Music collected by the Reverend Mr. Eugene D. Smallwood, gospel musician, choir leader, and owner of a music publishing company.
Scope and Contents:
The Eugene D. Smallwood Gospel Music Collection consists of an album of Gospel music scores collected or composed by Reverend Eugene D. Smallwood andnineteen additional loose scores published by Rev. Smallwood's company. The publication dates range from 1931 to 1945. The scores were performed by Reverend Smallwood's choirs. As a composer/arranger, Rev. Smallwood was often able to "correct" or re-arrange the compositions of others to suit his own style. If he felt the music was in the "wrong key", he transposed it himself. Some compositions were the work of such well known artists as Dr. Thomas A. Dorsey and Theodore Frye, whose portraits appear in the collection. The published music includes some additional illustrations of Gospel musicians, e.g. Rev.Smallwood; Ione B. Bouldin, Gospel singer; Earl Pleasant, Gospel singer; and the Universal Gospel singers. Many of the works are numbered according to the system that Rev. Smallwood used in the album, or dated according to his use of the arrangements.
Dr. Bernice Johnson Reagon, a staff member in the Division of Community Life, National Museum of American History, was instrumental in the acquisition of the collection. According to Dr. Reagon, the collection is unique because of Rev. Smallwood's use of an album of music which he kept intact. Although the music has been removed from the original album cover for the preservation purposes, this album is a written record of the performance of Gospel music by Reverend Smallwood and his choirs. The collection should prove to be of interest to anyone studying Gospel music and its creators.
Arrangement:
The collection is divided into two series.
Series 1: Scrapbook album, 1931-1942
Series 2: Sheet music, 1939-1945
Biographical / Historical:
Reverend Eugene D. Smallwood is a Gospel musician and choir leader who owned his own music publishing company. Some of the more famous Gospel musicians with whom he worked were Mahalia Jackson and the Roberta Martin Singers.
Related/Analytical Title:
Jesus Lives In Me,[song]
I'm Just A Sinner Saved by Grace,[song]
Heaven's Radio,[song]
Lead Me To Calvary,[song]
No Disappointment In Heaven,[song]
The Little Wooden Church on the Hill,[song]
Provenance:
The Smallwood collection was acquired through Dr. Bernice Reagon. While doing research on Gospel music with the support of a MacArthur Foundation grant, from 1991 to 1992, she made several contacts with the originators of the Black Gospel music movement in the Americas. Dr. Smallwood was one of those contacts.
Restrictions:
Collection is open for research.
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.
Use of this collection for performance purposes requires notification of Smallwood's daughter. Contact the Archives Center staff for more information.
Columbia College (Chicago). Contemporary American Music Program Search this
Extent:
0.5 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Transcriptions
Parts (musical)
Manuscripts
Scores
Date:
circa 1967-1968
Scope and Contents:
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music consists of the full conductor score, orchestral parts, and choral parts to "In the Beginning God," "Tell Me It's the Truth," "Come Sunday," "The Lord's Prayer," "Will You Be There?" "Ain't But the One," and "David Danced." The transcription and arrangement were created by Professor Russo, who spent some time working with Ellington on the project during the late sixties or early seventies.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
William Russo was the Director of the Contemporary American Music Program at Columbia College, Chicago. Active in music from 1947 until his death in 2003, he toured Europe as the leader of a quintet; lived in London, where he conducted the London Jazz Orchestra and worked with the BBC; and lived and taught in New York and Chicago. Russo was noted in the fifties as a composer of experimental music for Stan Kenton's orchestra and Third Stream Music for the Russo orchestra. He has been a trombonist, composer, arranger, and conductor.
General:
Russo stated that Duke Ellington loaned him the music in 1967-1968.
Related/Analytical Title:
In the Beginning God
Tell Me It's the Truth
The Lord's Prayer
Ain't But the One
First Sacred Concert
Provenance:
The materials were donated to the Archives Center by Prof. Russo during a January, 1991 conference of the International Association of Jazz Educators held in Washington, D.C.
Restrictions:
Collection is open for research.
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.
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music, 1967-1968, Archives Center, National Museum of American History.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Hawai'i is a complex state that is home to an incredible array of ethnic groups and cultures. Each of these groups has maintained its unique identity and at the same time blended to create "local" traditions that are expressive of the community as a whole. Hawai'i is both geographically and culturally at the crossroads of the Pacific. In this multi-ethnic society, music, crafts, and food all provide important windows into the process of acculturation that occurred in Hawai'i. The acculturated traditions that make up what people in Hawai'i refer to as "local" are the result of adaptation to ever-changing circumstances. At the same time Hawaii's ethnic communities have retained and developed their individual identities that are expressed in the vitality of their traditions.
In the two centuries since contact with Western culture, native Hawaiian traditions have been subject to tremendous pressures. Some ancient artistic expressions dwindled completely, while others continued. These losses were the result of a combination of factors including the loss of a functional or ceremonial role for many goods or services. In the wake of massive dislocation of people from their cultures as well as from their land, and in light of the ethnic mix that has resulted, it would seem that little would be left of Hawaiian or even Japanese or Portuguese identity in late 20th century Hawai'i. On the surface this is true. Especially since World War II and statehood in 1959, mass media, tourism (five million visitors a year) and the strategic position that Hawai'i holds in the Pacific have made it difficult for the islands to remain isolated from either mainland. However, even the casual visitor to the islands - or to the 1989 Festival program - could observe that the people of Hawai'i have learned to live with each other while retaining attitudes and (especially in the past two decades) revitalizing institutions and traditions that reflect their ethnic identities. At the same time, cultural borrowing in Hawai'i has been extensive and the state's rich cultural mix is a source of pride for all its citizens.
Increasing pressures from foreign investment and mass media are today further disenfranchising native Hawaiians and threatening the stability of several generations of other cultures in the islands. Hawaii's characteristic attitude of tolerance and acceptance, molded in part by centuries of isolation, may be compromised by such pressures. These attitudes and Hawaii's fragile artistic traditions are inextricably tied together. Preserving these arts was seen as crucial by the Smithsonian and its Hawaiian collaborators, for a community's psychic well-being is only as strong as its commitment to protecting its traditions.
Richard Kennedy served as Curator for the Hawai'i program, with Barbara Lau and Linda Moriarty as Program Coordinators. Lynn Martin was Program Consultant; Ricardo Trimillos was Music Consultant; and Gordon Velasco was Landscape Consultant.
The Hawai'i program was made possible by the State of Hawai'i, John Waihee, Governor with support from the Office of the Governor, the Hawai'i State Foundation on Culture and the Arts, the Hawai'i Visitors Bureau and Hawai'i corporate sponsors: Duty Free Shoppers Inc., Alexander & Baldwin Inc., Aloha Airlines Inc., American Telephone & Telegraph Inc., Bank of Hawai'i, First Hawaiian Bank, Frito Lay of Hawai'i Inc., GTE - Hawaiian Tel, Hawaiian Electric Industries Inc., International Savings/National Mortgage & Finance Co., Japan Travel Bureau, Oceanic Properties Inc., Pacific Resources Inc.
Fieldworkers:
Simeamativa Aga, Keahi Allen, Carlos Andrade, Norma Carr, Marsha Erikson, David Furumoto, Joyce Davis Jacobson, Jay Junker, Pi'ilani Ka'awaloa, Dennis Kana'e Keawe, Alfred Kina, John Koon, Linda Le Geyt, Linda Moriarty, Nathan Napoka, Eileen Momilani Naughton, Puakea Nogelmeier, Keone Nunes, Audrey Rocha Reed, Edna Ryan, Kalena Silva, Lily Siou, Teri Skillman, Charlene Sumarnap, Judy Van Zile, Elaine Zinn
Presenters:
Simeamativa Aga, Mililani Allen, Jeanette Bennington, Mary Jo Freshly, Jay Junker, Dennis Kana'e Keawe, Lasinga Koloamatangi, John Koon, Gaylord Kubota, Lynn Martin, Marie McDonald, Edith McKinzie, Linda Moriarty, Nathan Napoka, Eileen Momilani Naughton, Puakea Nogelmeier, Keone Nunes, Audrey Rocha Reed, Kalena Silva, Barbara Stefan, Marie D. Strazar
Participants:
Crafts
Sherlin Beniamina, shell lei maker, Makaweli, Kaua'i, Hawai'i
El Conjunto Boricua, Puerto Rican Kachi-Kachi band -- El Conjunto Boricua, Puerto Rican Kachi-Kachi bandMarcial Ayala III, bongo, guiro player, Waianae, O'ahu, Hawai'iCharles Figueroa, accordion, guiro player, Honolulu, O'ahu, Hawai'iAugust M. Rodrigues, guitar, quatro player, Pearl City, O'ahu, Hawai'iJulio Rodrigues, Jr., quatro player, Waianae, O'ahu, Hawai'iJulio Deleon Rodrigues III, guitarist, Kaneohe, O'ahu, Hawai'i
Family Camarillo, Filipino Banduria band -- Family Camarillo, Filipino Banduria bandDavin Mario Camarillo, 1964-, banduria, bajo, guitar, ukulele player, Hilo, Hawai'i, Hawai'iGeorge O. Camarillo, Jr., 1959-, banduria, piano, guitar, bass, trumpet player, Hilo, Hawai'i, Hawai'iGeorge O. Camarillo, Sr., 1934-, tenor guitar, bajo, sax, clarinet, flute player, Hilo, Hawai'i, Hawai'i
Halla Pai Huhm Dancers, Korean Dance -- Halla Pai Huhm Dancers, Korean DanceHalla Pai Huhm, dancer and teacher, Honolulu, O'ahu, Hawai'iJennifer Cho, dancer, Honolulu, O'ahu, Hawai'iRemie Choi, dancer, Honolulu, O'ahu, Hawai'iSo Jin Chong, dancer, Honolulu, O'ahu, Hawai'iYeon Hi "Mu Sun Pai" Harajiri, dancer, Honolulu, O'ahu, Hawai'iChristine Won, dancer, Honolulu, O'ahu, Hawai'i
Doris Mary Rodrigues Correia, Portuguese cooking, Honolulu, O'ahu, Hawai'i
Manuel Correia, Portuguese -- forno -- builder, Honolulu, O'ahu, Hawai'i
Ah Wan Goo, Hawaiian imu cooking, Anahola, Kaua'i, Hawai'i
Jane E. Goo, Hawaiian imu cooking, quilt-maker, Anahola, Kaua'i, Hawai'i
Kay Kimie Hokama, 1922-, Okinawan cooking, Honolulu, O'ahu, Hawai'i
June Tong, Chinese cooking, Honolulu, O'ahu, Hawai'i
Collection 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.
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:
Smithsonian Folklife Festival records: 1989 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
101 Church Choir / Waimea Hawaiian Church Choir (Waimea, Hawaii).
102 Hula / Zuttermeister Family.
103 Hula / Na Hula 'O La'i Kealoha.
Local Numbers:
FP-1989-CT-0215
General:
WAIMEA HAWAIIAN CHURCH CHIOR; ZUTTERMEISTER FAMILY; NA HULA 'O LAI KEALOHA
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 25, 1989.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
103 Himeni Choral Music / Waimea Hawaiian Church Choir (Waimea, Hawaii).
Local Numbers:
FP-1989-CT-0221
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 1, 1989.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Recorded in: Honolulu (Hawaii), United States, Hawaii.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. 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:
Dimitri Hadzi papers, 1910s-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
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