By D. Antoinette Handy
The 1st variation of Black ladies in American Bands & Orchestras (a selection amazing educational ebook in 1982) used to be lauded for offering entry to fabric unavailable in the other resource. To replace and extend the 1st variation, convenient has revised the profiles of contributors featured within the first variation, corrected omissions, and further own and profession evidence for brand spanking new faces at the scene. Profiles are offered lower than the headings of orchestras and orchestra leaders, string gamers, wind and percussion gamers, keyboard avid gamers, and non-playing orchestra/band associates. gains a hundred photos.
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Extra info for Black Women in American Bands & Orchestras
If a well-known "living" personality is omitted, it may be that my efforts at personal contact were unsuccessful. Finally, some living females preferred not to disclose their ages. This request was honored. I was indeed fortunate to have Eileen Southern as commentator on my paper "Black Women in American Symphony Orchestras," presented at the 1975 ASALH meeting. She, too, envisioned an expanded work and to this end advised, encouraged, and guided me in bringing this publication to a successful conclusion.
In the mid-nineteenth century fiddlers Sy Gilliat and George Walker led The Richmond Blues Band in Richmond, Virginia. After Emancipation there came into existence in rural Alabama The Lapsey Brass Band, The Old Oak Grove Band, and The Laneville Brass Band. And of course there was New Orleans, with an instrumental tradition that takes us back to eighteenth-century Congo Square. The tradition continued; formal study was available for many from members of the French Opera House and the city orchestras.
The Philharmonic had offered a similar program in 1965, open to all musicians of New York State orchestras. In 1977 the New York Philharmonic did a preseason "Black Composers Week" of concerts under the leadership of black conductors Leon Thompson and Paul Freeman. 5 Such orchestras as the Baltimore, Houston, and Minneapolis had held similar events following initiatives taken by black conductor Paul Freeman and the Minneapolis-based Afro-American Music Opportunities Association. The years of civil-rights legislation had indeed begun to have an impact on the "elite art" instrumental ensemble business.