a profession, so that most of my activities at Wilberforce were slanted toward that end. I played in the string quartet, joined the band, made arrangements for the musical ensembles...
Journal Article
Black Sacred Music (1988) 2 (1): 1–20.
Published: 01 March 1988
... to say your prayers !40 Son Thomas believed firmly that playing blues on Saturday night and going to church on Sunday morning was "goin' too far wrong." He warned: "Now I'd be afraid to do that cause somethin' bad can happen to ya You can't serve the Lord and the devil too." 41 Son House, who had been...
Journal Article
Black Sacred Music (1992) 6 (2): 207–214.
Published: 01 September 1992
... judged to be not quite capable, in one way or another. The door had been partially opened. Radio and symphony orches­ tra people began to realize that playing an instrument well was a matter of capability rather than color. Black musicians saw that they might have a chance if they worked hard enough...
Journal Article
Black Sacred Music (1992) 6 (1): 98–140.
Published: 01 March 1992
... life" protracted by the pens of infatuated blues enthusiasts, it was the Adamic myth that prevailed when the narratives of "blues people" gave explanations for the origin (and description) of evil and when the drama of the "prodigal son" was fully played out. From Trickster to Badman to Bluesman...
Journal Article
Black Sacred Music (1994) 8 (2): 133–135.
Published: 01 September 1994
.... To this effect he documents the conversation he once had with the mother of the legendary blues singer Robert Johnson. Johnson was believed to have sold his soul to the devil in order to learn to play the guitar incredibly well and to have suffered an early and tragic death as a result. Johnson's mother told...
Journal Article
Black Sacred Music (1992) 6 (2): 215–231.
Published: 01 September 1992
... Music. 216 Black Sacred Music sacrifices in order to get an education and to become, on the side, a musician. Long before the turn of the century, he worked hard toward this end. He taught mathematics, had a half interest in a store, sang solos in church, and learned to play the cornet the hard way...
Journal Article
Black Sacred Music (1994) 8 (2): 105–109.
Published: 01 September 1994
... touchstone here (as in other parts of the book) is the transit of Reconstruction, from far-reaching reform to backlash and a renewed struggle to regain lost ground. Baker traces the series of "moral panics"-media-amplified images that played the race card as the synecdoche of danger-driving such backlashes...
Journal Article
Black Sacred Music (1994) 8 (2): 109–112.
Published: 01 September 1994
...." When southern states seceded from the Union in 1861, they adopted it as their national anthem. A brass band played an arrangement of "I Wish I Was in Dixie's Land" (as it was first titled) at the inauguration of Confederate president Jefferson Davis. But Lincoln also loved the tune and had it played...