This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Esso einai el hehorim (Psalm 121) by Yardeini, arr. : Bass. -- Korutz m'chomer (Pentecostal hymn) by Low, arr. : Bass. -- Ad heino asorunu, by Rosenblatt-Kusevitsky, arr. : Bass. -- Rachmono d'onei laaniyei aneino (Slichot prayer) by Low, arr. : Bass. --Ma godlu maasecho adoshem, by Low, orch. : Bass. --L'dor vodor (From generation to generation) -- Umipnei chatoeinu (For our sins) --Sheiboneh beis hamikdosh (Rebuilding the Temple) --Akavyo ben Mahalalei (Akavyo the son of Mahalalei) by I. Alter.
Local Numbers:
FW-ASCH-LP-0444
RCA Victor.1023
Publication, Distribution, Etc. (Imprint):
RCA Victor 1955
General:
Sung in Hebrew. Program notes by Bill Zeitung on container. Performer(s): Moshe Kusevitsky, cantor, in part with string ensemble, in part with orchestra : Joseph M. Rumshinsky, Warner Bass, conductors.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
[Plainsong] The Holy Communion and Evening Prayer. -- [Anglican chant] Morning Prayer. --[Merbecke] The Holy Communion.
Track Information:
101 The Holy Communion: Kyrie.
101 Holy Communion: Christmas Collect.
102 Holy Communion: Creed.
103 Holy Communion: Sursum Corda.
103 Holy Communion: Christmas Preface.
103 Holy Communion: Sanctus.
104 Holy Communion: End of Canon.
104 Holy Communion: Lord's Prayer.
105 Holy Communion: Agnus Dei.
106 Holy Communion: Gloria.
107 Evening Prayer: Preces.
107 Evening Prayer: Psalm 15 (Plainsong Psalter).
108 Evening Prayer: Magnificat.
109 Evening Prayer: Nunc Dimittis.
109 Evening Prayer: Creed.
109 Evening Prayer: Lord's Prayer.
109 Evening Prayer: Suffrages.
109 Evening Prayer: Collects for Peace and Aid Against Peril.
201 Morning Prayer: The Festal Pieces - Antiphon and Venite.
202 Morning Prayer: Te Deum Laudamus.
203 Morning Prayer: Benedictus es Domine.
204 Morning Prayer: Benedictus es Domine.
205 Morning Prayer: Jubilate Deo.
206 Morning Prayer: Suffrages and Lord's Prayer.
207 Holy Communion: Kyrie Eleison.
209 Holy Communion: Credo.
210 Holy Communion: Lord's Prayer.
211 Holy Communion: Agnus Dei.
212 Holy Communion: Gloria in Excelsis.
Local Numbers:
FW-ASCH-LP-3053
Columbia.4528
Publication, Distribution, Etc. (Imprint):
New York Columbia
General:
Recorded under the auspices of the Joint Commission on Church Music. Performer(s): Andrew Tietjen, organist; students of the General Theological Seminary of New York; Ray F. Brown, director; mixed choir, Harold W. Gilbert, director.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Sounds of the South --Blue Ridge Mountain music --Roots of the blues --White spirituals --American folk songs for children --Negro church music --The Blues roll on.
210 The Old Hickory Cane / Mountain Ramblers, Cullen Galyean. Banjo,Guitar.
208 Big Ball in Boston (Big Ball in Cowtown) / Mountain Ramblers, Cullen Galyean. Banjo,Guitar.
211 John Brown / Hobart Smith. Banjo.
212 Poor Ellen Smith / Hobart Smith. Banjo.
213 Liza Jane / Mountain Ramblers. Banjo,Guitar.
214 Shady Grove / Mountain Ramblers, Cullen Galyean. Banjo,Guitar.
301 Jim and John / Ed Young, Lonnie Young. Fife,Drum.
307 Chevrolet (Diamond Ring) / Ed Young, Lonnie Young. Fife,Drum.
308 Oree / Ed Young, Lonnie Young. Fife,Drum.
302 Wild Ox Moan, The (Black Woman) / Vera Hall.
303 Been Drinkin' Water Out of a Hollow Log / Fred McDowell. Guitar.
305 Shake 'Em on Down / Fred McDowell, Fannie Davis, Miles Pratcher. Guitar,Comb.
312 Freight Train Blues / Fred McDowell. Guitar.
304 All Nihgt Long / Miles Pratcher, Bob Pratcher. Guitar,Fiddle.
306 Levee Camp Reminiscience / Forest City Joe, Joe B. Pugh. Harmonica.
309 Levee Camp Holler / Johnny Moore.
310 Eighteen Hammers / Johnny Moore.
311 Train Time / Forest City Joe, Joe B. Pugh. Harmonica.
313 Drink on Little Girl / Forest City Joe, Joe B. Pugh. Harmonica.
401 Tribulations / E.C. Ball, Blair Reedy, Larry Richardson. Guitar.
402 When I Get Home / E.C. Ball, Blair Reedy, Larry Richardson. Guitar.
403 Wayfairing Stranger / E.C. Ball. Guitar.
408 Please Let Me Stay a Little Longer / E.C. Ball, Blair Reedy, Larry Richardson. Guitar.
409 Father, Jesus Loves You / E.C. Ball. Guitar.
410 Lonesome Valley / E.C. Ball, Orna Ball, Blair Reedy, Larry Richardson. Guitar.
411 Father Adieu / E.C. Ball. Guitar.
414 The Cabin on the Hill / E.C. Ball, Orna Ball, Blair Reedy, Larry Richardson. Guitar.
404 Baptizing Down by the Creek / Mountain Ramblers. Banjo,Guitar.
412 The Old Country Church / Mountain Ramblers. Banjo,Guitar.
405 Baptizing Down by the Creek / I.D. Beck.
406 Antioch / W.W. Kidd, Alabama Sacred Harp Singers.
407 Calvary / W.W. Kidd, Alabama Sacred Harp Singers.
413 Little Moses / Neil Morris. Guitar.
601 Death, Have Mercy (Oh Death) / Vera Hall.
602 I Want Jesus to Walk with Me / Fred McDowell, James Shorty.
603 Jesus is Real to Me / Lee, Mary and Congregation.
604 I Love the Lord / Chrenshaw, R.C. and Congregation.
605 A Sermon Fragment / G.I. Townsel.
606 I'm Going Home on the Morning Train / Chrenshaw, R.C. and Congregation.
607 Power / Wigley. Mattie & Congregation.
608 On That Rock / Ed Young, Lonnie Young, Viola James. Fife,Drum.
609 Jesus on the Main Line / James Shorty, Viola James.
610 This Little Light of Mine / James Shorty, Viola James.
611 I'm Gonna Sail Like a Ship on the Ocean / St. Simon's Island Singers, Henry Morrison.
612 Blow Gabriel / Bessie Jones, John Davis, St. Simon's Island Singers.
613 Motherless Children / Fred McDowell, Felix Dukes.
614 What Do You Think About Jesus (He's All Right) / Bernice MacClellan.
701 Boogie Children / Boy Blue, Joe Lee, Willie Jones. Guitar,Harmonica.
702 She Lived Her Life Too Fast / Forest City Joe, Sonny Boy Rogers, Thomas Martin. Guitar,Harmonica.
706 She Don't Love Me That Way / Forest City Joe, Sonny Boy Rogers, Thomas Martin. Guitar,Harmonica.
707 Stop Breaking Down / Forest City Joe, Sonny Boy Rogers, Thomas Martin. Guitar,Harmonica.
711 Red Cross Store / Forest City Joe. Piano.
712 Forest City Jump / Forest City Joe, Sonny Boy Rogers, Thomas Martin. Guitar,Harmonica.
708 Joe Lee's Rock / Boy Blue, Joe Lee, Willie Jones. Guitar,Harmonica.
703 Drop Down Mama / Fred McDowell. Guitar.
710 When You Get Home, Write Me a Few of Your Lines / Fred McDowell. Guitar.
704 Sitting on Top of the World / Ed Young, Lonnie Young. Fife,Drum.
705 Cool Water Blues / John Dudley. Guitar.
709 Bullyin' Well / Rosa Lee Hill. Guitar.
Local Numbers:
FW-ASCH-LP-3601
Atlantic.1346-1352
Publication, Distribution, Etc. (Imprint):
New York Atlantic 1961
Date/Time and Place of an Event Note:
Recorded in: Tennessee, Kentucky, Alabama, Mississippi, Georgia, Virginia, Arkansas, North Carolina, United States.
General:
Program notes by Gary Kramer and the editor on containers ; discussion of the music and musicians by the editor ([4] p.) inserted in containers. Production notes: Recorded summer 1959.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Italian opera --French opera --English opera --German opera -- Italian oratorio --French church music --Italian church music -- English church music --German church cantata (1) --Germana passion music --German motet --German mass -- German church cantata (2).
Local Numbers:
FW-ASCH-LP-3603
RCA Victor.6030
Publication, Distribution, Etc. (Imprint):
RCA Victor 1976
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Italian madrigals. A che son hormai conducto / Alexander Demophon ; Scendi dal paradiso / Luca Marenzio ; Quivi sospiri / Luzzasco Luzzaschi --English madrigals. Ye that do live in pleasures / John Wilbye ; Come away, sweet love / Thomas Greaves ; O care, thou wilt despatch me / John Weelkes ; Ho! who comes here? / Thomas Morley --French chansons, 16th century. Allons au vert bocage / Guillaume Costeley ; Tant que vivray / Claudin de Sermisy ; Il est bel et bon / Pierre Passereau --O Domine Jesu / Tomas Victoria --Benedictus and Agnus Dei (from Mass Benedicta es) / Phillippe de Monte --Sanctus (from Mass Aeterna Christi munera) ; Agnus Dei II (from Missa brevis) / Giovanni Palestrina --Scio enim ; Benedictus and Hosanna (from Mass Puisque j'ay perdu) / Orlando di Lassus --Mirabile mysterium / Gallus [i.e., Jacob Handl] --English church music. Adesto nunc propitius / Thomas Tallis ; Haec dies / William Byrd ; Agnus Dei / Thomas Morley ; Behold, Thou hast made my days / Orlando Gibbons --Lutheran church music. Wie scho.n leuchtet der Morgenstern / Michael Praetorius -- In eccelsiis / Giovanni Gabrieli --Vivray-je tousjours en soucy? / Claudin de Sermisy --Toda mi vida os amer / Luis Milan --Thyrsis and Milla / Morley --Sleep, wayward thoughts / John Dowland --Ricercar no. 7 / Adrian Willaert --Padouan and Intrada (from Suite no. 3) / Paul Peuerl -- 3-part fantasia / Gibbons --4-part fantasia / John Coperario -- My lady Carey's Dompe / Anon. --My selfe / John Bull -- His humour / Giles Farnaby --The king's juell / Gibbons -- Capriccio sopra un soggettto / Girolamo Frescobaldi -- Ricercar arioso, no. 1 / Andrea Gabrieli --Chorale variations: Ach Gott, vom Himmel sieh' darein / Jan Sweelinck --Scene from Orfeo, Act IV / Claudio Monteverdi --Bevi, bevi (from La morte d'Orfeo) / Stefano Landi.
Local Numbers:
FW-ASCH-LP-4017
RCA Victor.6029
Publication, Distribution, Etc. (Imprint):
RCA Victor 1954
General:
Title from container. "The history of music in sound. Vol. 4: The age of humanism (1540-1630) edited by J. A. Westrup. New York, Oxford University Press, 1954" (71 p. front., music. 25 cm.) program notes by J. A. Westrup and others, intended originally for use with 78 rpm. version, laid incontainer; corrected contents (p. 7-8) applicable to 33 1/3 rpm. version inserted. RCA Victor: LM 6029 (E4RP-8560--E4RP-9463). Performer(s): Various performers. Production notes: Recorded in England.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Greek music --Jewish music --Gregorian chant --Early polyphonic music --The troubadours --The Minnesingers -- Netherland music, about 1450 --Early Netherland music, about 1500 --German choral music, about 1500 --German choral music of the Reformation --The zenith of religious polyphony in the 16th century --The madrigal (Italy) -- The madrigal (Germany) --Harpsichord and clavichord music, about 1600 --German dances, about 1600 --Italian church music, early Baroque --Opera --The German motet --Chamber music, about 1700 --Rococo --Sentiment.
Local Numbers:
FW-ASCH-78-2838
Parlophone.1016
Publication, Distribution, Etc. (Imprint):
Parlophone 1950
General:
Music from various periods. Program notes by Sachs ([9] p.) attached inside container. Production notes: Recorded in Europe by Parlophone Co, Ltd.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Topic:
African American women -- Societies and clubs Search this
Genre/Form:
Programs
Collection Citation:
Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Genre/Form:
Programs
Fliers (printed matter)
Collection Citation:
Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.
School for Teachers and Conductors of Church Music
Bloomfield, New Jersey
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Music, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
2 Video recordings (AV000962, AV003327, open reel, 1 inch)
1 Video recording (AV002642, VHS)
3 Sound recordings (AV002679, AV003345, AV003421, open reel, 1/4 inch)
1 Sound recording (AV003336, cartridge, 1/4 inch)
Type:
Archival materials
Video recordings
Sound recordings
Documentary films
Place:
United States
Date:
1994, c1987
Scope and Contents:
This short documentary provides an overview of the development of church music alongside the growth of African American churches in the eastern United States from the arrival of black Africans in Jamestown in 1619 through 1877 and the Reconstruction era. The evolution of church music within African American churches included the formation of music programs and performances, hymnals, choirs, negro spirituals, and music education as well as the addition of organs to accompany the singing of psalms, hymns, and anthems. During the Great Awakening of the 1730s and 1740s, the Christianization of slaves and Africanization of Protestant hymns swept through the American colonies. European Christianity and the emotionalism of the African homeland were combined during the Second Awakening, which began in the late eighteenth century and lasted until the middle of the nineteenth century. The history of church music created by urban and rural congregations within New England and Southern states is explored.
Short documentary. Part of Climbing Jacob's Ladder Audiovisual Records. Complete production: AV000962, AV003327. Production elements: AV002679 [narration], AV003345 [outtakes - sound], AV003421 [music], AV003336 [music]. AV003421: 6 songs including We Are Climbing Jacob's Ladder [also known as Jacob's Ladder] and Battle Hymn of the Republic [also known as Glory! Glory! Hallelujah!]. AV003336: 2 recordings of We Are Climbing Jacob's Ladder. Dated 19940923 [AV000962]. Undated [all other recordings].
Biographical / Historical:
Church Songs of Black Americans 1740 - 1877 was created alongside the Climbing Jacob's Ladder: The Rise of Black Churches in Eastern American Cities, 1740 - 1877 exhibition which explored the growth and central role of African American churches during the 18th- and 19th-centuries in the eastern United States: Boston, Savannah, New York, Philadelphia, Baltimore, Washington, and Richmond. The exhibition was organized by the Anacostia Museum and held there from October 1987 to October 1988.
Local Numbers:
ACMA AV003327
ACMA AV002679
ACMA AV003345
ACMA AV003421
ACMA AV003336
ACMA AV002642
General:
Title transcribed from opening credits of video recording.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at ACMarchives@si.edu.
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
1 Video recording (open reel, 1 inch)
1 Video recording (MiniDV)
1 Item (film , color interpositive, 16mm)
Type:
Archival materials
Video recordings
Documentary films
Place:
United States
Date:
circa 1992
Scope and Contents:
Climbing Jacob's Ladder argues for the importance of documenting and preserving the history of the African American church as explained by church historians, archivists, and curators. The African American church tells the story of African Americans, provides direction and goals for the young, and is the center of African American life. Its history is illustrated through photographs and moving images, which are endangered of being lost and forgotten if preservation measures are not taken. The short documentary also provides an overview of the history of the black church and African American worship from slavery through present day, the role and style of black preachers, black church music and choirs, and clothing worn to religious services.
Short documentary. Part of Climbing Jacob's Ladder Audiovisual Records. AV001152: dated 19920324. AV005160: transferred from VHS, captions burnt into image, dated 1991. AV005350: 16mm Preservation Color Interpositive, no sound, dated 20150317.
Biographical / Historical:
Climbing Jacob's Ladder was based on the Climbing Jacob's Ladder: The Rise of Black Churches in Eastern American Cities, 1740 - 1877 exhibition which explored the growth and central role of African American churches during the 18th- and 19th-centuries in the eastern United States: Boston, Savannah, New York, Philadelphia, Baltimore, Washington, and Richmond. The exhibition was organized by the Anacostia Museum and held there from October 1987 to October 1988.;The African American church provides the spiritual, educational, social, political, and economic center for the African American community. Because the history of the African American church tells the story of African Americans, the church is the largest repository of African American history.
Local Numbers:
ACMA AV005160
ACMA AV005350
General:
Title transcribed from open credits of video recording.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at ACMarchives@si.edu.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Romaine Brooks papers, 1910-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 7, Folder 3
Type:
Archival materials
Date:
1980 February 3
Scope and Contents:
Myrna Summers and Richard Smallwood are two of Washington's most notable gospel composers and performers, both having achieved national and international recognition as concert and recording artists of originality and significant influence in the gospel world. Myrna Summers excels as both a gospel soloist and a composer. Her music is a combination of syncopated rhythmic vibrations of the Pentecostal church, scriptural lyrics, and a poignant harmonic quality. Richard Smallwood, composer, pianist, lecturer, and director, grew up learning the gospel music tradition of the Black church. His gospel stylings were rooted in hymns, traditional spirituals, jubilees, and Holiness church music. The Division of Performing Arts presented the concert as part of the Black American Gospel Music Series. The Black American Gospel Music Series and this program were organized by Bernice Reagon Johnson. Program number AC408.6.
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
24 Sound tape reels (Tapes VG-0001 - VG-0021 have been digitally transferred at 96kHz/24-bit with the exception of tapes VG-0018 and VG-0019. Tape VG-0018 has been transferred poorly. Tapes VG-0019, VG-0022, VG-0023, VG-0024 require conservation prior to transfer.)
Type:
Collection descriptions
Archival materials
Sound tape reels
Sermons
Date:
Undated, 1968-1979
Summary:
The Verna Gillis audio recordings consist of 24 open-reel tapes. The field recordings document work done by folklorist Verna Gillis in Haiti, Oklahoma, Philadelphia, and Cuba.
Scope and Contents:
The Verna Gillis audio recordings consist of 24 open-reel tapes. The field recordings document work done by folklorist Verna Gillis in Haiti, Oklahoma, Philadelphia, and Cuba between 1968-1979. Most recordings are of vodou ceremonies recorded in Haiti and church services led by Bishop Audrey F. Bronson. Also notable are performances by Comanche artist Joyce Lee "Doc" Tate Nevaquaya, an American Indian flute player.
Arrangement:
The Verna Gillis audio recordings are arranged according to numbers assigned to the open reel tapes by the RRFAC. Where more than one tape from the same day or event exists, those tapes are kept together in the overall arrangement.
Biographical / Historical:
Verna Gillis (b. 1942) is a New York-based music producer and holds a Ph.D. in ethnomusicology. She is known for her successful efforts to bring musicians from various immigrant communities to the forefront of the New York City music scene, helping to usher music from the Carribean, Africa, and Latin America into the mainstream of American life during the 1970s and 80s.
She was an Assistant Professor at Brooklyn College from 1974 to 1980 and at Carnegie Mellon University from 1988 to 1990.
From 1972 to 1979, Gillis recorded traditional music in Afghanistan, Iran, Kashmir, Haiti, the Dominican Republic, Cuba, Peru, Surinam, and Ghana.
In 1979, she opened Soundscape, a non-profit multi-cultural performance space in New York City, on west 52nd Street which she directed for the next five years. A New York Times profile from 1990 described the energy and importance of the performance space at this time: Gillis would book "lectures by the jazz saxophonist Archie Shepp, voodoo ceremonies by the Haitian ensemble Troupe Makandal, art rock by the guitarist Arto Lindsay. David Byrne, Hal Wilner and Bill Laswell of the downtown musical crowd were regular listeners. The two giants of free jazz, Cecil Taylor and Ornette Coleman, collaborated for the first time ever in Soundscape, playing informally together over a two-week span of 1980." [1]
Gillis had to close Soundscape in 1987 after it went too deeply into debt, but she continued to be a force in the music community of the city. Gillis began a new career managing and producing international musicians including Youssou N'dour from Senegal, Yomo Toro from Puerto Rico, Salif Keita form Mali, and Carlinhos Brown from Brazil.
Gillis produced sixteen albums on Folkways/Smithsonian Folkways Recordings, which include music from the Dominican Republic, Ghana, Haiti, Cuba, the Gambia, and Philadelphia, PA, as well as American Indian music and spoken word.
She was nominated for two GRAMMYs for her work as a producer: in 2000 for the Archie Shepp/Roswell Rudd Quartet Live in New York, and again in 2001 for Roswell Rudd's MALIcool.
Scope and Contents notes for each tape are composed of transcribed notes from the recto and verso of tape boxes. Archivist notes are in brackets.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
(includes correspondence about donations to the Music Department and the Horatio Parker Fund, purchase of library from the Trinity School of Church Music, activities of students and staff, typical day's schedule, personal finances and plans)
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
1 Sound recording (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Music
Place:
United States
Date:
1987
Scope and Contents:
Abolition Church and Richard Allen includes the following music selections: Documentary Themes A-E, Battle Hymn of the Republic, Onward Christian Soldiers, and Solemn Hymn.
Instrumental music. Might be part of Climbing Jacob's Ladder Audiovisual Records. Dated 19871006.
Biographical / Historical:
Abolition Church and Richard Allen might be related to The Times of Richard Allen which was created alongside the Climbing Jacob's Ladder: The Rise of Black Churches in Eastern American Cities, 1740 - 1877 exhibition [Exhibition Records 03-036]. The exhibition explored the growth and central role of African American churches during the 18th- and 19th-centuries in the eastern United States: Boston, Savannah, New York, Philadelphia, Baltimore, Washington, and Richmond. The exhibition was organized by the Anacostia Museum and held there from October 1987 to October 1988.
General:
Title transcribed from physical asset.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at ACMarchives@si.edu.
