This book contains conversations with nineteen African American classical musicians currently performing—or who have previously performed—in America’s major symphony orchestras. Each chapter focuses on the story of one musician and sheds light on the realities of African American musicians playing in a musical environment that absolutely forbade their membership over half a century ago. These conversations explore the deeply ingrained prejudices that some hold against African American people in symphony orchestras, conservatories, and other musical institutions. By amplifying these voices, the book provides a variety of perspectives on the almost cloistered world of these beloved institutions. The stories and lessons shared in this book will be invaluable to music students, teachers, and orchestral professionals.
“The truth holds no lies. Lies are what ties you down and tapes your mouth shut. We can run away from all the things we fear. We can hide our troubles with beauty, but a lie will always catch you. The truth is the only thing that will set you free. I didn’t believe that until I wrote it. In this life, we will all face many questions, and sometimes we won’t find the answers. How do you know the difference between what’s real and what’s fake? How do you breathe when you are underwater? What’s the hardest part about goodbye? Every story, every hope, and every word have a purpose. Pen against the pad was like me against the world. Told from not only my eyes, but my heart, and now the words are written for all to see. You can not only read my truth but also find answers to your own questions.” – Destiny Gilchrist
“Documents the achievements of Black women from slavery to modern times and provides a thorough history of Black women and heroines.” —Midwest Book Review Brave black women have played important roles in American history. Before the Emancipation Proclamation in 1863, black women bore the bonds of slavery with courage and strength. Since Emancipation, black women have supported schools, churches, and civic organizations, entered many professions, and helped to build strong communities. This book dramatizes their impressive story and celebrates their achievements. Writing especially for students in grades four through eight, Ruthe Winegarten and Sharon Kahn trace the history of black women from slavery until today. Their story includes many heroines, from Emily Morgan, “the Yellow Rose of Texas,” to pioneer aviator Bessie Coleman, astronaut Mae Jemison, opera singer Barbara Conrad, actresses Phylicia Rashad and Debbie Allen, and Congresswoman Barbara Jordan, whose life story forms the final chapter. In addition to these famous black women, the book also profiles teachers, businesswomen, civil rights leaders, community activists, doctors, nurses, athletes, musicians, artists, and political leaders. Adapted from the award-winning Black Texas Women: 150 Years of Trial and Triumph, it will be fascinating reading for children and their parents and grandparents, teachers, and librarians.
Arranged alphabetically from "Alice of Dunk's Ferry" to "Jean Childs Young," this volume profiles 312 Black American women who have achieved national or international prominence.
Although women have been teaching and performing music for centuries, their stories are often missing from traditional accounts of the history of music education. In Women Music Educators in the United States: A History, Sondra Wieland Howe provides a comprehensive narrative of women teaching music in the United States from colonial days until the end of the twentieth century. Defining music education broadly to include home, community, and institutional settings, Howe draws on sources from musicology, the history of education, and social history to offer a new perspective on the topic. In colonial America, women sang in church choirs and taught their children at home. In the first half of the nineteenth century, women published hymns, taught in academies and rural schoolhouses, and held church positions. After the Civil War, women taught piano and voice, went to college, taught in public schools, and became involved in national music organizations. With the expansion of public schools in the first half of the twentieth century, women supervised public school music programs, published textbooks, and served as officers of national organizations. They taught in settlement houses and teacher-training institutions, developed music appreciation programs, and organized women’s symphony orchestras. After World War II, women continued their involvement in public school choral and instrumental music, developed new methodologies, conducted research, and published in academia. Howe’s study traces this evolution in the roles played by women educators in the American music education system, illuminating an area of research that has been ignored far too long. Women Music Educators in the United States: A History complements current histories of music education and supports undergraduate and graduate courses in the history of music, music education, American education, and women’s studies. It will interest not only musicologists, educational historians, and scholars of women’s studies, but music educators teaching in public and private schools and independent music teachers.
Profiles are presented under the headings of orchestras and orchestra leaders, string players, wind and percussion players, keyboard players, and non-playing orchestra/band affiliates. Features 100 photographs.
Discover and celebrate the achievements of some of America’s most inspiring women! The first female. African American vice president, first U.S. senator, the 83rd U.S. Attorney General, and first black state legislator in Alaska. The first time a black woman and a white band shared the same stage; the first black woman writer to win a Pulitzer Prize; and the first black prima ballerina at the Metropolitan Opera Company. Black women have accomplished incredible things throughout American history. An important book, Originals! Barrier-breaking Black Women profiles the lives and successes of such notable and iconic women as abolitionist Harriet Tubman, Olympic gold medalist Wilma Rudolph, mathematician Katherine Johnson, organizer and politician Stacy Adams Stacey Abrams, astronaut Mae Jemison, jazz legend Billie Holiday, ballerina Misty Copeland, Vice President Kamala Harris, and also the accomplishments of hundreds of less-famous and lesser-known women. This fascinating read recounts 1,400 achievements, including … Gail Fisher, the first black actress to receive an Emmy Award. Tina Sloan-Green, the first black American woman to compete on the U.S. National Lacrosse team. Sarah J. (Smith Thompson) Garnet, the first black female principal in the New York City public school system. Ruth Carol Taylor, the first flight attendant to smash the color barrier. Rebecca Davis Lee Crumpler, the first black woman awarded a medical degree in the United States. Camilla Ella Williams, the first black woman to sing with the New York City Opera. Altha Stewart, the first African American president of The American Psychiatric Association. Jessie Carney Smith, the first black national president of Beta Phi Mu, the honor society for persons with graduate degrees in library science. Gwendolyn Brooks, the author of Annie Allen, a book of poetry that won the first Pulitzer Prize awarded to an African American. Jeanine McIntosh-Menze, the first African American female aviator in the U.S. Coast Guard’s 215-year history. The story of black women in America is one of struggle and obstacles overcome. It’s a story of great achievement and soaring heights. Let Originals! inspire and educate you as it shares the stories and breakthroughs of hundreds of black women in American history!! With more than 210 photos and illustrations, this enlightening book also includes a helpful bibliography and an extensive index, adding to its usefulness.
The first edition of Black Women in American Bands & Orchestras (a Choice Outstanding Academic Book in 1982) was lauded for providing access to material unavailable in any other source. To update and expand the first edition, Handy has revised the profiles of members featured in the first edition, corrected omissions, and added personal and career facts for new faces on the scene. Profiles are presented under the headings of orchestras and orchestra leaders, string players, wind and percussion players, keyboard players, and non-playing orchestra/band affiliates. Features 100 photographs.
