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CBMR Digest is a publication of the Center for Black Music Research at Columbia College Chicago

ISSN # 2168-3301fall 2013 | Volume 26, No. 2

Donations to the CBMR Library and Archives

June–November 2013
Listed alphabetically by donor

  • David Aarons. His research paper “The Development of the Steel Band in Jamaica: 1954 to 1974,” submitted for a course in Caribbean Studies at Northern Illinois University.
  • Susheel Bibbs. DVD of her performance documentary “Unsung Muse—Classical Song of Black Composers,” which includes spirituals and songs by H.T. Burleigh, Hall Johnson, E. Rogie Clark, Jacqueline Hairston, Olly Wilson, Anthony Davis, and more. Her guidebook to performance practice “The Art of the Spiritual: Guidelines to Enhance Performance of the Concert Spiritual,” 2013 edition.
  • Charles S. Brown. His arrangement of John Work’s “Twas on One Sunday Morning” for voice and piano, with a CD of him singing this arrangement, along with works by Rorem, Hailstork, and spirituals arranged by H.T. Burleigh.
  • Grace Cachocha. Readings in Ethnomusicology: A Collection of Papers Presented at Ethnomusicology Symposium 2012, edited by Mitchel Strumpf. College of Arts and Social Sciences, Department of Fine and Performing Arts, University of Dar Es Salaam, 2012.
  • Resiliency and Distinction Jacqueline Cogdell DjeDje
    Book: Browne, Kimasi L. and Jean N. Kidula, eds. Resiliency and Distinction: Beliefs, Endurance and Creativity in the Musical Arts of Continental and Diasporic Africa: a Festschrift in Honor of Jacqueline Cogdell DjeDje. Point Richmond, Calif.: MRI Press, 2013.
  • Samuel A. Floyd Jr. Typescript of book draft by Robin Moore, Music and Revolution: Cultural Change in Socialist Cuba (University of California Press, 2006); typescript of doctoral dissertation The Washington Conservatory of Music and African-American Musical Experience, 1903–1941 by Sarah Schmalenberger, 2004. Photocopies of scores with annotations for Mirette Serenade by Montague Ring, Ask Your Mama by Wendell Logan, Shango Memory by Olly Wilson, Africa by William Grant Still, and Missa No.1 in E-flat Major by José Joaquim Emérico Lôbo de Mesquita (1790).
  • Paul Garon. Circa 1 inch of clippings on jazz for the vertical file.
  • Tsitsi Jaji. Concert program and recording on CD-R of “A Centennial Tribute to Langston Hughes (1902–1967)” at Oberlin College Conservatory of Music in 2002.
  • Sandra Jordan. CD-R with scanned photographs of Clifford Jordan and other jazz musicians.
  • Rich Kirby. Commercial cassettes of music from Southern Africa, dated late 1980s, and 79 tapes.
  • Andrea Leland. Materials used in production of her latest documentary film on the Garifuna people, Yurumein, including original footage on DV tapes, with logs, transcripts, and production notes, plus additional audio recordings.
  • Allen Lowe. CD: Lowe, Allen. That Devilin’ Tune: a Jazz History [1895–1950] (WHRA-6003, WHRA-6004, WHRA-6005, WHRA-6006), a four-volume, nine-CD set. CD: Lowe, Allen. Really the Blues?: A Blues History, 1893–1959, vol. 1 of 4, 1895–1929 (WHRA-6028).
  • Bob Marovich. Circa 1 inch of promotional materials on gospel music artists.
  • Laurie Lee Moses
    Videotape: Spirituals in Concert, performed by Kathleen Battle and Jessye Norman. Cami Video, 1991. VHS.
  • Jeannie Pool. Funeral program for Zenobia Powell Perry, 2004, to add to her collection.
  • Patrick Roberts. Ace Records reissue CD of Richard Stamz recordings (featured in this issue).
  • Godwin Sadoh. Printed score for “Three Miniatures on Nigerian Folk Songs”: no. 1 for clarinet and piano; no. 2 for violin and piano; no. 3 for flute and piano. Sadoh describes the work as “Infused with Nigerian traditional musical elements and number symbolism.”
  • Jesse Saunders. Sound recordings and other materials related to his career as a DJ, recording artist, and producer. Twenty-one 2” master audiotape reels, most with track lists and some with equipment setup sheets, mixing board labels, and song lyrics and notes, dated 1986–1995; master audiotapes and various song mixes on fourteen reels of ¼” tape, dated 1984–1990.
  • Patsy Ford Simms Turner. Circa 1.75 linear feet of her published scores and arrangements, with related ephemera, and 1 non-commercial recording, dated 1981–2004, to add to her collection. Includes kits with teacher’s books and accompaniment CDs, 1 book Seventy Negro Spirituals, edited by William Arms Fisher, 1926.
  • P. Sterling Stuckey
    Book: Stuckey, P. Sterling. African Culture and Melville’s Art: the Creative Process in Benito Cereno and Moby-Dick. Oxford: Oxford University Press, 2009.
  • Althea Waites
    Three CDs. Waites, Althea. Black Diamonds (Cambria CD-1097); Waites, Althea. Along the Western Shore (Cambria CD-1141); Waites, Althea. Celebration: Music of American Composers (Kumba Music)
  • Dolores White. Six of her scores: “I Thank You God for Most This Amazing Day”; “La Canción de la Cuna” (in 2 versions—violin/piano, and viola/piano); “Christmas Joy” for SATB chorus; piano sonata Sound Echoes, and “Hot Spices” for solo piano. Two clippings on women composers in Cleveland, dated November 2, 1993. Her children’s book with accompanying CD, Tommy, Mr. Squirrel, and the Multicolored Rock.
  • Regennia N. Williams. Folder of materials on the 70th anniversary celebration in Cleveland of Duke Ellington’s “Come Sunday.” The event was a collaboration of the Spiritual Gifts choir, Cleveland State University’s initiative for the study of Religion and Spirituality in the History of Africa and the Diaspora (RASHAD), and the Praying Grounds Oral History Project.
  • Michael Woods. His score for piano solo “Proverbs” and a jazz chart for “Before and After” to add to his collection. Recordings of “Places of Light,” “Uhthuh Planets,” and “The How-To Treatise,” with programs from concerts.
  • Barbara Wright-Pryor. Circa 2.5 linear feet of photographs and ephemera related to activities of the Chicago Music Association, and the CMA minutes book dated 1936–1939, to add to the Theodore Charles Stone collection (featured in Volume 26, No. 1).

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