AfriClassical: October 2015

Friday, October 30, 2015

BlackPast.org Blog: William Hoare of Bath, England painted portrait of enslaved Senegalese aristocrat Ayuba Suleiman Diallo (1701-1773)

Ayuba Suleiman Diallo (1701-1773)

BlackPast.org Blog

Hazel Singer sends this bio:

The British historian, Simon Schama, has a new book and BBC series out called The Face of Britain: The Nation Through Its Portraits. One of the portraits he features, currently on exhibit at London's National Portrait Gallery, is described as the first portrait of an African in Britain. The key word here is 'portrait': there were depictions of Africans in Britain (see the blog post Early Black British on 9/6/13) earlier than this. The portrait is of Ayuba Suleiman Diallo, an aristocrat who was enslaved by Mandingoes and who ended up in Maryland. With assistance from numerous people who learned of his plight, he eventually made his way to Britain and then back to his homeland in what is now Senegal. His story is awe-inspiring and most unusual for its time.

This portrait was painted by William Hoare of Bath, England in 1733, a year before Diallo returned to Senegal.

NSBE Launches Campaign For Graduation Of 10,000 Black Engineers Annual Goal for the U.S. Is Set for 2025

ALEXANDRIA, Va. — Only 19 percent of black 4th graders in the U.S. and 13 percent of the nation’s black 8th graders were proficient in math in 2015, according to the National Assessment of Educational Progress. Only 5.5 percent of black 8th graders in the U.S. in 2005 completed calculus five years later, and a mere 1.1 percent of the nation’s black college freshmen enrolled in engineering programs in 2010, according to a recent analysis conducted by the National Society of Black Engineers (NSBE). And then there’s this distressing fact from the American Society for Engineering Education: the percentage of African Americans among U.S. engineering bachelor’s degree recipients has been declining for more than a decade and was only 3.5 percent in 2014.

But the core mission of NSBE, founded 40 years ago, is to increase the number of black engineers. So the Society has decided to do something about the effect of these disparaging statistics on black youth and on the nation’s need for talent in the critical fields of science, technology, engineering and math (STEM). The Society has targeted an ambitious goal: to have the U.S. produce 10,000 African-American bachelor’s degree recipients in engineering annually, by 2025, up from the current number of 3,620. NSBE will launch its “Be 1 of 10,000” campaign in October 2015, with an outreach to African-American 7th graders and others across the country. NSBE’s goal is to have 150,000 7th grade students envision themselves as engineers and pledge to achieve academic excellence in subjects such as algebra, chemistry and physics, which are at the base of an engineering education. The Society will then provide online and other resources to help those students achieve their goals.

“NSBE’s leadership is totally committed to this campaign,” says NSBE National Chair Neville Green, a senior in chemical engineering at the City University of New York. “As students and professionals in STEM, we know the importance of driving this change, to ensure the future of our communities.”

“Be 1 of 10,000” is reaching out to 7th graders because they are scheduled to graduate from four-year colleges in 2025. However, continued success in meeting NSBE’s strategic goals will require the Society to increase the STEM proficiency of students who are even closer to the start of the “pipeline” to engineering careers. In addition to the online resources being provided, plans to meet these milestones are expansion of the Society’s Summer Engineering Experience for Kids (SEEK) program for students in grades 3 through 8, and encouraging more public school districts to offer calculus in high school.

Providing more academic support to African-American engineering students in college is also part of the plan. This support will include tutoring and mentoring by older student and professional members of NSBE, collaborative study sessions, training in test-taking and other measures. We will also seek support to boost the institutional capacity of colleges of engineering to recruit, educate and graduate more black engineering students.

“10K looks like a big number, until we divide it among our 227 collegiate chapters across the U.S.,” says Tolu Oyelowo, NSBE’s national academic excellence chair, who is a senior in biomedical engineering at North Carolina State University. “If each chapter graduates an additional three members by 2025, we will have met our goal.”

The campaign is designed to mobilize the Society’s 31,000-plus members and others as well. Those who partner with NSBE will help bring about a positive cultural change that will create a mind shift in students of color across the nation. The hope is that these children will begin to see themselves as engineers instead of the athletes and entertainers they most often view as role models.

"Graduating 10,000 black engineers per year will generate benefits that extend far beyond our organization,” says Karl W. Reid, Ed.D., NSBE executive director. “By harnessing the STEM talent of greater numbers of African Americans, we are expanding the corps of problem solvers and innovators in service to the nation.”

NSBE’s “Be 1 of 10,000” campaign is sponsored by Phi Beta Sigma Fraternity, Inc. Media sponsors of the campaign include WGBH Boston and National Journal “The Next America.”

To join the campaign or for more information, visit Graduate10K.NSBE.org. Or follow the campaign on social media at #Be1of10K. Through these and other media, NSBE hopes to make engineering a household word in the African-American community and help more black students envision themselves as successful engineers.

ABOUT NSBE
Founded in 1975, the National Society of Black Engineers (NSBE) is one of the largest student-governed organizations based in the United States. With more than 31,000 members and more than 300 chapters in the U.S. and abroad, NSBE supports and promotes the aspirations of collegiate and pre-collegiate students and technical professionals in engineering and technology. NSBE’s mission is “to increase the number of culturally responsible black engineers who excel academically, succeed professionally and positively impact the community.” For more information, visit www.nsbe.org.

ABOUT WGBH
WGBH Boston is America’s preeminent public broadcaster and the largest producer of PBS content for TV and the Web, including Masterpiece, Antiques Roadshow, Frontline, Nova, American Experience, Arthur, Curious George, and more than a dozen other primetime, lifestyle and children’s series. WGBH’s television channels include WGBH 2, WGBX 44, and the digital channels World and Create. WGBH TV productions focus on the region’s diverse community include Greater Boston, Basic Black and High School Quiz Show. WGBH Radio serves listeners across New England with 89.7 WGBH, Boston’s Local NPR®; 99.5 WCRB Classical Radio Boston; and WCAI, the Cape and Islands NPR® Station. WGBH also is a major source of programs for public radio (among them, PRI’s The World®), a leader in educational multimedia (including PBS LearningMedia™, providing the nation’s educators with free, curriculum-based digital content), and a pioneer in technologies and services that make media accessible to deaf, hard of hearing, blind and visually impaired audiences. WGBH has been recognized with hundreds of honors: Emmys, Peabodys, duPont-Columbia Awards and Oscars. Find more information at wgbh.org.

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FredO: Dom has been longtime board member of African Musical Arts. He was many things to us: mentor, advisor, fatherly figure, and friend.

Dominique-René S. de Lerma

Fred Onovwerosuoke, <http://fredomusic.com> writes:

On October 5, 2015, our departed genius, Dom emailed Wendy and I, thus:

"Dominique Rene de Lerma" <dsl@casamusicaledelerma.com> wrote:

I need to let you two know I’m off for the hospital tomorrow for a biopsy (cancer likely). I’ll be back home after a few days and back to work. This might delay my reference on your behalf.

Shortly afterwards we went off to fulfill engagements in Dubai and then Nashville. Upon our return over the weekend I quickly emailed him to find out how he was doing after what we thought was 'routine' hospital stint. Not knowing that our venerable, quintessential scholar of black and African-descent composers, incomparable giant of musicology, the great Professor Dominique-Rene de Lerma had departed. Dom has been longtime board member of the African Musical Arts organization. He was many things to us: mentor, advisor, fatherly figure, and friend. His is a void that will be difficult to fill.

Peace his soul now rest,

Fredo & Wendy

7:26 PM (1 hour ago)

Fredomusic, Inc.

AM Publishers Catalog

Oxford University Press Catalogue
Intercultural Music Initiative

---------- Forwarded message ----------
From: Fredo <fredo@fredomusic.com>
Date: Mon, Oct 5, 2015 at 7:39 PM
Subject: Re:
To: "Dominique René S. de Lerma" <dsl@casamusicaledelerma.com>

That must be reason I had nudging thoughts of you over the weekend. Actually got sidetracked from penning you an email this morning.

Dom, I will be praying for fairer health for you. You least worry about me, dear friend.

Perfect peace for you,
Devotedly, F.

On Oct 5, 2015 6:53 PM, "Dominique Rene de Lerma" <dsl@casamusicaledelerma.com> wrote:

I need to let you two know I’m off for the hospital tomorrow for a biopsy (cancer likely). I’ll be back home after a few days and back to work. This might delay my reference on your behalf.

Thursday, October 29, 2015

Gabriel Banat: I am deeply saddened at the news of the death of Dominique-René de Lerma

Dominique-René S. de Lerma

(From Antonio Green)

The Chevalier de Saint-Georges: Virtuoso of The Sword And The Bow

Gabriel Banat

Gabriel Banat writes:

I am deeply saddened at the news of the death of Dominique-René de Lerma, Dom, to us his friends and admirers. Here is an excerpt from my memoirs concerning the beginning of our meeting of minds about the Chevalier de Saint-Georges.

"My monograph about Joseph Bologne, the Chevalier de Saint-Georges, published in 1990 by Black Music Research Journal, still contained a number of errors. So I was particularly pleased when Professor Dominique-René de Lerma, author of the historical introduction to volume III of my “Masters of the Violin,” devoted to the works of Saint-Georges, in a footnote to his article, Black Composers in Europe, wrote: “The year of Saint-Georges’ birth, as corrected by Gabriel Banat in this issue, [of BMRJ] is hereby acknowledged.“

I am still and will always be grateful for that noble gesture, all too rare among academics, to publicly credit even an amateur musicologist like myself, for correcting an error.

Some years later, referring to my biography of the Chevalier de Saint-Georges, Dom wrote:

There exists no end of shameless fiction and manufacture [about St. Georges]. I once fell for one of these. The only source I can recommend is the recent and very scholarly work by Gabriel Banat, which I plan to nominate for an award from the Music Librarian’s Association. It is one thing to have been fooled into thinking that fiction is truth, as I have been, but it is musicologically criminal not to repent, with apology.

This was the beginning of a correspondence nurtured by our shared struggle for the truth.

I shall miss his cheerful spirit and occasionally biting wit immensely.

Gabriel Banat

John Malveaux: Wed., Oct. 28 at UCLA Faculty Center, I attended Dr. Ron McCurdy's multi media presentation (live music, poetry & slides)

Langston Hughes

Dr. Ron McCurdy and John Malveaux

John Malveaux of

www.MusicUNTOLD.com

writes:

Poet Langston Hughes was narrator for the 1960 Newport Jazz Festival. He penned the poem ASK YOUR MAMA: 12 Moods for Jazz. Alongside the words of the poem, Hughes sketched out detailed instructions for musical accompaniment. He planned to stage an elaborate performance of his piece with the help of jazz musician and composer Charles Mingus, but died before seeing it to fruition.

On Wednesday, October 28 at UCLA Faculty Center, I attended Dr. Ron McCurdy's multi media presentation (live music, poetry & slides) of Langston Hughes ASK YOUR MAMA: 12 Moods for Jazz. See opening slide and picture with USC music professor Dr. McCurdy.

MiamiHerald.com: Black in Time: Negro Maestro, Dean Dixon, made history [Miami Book Fair International on Nov. 23 (12:30 p.m./Rm. 8302)]

Dean Dixon: Negro At Home, Maestro Abroad

Rufus Jones, Jr.

Rowman & Littlefield

Maestro Dean Dixon conducting the Frankfurt Radio Symphony Orchestra in Frankfurt Germany, 1974. He was the music director of this orchestra for 14 years.

Read more here: http://www.miamiherald.com/news/local/community/miami-dade/community-voices/article41808432.html#storylink=cpy

Miami Herald

Dr. Rufus Jones, Jr.

Dr. Dorothy Jenkins Fields

By Dorothy Jenkins Fields

Special to The Miami Herald

October 29, 2015

The first black American to lead the New York Philharmonic and NBC Symphony orchestras was Dean Dixon (b. Jan. 10, 1915 — d. Nov. 4, 1976). Of Barbadian and Jamaican ancestry, Dixon grew up in Harlem at a time when black people were called “Negroes,” treated as second class citizens, and severely limited in career choices, no matter what their level of expertise.

Dixon was exposed to classical music at an early age, received training at Columbia University Teacher’s College, and had a noteworthy musical career directing orchestras with predominately white musicians in the United States and Europe.

At the 2015 Miami Book Fair International on Nov. 23 (12:30 p.m./Rm. 8302) conductor, educator, scholar, and author Rufus Jones Jr. will present the compelling story of the challenges and rewards of American orchestra conductor Dean Dixon. For the Miami Book Fair schedule of events visit: Miamibookfair.com.

Jones’ book, Dean Dixon: Negro At Home, Maestro Abroad, published by Rowman & Littlefield, is a narrative that appeals to a general audience, classical music enthusiasts, and those who follow civil rights issues in the U.S. A slim volume with less than 200 pages, it chronicles Dixon’s life relying heavily on primary sources including letters, personal papers, and oral history interviews.
For the general audience the book details Dixon’s life from birth to death, highlighting his upbringing, family issues, health, and experience as a teacher and performer. He was assertive and determined to set the example, a black classical musician conducting a world-class orchestra on a permanent basis and making music available to the very young.
Dixon’s pursuit of his dream vocation while attending the Institute of the Musical Arts (IMA) and the Juilliard School will interest classical music enthusiasts. Worth noting is the fact that his musicianship and authority at the podium caught the attention of officials at the National Broadcasting Company (NBC), led by Maestro Arturo Toscanini, the well-known Italian conductor. As a result, Dixon successfully completed two summer concerts at NBC and conducted the orchestra during the regular season.
Those who follow civil rights issues may not be surprised that Dixon’s contact with Toscanini was made through then First Lady Eleanor Roosevelt. She reached out to black classical musicians and brought to national attention the country’s racial divide. In 1942, at the end of Dixon’s concert in Harlem, Mrs. Roosevelt spoke referencing the then current international crisis, “ I think that times like these in a troubled world music is a universal language that all of us need.”
Her quote leads me to believe that music is universal because when individuals who speak a different language or are of a different background, culture or race listen to the same notes, they can all feel the identical emotion such as joy, love, or sadness. Whether in a rehearsal studio or performance, the combined notes that create the sound are interpreted and played according to the direction of the musical conductor.
The book’s theme highlights the racial stereotypes Dixon encountered in the field. He was a black American conductor trained to interpret music that originated beginning in the 17th and 18th centuries and was presented to elite white audiences.
As late as the 1940s to 1960s, by custom, black people in parts of the U.S. were not expected to make business decisions, eye contact, shake hands or be in the same room with white people. Despite such limitations, as a professional conductor Dixon had the responsibility to do all of the aforementioned. He led orchestras expecting civil responses from musicians, technicians, donors, and the audience.

***
Dorothy Jenkins Fields, PhD, is a historian and founder of the Black Archives, History and Research Foundation of South Florida Inc. Send feedback to djf@bellsouth.net.

Read more here: http://www.miamiherald.com/news/local/community/miami-dade/community-voices/article41808432.html#storylink=cpy

Comment by email:

Many thanks and continued success! D. Fields [Dr. Dorothy Jenkins Fields]

Adolphus Hailstork: Farewell Dominique. You were so dedicated to the cause of African-American composers. Requiescat in pace.

Dominique-René S. de Lerma

Adolphus Hailstork writes:

Dear Bill,

I sent this to Antonio:

Farewell Dominique. You were so dedicated to the cause of African-American composers.

You were a gift at just the right time with just the right determination and energy to reveal truths too often hidden in music history.

Requiescat in pace.

Adolphus Hailstork

Eric Conway: [James Lee, III] Morgan Faculty Member gets favorable review from Baltimore Sun Music Critic

James Lee, III

Eric Conway writes:

Hello Morgan Fine Arts Community,

Please allow me to share some good news from one of the Morgan’s Fine and Performing Arts faculty members, Dr. James Lee, III. On this past Sunday, October 25, 2015, on the widely popular Shriver Concert Series, on the campus of Johns Hopkins University, Dr. Lee had a new composition, his Piano Trio #2 “Temple Visions” performed by the very fine Montrose Piano Trio. This piece was commissioned by the Shriver concert series for their 50th anniversary season.

Dr. Lee will have this composition performed on a series at the Kimmel Center for the Arts in Philadelphia, and for the Chamber Society of Detroit. We are so very proud of Dr. Lee. We are very pleased that he has chosen use Morgan as a base for his compositional career. Most recently, Dr. Lee won a fullbright grant to study in Brazil during the Fall 2014 semester. Please see below a link to a supportive Baltimore Symphony music critic’s review of the concert. Again Dr. Lee, keep on making us proud here at Morgan!

Best,

Eric

http://www.baltimoresun.com/entertainment/arts/artsmash/bal-an-afternoon-with-bso-lisitsa-montrose-trio-baltimore-composers-20151027-story.html

Wednesday, October 28, 2015

Award-winning Brazeal Dennard Chorale presents Holiday Concert at 4 PM Sunday, December 6, 2015 at Marygrove College, Detroit

Alice McAllister Tillman

Brazeal Dennard Chorale

Scott Talley writes:

DETROIT/Oct. 26, 2015—The award-winning Brazeal Dennard Chorale, now under the artistic direction of Alice McAllister Tillman, will present its 44th annual Holiday Concert on Sunday, Dec. 6 at the Marygrove College Sacred Heart Chapel.

The concert will feature a diverse musical program designed to usher in the holiday season including carols, classical works and sacred Negro spirituals performed by the 40-plus members of the Brazeal Dennard Chorale.

“We are working on some really challenging, beautiful pieces that reflect the holiday season and showcase the versatility of the Chorale,” said Tillman, who will be conducting the Chorale for the first time in concert. “We look forward to presenting a program that will be enjoyed by all.”

Tillman’s concert debut as the Chorale’s conductor is the latest chapter in her lifelong musical journey. A renowned soprano and versatile artist whose experiences have taken her to concert halls and recital stages across North America, Tillman’s relationship with the Chorale dates back to her days as a student at Detroit’s Northwestern High School, where Brazeal Dennard produced award-winning choirs as director of the Fine Arts department.

“I met Mr. Dennard when I was a young student in high school and my love of classical music and ensemble singing has it roots in Northwestern High School,” said Tillman, who also may sing during the Holiday Concert. “To be immersed in the mission of the Chorale and to be working with a very established group of singers and musicians who want to take the choral art to the highest level is really an awesome feeling.”

General admission tickets for the 4 p.m. Holiday Concert performance are $25. Concert tickets can be purchased in advance by contacting the Chorale office at 313-331-0378 or online at www.BrazealDennard.com. Tickets also can be purchased the afternoon of the concert at the entrance of the Marygrove College Sacred Heart Chapel. Marygrove College is located at 8425 West McNichols (off Wyoming) in northwest Detroit.

“The Chorale is extremely excited about performing at Marygrove College because it gets us back into the community,” said Chorale Executive Director Yvonne Turner, who also sings soprano in the group. “We want to give the community—especially people who may not know about the Chorale—a chance to hear us, see us and be a part of us.”

An added attraction to the Holiday Concert will be selections performed by the Brazeal Dennard Chorale Young People’s Chorus, featuring male and female singers ranging in age from eight to 18.

Named after its legendary founder, the late Brazeal Dennard, the Brazeal Dennard Chorale’s mission is to “remember, discover, preserve, and share the Negro spiritual as a part of the artistic community, and to rediscover and perform significant choral works by African American composers.” The Chorale, whose members represent all walks of life, won gold and silver medals at the 2012 World Choir Games. To learn more about the Brazeal Dennard Chorale, please visit www.BrazealDennard.com.

John Malveaux: Condolences for the loss of Dr. Dominique-René S. de Lerma, an irreplaceable fountain of music research & information

Dominique-René S. de Lerma

John Malveaux of

www.MusicUNTOLD.com

writes:

Sincere condolences to Antonio Green for the loss of his father, Dr. Dominique-René S. de Lerma. Dr. de Lerma is an irreplaceable fountain of music research and information but he left a footprint for all to learn and follow. RIP

John Malveaux

John Malveaux: Eric Poole to lead Howard University Choir in 'I Dream a World,' words by Langston Hughes and music by Rosephanye Powell

Eric Poole

John Malveaux of
www.MusicUNTOLD.com
writes:

Maestro Eric Poole will conduct the Howard University Choir during the 150th anniversary 13th amendment to the US Constitution Abolition of Slavery CONCERT, 7:30 PM, November 21, 2015, DAR Constitution Hall, Washington DC. Upon request of producer John Malveaux, Maestro Poole agreed to learn and conduct I Dream a World, words by Langston Hughes and music by Rosephanye Powell. Maestro Poole has added Great God Almighty - - - Stacey V. Gibbs, Arr.

Thanks,

John Malveaux

Barbara Wright-Pryor: IN MEMORIAM – Dominique-René S. de Lerma

Dominique-René S. de Lerma

Barbara Wright-Pryor writes:

Dear Bill,

I am deeply saddened to learn of the death of Dominique-René S. de Lerma on October 15, 2015, a true scholar and the single-most researcher of, and contributor to, the history of Black music and Black musicians.

Our last conversation was slightly more than a month ago regarding our final project of digitizing the 1930s ledger containing the minutes and activities of Chicago Music Association (CMA), Br. No. 1, NANM, Inc. (since 1919) that we donated to archival collection at The Center for Black Music Research of Columbia College Chicago (CBMR). It was that ledger and Dr. de Lerma's comprehensive research and technical help that assisted me in preparing the program notes for The Chicago Symphony Orchestra's 2013 performances of composer Florence Beatrice Price's " Mississippi River ." (Program notes may be viewed on africlassical.blogspot.com).

Even more recently, Dr. de Lerma contributed the program notes for the October 25, 2015 South Shore Opera Company of Chicago's performance (Leslie B. Dunner, Music Director) at South Shore Cultural Center. "Composers Unmasked" featured arias and duets from operas by Black composers Le Chevalier de St. Georges aka Joseph Bologne (The Anonymous Lover and Ernestine); Harry Lawrence Freeman (Voodoo); and Nkeiru Okoye (Harriet Tubman: When I Crossed That Line to Freedom) performed by Chicago's own TreDiva, sopranos Jonita Lattimore, Anisha McFarland and Elizabeth Norman. Tragically, "Dom" did not live to see the production's resounding success.

"Rest in peace, warrior for the cause, drum major for musical justice, dear friend and colleague."

A memorial event organized by his son Antonio Green and attended by local friends and colleagues was held in Appleton , Wisconsin where "Dom" resided and worked, most recently at Lawrence University.

(Dominique-René S. de Lerma's photo courtesy of Antonio Green)

Musically yours,

Barbara

Barbara Wright-Pryor

            Classical Music Critic
  The Chicago Crusader (EST. 1940)
CHICAGO'S OLDEST BLACK-OWNED WEEKLY NEWSPAPER

Tuesday, October 27, 2015

Antonio Green: I am writing this notice to let you know that my father Dominique-René S. de Lerma passed on October 15, 2015.

Dominique-René S. de Lerma

Hello All,

I am writing this notice to let you know that my father Dominique-René S. de Lerma passed on October 15, 2015. He did not want a formalized funeral or memorial service.

I have created a website that will provide information about Dominique and some of the research projects that he was working on. The website URL is www.casamusicaledelerma.com. I have not updated it in a while. However, after I have finished going through the emails, word documents , and tending family responsibilities, I will begin updating the site with some of his references.

Regards,

Antonio Green