Black women in American music : paper presentations and short art song recital (parts 1-2)Additional title: LizetteAdditional title: Dear, I love you soAdditional title: Sleep, my dear
NamesFirst National Congress on Women in Music (Creator)Abdul, Raoul (Moderator)Abdul, Raoul (Commentator)Thompson, Jacqueline Kay (Speaker)Williams, Ora, 1926- (Speaker)Southern, Eileen (Speaker)Jackson, Barbara Garvey (Speaker)Perry, Zenobia Powell, 1908-2004 (Commentator)Moore, Undine S (Commentator)Herbison, Jeraldine Saunders (Commentator)Montgomery, Merle, 1904-1986 (Commentator)Peri, Janis-Rozena (Commentator)Nickerson, Camille (Arranger)Wallace, Louise C (Lyricist)Williams, Ora, 1926- (Performer)Williams, Thelma, (Pianist) (Performer)Williams, Barbara, (Cellist) (Performer)Stallworth, Dottie (Performer)Peri, Janis-Rozena (Performer)
First National Congress on Women in Music recordings
Dates / OriginDate Created: 1981-03-27
Table of Contents[Part 1]: [Introductions ; His personal relations with Black women musicians/educators that have inspired him (23:58)] (Raoul Abdul, moderator) -- Session 4 papers: "Composers who are Black American women" / Jacqueline Thompson. |||| [Part 2]: [Introductions and remarks] (Dr. Ora Williams) -- Art song recital (part 1): "Lizette" = Lizette, ma chêre amie ; "Dear, I love you so" = Chère mo lemmé toi / arranged by Camille Nickerson (Dr. Ora Williams, vocals ; Thelma Williams, piano) ; "Guide me, Jesus" / Thelma Williams (Dr. Ora Williams, vocals ; Barbara Williams, cello ; Thelma Williams, piano) -- Session 4 papers: "Black Prima Donnas in the late 19th and early 20th centuries" / Eileen Southern [ends abruptly] |||| [Part 3]: [Excerpt, end of] "Black Prima Donnas in the late 19th and early 20th centuries" / Eileen Southern -- [Brief introduction] (Raoul Abdul, moderator) -- "A Black woman composer and her student: Florence Price and Margaret Bonds" ; [Pre-recorded music excerpts] Symphony in E minor: themes from 1st-2nd and slow movements / Florence Price (University of Arkansas Orchestra?)] ; [with brief biographies of Harriet Gibbs Marshall (pianist) and William Grant Still (African American Symphony)] / Dr. Barbara Garvey Jackson (Professor of Music, University of Arkansas) |||| [Part 4]: [Introductions ; Commentary] (Raoul Abdul, moderator) -- [Excerpt] "An analysis of American Black women's art songs" (also known as "The art songs of American Black women") / Dr. Ora Williams (Professor of English, California State University at Long Beach) ; Art song recital (part 2): "Carola: a serenade" ("Sleep my dear...") / Azalia Hackley (Dr. Ora Williams, vocals ; Thelma Williams, piano) ; Poem: "I, too, [sing America]" / Langston Hughes (Dr. Ora Williams) ; [Excerpt] Lillian Evanti's "Speak to him, thou" (lyrics only) (words originally from the poem "Higher pantheism" / Alfred Lloyd Tennyson) (Dr. Ora Williams) ; Dedication (piano part only) / Lillian Evanti (Thelma Willams, piano) ; "Night" / Florence B. Price (Louise C. Wallace, lyricist) (Dr. Ora Williams, vocals ; Thelma Williams, piano) [slightly erratic] ; "My soul's been anchored in de Lord" / Florence B. Price (piano part only; Thelma Williams, piano) ; [Background information of Dorothy Rudd Moore's song cycles "From the dark tower" and "Sonnets on love, rosebuds and death"] ; Poem: "I had no thought of violets" / Alice Dunbar Nelson (Dr. Ora Williams) ; [Excerpt] "I had no thoughts of violets" (piano introduction only; from the song cycle "Sonnets on love, rosebuds and death") / Dorothy Rudd Moore (Thelma Williams, piano) [ends abruptly] |||| [Part 5]: [Excerpt, to end] Paper: "An analysis of American Black women's art songs" / Dr. Ora Williams -- "Bend willow" ["Willow bend and weep"] (from the song cycle "From the dark tower") / Dorothy Rudd Moore (Janis Peri, vocals ; Dottie Stallworth, piano) -- Panel discussion [ends at 15:00]: [Introductions] (Raoul Abdul, moderator ; with Zenobia Smith Moore, Jeraldine Herbison and Undine Smith Moore, and featuring Dr. Merle Montgomery and Janis Peri, commentators) -- [Excerpt] [Two unidentified revolution songs; one rock and one acoustic] [Unidentified performers]
Library locationsRodgers and Hammerstein Archives of Recorded SoundShelf locator: *LTC-A 1367Shelf locator: *LTC 103 sess. 4 no. 1 sides 1-5 (former classmark)
TopicsWomen in musicGeorge, Zelma, 1903-1994Cole, Frances Elaine, 1937-1983Palmer, LeotaHinderas, NatalieOliver, Edith, 1913-Dixon, Lucille, 1923-2004Pilot, Ann Hobson, 1943-Dwyer, Doriot AnthonyTerry, ZelaJennings, Patricia PrattisCaldwell, Sarah, 1924-2006Ardoyno, DoloresCumbo, ClarissaHolt, Nora Douglas, 1885-1974Duncan, Perdita, -1985Maynor, DorothyAllen, Betty, 1927-2009Bonds, MargaretMoore, Dorothy Rudd, 1940-Moore, Undine SPerry, Julia, 1924-1979Perry, Zenobia Powell, 1908-2004Price, Florence, 1887-1953Williams, Mary Lou, 1910-1981Du Bois, Shirley Graham, 1896-1977Greenfield, Elizabeth Taylor, approximately 1819-1876Mitchell, Nellie BrownWilliams, Marie SelikaHyers, Anna MadahHyers, Emma LouiseBergen, Flora BatsonBlack Patti, 1869-1933Marshall, Harriet Gibbs, 1869-1941Still, William Grant, 1895-1978Dunbar-Nelson, Alice Moore, 1875-1935Harlem School of the ArtsSpeeches, addresses, etcAfrican American women composersAfrican American women musiciansWomen musicians -- United StatesWomen composers -- United StatesSongs (Medium voice) with pianoPiano music, ArrangedSymphoniesPoetrySong cyclesOral interpretation of poetryThompson, Jacqueline Kay. Composers who are American Black womenWilliams, Thelma (Pianist). Guide me JesusSouthern, Eileen. Black Prima Donnas in the late 19th and early 20th centuriesPrice, Florence, 1887-1953. Symphonies, no. 1, E minor. SelectionsWilliams, Ora, 1926- Analysis of American Black women's art songs. SelectionsHackley, E. Azalia (Emma Azalia), 1867-1922. Carola. SelectionsHughes, Langston, 1902-1967. I, too, sing AmericaEvanti, Lillian, 1890-1967. Dedication; arrangedPrice, Florence, 1887-1953. My soul's been anchored in de Lord; arrangedJackson, Barbara Garvey. Black woman composer and her student: Florence Price and Margaret BondsDunbar-Nelson, Alice Moore, 1875-1935. I had no thoughts of violets. SelectionsMoore, Dorothy Rudd, 1940- Sonnets on love, rosebuds and death. I had no thoughts of violets. Selections; arrangedMoore, Dorothy Rudd, 1940- From the dark tower. Willow bend and weep
GenresLecturesPanel discussionsLive sound recordings
NotesContent: Former classmark on original cassette: *LTC 103 (F)Content: Title from original cassette label; additional information from catalog (cassette tapes, schedule of meetings and concerts, and newspaper clippings (, 46,  p.); Available on request.Performers: Jacqueline Thompson, Eileen Southern and Dr. Barbara Garvey Jackson, lecturers and commentary ; Dr. Ora Williams, vocals, lecturer and additional commentary ; Janis Perry, vocals and commentary ; Thelma Williams, piano ; Dottie Stallworth, piano ; Barbara Williams, cello ; Zenobia Powell Perry, Jeraldine Herbison and Undine Smith Moore, commentators ; Raoul Abdul, moderator.Venue: Recorded New York University, New York, N. Y. 1981 March 27.Language: Spoken and sung in English; some songs originally in Louisiana French Creole (1st-2nd works only)Citation/reference: Forms part of: First National Congress on Women in Music recordings.
Physical DescriptionAudiocassetteExtent: 3 audio cassettes (157:59) : analog, mono
DescriptionThis recording contains four paper presentations, two short art song recitals and a panel discussion of "Black women in American music". During his introductions in part 1, moderator Raoul Abdul (New York Amsterdam News music critic, author, concert singer and faculty member of the Harlem School of the Arts) talked about all the Black women in music that had inspired him in his musical journey from Ohio (Dr. Zelma Watson George, Dr. Frances Cole, Leota Palmer and Natalie Hinderas (Ms. Palmer's daughter)), and the ones that inspire him now (Edith Oliver (saxophonist) ; Lucille Dixon (double bassist/general manager of Symphony of the New World) ; Ann Hobson [Pilot] (principal harpist, Boston Symphony) ; Doriot Anthony Dwyer (first female principal flutist, Boston Symphony) ; Zela Terry (cellist, New York Philharmonic) ; Patricia Prattis Jennings (pianist, Pittsburgh Symphony) ; Sarah Caldwell (opera director) ; Dolores Ardoyno (Opera/South general manager) ; Clarissa Cumbo (founder of Triad Presentations Inc.) ; Nora Douglas Holt and Perdita Duncan (music critics, Amsterdam News) ; Dorothy Maynor (founder of Harlem School of the Arts) and Betty Allen (executive director, Harlem School of the Arts). Jacqueline Thompson (Kansas City Conservatory of Music) talks about Black women composers/performers in her paper: Margaret Bonds, Dorothy Rudd Moore, Undine Smith Moore, Julia Perry, Zenobia Perry, Florence B. Price, Mary Lou Williams and Shirley Graham McCanns (also known as Shirley Graham Du Bois). Professor Eileen Southern (Harvard University) talks about these Black Prima Donnas: Elizabeth Taylor Greenfield, Nellie Brown Mitchell, Marie Selika Williams, Anna Madah Hyers and Emma Louise Hyers (sisters), Flora Batson Bergen and Matilda Sisseretta Jones. Dr. Barbara Garvey Jackson talks about the working relationship as educator and student between composers Florence B. Price and Margaret Bonds. Dr. Ora Williams presents her paper about these Black American women composers: Camille Nickerson, Azalia Hackley, Lillian Evanti, Florence B. Price, and Dorothy Rudd Moore; she performs various songs by these composers along with her sisters Thelma Williams, Barbara Williams and Dottie Stallworth inadvertently during the presentations. The session resumes with a panel discussion featuring commentary by composer Zenobia Powell Perry, her daughter Janis Peri (vocalist), and composers Undine Smith Moore and Jeraldine Herbison.
Type of ResourceSound recording
LanguagesEnglishCreoles and pidgins, French-based
IdentifiersRLIN/OCLC: 900616105NYPL catalog ID (B-number): b20518276Universal Unique Identifier (UUID): c6d64a30-b82f-0133-fa7a-60f81dd2b63c
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