Transcript Tuskegee University Archives Repository

William L. Dawson and Tuskegee
University’s Legacy of Music
2012 Dawson Lectureship
Tuskegee University Chapel
1:00 PM, Saturday, March 31
By: Dana R. Chandler, TU Archivist
March 31, 2012
Tuskegee University
Archives
Dawson Biography
•Born in 1899 in Anniston, Alabama
•Attended Tuskegee as an Agriculture
Major
•After graduation, accepted position as
Director of Music, Kansas Vocational
College, Topeka
•While there, studied orchestration and
composition at Washburn College in
Topeka
•Director of Music, Lincoln High School,
Kansas City
• 1925, Graduated with honors from the
Horner Institute of Fine Arts
•1927, graduated with Masters of
Music, American Conservancy of Music
•Post-graduate study, Chicago Music
College
•1930-1955, head of Music Program,
Tuskegee University
•Died, May 2, 1990
Dawson’s Legacy of
Accomplishments
Accomplishments
•
Composer:
- Composition, Trio in A, for violin, cello and piano performed at graduation
program, Horner Institute of Fine Arts
- 1932, Negro Folk Symphony, Leopold Stokowski and Philadelphia
Orchestra
- Numerous other orchestral and choral pieces
•
Musician:
- First chair, trombonist , Chicago Civic Orchestra
•
Other:
- Bandmaster designate for the 1933 World’s Fair
- Conducting, editing, arranging and performing for radio broadcasts.
•
Tuskegee University Choir:
- 1932-33, Four weeks at the opening of Radio Music Hall in New York
- 1932, White House for President Hoover
- 1933, White House for President Roosevelt’s birthday
- 1937-51, Carnegie Hall,
Dawson’s Passion
• “Music was my refuge. I could crawl into the
space between the notes and curl my back to
loneliness.” Maya Angelou, Gather Together
in My Name
• Regarding Dawson, Prof. De Lerma writes:
“He was virtually the entire music faculty at
Tuskegee from 1931 to 1956.”
Negro Folk Symphony
• The three movements of the symphony are entitled: The Bond of Africa,
Hope in the Night and O, le' me shine, shine like a Morning Star! Michael
Fleming explains that Dawson revised the work after visiting Africa. He also
provides some of the composer's remarks:
• After a trip to West Africa in 1952, however, the composer revised it to
embody authentic African rhythmic patterns, and it was in this form that
Stokowski recorded it, and it is most frequently played today.
The symphony can be appreciated purely as a musical work, without any
knowledge of the melodies or feelings that form its background.
'This Symphony is based entirely on Negro folk-music. The themes are taken
from what are popularly known as Negro spirituals, and the practiced ear
will recognize the recurrence of characteristic themes throughout the
composition.'
Evans, Arthur Lee. The development of the Negro spiritual as choral art music by Afro-American composers, with an annotated guide to the
performance of selected spirituals. Graduate paper (Ph.D., music) University of Miami, 1972. 264p. LC 73-5837; RILM 76/13629.
The Chapel’s Singing Windows
• More than
decoration,
they are
testimony
to the
importance
of
Tuskegee’s
musical
legacy!
There were others…
• Music was important from the very beginning:
• Booker T. Washington required singing,
especially ‘spirituals,’ by everyone in
attendance at the weekly Chapel worship
services.
Washington and Music
• From the 1909 Catalog:
– The regular Sunday Evening Chapel Exercises at
6:30, are unique in rendition, affording great
inspirational value to students, faculty and
workers. The large pipe organ, the orchestra, the
choir, and the school combine to make these
services vitally interesting, and frequently visitors
from afar drop in to enjoy the beautiful singing of
the spirituals by the choir. “Sing the old songs,”
said Mr. Washington.
• He goes on to state:
– “There is no part of our Chapel exercises that
gives me more pleasure than the beautiful Negro
melodies which you sing. I believe that there is no
part of the service more truly spiritual, more
elevating. Wherever you go, after you leave this
school, I hope that you will never give up the
singing of these songs. If you go out to have
schools of your own, have your pupils sing them
as you have sung them here, and teach them to
see the beauty which dwells in these songs.”
Prior to the coming of Dawson…
• Instruction in all things music (according to
the 1909 Catalog) included:
– Bands: a. Beginners and concert band. These
played for military formations, concerts and social
functions held by the school.
– Orchestra played for all religious services held in
the Chapel.
– Choir
Music Department
• Although Dawson started the School in 1931,
music had been taught at Tuskegee at least as
early as 1886.
• Music classes in 1910 included instrumental
music and voice.
The Tuskegee Singers
• In 1884, Washington
organized the
institute’s first
singers.
• Sent out to
“promote the
interests of
Tuskegee Institute.”
• Reorganized in 1909
Captain Wiley’s Singers
• William Wiley’s Choral Group sang throughout
the community during the 1950s and 60s.
Paul L. Dunbar and The Tuskegee Song
• In honor of Tuskegee University's 25th
Anniversary in 1906, Paul Laurence Dunbar
was asked by Founder, Booker T. Washington,
to write a poem. The Tuskegee Song was
written by Dunbar and a melody, suggested by
Dunbar, was replaced at a later time by the
present tune composed by Nathaniel Clark
Smith, Tuskegee University Band Director.
The Tuskegee Song
Tuskegee thou pride of the swift growing south
We pay thee our homage today
For the worth of thy teaching, the joy of thy care;
And the good we have known 'neath thy sway.
Oh, long-striving mothers of diligent sons
And of daughters, whose strength is their pride,
We will love thee forever, and ever shall walk
Through the oncoming years at thy side.
Thy hand we have held up the difficult steeps,
When painful and slow was the pace,
And onward and upward we've labored with thee
For the glory of God and our race.
The fields smile to greet us, the forests are glad,
The ring of the anvil and hoe
Have a music as thrilling and sweet as a harp
Which thou taught us to hear and to know.
Oh, mother Tuskegee, thou shinest today
As a gem in the fairest of lands;
Thou gavest the heav'n blessed power to see
The worth of our minds and our hands
We thank thee, we bless thee, we pray for thee years
Imploring with grateful accord,
Full fruit for thy striving, time longer to strive,
Sweet love and true labor's reward.
Dunbar Penned Many Others
• Written for the
dedication of
Dorothy Hall, April
23, 1901.
The Glee Club
• CA. 1900, The Happy 24 Glee Club, Tuskegee University
The Tuskegee University Band
• The Band was
begun in 1894
through the
efforts of Charles
A. White.
Band Masters or Director of Bands include: N.
Clark Smith, Frank L. Drye, Lucius R. Wyatt,
Ronald J. Sarjeant and Warren L. Duncan (current)
just to name a few.
The Tuskegee University Crimson Piper
Band
• Honda Battle of the Bands winners
• Performed at football games and parades
The Concert Band
• Perform at Dawson Institute
• Graduations
• Chambliss Children’s House Band
The Choir
(The Golden Voices)
• The Choir was developed by Washington in 1886, for music at vesper
services and for special occasions. The group below appeared at the
opening of Radio City Music Hall in New York City, 1932.
The Choir
• Photo taken in the original Institute Chapel, spring 1946, prior to the
choir’s journey for a performance at the unveiling of the Booker T.
Washington bust at the New York University Hall of Fame for Great
Americans. During this trip they also sang at Constitution Hall in
Washington, D.C.
The Tuskegee University
Choir has been under
Directors such as:
Huston Johns (the first
Director), Elizabeth
Morse, Portia Pittman,
William L. Dawson and,
of course, our very own
Dr. Wayne Barr.
The Choir’s Popularity
• With the choir’s debut on “The Edgar Bergen Show,”
1950, their fame spread very quickly:
–
–
–
–
–
–
1953, “The Kate Smith Show”
1952, “The Ed Sullivan Show”
1953 and 54, “The Eddie Fisher Show”
1954, “The Frontiers of Faith”
1954, “The Arthur Godfrey Show”
1955, Recorded Album, “The Tuskegee Institute Choir Sings
Spirituals
Over the years, they have appeared at many other
important venues.
The Others…
• Organist (first
noted in program
from 1971
• Band Managers
• Cleaners
• Seamstresses
Carver, the Musician
• George Washington
Carver was both a
singer and musician.
• Played accordion and
piano
• Often helped with
Chapel Services
• Taught piano
Tuskegee Influenced Music
• Washington, as the
guest of President
Theodore Roosevelt in
1901, was the first
African American ever
invited to the White
House. The visit was
recalled in the 1927
song by Banjo Blues
Musician Gus Cannon,
titled "Can You Blame
The Colored Man"
“Can You Blame The Colored Man,” Gus Cannon (1927)
Tuskegee Influenced Music
Tuskegee Influenced Music
• Booker T.
Washington White
(November 12,
1909 – February
26, 1977), better
known as “Bukka”
White, was an
American Delta
blues guitarist and
singer.
The Commodores
• The members of the
Commodores all attended
Tuskegee Institute in Tuskegee,
Alabama. The original lineup
consisted of William King on
trumpet, Thomas McClary on
guitar, Ronald LaPread on
bass, Walter “Clyde” Orange
on drums, Lionel Richie on
saxophone and Milan Williams
on keyboards. At loss for a
name for their new group,
Orange gave King a dictionary
and told him to pick a name –
and the word he chose was
“commodore.”
Tuskegee Influenced Music
• Lionel Richie’s highly
acclaimed and slightly
Country album,
“Tuskegee,” had an
instantaneous 20,000
sales during a Home
Shopping Network
appearance by Richie, and
pre-sales charts show
"Tuskegee" possibly
besting Madonna's
"MDNA."
Chris Willman, “Lionel Richie Goes Barely Country for 'Tuskegee‘” The Wrap – Tue, Mar 27, 2012 12:32 PM EDT
Music Continues