Thursday, July 31, 2014
John Malveaux: Bell Ringing Ceremony Celebrating the 69th Anniversary of Korea Liberation Day at the Korean Friendship Bell, 10:30 AM - 12:15 PM, Aug. 15, 2014
Phoenix Park-Kim serves as an associate professor of music at Indiana
Wesleyan University. Hye-Young Suh is currently Professor of Piano at
SungKyul University, South Korea. The two pianists, representing
MusicUNTOLD and concluding an international tour, will offer a
four-handed performance of "Sanjo" by Korean composer La Jin Won during
the Freedom Bell Ringing Ceremony celebrating the 69th Anniversary at
the Korean Friendship Bell on August 15, 2014. The piano will be
provided by Young Chang North American for the outdoor celebration and
transportation provided by Mercedes-Benz of Long Beach. Musicuntold
mission include promoting human dignity and diversity in classical
music. Please see attachment
Thanks
John Malveaux
Tel.(562) 436-4352
USPS.com: 'U.S. Colored Troops at Petersburg Highlighted on Civil War Stamps' July 30; Confederates killed many soldiers trapped in the crater
The United States Postal Service press release for the July 30 dedication reads:
The stamps will be dedicated just yards from the site of an underground explosion that took place 150 years ago July 30 to create a huge depression in the earth that led to the battle being named "Battle of the Crater." Confederates - enraged by the sight of black soldiers - killed many soldiers trapped in the crater attempting to surrender.
As
the most wrenching chapter in American history, the Civil War claimed
the lives of more than 620,000 soldiers and brought vast changes to the
country. The Postal
Service continues its commemoration of the 150th anniversary of the war
by issuing a souvenir sheet of two stamp designs for 2014.
One
stamp depicts the 22nd United States Colored Troops engaged in the June
15-18, 1864, assault on Petersburg, VA, at the beginning of the
Petersburg Campaign. The
other stamp depicts Admiral David G. Farragut’s fleet at the Battle of
Mobile Bay (AL) on Aug. 5, 1864. A dedication ceremony also is taking
place in Mobile July 30.
Art
director Phil Jordan created the stamps using iconic images of the
battles. The Petersburg Campaign stamp is a reproduction of a painting,
dated 1892, by J. André Castaigne
(painting courtesy of the West Point Museum, United States Military
Academy, West Point, NY). The Battle of Mobile Bay stamp is a
reproduction of a painting by Julian Oliver Davidson, published ca. 1886
by Louis Prang & Co.
For
the background image on the souvenir sheet, Jordan used a photograph of
Battery A, 2nd U.S. Colored Artillery (Light), Department of the
Cumberland, 1864 (photograph courtesy of the Chicago
History Museum). The souvenir sheet includes comments on the war by
Ulysses S. Grant, Jeremiah Tate, Harrie Webster and Howell Cobb. It also
includes some of the lyrics from the Negro spiritual “O Mary, Don’t You
Weep.”
Wednesday, July 30, 2014
John Malveaux: “Politics of Music-Part 3”
John Malveaux
July 30, 2014
The “Bicentennial Symphony” was not considered for performance during the proposed USOC fundraising
concert and good will gesture to Soviet Union Olympic Team in 1980. The only
piece committed for performance was Roy Harris “Fifth Symphony”. Roy Harris
musical output offers over 200 pieces in a variety of formats.
Roy and Johana were guests during the administrations
of several presidents including John Kennedy. At the time of his death, Roy
Harris was composer laureate of the State of California.
The Long Beach Central Area Association is a 23 year
VOLUNTEER tax-exempt non-profit 501(c)(3) corporation. MusicUNTOLD is the event
production arm of LBCAA with website www.musicuntold.com. MusicUNTOLD is dedicating to expanding access to the arts by
underserved populations and presenting arts and educational programs that
promote diversity and human dignity.
Juneteenth is the oldest celebration in the nation
commemorating the ending of slavery. The Long Beach Central Area Association
and City of Long Beach co-sponsored the 2009 Long Beach Juneteenth Celebration.
The annual family Celebration includes multiple components starting with a
parade. John Malveaux was selected to produce the concert component. The
concert program at MLK Jr. Park featured the “Bicentennial Symphony”, Dr, Bobby
Rodriquez (Latin Jazz) and Mighty Mo Rogers (Blues). Joseph R. Taylor, recipient of 2014 NANM Music Education Award, organized
a reduced 68 piece pick-up MusicUNTOLD Orchestra and Zanaida Robles organized a
reduced 28 voice pick-up MusicUNTOLD Chorale. Abraham Lincoln was born in 1809 and
the Abraham Lincoln Bicentennial Committee in Washington DC endorsed the Long
Beach Juneteenth west coast premiere performance on June 13, 2014. The
“Bicentennial Symphony” had not been performed in over 33 years. The USOC sent
John Malveaux official Olympic sports wear as a good-will gesture.
The Los Angeles premiere of Roy Harris
“Bicentennial” aka “14 Symphony” is scheduled January 17, 2015, Luckman Fine
Arts Complex during the 150th Anniversary Concert to celebrate the
13th Amendment-ending slavery. Dr. Ulysses Simpson Kay “Once There
Was A Man” and Aaron Copland “A Lincoln Portrait” are companion pieces. Dr. Kay
was a member of the first United States cultural exchange with the Soviet Union
along with Roy Harris. The performance of “Once There Was A Man” will also be a
Los Angeles premiere. The concert will be co-produced by California
State University Los Angeles and MusicUNTOLD. Dennis Bartel, KUSC Classical
Radio 91.5 FM,, will be the host. The Colburn Foundation and Mercedes-Benz of
Long Beach are first sponsors.
Dominique-René de Lerma: American University, Washington, D.C., Invites Applicants for Position of Assistant Professor of Ethnomusicology
Dominique-René de Lerma:
The Department of Performing Arts in the College of Arts
and Sciences at American University invites applications
for a tenure-track position in Ethnomusicology at the
rank of assistant professor to begin in August 2015. A
strong commitment to research and demonstrated
excellence in teaching are expected. Area of specialization
is open. Responsibilities include continuing professional
scholarly activities, teaching undergraduate courses for
majors and non-majors, student mentoring, and
participating in departmental and university service. The
search committee will begin reviewing applications on
September 24, 2014 and continue until the position
is filled. American University is an Affirmative Action
employer. All qualified applicants will receive
consideration for employment without regard to race,
color, religion, sex, national origin, disability, or
protected Veteran status. American University is a
tobacco and smoke free campus.
Applicants should hold a Ph.D. in Ethnomusicology;
ABD with projected completion date prior to
appointment start will be considered.
Submit a cover letter, curriculum vitae, and three
letters of recommendation. Please email materials
(preferred) to streeks@american.edu or send by
mail to: Ethnomusicology Search, Department of
Performing Arts, Katzen Arts Center, American
University, 4400 Massachusetts Ave., NW,
Washington, DC 20016-8053.
|
--------------------------------
Dominique-René de Lerma
U.S. Ambassador Sue K. Brown: 'I would like to thank you and the members of Morgan State University Choir for your outstanding performances in Montenegro'
Eric Conway, D.M.A., & U.S. Ambassador
to Montenegro Sue K. Brown
Dr. Eric Conway forwards this letter from Ambassador Sue K. Brown:
Monday, July 28, 2014
John Malveaux recounts plans for the Roy Harris Symphony 'for the 1980 Summer Olympic Games'
John Malveaux
July 28, 2014
In 1978- 9, I offered American composer Roy Harris
a commission to write a symphony for me. After
some thought and asking me a few questions, Roy
Harris said he did not know what to write about
me and he was presently committed to write a
symphony and his age may be a challenge. Roy
Harris shared that the Soviet Union Olympic
Committee asked him to write a symphony for the
opening of the 1980 Summer Olympics Games in
Moscow that would receive an international
broadcast. He somewhat apologetically asked if I
would accept the symphony he would write for
the 1980 Summer Olympic Games as my requested
commissioned work. I asked my attorney, Martin
Blank Jr., to prepare an agreement. Roy Harris and
I signed the agreement.
a commission to write a symphony for me. After
some thought and asking me a few questions, Roy
Harris said he did not know what to write about
me and he was presently committed to write a
symphony and his age may be a challenge. Roy
Harris shared that the Soviet Union Olympic
Committee asked him to write a symphony for the
opening of the 1980 Summer Olympics Games in
Moscow that would receive an international
broadcast. He somewhat apologetically asked if I
would accept the symphony he would write for
the 1980 Summer Olympic Games as my requested
commissioned work. I asked my attorney, Martin
Blank Jr., to prepare an agreement. Roy Harris and
I signed the agreement.
During my final visit with Roy Harris in a Santa
Monica Hospital, the score was on a table near his
bedside. Roy Harris did not complete the symphony.
The name of the score suggested a reference to me.
Monica Hospital, the score was on a table near his
bedside. Roy Harris did not complete the symphony.
The name of the score suggested a reference to me.
I subsequently contacted the United States Olympic
Committee with the idea for me to organize a
concert honoring Roy Harris featuring the New York
Philharmonic Orchestra at Lincoln Center Avery
Fisher Hall. The concert would be a “good will”
gesture to the Soviet Union Olympic Committee and
a fundraiser for the USOC. After discussion and
reaching mutual agreement with the USOC, I asked
my attorney, Martin Blank Jr., to prepare the
agreement. Colonel R. Don Miller, Director of
Fundraising for the USOC and I signed the agreement.
AT&T was suggested as a potential sponsor by
the USOC. I met with two AT&T executives but
did not reach an agreement and a second meeting
was scheduled to continue the planning.
Committee with the idea for me to organize a
concert honoring Roy Harris featuring the New York
Philharmonic Orchestra at Lincoln Center Avery
Fisher Hall. The concert would be a “good will”
gesture to the Soviet Union Olympic Committee and
a fundraiser for the USOC. After discussion and
reaching mutual agreement with the USOC, I asked
my attorney, Martin Blank Jr., to prepare the
agreement. Colonel R. Don Miller, Director of
Fundraising for the USOC and I signed the agreement.
AT&T was suggested as a potential sponsor by
the USOC. I met with two AT&T executives but
did not reach an agreement and a second meeting
was scheduled to continue the planning.
While our USOC team was enjoying unexpected
victories during the Winter Games in Lake Placid, I
received an unexpected telephone call at the
Waldorf Astoria Hotel. Colonel R. Don Miller said
the USOC will be unable to complete the contract
with me because “President Carter will announce
a boycott of 1980 Summer Games TOMORROW”.
victories during the Winter Games in Lake Placid, I
received an unexpected telephone call at the
Waldorf Astoria Hotel. Colonel R. Don Miller said
the USOC will be unable to complete the contract
with me because “President Carter will announce
a boycott of 1980 Summer Games TOMORROW”.
Eric Conway. D.M.A.: YouTube Excerpts from Nathan Carter Tribute Concert on July 26, 2014 (9:38)
Eric Conway. D.M.A.:
Everyone,
I am not certain that there was
an official recording of the Nathan Carter Tribute Concert on Saturday,
but I did get some limited footage on my iPhone before my battery went
dead. See link to attached video below.
*****************
Eric Conway, D.M.A.
Fine and Performing Arts Department, Chair
Morgan State University
Morgan State University
Sunday, July 27, 2014
Southbank Centre, London: Wednesday 17 September 2014 'Youth Orchestra of Bahia' [Brazil] Queen Elizabeth Hall
Youth Orchestra of Bahia
The Youth Orchestra of Bahia is from the Brazilian State of the same name, which has a strong Afro-Brazilian heritage
Julia Wolfe: riSE and fLY (Percussion Concerto)
Interval
Gustav Mahler: Symphony No.1 (vers. standard in 4 movements)
Colin Currie and the Youth Orchestra of Bahia perform new work by Julia Wolfe and Mahler's First Symphony.
Inspired by New York City street beats and the rhythms of American work song, Julia Wolf'es riSE and fLY is a dazzling work composed especially for Colin Currie.
Borrowing the title from a chain gang work song, Wolfe's intention is
to 'take Colin to a new place and to bring something earthy and
visceral to the orchestra – to break with formality and get down and
dirty.'
The result is a thrilling evocation of street drummers,
accordionists, singers, Chinese stringed erhus and the folk tradition of
body percussion that fully encapsulates the festival's title, Metal, Wood and Skin.
Mahler's First Symphony established the intimate relationship between
his symphonic scores and songs, its enchanting melodic world evoking
the sights and sounds of nature and taking its cue from his Songs of a Wayfarer.
The stylistic nerve-centre is a slow movement that juxtaposes a minor-key version of Frère Jacques against the sounds of streets bands and popular music.
Queen Elizabeth Hall at 6.15pm. Pre-concert talk
Southbank
Centre’s Head of Classical Music Gillian Moore chairs a discussion with
conductor Ricardo Castro and percussionist Colin Currie about the
concert and the social impact of music. Free.
In partnership with the Royal Philharmonic Society
The Front Room at Queen Elizabeth Hall at 9.15pm.
An informal post concert event with percussionists from the Youth Orchestra of Bahia. Free.
Performers
Youth Orchestra of Bahia
Ricardo Castro conductor
Colin Currie percussion
Eric Conway, D.M.A.: 'Dr. Nathan M. Carter, Jr. Tribute' Morgan State University Alumni Choir, July 26, 2014, 5 PM, New Shiloh Baptist Church
Dr. Eric Conway:
Many were not able to make the stellar tribute concert to Dr. Nathan Carter last evening. Please see program attached for your review.
Saturday, July 26, 2014
Southbank Centre, London: Sunday 14 September 2014 Kinshasa Symphony: The Kimbanguiste Orchestra and Chorus, Congo, Royal Festival Hall
Kinshasha Symphony
Jean Sibelius: Finlandia
Congolese choral works
George Shearing: Songs and Sonnets of Shakespeare
Congolese orchestral works
Interval
Hector Berlioz: March to the scaffold (4th movement) from Symphonie Fantastique
Hector Berlioz: Dreams of a witches' Sabbath (5th movement) from Symphonie Fantastique
Ludwig Van Beethoven: Presto - Allegro assai (4th movement) from Symphony No.9 (Choral)
The extraordinary orchestra and chorus from Kinshasa perform in London for the first time.
The story of this orchestra and choir (Orchestre Symphonique de
Kimbanguiste) from Kinshasa in the Democratic Republic of Congo is
miraculous and uplifting.
They were formed in one of the world's poorest cities and in a
country torn apart by war. However, these talented, self-taught
musicians and their conductor, Armand Diangienda, carry a message of
peace and hope.
Their inspiring story has been an international sensation and will be
celebrated in a specially commissioned BBC documentary later this year.
The orchestra is joined in this concert by members of the BBC Concert
Orchestra, National Youth Orchestra of Great Britain and Hallé Youth
Choir to perform a programme including movements from Berlioz's Symphonie Fantastique, the finale of Beethoven's Symphony No.9 (Choral Symphony) and a selection of Congolese music.
Visit the Africa Utopia festival page for more details on free
events, interactive workshops and opportunities to take part as we
celebrate the orchestra and chorus' concert.
The Orchestre Symphonique de Kimbanguiste's visit to the UK is a
partnership between Bristol Music Trust, the Hallé Orchestra and
Southbank Centre and has been made possible with special support from
Arts Council England through its Exceptional awards programme.
Southbank Centre would like to thank Rosenblatt recitals for their
generous support of this project and Les Aldrich Music and Thwaites Fine
Stringed instruments for their gifts to the instrument repair
workshops.
Performers
Orchestre Symphonique Kimbanguiste (OSK)
Jamie Phillips conductor
Armand Diangienda conductor
London Philharmonic Choir
Comment by email:
We need a United States tour. John Malveaux www.musicuntold.com
Comment by email:
We need a United States tour. John Malveaux www.musicuntold.com
John Malveaux: “The Politics of Music-Part 1”
NANM Awards Gala: [Left to Right]
Joseph R. Taylor, Dr. James Lent, Annelle Gregory, John Malveaux
“The Politics of
Music-Part 1”
John
Malveaux
July 27,
2014
The National Association of Negro Musicians 2014 Awards Banquet was held
Wednesday, July 24, 2014 at the DoubleTree Los Angeles Westside Hotel. Joseph R.
Taylor was one of numerous recipients in different categories. Dan Ellen Joseph
shared information of Joseph R. Taylor’s years of teaching music in public
schools, private instruction, music director and conductor of youth orchestras
in Compton/Watts/Los Angeles communities, professional musician, and conductor
of community orchestras to earn the Music Education Award. Future
international concert violinist and current freshman at USC Thornton School of
Music Annelle Gregory and pianist Dr. James Lent performed “Romance
and Hungarian Dance” by Sergei Rachmaninoff in tribute to Joseph R.
Taylor.
I attended the NANM
Awards Banquet specifically to honor Joseph R. Taylor for a reason not mentioned
by Dan Ellen Joseph in her introduction or in the acceptance speech of Maestro
Joseph R. Taylor.
In 1978, I befriended
American classical composer Roy Harris. The first commercial recording by an
American record company of a symphonic composition was the CBS recording of Roy
Harris “Symphony 1933”. Roy Harris
“Fifth Symphony” was dedicated to the valor of the Russian soldiers who were our
allies in World War 11. Roy Harris
was subsequently selected as a member of the State Department’s first cultural
exchange with the Soviet Union 1958. He became the first American to conduct a
Russian orchestra when he conducted his “Fifth Symphony” in the Soviet Union.
Roy Harris and his family became tragic victims of McCarthyism after he refused
to stop a United States performance of the “Fifth Symphony”. His career was
greatly damaged by a boycott of his name and music. He even had to relocate
after physical threats against his family including young
children.
Roy Harris “Bicentennial
Symphony” or “14th Symphony” premiered at the Kennedy Center for
three days, February 10-12, 1976, with the National Symphony Orchestra under the
baton of Maestro Murry Sidlin. In
my opinion, the “Bicentennial Symphony” is the strongest musical statement on
U.S. History, slavery, and race relations ever made by an American
composer. The work was written for
orchestra with large chorus. The
chorus carries the larger part of the work with passages from the Preamble to
the Constitution, the Gettysburg Address, and the Emancipation Proclamation as
well as original passages.
The introduction is a
musical representation of dawn to daylight. The first movement is a setting of the
Preamble of the Constitution. The
second movement is an exposition of the bitter disagreement about slavery
between the North and the South.
The third movement is a statement in music about the ferocity of the
Civil War, brother against brother.
The fourth movement is a musical setting of Abraham Lincoln’s “Freedom
Proclamation”. The fifth movement
is a musical setting of new attitudes of free black people. The coda is a setting of portions of the
Preamble of the Constitution proclaiming freedom “for all of
us”.
A critic mauled the
premiere performance and perhaps most of the 1976 audience misinterpreted the
work as an indictment instead of a celebration. The subject of slavery,
especially in realistic description, had been keep out of the concert halls. I
speculate that Roy Harris believed the Emancipation Proclamation along with
other mentioned documents were the great achievements to spotlight for the
200th birthday of our nation. I further speculate that the elite
audience at the Kennedy Center may have expected an achievement such as walking
on the moon to represent our nation’s 200th birthday instead of the
ending of slavery. Reviews, discussions, and even mentions of the premiere
performance at the Kennedy Center are scant and non-existent.
In response to my
inquiry, the administrative office of the National Symphony Orchestra insisted
that an archival recording was not made of the performance. Renowned cellist
Rostropovich performed separately on the same program. The Harris Symphony was
scheduled to be performed the following week-end by the Dallas Symphony. The
story was told by the Dallas Symphony that the score was “LOST IN FLIGHT” and
the respected “Third Symphony” was substituted for the “Bicentennial Symphony”.
The Kennedy Center premiere included a chorus of 100 singers from Texas.
On a
different note, Aaron Copland's “A Lincoln Portrait” was slated for
Eisenhower's Inaugural Concert. But days before the concert the composition was
removed from the concert. A Congressman offered the explanation "The Republican
Party would have been ridiculed from one end of the United States to the other
if Copland's music had been played at the inaugural of a president elected to
fight Communism."
My friendship with Roy
Harris embraced Johana Harris. Each time I visited their home, Johana treated me
to a short piano recital in a spacious room with a striking view of Pacific
Palisades and the Pacific Ocean before Roy entered the room.
After Roy’s death, I
asked Johana Harris for the rights to publicize, promote, and perform the
“Bicentennial Symphony”. The rights were granted to me and Johana’s assistant
forwarded the original copy drafted by Johana or her assistant to the University
that commissioned the “Bicentennial Symphony” and held the original score in
their library archives.
On
another note, if the South had won the Civil War, we could not have elected the
current second term President. I
hear the Confederate mentality in the current opposition to President Obama. Dr.
Stephanie McCurry argues in her book “Confederate Reckoning” that the
confederacy created its own demise by excluding women and Blacks who were then
the majority of the population.
Tribute concert for Dr. Nathan Carter at New Shiloh Baptist Church, July 26, at 5 PM
Dr. Nathan Carter
July 25, 2014
Dr. Eric Conway:
Hello everyone,
I just want to make sure that
absolutely everyone knows that a special Morgan State University Alumni
Choir will present a concert celebrating the life and music of the late
Dr. Nathan Carter on tomorrow afternoon, July 26, 2014 at 5:00 PM at the
New Shiloh Baptist Church, Dr. Carter's Baltimore home church. This
month of July happens to be ten years after his passing. This alumni
choir made up of Morgan choir members over the decades will present a
concert in his memory. The concert will feature Dr. Carter's music as
well as music that was frequently performed by his choirs over the
years.
Eric
****************
Eric Conway, D.M.A.
Fine and Performing Arts Department, Chair
Morgan State University
Friday, July 25, 2014
Errollyn Wallen: 'ANON receives its London premiere this Saturday July 26th at 7pm at Platform Theatre, Central St Martins, London'
Dear Friends and Colleagues,
We are just
back from Latitude festival where the new production of Cautionary
Tales was enthusiastically received. I have to say it was because of
superb team effort!
Watch this space for news of developments for a tour and read our blog at http://cautionarytalesopera.wordpress.com/
Nick
Mercer put some images together of us getting ready for performance (we
had an hour) inside the Theatre Tent – the music is from my orchestral
homage to Handel.
This
week two other of my operas are in rehearsal – ANON (commissioned by
WNO) and the premiere of Cakehead (commissioned by Tete a Tete and
performed throughout the festival in the environs of King's Cross).
ANON receives its London premiere this Saturday July 26th at 7pm at Platform Theatre, Central St Martins, London. Details below.
Hear me talking about the operas on In Tune last week. I'm in the last 20 minutes.
Hope to see you this weekend!
Errollyn
Errollyn Wallen MBE
IVOR NOVELLO AWARD FOR CLASSICAL MUSIC 2013
WINNER OF FIPA D'OR 2013 for Best Music for a Television Series (ONE NIGHT, BBC One)
HONORARY FELLOW, MANSFIELD COLLEGE, OXFORD 2014
Dominique-René de Lerma: 'Three Faces of Racism'
Dr. Alfred Duckett
THREE FACES OF RACISMDominique-René de LermaScenario 1. James DePriest is engaged as conductor of the Orchestre Symphonique de Quebéc, not for the color of his skin, but the character of his talent.Scenario 2 . Dean Dixon never had an orchestra in his own country, not because of the character of his talent, but the color of his skin.Scenario 3. Paul Freeman established the Chicago Sinfonietta because of the character of his talent and the color of his skin.Now let's consider the following variations: Politician X received his education with the benefit of affirmative action, which he now opposes. Conductor X refuses to schedule any music not composed by a fellow African American. Professor X makes no notice of the race of his students.Racism seems basically to mean two different things, depending on how it applies and who does the application. We certainly have never had difficulty in witnessing the negative version. This has been manifest openly in the case of hate organizations and has been thinly hidden when code words were used: "of Oriental persuasion" was the previous term for anti-Semites.When I was guest lecturer at a predominately Caucasian university, a faculty member during the Q&A session asked "Why can't we just consider good music to be just that and forget about race?" This was like a newspaper editorial, anticipating the new exhibit at the local gallery, which stated "Romare Bearden was a great artist who just happened to be Black" (like such an apology should excuse Wagner for being German!).Affirmative action was an effort to compensate the current generation for the wrongs previously inflicted in the past, but this was soon regarded as an anti-White policy.Then the act was defined as a benefit to the majority population as one of diversity. In came students who knew the spiritual first-hand, who brought with them that precious aspect of American culture which had been lacking on campus. A substantial part of this refreshed perspective was Black culture. How enriched is that faculty that has a minority member in the music education department (whose students may soon be faced with "others" in the classroom), or a Black choral conductor who will not deprive students of a wider concept of performance practice! President Obama cannot be asked to address only Black issues, but is to be lauded for the distinct sensitivity his own experience provided to support "My brother's keeper." Entities without cultural diversity are impoverished.Now we have the case of a vacancy in the voice department. Especially if there is a Black member already on the faculty, we can expect, even assume, there will be at least one vote to support that candidacy -- assuming all applicants on the short list are qualified. To reject that applicant might be racially motivated, just as to express support could be race-positive.This is one of those times when the ugliest of manifestations might come into play: campus politics. Behind-the-scenes meetings, closed-door conferences, quid pro quo agreements, tacit political alliances and other manipulations quite apart from teaching, which is why a faculty is hired.Some of this may be part of a scene enacted in the past two years in the case of Dr. Alfred Duckett. This is a young, enormously gifted talent, soon approaching mid-career maturity. I can attest to this; he took every course I offered at the Peabody Conservatory when he was working on his master's degree. Nothing would stop his passion for information. He then secured his doctorate at Catholic University, and his academic appointments that followed were impressive: Southern Illinois University, Syracuse University, St. Augustine College, Allen University, Clark Atlanta University. He has conducted Eastman's Gateways Festival Orchestra, the Metropolitan Orchestra of St. Louis, the Atlanta Community Orchestra, the Spokane Symphony Orchestra, the Berkshire Symphony Orchestra, the Baltimore Chamber Orchestra. Small wonder that Oklahoma's Cameron University engaged him with tenure da capo. Here his students rated him at the top. "He was an awesome teacher! .. very interesting VERY funny and VERY serious and super musician..."But then, as Robert Merriwether reported (10 March 2014) on the internet, "Black professor faces dismissal for being too Black." Two days later, Colleen Flaherty outlined the sordid history ("Free speech or hostility?") noting that the American Association of University Professors had come to Dr. Duckett's aide.On 24 July, Jackson State University won its new music chairman: Dr. Alfred Duckett. They won't find him too Black.------------------------------------Dominique-René de Lerma
Comment by email:
Thanks Bill for circulating,
Thanks
Dominique for writing this, a harsh ‘reality check’ for those who take
comfort in their bigoted views!. This is a statement that is definitely
very much in accord with my views. It should also be circulated far more
widely than this site – e.g. ‘The Guardian’ in the UK, ‘The Gleaner’ in
Jamaica etc. Best wishes, Mike
[Michael S. Wright]
John Malveaux with Dr. Willis Patterson, 'professsor emeritus of voice at University of Michigan' and author of 'Anthology of Art Songs by Black American Composers'
Dr. Willis Patterson (left) and John Malveaux (right)
John Malveaux of
Dr.
Willis Patterson has concertized extensively in the U.S. and Europe and
has appeared as bass soloist with major American orchestras. He is
professsor emeritus of voice at University of Michigan. Dr. Patterson
has made an immeasurable contribution to vocal art music as author of
the first and second ANTHOLOGY of Art Songs by Black American Composers.
Generally, i can make an accurate determination about one's knowledge
of African American contributions in classical music by their awareness
of Dr. Patterson's two books. See http://www.artsongupdate.org/Articles/WillisPatterson.htm
Dr.
Patterson and I briefly chatted before the National Association of
Negro Musicans Gala Award Banquet on Wednesday, July 23, 2014. Dr.
Patterson also introduced me to his wife, Frankie Bouyer Patterson, who
is from Opelouses/ Plaisance area of Louisiana as many of the Malveaux
family. Mrs. Patterson was suprised to receive the previously
unannounced last award of the evening for SERVICE.
Thanks
John Malveaux
John Malveaux: National Association of Negro Musicians presents George Walker Tribute July 24, 2014 at its National Convention
George Walker (b. 1922)
has a website at http://georgetwalker.com/
and is featured at
AfriClassical.com
John Malveaux of
The National Association of Negro Musicians, an historic organization
since 1919, presented a tribute to the incomparable living pianist,
composer, and educator George Walker who was born June 27, 1922.
The FREE tribute was part of the Thursday morning July 24,
2014 convention chorus/orchestra concert and strategically placed
between popular musical excerpts associated or composered by Louis
Armstrong and George Gershwin. The Walker tribute started with a brief
bio introduction by President Byron Smith. The Convention Orchestra was
conducted by Maestro Joseph R. Taylor and LYRIC FOR STRINGS was the
single tribute piece. The venue was a modest ballroom in the Doubltree
Los Angeles Westside.
The thought inspiring LYRIC FOR STRINGS
composition along with the preparation, talent, and spirit of the
players and conductor provided an experience matching a $350 seat in
your favorite concert hall with a major orchestra of your choice.
Although
George Walker was not present, I offer the opinion that the tribute was
heartfelt, accurately performed and I thank the National Association of
Negro Musicians for honoring George Theophilus Walker.
Thanks
John Malveaux
Thursday, July 24, 2014
Bozoma Saint John, Graduate of Wesleyan University and Senior Vice President of Beats Music, in Advertising Hall of Achievement Class of 2014
Bozoma Saint John
Bozoma Saint John, SVP, Head of Global Marketing, Beats Music
For more than a decade and a half, Bozoma “Boz” Saint John has blazed
a trail in her marketing and advertising career, propelled across
various industries including consumer packaged goods, digital
music/entertainment, fashion, automotive and sports.
Currently, Saint John serves as SVP, Head of Global Marketing for
Beats Music where she guides strategic initiatives geared at building
and nurturing consumer brand recognition, loyalty and equity. Saint
John’s unique experience combining music with powerful international
brands serves to further the Beats Music mission of providing fans with
personalized curated content and access to their favorite artists while
supporting a sustainable music business.
Prior to joining Beats Music, Saint John was head of the Music and
Entertainment Marketing Group at Pepsi-Cola North America, where she
drove breakthrough, integrated & sustained consumer engagement plans
for brands across the soda giant’s beverages portfolio, engaging
tastemaker-consumers through music, film, TV, print, online, grassroots,
events, and retail vehicles.
Previously, Saint John served as VP of Marketing for fashion brand
Ashley Stewart, as well as at traditional advertising agency management
at Arnold Worldwide and Spike Lee's SpikeDDB. She believes in working
closely with musical artists to create special experiences, and has
activated celebrity endorsements with Kanye West, Nicki Minaj, Eminem,
Katy Perry and her idol, Michael Jackson, to name a few.
For her breakthrough work, Saint John has received several
recognitions, including Billboard Magazine’s Top Women in Music and Top
Executives 40 Under 40, Fast Company’s 100 Most Creative People, Ebony
Magazine’s 100 Powerful Executives, and covered AdWeek as one of the
most exciting personalities in Advertising. She also contributes her
expertise to various groups including serving on the Leadership Council
for the United Nation’s partnership with the PVBLIC Foundation, and as a
mentor for the Levo League.
A graduate of Wesleyan University with a BA in English and African
American Studies, Saint John is a native of Ghana (West Africa), raised
in Colorado, adopted daughter of New York City (HarlemWorld stand up!),
an avid reader, hip hop music fanatic, Tupac Shakur academic, newest
transplant to the City of Angels, an insatiable shoe-zealot and most
importantly, Lael’s mommy!
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