Friday, September 4, 2015

Center for Black Music Research: Farewell to Monica Hairston O'Connell and Morris Phibbs


Monica Hairston O'Connell

Morris Phibbs
(LinkedIn)

Monica Hairston O’Connell writes:
Dear Friends of the Center for Black Music Research,
Thank you for your continued support of this essential organization. I speak for the entire staff when I say that we have been and continue to be energized and encouraged by your participation in and enthusiasm for CBMR programs, by your trust in and support for the CBMR as a unique multi-media, cross-genre, cross-disciplinary repository, and by the myriad ways in which you continue to expand on the CBMR’s rich tradition of knowledge production and dissemination within and beyond institutional walls.
As of July 1, Morris Phibbs has retired as CBMR Deputy Director (please see below for more). I have resigned as Executive Director; August 28th was my last day in this role. The CBMR will continue its work at Columbia College Chicago.
It has been an honor, over the course of the last eight years, to work on behalf of the CBMR’s crucial mission and with its talented staff. I am also grateful for the opportunity to have met and worked with so many of you. Thank you for helping maintain such an important resource.
Please stay tuned for further information on the CBMR. It will be posted on its website and blog as it becomes available.
Warm regards,
Monica Hairston O’Connell


Morris Phibbs Retires from the CBMR

It is with mixed feelings that the CBMR announces the retirement of long time deputy director, Morris Phibbs.
Phibbs holds an M.M. degree in music history and literature from West Virginia University and has done doctoral work in choral literature and conducting. He came to the CBMR from the College Music Society where he was manager of membership services and managing editor of College Music Symposium; Directory of Music Faculties in College and Universities: U.S. and Canada; CMS Proceedings: The National and Regional Meetings; the CMS Reports series; and the Music Faculty Vacancy List. He joined the CBMR in 1989 as Coordinator of Programs and was responsible for coordinating and managing all public programs, including local meetings, seminars, and colloquia, national and international conferences, and performance activities. Phibbs took on additional responsibilities over time including grant proposal writing and administration, management of computer networks and operations, and manager of publications including CBMR Digest. He ultimately became Deputy Director in 2007, a title he held for the remainder of his tenure.
Just one among the numerous achievements and highlights of his time at the CBMR, Phibbs conceptualized and implemented a multifaceted Florence Price initiative which included the commissioned reconstruction of Price’s Concerto in One Movement, a major recording of Price’s orchestral work and a full program of orchestral music by black composers at the Harris Theater. All activities featured the CBMR’s New Black Music Repertory Ensemble.

Dominique-René de Lerma: President Obama to Honor George Shirley

George Shirley

Dominique-René de Lerma:

PRESIDENT OBAMA TO HONOR GEORGE SHIRLEY

In the East Room of the White on 10 September, President Obama will confer the National Medal of Arts on tenor George Shirley for his life of dedication to the arts.

Professor Shirley joined the faculty of the University of Michigan in 1987, where he  served as the Joseph Edgar Maddy Distinguished University Professor of Music and Director of the Vocal Arts Division.  For eleven seasons he was the first Black leading tenor with the Metropolitan Opera, celebrated for his performances particularly of Mozart, Verdi, Puccini, Wagner, and Debussy – a total of more than 80 major roles.  His brilliant career included engagements at London’s Royal Opera, Berlin’s Deutsche Oper, the Teatro Colón (Buenos Aires), Amsterdam’s Netherlands Opera, the Opéra de Monte-Carlo, the Scottish Opera, and Glyndebourne, as well as the major American companies. He was selected by Stravinsky to record that composer’s Oedipus Rex, Pulcinella, and Renard, with Stravinsky conducting.

Before his move to Ann Arbor he was on the faculties of the University of Maryland-College Park and at Morgan State University.  More than a generation of artists and teachers are products of his studio, and he has given his advice and support freely and generously to yet many more.











































































Winner of a Grammy, he has been honored by the National Association of Teachers of Singing and holds honorary degrees from Wilberforce University, Montclair State College, Lake Forest College, and the University of Northern Iowa.

University of Michigan's University Musical Society, George Shirley to receive National Medal of Arts



ANN ARBOR—The University Musical Society of the University of Michigan and George Shirley, emeritus professor at the School of Music, Theatre & Dance, will each receive a 2014 National Medal of Arts, the White House has announced.

Both are among 11 recipients of the nation's highest public artistic honor, awarded annually by the president of the United States at the White House to those who have "demonstrated a lifetime of creative excellence," according to the National Endowment for the Arts, which oversees the selection process.

"I applaud Professor Shirley and everyone at the UMS for achieving recognition at the highest level," said U-M President Mark Schlissel. "The medals recognize the University of Michigan's immense contributions to cultural appreciation, as well as our spectacular legacy in arts education and presentation. We take great pride in the arts and cultural opportunities we cultivate at the University."

UMS, which will be the first university-related arts presenter to receive this high honor, is renowned for its 137-year long commitment to arts presentation, education and creation.

Since 1879, UMS has served regional audiences by bringing the world's top dance, theater and musical performers to U-M's campus and the Southeast Michigan region.

World-class performing arts venues, including Hill Auditorium, have set the stage for UMS to host legendary artists like Marian Anderson, Vladimir Horowitz, Leonard Bernstein, Enrico Caruso, Jessye Norman, Ornette Coleman, Sonny Rollins, the Royal Shakespeare Company, the Martha Graham Dance Company, and the New York, Los Angeles, Vienna and Berlin philharmonics, among others.
In addition to its recognition as one of the country's leading arts presenters, UMS has received numerous awards for its commitment to arts education, offering more than 100 free educational activities each season to K-12 students, teachers, university students and the community. Through all of its programs, UMS seeks to "create a spark in people, young and old alike; to foster a greater awareness of diverse cultures and perspectives; and to generate an ongoing and lifelong passion for creativity and the performing arts."

"We are simply ecstatic to be selected as a recipient of the National Medal of Arts," said UMS President Kenneth Fischer. "For over a century, UMS has had an uncompromising commitment to presenting a diverse roster of legendary artists, to developing students at the University of Michigan and beyond, and to commissioning new work that we hope will influence arts enthusiasts for decades to come."

Fischer will be in Washington, D.C., Sept. 10 to accept the award on behalf of UMS, where he will be joined by UMS Board Chair Stephen Forrest and UMS Programming Director Michael Kondziolka.

"Very few communities of our size can support the breadth and depth of performing arts experiences that happen here," Fischer said. "It's the ongoing support and partnership with University of Michigan faculty, staff and students, coupled with the extraordinarily talented and dedicated UMS staff and volunteers, that make it all possible. We are deeply honored to be sharing this distinction with George Shirley, who has graced us as both a performer and adviser since his first appearance with UMS in 1973."

Shirley, whose career spans an impressive 56 years, is an award-winning operatic tenor and educator who is considered a trailblazer for diversity in the performing arts field. After graduating from Wayne State University in 1955, he was drafted into the Army, where he became the first African-American member of the U.S. Army Chorus.

At 27, Shirley was the first African-American tenor to perform a leading role at the Metropolitan Opera, where he sang for 11 seasons. Since then, he has sung more than 80 roles at the Royal Opera in London, Deutsche Oper in Berlin, Teatro Colón in Buenos Aires, Netherlands Opera in Amsterdam, Opéra de Monte-Carlo, New York City Opera and Scottish Opera, among others.

Shirley also has sung with many of the world's great orchestras including the London, Detroit, Boston and Chicago symphonies; the New York Philharmonic; and the La Scala Orchestra. He has appeared at the Glyndebourne, Edinburgh, Spoleto, Santa Fe and Aspen summer festivals, and has recorded for RCA, Columbia, Decca, CRI, Angel, Vanguard and Philips Records. He also received a Grammy Award in 1968 for his role (Ferrando) in the prize-winning recording of Mozart's "Così Fan Tutte."

"I was stunned when informed by NEA Chairman Jane Chu that I had been selected to receive the National Medal of Arts Award," Shirley said. "I had never seriously entertained the possibility of such official endorsement of my service to the arts by those tasked with making such decisions. I feel today as I felt some 54 years ago—dazed and incredulous—when I heard the chairman of the Metropolitan Opera Auditions announce that I had just won first prize plus a performance contract with that esteemed company."

Known as much for his dedication to pedagogy as his vocal talent, Shirley was the first African-American hired to teach music in Detroit high schools. He also taught for six years at the University of Maryland before joining the SMTD faculty in 1987, where he was director of the Vocal Arts Division.

Shirley currently serves as the Joseph Edgar Maddy Distinguished University Emeritus Professor of Music and still maintains a studio at the school.


"The School of Music, Theatre & Dance is incredibly proud of this recognition of one of our most esteemed faculty members and our world-class presenting partner here at Michigan," said SMTD Dean Aaron Dworkin. "This is truly a statement reflecting the depth and breadth of artistic excellence that is being developed, nurtured and showcased here in the heartland of America."

Comment by email:

The distinguished career of George Shirley continue to earn awards and recognition. His Loyalty donated a lengthy performance of Civil War era songs during the 150th Anniversary of the Emancipation Concert of 2012 in Los Angeles co-produced by MusicUNTOLD and KUSC Classical Radio.  The concert was scheduled on KUSC Radio for delayed broadcast and 30 day podcast. George Shirley once interviewed Marian Anderson and she referred to him as Loyalty. I now call him Loyalty because he is so soft spoken, humble, and eager to be of service to mankind. As our president often remarks - God Bless America John Malveaux

Rick Robinson: CutTime News: CutTime Rides in Texas; Summer Recap; Performed Stravinsky's 'Histoire du Soldat' with Kelly Hall-Tompkins at Gateways Music Festival

Triple D gets audience dancing at Lake George Music Festival

Winds play CutTime arrangements for Late Night at Boathouse.

Sept. 4, 2015

Rick Robinson writes:

Dear Friend,     

I hope your summer has been as exciting as CutTime's and that you'll enjoy a safe final weekend! We're on our way to TEXAS for the long anticipated partnership with ROCO. (More below.) First let me recap the latest adventures.


The Classical Revolution Detroit series, funded this year by a Knight Arts Challenge grant, burned hot and heavy with recurring events at St. Cece's Pub, Always Brewing in Rosedale, Northern Lights and Trumbellplex artist collective. We also appeared at several new places like Mexicantown Fiesta Center, Temptation Lounge, Crow Manor artist collective and our first Sidewalks Festival. Crowds varied but the enthusiasm of many supported our claim that classical music works everywhere with the right context and bridging elements. Sadly, we were rained out of an event at Campus Martius in July, but had a great time plugging it on the Mitch Albom (radio) Show and WDIV-TV. Check out this amazing clip.


Next events are Oct. 7 at St. Cece's with CutTime Players, Oct. 14 at Always Brewing with international guitarist Adam Levin, with a repeat Oct. 15 at Liberal Arts Gallery across town. Be sure to check out these free events and advise friends to try Beethoven with a BREW.


The premiere of Louis Aguilar's Art As A Weapon was a very emotional success at the Detroit Film Theater, with about 700 attending. My compositions for the stage play dramatizing Frida and Diego's time in Detroit with 5 scenes drew some kudos, and many agreed that all Detroiters need to see this. Frida Kahlo really came alive after her unfortunate miscarriage.


Next I went to Rochester, NY to participate in the Gateways Music Festival of black classical musicians playing chamber music and a final orchestra concert. Why is this important? Because we want to contribute to the music we love, even tho we're still marginalized in the industry. We also want to recognize and perform the music of neglected black composers such as Florence Price, Le Chevalier de St. Georges, William Grant Still, Adolphus Hailstork, Nathaniel Dett, and several more. I was privileged to perform Stravinsky's Histoire du Soldat with the amazing violinist Kelly Hall-Thompkins. She is one to watch; someone I can't wait to work with again!


Finally, CutTime produced the Art Attack and Late Night series in the 5th Lake George Music Festival north of Albany, NY. (picture below) The usual challenge of arranging and organizing volunteer musicians during one of the busiest festivals I've ever seen, was surpassed by the challenge of arranging POP DANCE charts for a new 9-piece ensemble I called TRIPLE D (Dance Dionysus Dance)! Fortunately, I inspired the drummer to arrange a bunch of more recent Top 40 for the group. By chance attending this year, we had the perfect rhythm section and the Donald Sinta (Saxophone) Quartet, who played a short set after CutTime Simfonica. Did I mention this show took place on a PADDLEWHEEL BOAT? (Picture at top) The load-in and setup of amplifiers was challenging.


Today, CutTime begins its way to Houston, TX (and warmer weather) where we'll perform as CutTime Simfonica (string quartet and light percussion) with musicians of the River Oaks Chamber Orchestra (ROCO). They've lined up a few OFF the pedestal events at a restaurant, a senior center and a nightclub, 2 weeks ahead of the double-premiere of my new orchestration for Gitcha Groove On! (2009) with Andres Cardenes conducting. I'll also play in the orchestra, visit Rice University and Shepard School of Music, venture to Dallas for an event with Open Classical, and try to meet with some orchestra staff about new audience development. My presence is made possible by New Music USA's Music Alive program, bringing living composers deep into our communities (out of the ivory towers).


I will also be very pleased to sub with Detroit Symphony for the opening week with Slatkin. Plus CutTime Players is reawakening with concerts in Detroit (Oct. 7), Hart, MI (Oct. 9) and Fair Lane Music Guild (April 6). These will all appear on the CutTime Calendar as well as our Facebook Event pages.


Thank you all for caring about CutTime's productions of casual classical. It really makes a difference when you support us by spreading the word, coming to shows/events, and making donations. We hope to see you very soon!

- Rick Robinson

Comments by email:

1) Thanks Bill!  Hi Kelly!   - Rick Robinson (Mr. CutTime)

2) Thanks Bill!  And hi Rick!  Let's do the Stravinsky or some other concert together again soon!  Cheers, Kelly www.KellyHall-Tompkins.com

Sphinx's Inaugural Guest Artist George Shirley honored with National Medal of Arts


George Shirley

Legendary African-American tenor George Shirley is honored as one of the recipients of the Presidential Medals of Arts.  The National Medal of Arts is the highest award given to artists and arts patrons by the United States government. The National Medal of Arts is awarded by the President of the United States to individuals or groups who "are deserving of special recognition by reason of their outstanding contributions to the excellence, growth, support and availability of the arts in the United States."



Professor Shirley was the very first guest soloist to appear during the inaugural Sphinx Competition Finals Concert in 1998, performing with the Ann Arbor Symphony. Other guest artists to appear during the Sphinx Finals Concerts have included Branford Marsalis, Simon Shaheen, Take 6, and others.  He was also a special Guest Artist to perform during the inaugural Sphinx Medals of Excellence celebration in our nation's capital, celebrating the highest honor bestowed by Sphinx upon extraordinary emerging artists.
President & Artistic Director of Sphinx, Afa S. Dworkin, shared: "We are so thrilled to celebrate Professor Shirley's legacy and this distinguished honor: it was a privilege to perform with him as a member of the Ann Arbor Symphony during inaugural Sphinx Competition.  His commitment to artistic excellence and service to our community stand as a compelling example for generations of our young artists!"

Shirley was the first African-American to be appointed to a high school teaching post in music in Detroit, the first African-American member of the United States Army Chorus in Washington, D.C., and the first African-American tenor and second African-American male to sing leading roles with the Metropolitan Opera, where he remained for 11 years.
He taught for 20 years at the University of Michigan School of Music, Theatre & Dance, retiring in 2007 as Emeritus Professor. In 1992 he was named Joseph Edgar Maddy Distinguished University Professor of Music and in 1999 accepted appointment as Director of the Vocal Arts Division at SMTD.

As a performer, Shirley won international acclaim for his performances in the world's great opera houses, including the Metropolitan Opera (New York), Royal Opera (Covent Garden, London), Deutsche Oper (Berlin), Téatro Colón (Buenos Aires), Netherlands Opera (Amsterdam), L'Opéra de Monte Carlo, New York City Opera, Scottish Opera (Glasgow), Chicago Lyric Opera, San Francisco Opera, Washington Opera (Kennedy Center), Michigan Opera Theater, Glyndebourne Festival, and Santa Fe Opera. He has recorded for RCA, Columbia, Decca, Angel, Vanguard, CRI, and Philips and received a Grammy Award in 1968 for his role (Ferrando) in the RCA recording of Mozart's Così fan tutte.

Favorited
By Othalie G (@OthalieGraham)


Comment by email:

Thank you Bill and most hearty congratulations on a truly well-deserved honor, Professor Shirley!  afa  Afa S. Dworkin www.SphinxMusic.org

John Malveaux: Dr. Eric Poole has agreed for Howard University Choir to sing during the 150th Anniversary of 13th Amendment Concert, 7:30 PM, November 21, 2015


John Malveaux of 
writes:

Eric Poole joined the Howard University faculty in Fall 2015. Prior to joining Howard, Dr. Poole was Assistant Professor of Music, Department Chair of Visual & Performing Arts, and the Director of Choral Activities at Saint Augustine's University in Raleigh, North Carolina. Dr. Poole accepted an invitation for Howard University Choir to sing during the 150th Anniversary 13th Amendment Abolition of Slavery CONCERT, 7:30 PM, November 21, 2015, DAR Constitution Hall, Washington DC. The Choir has received numerous awards here and abroad. The Choir performed at the opening inaugural concert for President Clinton and at the memorial service for The Honorable Thurgood Marshall.         

John Malveaux    

Thursday, September 3, 2015

Eric Conway: Save the Date! 2 Baltimore Symphony Orchestra concerts with the Morgan State University Choir during BSO's 100th Anniversary Season!






Eric Conway, D.M.A., Fine and Performing 
Arts Department Chairperson  of Morgan 
State University writes:
Hello everyone,
I am excited to announce that in addition to presenting our annual Morgan Christmas concert on the second Sunday in December at 4PM on the 13th, we will all share our music on stage at the Meyerhoff Symphony Hall! We have been asked to share our annual Christmas concert with the greater Baltimore audience accompanied by the entire Baltimore Symphony Orchestra! Although we have been the chorus for many events at the Meyerhoff over the years, as well as rented the Meyerhoff hall before we had such a spectacular Gilliam Concert Hall, this will be the first time that we will choose the program and present what we do annually at Morgan with BSO concert audience!
What a year to have been asked to present, as this is the 100th anniversary of the Baltimore Symphony Orchestra! There will be two performances during the prime Christmas season: December 17th and 18th both at 7:30 PM - exactly one-week prior to Christmas Eve and Christmas! Later in the concert season, April 8-10, 2016, we will be the chorus for the BSO's staged concert version of Porgy and Bess. I few of the professional singers for this event will be former Morgan choir members Leah Hawkins as Maria and Larry Hylton as Sportin' Life. Please see attached pages from the BSO season brochure announcing the Morgan State University Choir concerts.
Again, this promises to be a great season for the choir and Morgan!

Eric  

Mickey Thomas Terry in Recital, Colour of Music Festival, Noon Oct. 22, 2015, Grace Episcopal Church, Charleston, SC, Including African American Composers




Mickey Thomas Terry writes:

On Thursday, October 22 at 12 Noon, Mickey Thomas Terry will appear in recital at Grace Episcopal Church in Charleston, South Carolina, as part of the Colour of Music Festival. Performed will be organ works by Bach, Liszt, and African-American composers: Adolphus Hailstork, Ulysses Kay, Thomas Kerr, Robert A. Harris, and Ruth Norman. For more information, please see the following link at www.colourofmusic.org:

High Noon Organ Recital Series: Mickey Thomas Terry

Starts: October 22 @ 12:00pm 


Location:
Grace Episcopal Church
98 Wentworth Street
Charleston, SC 

Tickets : $21.60 / $16.20 / $10.80

Mickey Thomas Terry, Organist

Adolphus Hailstork (b. 1941)
  Toccata on ‘Veni Emmanuel’



Ulysses Kay (1917-1995)
  Suite No. I for Organ
II  Pastorale

J.S. Bach (1685-1750)
 Toccata in F Major (BWV-540)


Thomas H. Kerr (1915-1988)
Suite Sebastienne

VII. Procession of the Gargoyles

INTERMISSION

Robert A. Harris (b. 1938)
  Solemn Voluntary


Ruth Norman  (1927-2007)
   Reflections


Franz Liszt (1811-1886)
  Fantasia and Fugue on BACH


Noel Da Costa (1929-2002)
Generata for Organ and String Orchestra

Comment by email:
Hello Bill (and Maestri by copy)​,  Thank you for this enticing glimpse. What a wonderful program series!  Very best wishes for a fine concert, Virginia  
(Virginia Kay)

Dominique-René de Lerma: Regarding College


REGARDING COLLEGE

Dominique-René de Lerma

            Midway through my teens, I looked forward to the monthly mail delivery of Musical America, a journal that introduced me to concert life and even now, more than 80 years later, is still a vital source on the subject.
            In keeping with the fall season, it recently published a directory of music schools – evidently only those who also placed advertisements – with abstracted data.  My perusal immediately sought listings of Black schools, but these were all missing.  Following is an effort to compensate for that hiatus.
            To consider only the HBCU (historically Black colleges and universities) schools is not sufficient, nor is the term accurate.  Better they should be identified as schools that historically have not discriminated.  During my years at Morgan State University I had students, not just Black American and from Africa, but Asians and Caucasians who sought an education with a Black perspective.   And it should be noted that the integration of schools resulted in racial mixtures, responding not only to the earlier matter of quotas, but enriching the orientation of the non-Black students with the advantages of cultural diversity.
            Recent political thought has brought up the question of why government-sponsored education should terminate with the twelfth year.  A modest proposal suggests that two-year community colleges should be tuition-free to qualified enrollees, but the thought has been advanced that this would be extended to state-supported four-year universities.  That concept might be regarded as creeping socialism by some, whose anxiety might be eased with an awareness that the result would include a boost in tax revenue, but such a move would be viewed with horror by the private universities (whose tuition is already substantially more than state-supported schools).
            Among those listed below are conservatories that are accredited to award graduate degrees and have thus allied themselves with an established university that already had a graduate school.  Among the Black schools offering graduate degrees in music currently are Morgan State University and Howard University.
            In the past one expected a conservatory to provide instruction in performance nly, while a university’s music school gave emphasis to academic studies – music theory and history – and avoided instrumental and vocal studies, but this concept, patterned after European practice, is no longer valid. 
            Potential students might wish to base a selection on a curriculum that includes Black studies.  Those non-HBCU institutions below, so Musical America reports, offering work in jazz are so indicated.  To determine which offer comprehensive examination of the history one needs to consult the annual directory of the College Music Society.  While ethnomusicology is listed, one cannot be sure that a Black music history class would give note to minstrelsy, Grace Bumbry, Jelly Roll Morton, and George Walker.  Perhaps the time is passed when a school would not allow independent research on Adolphus Hailstork or the inclusion of Tom Turpin on recitals.
            Schools with a predominately Black student body appear in italics.
            What is yet needed is a directory identifying Black professors and their areas of expertise, allied with schools where they are or have been engaged.

ALABAMA
Fairfield
Miles College

Gadsten
Gadsten State Community College

Huntsville
J. F. Drake State Technical College
Oakwood University
Mobile
Bishop State Community College

Montgomery
Trenholm State Technical College

Selma
Concordia College
Selma University. 

Talledega
Talladega College

Tuscaloosa
Shelton State Community College. 
Stillman College

Tuskegee
Tuskegee University

ARIZONA
Tempe
Arizona State University, School of Music…jazz

ARKANSAS
Little Rock
Arkansas Baptist College
Philander Smith  College
Shorter College

Pine Bluff
University of Arkansas-Pine Bluff

CALIFORNIA
La Miranda
Biola University, Conservatory of Music…jazz                    

Los Angeles
Colburn School
University of Southern California, Thornton School of Music

San Francisco
San Francisco Conservatory of Music

CANADA
Toronto
Royal Conservatory of Music,Glenn Gould School

CONNECTICUT
Hartford
University of Hartford, Hartt School…jazz

New Haven
Yale University, School of Music

DELAWARE
Wilmington
Delaware State University 

DISTRICT OF COLUMBIA
Washington
Howard University 
University of the District of Colombia 

ENGLAND
London
Royal College of Music

FLORIDA
Boca Raton
Lynn Conservatory of Music

Coral Gables
University of Miami, Frost School of Music…jazz

Daytona Beach
Bethune-Cookman College

Jacksonville
Edward Waters College 

Miami Gardens
Florida Memorial University

Tallahassee
Florida A&M University

GEORGIA
Atlanta    
Clark Atlanta University
Interdenominational Theological Center
Morehouse College
Morris Brown College
Spellman College                                                                      

Augusta
Paine College

Fort Valley
Fort Valley State University

Savannah
Savannah State University 

GERMANY
Berlin
Hochschule für Musik Hanns Eisler…jazz

INDIANA
Bloomington
Indiana University, Jacobs School of Music…jazz

ILLINOIS
Evanston
Northwestern University, Bienen School of Music…jazz

KENTUCKY
Frankfort
Kentucky State University

LOUISIANA
Baton Rouge
Southern University and A&M College 

Grambling
Grambling State University
 
New Orleans
Dillard University
Southern University-New Orleans
Xavier University of Louisiana

Shreveport
Southern University-Shreveport

MARYLAND
Baltimore
Coppin State University 
Johns Hopkins University, Peabody Conservatory
Morgan State University

Bowie
Bowie State University

Princess Anne
University of Maryland Eastern Shore

MASSACHUSETTS
Boston
Bard College, Longy School of Music
Berklee College of Music…jazz
New England Conservatory…jazz

MISSISSIPPI
Coahoma County
Coahoma Community College

Hinds County
Tougaloo College

Holly Springs
Rust College

Itta Bena
Mississippi Valley State University

Jackson
Jackson State University

Utica
Hinds Community College

MISSOURI
Jefferson City
Lincoln University of Missouri

Parksville
Park University

Saint Louis
Harris-Stowe State University

NEW JERSEY
Princeton
Rider University, Westminster Choir School

NEW YORK
New York
Columbia & Barnard Colleges, Juilliard School
Manhattan School of Music
New School, Mannes School of Music
New School, School of Jazz…jazz

Purchase
State University of New York-Purchase, Purchase College Conservatory of Music

Rochester
University of Rochester, Eastman School of Music…jazz

NORTH CAROLINA
Charlotte
Johnson C. Smith University

Concord
Barber-Scotia College

Durham
North Carolina Central University

Elizabeth City
Elizabeth City State University 

Fayetteville
Fayetteville State University

Greensboro
Bennett College
North Carolina A&T State University

Raleigh
Saint Augustine’s University
Shaw University

Salisbury
Livingstone College

Winston-Salem
Winston-Salem State University
                                                                                                   
OHIO
Columbus
Ohio State University, School of Music

Oberlin
Oberlin Conservatory of Music…jazz

Wilberforce
Central State University
Wilberforce University

OKLAHOMA
Langston
Langston University

PENNSYLVANIA
Cheyney
Cheyney University of Pennsylvania

Chester County
Lincoln University

Philadelphia
Curtis Institute of Music

Pittsburgh
Carnegie Mellon University, School of Music

SOUTH CAROLINA
Columbia
Benedict College

Denmark
Denmark Technical College
Voorhees College

Kittell
Kittell College

Orangeburg
Claflin University
South Carolina State University

Rock Hill
Clinton Junior College

Sumter
Morris College

TENNESSEE
Nashville
American Baptist College
Fisk University
Meharry Medical College
Tennessee State University

Knoxville
Knoxville College

Jackson
Lane College

Memphis
Lawson State Community College
LeMoyne-Owen College

TEXAS
Austin
Houston-Tillotson University
University of Texas-Austin, Sarah and Ernest Butler School of Music…jazz

Dallas
Paul Quinn College
Southern Methodist University, Meadows School of Music

Denton
University of North Texas, College of Music…jazz

Hawkins
Jarvis Christian College                                                              

Houston
Texas Southern University
University of Houston, Moores School of Music
                                               
Marshall
Wiley College

Prairie View
Prairie View A&M University

San Antonio
Saint Phillip’s College

Terrell
Southwestern Christian College
Tyler
Texas College

VIRGIN ISLANDS (U.S.)
Saint Thomas
University of the Virgin Islands

VIRGINIA
Hampton
Hampton University

Lawrenceville
Saint Paul’s College

Lynchburg
Virginia University-Lynchburg

Norfolk
Norfolk State University

Petersburg
Virginia State University 

Richmond
Virginia Union University

WEST VIRGINIA
Bluefield
Bluefield State College

Institute
West Virginia State University


WISCONSIN
Madison
University of Wisconsin-Madison, School of Music…jazz