The Symphony “From the New World”

2017 ◽  
Author(s):  
Jean E. Snyder
Keyword(s):  
New York ◽  
New York City ◽  
African American ◽  
New World ◽  
American Music ◽  
World's Fair ◽  
African American Music ◽  
School Of Music ◽  
Inclusive Approach ◽  
The City

This chapter focuses on Harry T. Burleigh's involvement in the creation of Antonín Dvořák's Symphony No. 9 in E Minor, “From the New World.” After attending the Chicago World's Fair and visiting Erie, Burleigh returned to New York City in late September 1893 to continue his studies at the National Conservatory of Music. He was joined this time by his friend Will Marion Cook, who was impressed by Jeannette Thurber's genuinely inclusive approach in recruiting students. The two men relished opportunities to enjoy the abundance of fine music the city had to offer, pondering how African American music should find its place in such settings. Burleigh continued to spend evenings with the Dvořák family through the fall. This chapter also considers the controversy stirred by Dvořák's Symphony No. 9 in E Minor and his advocacy of an American school of music based on Negro music.

The Fiery Debate

2021 ◽  
pp. 91-112
Author(s):  
Douglas W. Shadle
Keyword(s):  
New York ◽  
African American ◽  
Classical Music ◽  
American Music ◽  
The Political ◽  
Antonin Dvorak ◽  
Musical Identity ◽  
African American Music ◽  
Political Implications ◽  
Vernacular Music

About eight months after Antonín Dvořák became director of Jeannette Thurber’s National Conservatory of Music in New York, he weighed in publicly on the question of American musical identity and argued that African American vernacular music (or “negro melodies”) should become the foundation of a national classical style. The New York Herald, which first printed his remarks, stoked a months-long debate that exposed deep-seated anti-Black racism throughout the country’s classical music industry as many musicians rejected the Bohemian’s suggestions outright. Dvořák remained supportive of African American music and musicians but did not fully understand the political implications of his positions.

Eileen Southern

Popular Music ◽  
2003 ◽  
Vol 22 (3) ◽  
pp. 378-379
Author(s):  
David Horn
Keyword(s):  
New York ◽  
African American ◽  
Black Americans ◽  
American Music ◽  
Black Music ◽  
College Administration ◽  
Music Department ◽  
African American Music ◽  
Congregational Singing ◽  
Renaissance Music

Eileen Southern, who died in Florida in October 2002, was widely recognised as a pre-eminent figure in the study of African-American music. Her seminal history, The Music of Black Americans, first published in New York in 1971, was the first academic study to give serious scholarly attention to the totality of African-American music – from the congregational singing of slaves to all-black Broadway musicals, from blues and jazz to experimental composers – and was hugely influential. Resolutely unpolemical and meticulously balanced, it did more to establish the validity of the subject in the academy than any other single book. It had its genesis in a course which Dr Southern (who had a Ph.D. in Renaissance music from Harvard) developed in the late 1960s at Brooklyn College. She herself later described how she was put under pressure to devise the course by a college administration somewhat desperate to find ways to meet the demands of black students for the inclusion of Black Studies in the curriculum. The idea met with disbelief among colleagues in the music department, and the particular scorn of an unnamed Englishman, holder of a Ph.D. in musicology from Oxford, who opined that a course in black music presented ‘nothing of substance to deal with’. Declaring ‘I'll show them’, a furious Eileen Southern was determined to design a course that demonstrated the range of black music. The result turned out to be so rich that a more sympathetic colleague suggested one day to Dr Southern that she turn the course into a book – and The Music of Black Americans was the result (Standifer, n.d.).

Introducing Antonín Dvořák to African American Music

2017 ◽  
Author(s):  
Jean E. Snyder
Keyword(s):  
African American ◽  
Folk Music ◽  
New World ◽  
American Music ◽  
Direct Link ◽  
Antonin Dvorak ◽  
Artistic Value ◽  
African American Music ◽  
Second Year ◽  
Academic Year

This chapter focuses on how Harry T. Burleigh, during his study at the National Conservatory of Music, became Czech composer Antonín Dvořák's most direct link to the African American music traditions in which he was keenly interested. Burleigh's second year at the conservatory would be a momentous one not only for him but also for the conservatory and for American music when Dvořák was appointed director. By the end of the academic year, Dvořák would complete the composition of his most famous American work, Symphony No. 9 in E Minor, “From the New World.” Burleigh would be intimately involved in the process of its creation. Dvořák validated the artistic value of African Americans' folk music during his time at the conservatory.

I Come for to Sing

2018 ◽  
pp. 96-114
Author(s):  
Kevin D. Greene
Keyword(s):  
United States ◽  
New York ◽  
African American ◽  
Folk Music ◽  
The United States ◽  
American Music ◽  
African American Music ◽  
Vernacular Music ◽  
Folk Music Revival ◽  
The Way

From 1930 to 1970, a second folk music revival took hold in the United States and Europe, determined to capture and preserve for posterity US and European vernacular music. Critical to this collection of folklorists, academics, political activists, and entrepreneurs was the history and impact of African American music on folklore and culture. Big Bill, quite familiar with the types of country and Delta blues the folk music revival craved stood happy to oblige. Soon, one of the most sophisticated and urbane performers of the age began performing alone accompanied by his guitar for folk audiences from New York to Chicago. Within this community, Broonzy found a culture and environment willing and able to support his transitioning career from black pop star to folk music darling. Along the way, he would meet more individuals who could aid in his career reinvention and he both accepted and rejected their expectations of him and his music.

The Columbian Exposition—The Chicago World’s Fair

2017 ◽  
Author(s):  
Jean E. Snyder
Keyword(s):  
African American ◽  
African Americans ◽  
Frederick Douglass ◽  
American Music ◽  
World's Fair ◽  
Public Performance ◽  
African American Music ◽  
World's Columbian Exposition ◽  
Columbian Exposition ◽  
Chicago World's Fair

This chapter focuses on Harry T. Burleigh's participation in the 1893 World's Columbian Exposition, also known as the Chicago World's Fair, as representative of African American music. The exposition was designed to celebrate four centuries of progress toward building a lively industrial nation, which Chicago seemed to symbolize. It drew Americans from across the country, in company with Europeans, royals as well as commoners, to see whether the Americans might very literally be able to outshine the Paris Exposition of 1889. Despite resistance by the fair commission, there was some official representation of African Americans. This chapter examines how the World's Fair gave Burleigh, together with Frederick Douglass and Ida B. Wells, the opportunity to address issues of representation and the ambiguous role that music and public performance could play in confronting discrimination and racist stereotyping.

A 1939 World's Fair Souvenir Plate

2012 ◽  
Vol 12 (4) ◽  
pp. 8-10
Author(s):  
shax riegler
Keyword(s):  
New York ◽  
New York City ◽  
The United States ◽  
World's Fair ◽  
Starting Point ◽  
The Everyday ◽  
The Common ◽  
The One ◽  
The City

The 1939 World's Fair in New York City celebrated the future—“The World of Tomorrow”—while also commemorating the one-hundred-and-fiftieth anniversary of George Washington's inauguration as first president of the United States. (His swearing-in ceremony had taken place in the city.) This essay examines the odd juxtaposition of imagery depicting both events on a blue-and-white transfer-printed ceramic souvenir plate from the fair. In the central portion of the plate, a god-like Washington, seen from behind, stands on a neoclassical balcony gazing out over the fairgrounds toward the iconic Trylon and Perisphere; around the rim small illustrations show several of the significant structures at the fair. Using the plate as a starting point, this essay considers the contemporary significance of and enduring interest in the fair. It explores the role of food and food-related displays at the fair, and it offers an explanation for the style and form of this particular plate, and other souvenir plates, intended for display yet also referencing the everyday functionality of the common household dinner plate.

The First Twenty-one Years in the Life of the Jamaica School of Music, 1961/62 to 1982/83

1984 ◽  
Vol 1 (1) ◽  
pp. 63-83
Author(s):  
Pamela O'Gorman
Keyword(s):  
African American ◽  
Classical Music ◽  
American Music ◽  
Full Time ◽  
Professional Skills ◽  
African American Music ◽  
School Of Music ◽  
Schools Of Music ◽  
Folk Tradition ◽  
Western Classical Music

This year the Jamaica School of Music is celebrating its twenty-first anniversary. The period under review coincides almost exactly with that in which Jamaica has been an independent nation and inevitably there has been a great deal of social, cultural and economic upheaval that has been reflected in the school.During the first ten years (1961–1972) British influence was strong and the school was modelled on the Royal Schools of Music, with few gains in terms of trained professional skills.In the period 1972–1983 the school was completely reorganized as a pluralistic and identifiably Jamaican institution with the introduction of full-time curricula designed for training specialists in African–American Music, Western (classical) Music and Music in Education, with due emphasis on Jamaica's rich folk tradition: in educational terms an innovation that often placed the school in conflict with society.

Hospitals: N.Y. Appellate Court Denies Move to Privatize Public Hospital

1999 ◽  
Vol 27 (2) ◽  
pp. 202-203
Author(s):  
Robert Chatham
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Public Health System ◽  
Municipal Hospital ◽  
The Public ◽  
Public Benefit ◽  
For Profit ◽  
Benefit Corporation ◽  
The City

The Court of Appeals of New York held, in Council of the City of New York u. Giuliani, slip op. 02634, 1999 WL 179257 (N.Y. Mar. 30, 1999), that New York City may not privatize a public city hospital without state statutory authorization. The court found invalid a sublease of a municipal hospital operated by a public benefit corporation to a private, for-profit entity. The court reasoned that the controlling statute prescribed the operation of a municipal hospital as a government function that must be fulfilled by the public benefit corporation as long as it exists, and nothing short of legislative action could put an end to the corporation's existence.In 1969, the New York State legislature enacted the Health and Hospitals Corporation Act (HHCA), establishing the New York City Health and Hospitals Corporation (HHC) as an attempt to improve the New York City public health system. Thirty years later, on a renewed perception that the public health system was once again lacking, the city administration approved a sublease of Coney Island Hospital from HHC to PHS New York, Inc. (PHS), a private, for-profit entity.

Utopian Visions in United States Urbanism

Moreana ◽  
2005 ◽  
Vol 42 (Number 164) (4) ◽  
pp. 157-186
Author(s):  
James M. McCutcheon
Keyword(s):  
United States ◽  
Los Angeles ◽  
New World ◽  
New Technology ◽  
World's Fair ◽  
Open Spaces ◽  
Central Park ◽  
Garden Cities ◽  
Oneida Community ◽  
The City

America’s appeal to Utopian visionaries is best illustrated by the Oneida Community, and by Etienne Cabet’s experiment (Moreana 31/215 f and 43/71 f). A Messianic spirit was a determinant in the Puritans’ crossing the Atlantic. The Edenic appeal of the vast lands in a New World to migrants in a crowded Europe is obvious. This article documents the ambition of urbanists to preserve that rural quality after the mushrooming of towns: the largest proved exemplary in bringing the country into the city. New York’s Central Park was emulated by the open spaces on the grounds of the Chicago World’s Fair of 1893. The garden-cities surrounding London also provided inspiration, as did the avenues by which Georges Haussmann made Paris into a tourist mecca, and Pierre L’Enfant’s designs for the nation’s capital. The author concentrates on two growing cities of the twentieth century, Los Angeles and Honolulu. His detailed analysis shows politicians often slow to implement the bold and costly plans of designers whose ambition was to use the new technology in order to vie with the splendor of the natural sites and create the “City Beautiful.” Some titles in the bibliography show the hopes of those dreamers to have been tempered by fears of “supersize” or similar drawbacks.

The Search for Order in Municipal Administration: Herman A. Metz and the New York City Experience, 1898–1909

2020 ◽  
Vol 47 (1) ◽  
pp. 55-74
Author(s):  
Ryan P. McDonough ◽  
Paul J. Miranti ◽  
Michael P. Schoderbek
Keyword(s):  
New York ◽  
New York City ◽  
Internal Control ◽  
York City ◽  
Internal Controls ◽  
Data Availability ◽  
Financial Reports ◽  
The Public ◽  
Operational Activities ◽  
The City

ABSTRACT This paper examines the administrative and accounting reforms coordinated by Herman A. Metz around the turn of the 20th century in New York City. Reform efforts were motivated by deficiencies in administering New York City's finances, including a lack of internal control over monetary resources and operational activities, and opaque financial reports. The activities of Comptroller Metz, who collaborated with institutions such as the New York Bureau of Municipal Research, were paramount in initiating and implementing the administrative and accounting reforms in the city, which contributed to reform efforts across the country. Metz promoted the adoption of functional cost classifications for city departments, developed flowcharts for improved transaction processing, strengthened internal controls, and published the 1909 Manual of Accounting and Business Procedure of the City of New York, which laid the groundwork for transparent financial reports capable of providing vital information about the city's activities and subsidiary units. JEL Classifications: H72, M41, N91. Data Availability: Data are available from the public sources cited in the text.

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