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William Levi Dawson  (1899-1990) Compositeur afro-américain et directeur choral Directeur choral célèbre à Tuskegee Institute
Table des Matières   1 Étudiant de Tuskegee   2 Diplôme de la Musique   3 Maîtrise   4 Faculté de Tuskegee   5 Démission   6 Honneurs   7 « Negro Folk Symphony »   8 Révision   9 Stokowski  10 Mort  11 Les Documents  12 Œuvres   13 Bibliographie	William Levi Dawson

http://marbl.library.emory.edu/collection-overview/african-american-collections

1 Étudiant de Tuskegee
William Levi Dawson était un compositeur afro-américain, l'arrangeur et l'educateur.  Il est né le 26 septembre 1899 dans Anniston, Alabama aux les États-Unis.  Dominique-René de Lerma, le professeur de la musique àLawrence University (L'Université Lawrence) dans Appleton, le Wisconsin, avait écrit au sujet de l'héritage africain dans la musique classique pendant quatre décennies.  Il a rendu sa entrée de recherches sur William Levi Dawson disponible à ce site Web :
Il est né dans Anniston, Alabama et a couru loin de la maison à l'âge 13 pour entrer dans Tuskegee Institute (L'Institut Tuskegee) (actuellement des jeunes souhaiter une pleine éducation de pré-université pourrait seulement fixer ceci sur un campus d'université).  Tandis qu'il était là il a étudié avec Frank L. Drye et Alice Carter Simmons, a joué dans les ensembles instrumentaux de l'école, servis de bibliothécaire de musique, et voyagés pendant cinq années avec les « Institute Singers » [« Les Chanteurs d'Institut »].  Son activité initiale en tant que compositeur a commencé quand il avait 16 ans.

2 Diplôme de la Musique
Dawson a entrepris des études additionnelles de la musique après réception d'un diplôme de Tuskegee Institute, et a tenu de diverses positions dans la musique aussi bien, Prof. De Lerma nous dit :
En 1921, une fois reçu un diplôme de Tuskegee, il a passé une année à Washburn College (L'Université de Washburn) à Topeka, le Kansas et a dirigé le programme de la musique à Topeka Vocational College (L'Université Professionnelle de Topeka).  Cet été il a travaillé comme teneur et tromboniste avec le Redpath Chautauqua.  Après ceci il s'est inscrit à Horner Institute of Fine Arts (L'Institut Horner des Arts Fins) à Kansas City Missouri, où, en 1925, il a gagné son diplôme dans la musique,
mais n'a pas été permis sur l'étape de recevoir son diplôme.

3 Maîtrise
L'entrée de recherches détaille la maîtrise de Dawson dans la musique, sa étude universitaire supérieure et l'étude privée suivante :
De 1922 à 1926 il a enseigné au Lincoln High School (Lycée de Lincoln) à Kansas City, le Kansas.  D'ici il est allé au American Conservatory of Music (Conservatoire Américain de la Musique) à Chicago (Maîtrise en Music, 1927), exécutant en tant que d'abord tromboniste avec le Civic Orchestra (L'Orchestre Civique) (1926-1930).  Après avoir reçu un diplôme, il a étudié avec Carl Busch et Regina G. Hall. Le travail additionnel a été entrepris à Eastman School of Music (L'École Eastman de la Musique).  Il était également un étudiant privé d'Adolf Weidig, de Horvard Otterstrom, et de Felix Borowski.

4 Faculté de Tuskegee
William Levi Dawson retourné à Tuskegee Institute pour enseigner en 1931, et dirigé le Département de la Musique pendant 25 années.  Prof. De Lerma écrit :
Il était pratiquement le faculté entier de musique à Tuskegee Institute de 1931 à 1956.

L'encyclopédie de Wikipedia note la renommée apportée par Dawson au choeur de Tuskegee Institute :
Il a également développé le choeur en ensemble internationalement connu.
Dawson a dirigé le choeur de Tuskegee Institute qui a été invité à chanter à Radio Music Hall (La Salle de la Musique de la Radio) à New York City en 1932 pendant une semaine de six exécutions quotidiennes.

5 Démission
Nous apprenons de Dominique-René de Lerma que Dawson a de temps en temps semblé être frustré, et a soumis sa démission à plusieurs reprises avant qu'on l'ait accepté :
Dawson a semblé parfois être contrarié et, suivant ses démissions annuelles de Tuskegee, au cours de cette année dernière, on lui a permis sa liberté.  Il a commencé à voyager en tant que directeur choral commencé en 1956, quand le département d'état l'a envoyé en Espagne.

6 Honneurs
Trois doctorats honorifiques et deux récompenses de Wanamaker étaient parmi les nombreux honneurs reçus par William Levi Dawson, selon l'entrée de recherches :
Une recommandation pour la récompense de Harmond en 1926 a été soumise par H. T. FitzSimmons, dont la société avait déjà édité quatre de ses œuvres.  Il a été honoré de deux récompenses de Wanamaker (1930 et 1931) et a été donné les doctorats honorifiques par Tuskegee University en 1955, par Lincoln University en 1978, et par Ithaca College en 1982.  Dans 1963 l'University of Missouri-Kansas City (L'Université de la de Missouri-Kansas City) l'a présenté avec la récompense d'accomplissement d'anciennes élèves.  En 1975, il a été élu au Alabama  Arts Hall of Fame (La Salle de la Renommée des Arts de l'Alabama) et présenté avec The Alabama Fine Arts Award (La Récompense de l'Alabama des Beaux-Arts) en 1980.  D'autres honneurs incluent une récompense de l'American Choral Directors Association (L'Association Américaine des Directeurs Choraux) (1975), le Marshall Bartholomew Award (La Récompense Marshall Bartholomew) le Heinecke Award (La Récompense
Heinecke) du Society of European Stage Authors and Composers (Conseil de la Musique Interuniversitaire) (1981).

7 « Negro Folk Symphony »
Le « Negro Folk Symphony » [« La Symphonie Folklorique du Nègre »] de Dawson (28:26) a été enregistré par le Detroit Symphony Orchestra (L'Orchestre de Symphonie de Detroit) sous la direction de Neeme Järvi sur Chandos 9226 (1993).  Le livret de Michael Fleming pour le CD suit l'œuvre de ses origines à Chicago à sa première à Philadelphie, et inclut les commentaires d'un critique de musique pour un journal de New York :
Dawson a commencé à travailler sur le « Negro Folk Symphony » [« La Symphonie Folklorique de Nègre »] tandis que Chicago.  En excursion avec le choeur de Tuskegee à New York il a montré le manuscrit au directeur Leopold Stokowski, qui a fait des suggestions pour son expansion.  Sous cette forme, comportant trois mouvements, elle a été exécutée la première fois par le Philadelphia Orchestra (L'Orchestre de Philadelphie en 1934.  Le critique pour le New York World Telegram (Le Télégramme du Monde de New York) était à la première et il a félicité le symphonie pour sa « imagination, chaleur, drame---[et] orchestration somptueuse ».  Dans sa forme globale, et particulièrement dans son orchestration, le symphonie tombe dans la tradition tard-Romantique.

L'enregistrement du Detroit Symphony Orchestra du « Negro Folk Symphony » a été révisé sur Chandos 9909 (2001).  Le CD inclut également trois œuvres par Duke Ellington.

8 Révision
Les trois mouvements du symphonie sont autorisés : « The Bond of Africa » [« L'Obligation de l'Afrique »], « Hope in the Night » [« L'Espoir dans la Nuit »] et « O, le' me shine, shine like a Morning Star! » [«  O, m'a laissé briller, briller comme un étoile du matin ! »].  Michael Fleming explique que Dawson a mis à jour le travail après avoir visité l'Afrique.  Il fournit également certaines des remarques du compositeur :
Après un voyage vers l'Afrique occidentale en 1952, cependant, le compositeur l'a mise à jour pour incarner les modèles rhythmiques africains authentiques, et c'était sous cette forme que Stokowski l'a enregistrée, et il le plus fréquemment est joué aujourd'hui.

La symphonie peut être apprécié purement comme travail musical, sans toute connaissance des mélodies ou des sentiments qui forment son fond.
Il y a les éléments forts d'un programme dans le morceau, cependant, comme les remarques du compositeur, écrites pour la première mondiale, font clairement :
Ce symphonie est basé entièrement sur la gens-musique de nègre.  Les thèmes sont pris de ce qui sont populairement connus comme spirituels de Nègre, et l'oreille pratiquée identifiera la répétition des thèmes caractéristiques dans toute la composition.

9 Stokowski
Le « Negro Folk Symphony » de Dawson  a été exécuté la première fois sous la direction de Leopold Stokowski en 1934. Il a également enregistré le travail pour des disques de Decca en 1963. L'enregistrement de LP a été révisé sur le CD par Deutsche Grammophon comme DG 477 6502 (2007).  Alan Newcombe écrit dans le livret que le travail était important pour l'évolution du symphonie américain :
Son « Negro Folk Symphony » a été exécuté la première fois par Leopold Stokowski avec l'orchestre de Philadelphie en 1934. Après avoir effectué une étude de la musique africaine indigène, en Dawson 1952 révisée son travail pour lui donner plus de soutien rhythmique "africain". Tout en rappelant l'idiome du symphonie du « Nouveau Monde » de Dvorak et les principes cycliques de l'école de César Franck, pour ne pas mentionner le Quatrième de Bruckner [ La Symphonie N° 4 ] à l'ouverture du dernier mouvement,  l'individualité de la texture et l'énergie rhythmique du travail lui font un significatif, quoiqu'en grande partie non reconnu, contribution au développement du symphonie américain.

10 Mort
Les spirituels de Dawson ont été largement chantés par les groupes choraux pour plusieurs générations.  La liste étendue des œuvres ci-dessous inclut des enregistrements sur 78 t/mn, disque de LP, et CD. Parmi le CDs sont « Ain' a that good news ! » [« Ne sont-elles pas ces bonnes nouvelles ? »].  Le disque est exécuté par Kathleen Battle, soprano, et Christopher Parkening, guitare, sur EMI Classics 47196 (1990).
William Levi Dawson est mort à Montgomery, Alabama le 5 mai 1990.

11 Les Documents
Randall K. Burkett est bibliothécaire des collections de matériaux d'origine afro-américaine à l'Université Emory. Explique-t-il des documents de Dawson:
En fait, ils sont en permanence à Emory, entièrement traitée, et disponibles pour la recherche. Les documents ont été donnés à nous par le neveu de Dawson, Milton L. Randolph, Jr. La collection est très vaste et merveilleux.

M. Burkett décrit l'exposition en ligne pour les documents de Dawson, qui se trouve à  
http://larson.library.emory.edu/dawson/web/main/intro
 
... Nous avons créé un vaste site Web, avec un financement de la Fondation Ford, de donner accès à la fois pour les documents de Dawson à Emory et à la tenue du Symposium qui a eu lieu à Emory à l'occasion de l'ouverture de ces documents.

12 Œuvres
Prof. Dominique-René de Lerma

Le Contents of the following recordings have not been determined:
 
LP: Bethel Choir; Robert Borgland, conductor. Ark 5243-S (1973) [Ark Recording Co., 4428 Zane Avenue, Minneapolis MN 55422].

LP?: Tuskegee Institute Choir; William Dawson, conductor. Victor 2001.

LP: Tuskegee Institute Choir; William Dawson, conductor. Westminster 9623.

78rpm?: Victor 4556.

CD: Eastern High Choir. Elan 2210.

CD: Jeannette Thompson, soprano; David Miller, piano; Iepers Chamber Choir; Dirk Coutigny, conductor. Pavane 7267.

CD: Cantus. Cantus 1203 (c2003). Liner notes: Erick Lichte.

LP: Tuskegee Institute Choir; William Dawson, conductor. Westminster 8154 (1971)
 
Victor 4556.

Ain'a that good news?, for SATB with piano reduction (1937). Tuskegee: Music Press, 1937. 8p. (Tuskegee choir series, 103). Duration: 2:00.

----- for SATB (rev.) Park Ridge: Neil A. Kjos (Tuskegee Choir series, T-103A). Duration: 1:14. Library: Schomburg, Spingarn.

CD: Atlanta Singers. ACA 20046.

CD: Brazeal Dennard Chorale; Brazeal Dennard, conductor. BDC 4444 (1999, Remembering, discovering, preserving).

CD: St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.
 
LP: Bethel Seventh-Day Adventist Youth Choir [Canton NC]; Calvin Carter, conductor.RSR-523.

LP: Choir of St. James Episcopal Church, Baltimore; Maurice Murphy, conductor.Audio Art.

LP: Howard University Choir; Warner Lawson, conductor. Victor LSC-7043 (1966).

LP: Syracuse Music Festival Chorus; Elaine Brown, conductor. Desto DC-102 (1962).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971,1968).

LP: Virginia State College Choir; Eugene Thamon Simpson, conductor.Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

LP: Virginia Union University Chorus; Odell Hobbs, conductor.Richsound 3081.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1968).

LP: Howard University Choir; Warner Lawson, conductor. Victor LSC-7043 (1966).

LP: Virginia Union University; Odell Hobbs, conductor. Richsound 3081.

----- for SSAA? (revised) San Diego: Neil A. Kjos. (T-140).

----- for TTBB with piano reduction. Tuskegee: Music Press, 1937. 8p. (Tuskegee choir series, 104) Library: Yale.

----- for TTBB (revised). Park Ridge: Neil A. Kjos (Tuskegee choir series, T-104A).

An Easter canticle, for alto, SSA, & violin. n.p.?: Schmitt. (#2543).

Before the sun goes down, for soprano, tenor, SATB & echo chorus. Park Ridge: Neil A. Kjos (Tuskegee choir series, T111).

Behold the star, for soprano, tenor, SATB & echo choir, with piano reduction (1946). Tuskegee: Tuskegee: Music Press, 1946 (T-111). 10p. Duration: 4:23. Library: Library of Congress.

CD: Marvis Martin, soprano; St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

LP: Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

LP: Virginia Union University Choir; Odell Hobbs, conductor. Richmond Sound Stages RSWWO-626.

Park Ridge: Neil A. Kjos (#T-111).

Break, break, break, for SATB & orchestra (1928). 40p. Text: Alfred Lord Tennyson. Library: Yale.

Deep river, for SATB. Duration: 3:18.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

Done made my vow.

LP: Howard University Chorus; Warner Lawson, conductor. RCA LSC-7043 (1966).

Every time I feel the spirit, for baritone & SATB (1946). Tuskegee: Music Press, 1946. (#T-117). Duration: 1:37. Library: Library of Congress.

CD: Anthony Brown, baritone. The spiritual project (Toil and triumph).

CD: Lawrence Burnett, baritone; St. Olaf Choir; Anton E.Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma. “Conductor’s notes” by Anton E. Armstrong.

LP: Jacqueline Ruffin, mezzo-soprano; Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

LP: Ladue High School Chorale of St. Louis; Joe D. Richardson, conductor. KBK Custom Records MK-27-75 (1972).

LP: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. RCA LSC-3183 (1971).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).
LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

LP: Unidentified performers. Victor LSC-3183.

---- for SSAA. Tuskegee: Music Press; Neil A. Kjos.

LP: Ladue High School Chorale of St. Louis; Joe D. Richardson, conductor. KBK Custom Records MK-27-75 (1972).

LP: Spellman College Glee Club; Roland L. Allison, conductor. Mark Custom UMC-2117.

LP: Spelman College Glee Club; Roland L. Allison, conductor. Mark Custom UMC-2117.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

Park Ridge: Neil A. Kjos, 1946.

----- for SSA. Tuskegee: Music Press (#T-126).

----- for TTBB & baritone. Park Ridge: Neil A. Kjos (#T-125).

Ezekiel saw the wheel, for SATB (1942). Tuskegee: Music Press, 1942 (Tuskegee Choir series, T-110). 13p. Text after Ezekiel 10:9-13. Duration: 2:16. Library: Yale.

AC: Paranjoti Choir of India. (Bergen Festival Program; 1961).

AC: University Singers of the State University of New York, Fredonia. Mark Custom Recording Service MCC-629 (1990).

CD: St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

LP: Illinois Wesleyan University Choir; Lewis E. Wikehart, conductor. PRC CC-4.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

LP: University of British Columbia University Singers; James Farkhauser, conductor. Canadian Music Centre.

LP: Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

Park Ridge: Neil A. Kjos. (Tuskegee Choir series, T-110).

Feed-a my sheep, for SATB & piano. Tuskegee: Music Press, 1971. 11p. (Tuskegee Choir series, T-134). Text: G. Lake.

----- for SSA & piano. Tuskegee: Music Press, 1971. 11p. (Tuskegee Choir series, T-135).

----- for TTBB & piano. Tuskegee: Music Press, 1971. 11p. (Tuskegee Choir series, T-113)

Forever thine, for medium voice & piano. Tuskegee: Music Press, 1920. 5p. Library: Spingarn.

Go to sleep; lullaby, for low voice & piano. Chicago: H. T. FitzSimons, 1926. Text: Vernon N. Ray. Library: Spingarn, Yale (manuscript, with violin).

----- SATB & piano. Chicago: H. T. FitzSimons, 1920. 5p. (Aeolian series of choral music; #1006).

----- SSA & piano. Chicago: H. T. FitzSimons, 1926. 5p. Library: Library of Congress.

Great day, for SATB.

Hail Mary, for alto & SATB with piano reduction (1946). Tuskegee: Music Press, 1946 (Tuskegee Choir series, T-112). Duration: 4:23.

CD: St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

LP: Virginia State College Choir; Eugene Thamon Simpson, conductor.Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

Park Ridge: Neil A. Kjos.

----- for baritone & TTBB. Tuskegee: Music Press, 1946. (Tuskegee Choir series, T-123)

Park Ridge: Neil A. Kjos.

I couldn't hear nobody pray, for soprano & SATB with piano reduction, 1920). Chicago: H. T. FitzSimons, 1920. 7p. (Aeolian series of choral music). Library: Spingarn.

----- Tuskegee: Music Press, 1967 (Tuskegee Choir series, T-127). 7p. Duration: 2:43.

LP: C. W. Post College Chamber Singers; Leo A. Dashnaw, conductor. Golden Crest CRSQ-4173.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

I wan' to be ready, for alto, baritone, SATB & piano (1967). Tuskegee: Music Press, 1967. 15p. (Tuskegee Choir series, T-127). Duration: 1:48.

LP: Karen Whitney, mezzo-soprano; Anthony McGregor, tenor; Virginia Union University Choir; Odell Hobbs, conductor. Gerald Lewis Recordings MC-8806.

CD: St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

----- for soprano, alto, SSA & piano. Tuskegee: Music Press, 1967. 15p. (Tuskegee Choir series, 129).

----- for SSAA?. Tuskegee: Music Press (Tuskegee Choir series, 130).

----- for TTBB?. Tuskegee: Music Press (Tuskegee Choir series, 128).

In his care-o, for SATB (1961). Tuskegee: Tuskegee: Music Press, 1961. 14p. (Tuskegee Choir series, T-122). Duration: 2:53.

CD: Cantus. Cantus 1203 (2003). Liner notes: Erick Lichte.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor.Westminster WGM-8154 (1971, 1968).

LP: Morgan State University Choir; Nathan Carter, conductor. Silver Crest MOR-111977 (1977).

LP: Virginia Union University Choir; Odell Hobbs, conductor. Gerald Lewis Recording MC-8806.

----- for tenor, baritone, TTBB & piano. Tuskegee: Music Press (Tuskegee Choir series, 123)

Interlude, piano. 5p. Library: Yale.

I've been 'buked, for SATB. Duration: 2:12.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

King Jesus is-a listening, for soprano & SATB with piano reduction (1925). Chicago: H. T. FitzSimons, 1925 (Aeolian series of choral music, F2004). Duration: 2:58.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

LP: Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

Jesus walked this lonesome valley, for high voice & piano. Chicago: Gamble Hinged Music, 1927. 5p. (#818) "From the singing of my cousin, Mrs. Blanche Dawson-Roney, Tuskegee Inst., Alabama." Library: Library of Congress, Spingarn.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

LP: Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

---- for medium voice & piano. Chicago: Gamble Hinged Music, 1927.

LP: Arthur Warner, baritone; J. Spencer Hammond, piano. Phase II 8178-1.

LP: John Patton, tenor; C. Edward Thomas, piano. Narthex Recording N-69085 (c1969; Black spirituals and art songs).

----- for low voice & piano. Chicago: Gamble Hinged Music, 1927. Library: Library of Congress.

----- for SATB (1927). Chicago: Gamble Hinged Music, 1927. 5p. (#818).

----- for SATB & piano. New York: Warner Brothers, 1927. 6p. (G-821).

----- for SSAA & piano. New York: Remick Music, 1950. (Remick sacred choral library, 3-G1839) Library: Library of Congress.

----- for TTBB & piano.

Jump back, honey, for medium voice & piano. Kansas City: Wunderliche Piano Co., 1923. 6p. Text: Paul Laurence Dunbar. Library: Library of Congress.

----- for orchestra. Chicago: H. T. FitzSimons. Won: Rodman Wanamaker prize, 1930.

King Jesus is a-listening, for SATB with piano reduction. Chicago: H. T. FitzSimons, 1925. 7p. (Aeolian series of choral music, 2004) Library: Library of Congress, Spingarn.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

----- for SSA with piano reduction. Chicago: H. T. FitzSimons, 1946. Library: Library of Congress.

Listen to the lambs, for SATB.

LP: Mormon Tabernacle Choir; J. Spencer Cornwall, conductor. Columbia ML-5048 (1954)..

LP: Mormon Tabernacle Choir; J. Spencer Cornwall, conductor. Philips NBL-5012 (1954).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

Lit’l boy child, for soprano, baritone & SATB (1942). Tuskegee: Music Press, 1942.[3] 9p. (Tuskegee Choir series, T-120). Library: Library of Congress.

LP: Consuela Peterson, soprano; Melvin Cooper, bass; Virginia State College Choir; Eugene Thamon Simpson, conductor.Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

Lovers plighted, for SATB. Won: Rodman Wanamaker award, 1931.

Mary had a baby, for soprano & SATB (1947). Tuskegee: Music Press, 1947. 6p. (Tuskegee Choir series, T-118). Duration: 3:27. Library: Library of Congress.

CD: Marvis Martin, soprano; St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

LP: Earlin Tipton, soprano; Dillard University Concert Choir; S. Carver Davenport, conductor. M.G.H. Historical Society MGH-82289 (1989).

LP: Ingres Hill, soprano; Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

LP: Kathleen Battle, soprano; orchestra; Leonard Slatkin, conductor. Angel DS 37363 (1986).

LP: Linda Clark, soprano; Wendell Phillips High School A Cappella Choir; Andrew Duncan, conductor (North Central MENC, Fargo SD; 1969/04/27).Silver Crest NC-69-1B.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

LP: Yale University Chorus; J. Somay, conductor. Carillon Records LP-101.

----- TTBB & tenor. Tuskegee: Music Press, 1947. (T-133?) Library: Library of Congress.

Park Ridge: Neil A. Kjos (Tuskegee Choir series, T-119)

My Lord, what a mourning, for low voice & piano. Chicago: H. T. FitzSimons, 1927. 5p. Text: Matthew 24:29-31. Dedication: Marian Anderson. Library: Library of Congress, Spingarn.

----- for SATB. Chicago: H. T. FitzSimmons, 1926 (F 2009).

----- for male chorus.

Negro folk symphony (1932 == or 1934).[4] 1. The bond of Africa; 2. Hope in the night; 3. O le' me shine. Instrumentation: 2222, p, Eh. Eb cl, bcl, cbsn; 4331, timp, perc, harp, strings. Première: 1934/XI/24; Philadelphia, Academy of Music; Philadelphia Orchestra; Leopold Stokowski, conductor. Duration: 28:26.

----- (rev. 1952). Delaware Water Gap: Shawnee Music Press, 1965, 1963. 162p. Library: Library of Congress (LC 66-34572; also 1963 holograph, 52p.).

----- rev. 1952. Delaware Water Gap: Shawnee Music Press, 1965, 1963. 162p.

CD: American Symphony Orchestra; Leopold Stokowski, conductor (1963). MCA MCAD 2-9826.

CD: Detroit Symphony Orchestra; Neeme Järvi, conductor (1992). Chandos CHAN 9909.

CD: Detroit Symphony Orchestra; Neeme Järvi, conductor. Chandos CHAN 9226 (1993, American music series, v5). Liner notes: Michael Flemming (German translation: Inge Moore; French translation: Paulette Hutchinson)19p.

LP: American Symphony Orchestra; Leopold Stokowski, conductor (1963). Decca DC-10077.

LP: American Symphony Orchestra; Leopold Stokowski, conductor (1963). Decca DL-71007.

LP: American Symphony Orchestra; Leopold Stokowski, conductor (1963). Decca DL-74-1077.

LP: American Symphony Orchestra; Leopold Stokowski, conductor (1963). Decca AXA 4520.

LP: American Symphony Orchestra; Leopold Stokowski, conductor (1963). Varèse/Sarabande VC 81056.

LP: American Symphony Orchestra; Leopold Stokowski, conductor (1963). King SDL 15040.

LP: American Symphony Orchestra; Leopold Stokwski, conductor (1963). Decca SXZ 4520.

Negro folk song, for orchestra (1940 or 1941==). Commission: Columbia Broadcasting System.

Negro work song, for orchestra (1941). Commission: CBS for American School of the Air (1940). Based on Stewball. Library: New York Public Library (holograph).

Oh, what a beautiful city, for medium voice & piano (1939). Tuskegee: Music Press, 1934. Text based on Revelation: 21:12-13.

LP: Isador Oglesby, tenor; John Miller, piano. Praise 659 (1979).

LP: Jacqueline Ruffin, mezzo-soprano; Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

LP: Louise Bohannon, mezzo-soprano; Virginia Union University Choir; Odell Hobbs, conductor. Gerald Lewis Recording MC-8806.

----- for SATB with piano reduction. Tuskegee: Music Press, 1934. 11p. (Tuskegee Choir series, T-100) Library: Spingarn, Yale.

Park Ridge: Neil A. Kjos (Tuskegee Choir series, T-110).

Old-time religion.

78rpm:: Tuskegee Quartet. Victor 10519.

Out in the fields with God, for medium voice & piano. Chicago: Gamble Hinged Music Co., 1929? 5p. (874) Text: Louise Imogen Guiney. Text: Louise Imogen Guiney. Duration: 3:19. Library: Library of Congress, Spingarn.

----- for SATB & piano (ca. 1929). Chicago: Gamble Hinged Music, 1929.

New York: Remick Music, 1929. 9p. Library: Library of Congress.

----- for SATB & orchestra or wind ensemble. San Diego: Neil A. Kjos. 13p. Library: Yale (manuscript)

----- Tuskegee: Music Press, 1962, 1929. (Tuskegee Choir series, T-130). 10p.

LP: Morgan State University Choir; Patricia Springer, piano; Nathan Carter, conductor. Silver Crest MOR-111977 (1977).

---- for high voice & orchestra. San Diego: Neil A. Kjos, 1957 (TH-130).

LP: Cynthia Bedford, mezzo-soprano; Oakland Youth Orchestra; Robert Hughes, conductor. Desto DC-7101 (1971).

----- for high voice & piano. San Diego: Neil A. Kjos, 1957. (TH-130).

----- for high voice & wind ensemble.

----- for SSA with orchestra or wind ensemble. Tuskegee: Music Press, 1962, 1929. 8p. (Tuskegee Choir series, T-131).

Pilgrim’s chorus from Tannhäuser, by Richard Wagner, for SATB with piano reduction, arr. by William Dawson, with new text. (1967). Park Ridge: Neil A. Kjos, 1967. 15p. Park Ridge: Neil A. Kjos. (#Ed. 5490). 15p. Duration: 4:40.

LP: Morgan State University Choir; Nathan Carter, conductor. Silver Crest MSC-2108 (1981).

----- for TTBB with piano reduction. Park Ridge: Neil A. Kjos, 1967. 15p. (#Ed. 5490).

Rockin' Jerusalem, for SATB. Duration: 2:32.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

Scherzo, orchestra (1930). Duration: 15:00. Won: Rodman Wanamaker prize, 1930.

Slumber song, for SATB. San Diego: Neil A. Kjos, 1974. (Tuskegee Choir series, T-138) Text: Vernon N. Ray. Library: Library of Congress.

----- for SA & piano. San Diego, Neil A. Kjos. (Tuskegee Choir series, T-136).

----- for SSA & piano. San Diego: Neil A. Kjos. (Tuskegee Choir series, T-137).

----- for TTBB & piano. San Diego: Neil A. Kjos. (Tuskegee Choir series, T-139).

Sonata, violin & piano, A major (1927).[5]

Soon ah will be done, for SATB with piano reduction. Tuskegee: Music Press, 1934. 11p. (Tuskegee Choir series, T-102A) Duration: 4:39. Library: Library of Congress, Spingarn, Yale.

AC: Paranjoti Choir of India. (Bergen Festival Program; 1961).

CD: Moses Hogan Chorale (1997, Our choral heritage series).

CD: St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

LP: Bethel Seventh-Day Adventist Youth Choir [Canton NC]; Calvin Carter, conductor.RSR-523

LP: Brank Krsmanovich Chorus of Jugoslavia. Monitor MP-576.

LP: Morris Brown College Concert Choir; G. Johnson Hubert, conductor. Custom Records 002.

LP: Roger Wagner Chorale; Roger Wagner, conductor. Capitol P-8431.

LP: Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

-----TTBB with piano reduction. Tuskegee: Music Press, 1947, 1934. (Tuskegee Choir series, T-101A) 11p.

Park Ridge: Neil A. Kjos, 1962, 1947, 1934. 11p.

CD: Elliott Robinson, baritone; Morehouse Glee Club; Harding Epps, Jr., conductor. MHGC (One moment in time).

CD: Morehouse Glee Club; David Morrow, conductor. MHGC (Giving).

LP: DePaur Infantry Chorus; Leonard DePaur, conductor. Columbia AL-45.

----- for TTBB with piano reduction. Tuskegee: Music Press, 1947, 1934. 11p. (Tuskegee Choir series, T-101A) Library: Library of Congress.

LP: DePaur Infantry Chorus; Leonard DePaur, conductor. Columbia AL-45.

Steal away, for SATB. Tuskegee: Music Press, 1942. (T-108). 9p. Library: Yale.

Park Ridge: Neil A. Kjos. (Tuskegee Choir series, T-108).

----- for TTBB. Tuskegee: Music Press, 1942. 9p. Library: Yale.

Recorded: Victor 20519 (Tuskegee Quartet)

Park Ridge: Neil A. Kjos. (Tuskegee Choir series, T-109).

CD: St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

Swing low, sweet chariot, for soprano & SATB. Tuskegee: Music Press, 1946. Duration: 3:44. Library: Library of Congress.

Park Ridge: Neil A. Kjos. (Tuskegee Choir series, T-114).

AC: Paranjoti Choir of India. (Bergen Festival Program; 1961).

CD: Marvis Martin, soprano; St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

----- for soprano or alto & SSA. Tuskegee: Music Press, 1946. Library: Library of Congress.

Park Ridge: Neil A. Kjos (Tuskegee Choir series, T-116).

----- for TTBB. Tuskegee: Music Press, 1946. Library: Library of Congress.

Park Ridge: Neil A. Kjos (Tuskegee Choir series, T-115).

----- 1973 rev.

Symphony, no. 1, E flat major. 61p. Library: Yale (manuscript).

Talk about a chile that do love Jesus, for high voice & piano (1927). Chicago: H. T. FitzSimmons, 1927.

78rpm: Charles Holland, tenor; Ralph Linsley, piano. Victor 4556.

----- for low voice & piano. Chicago: H. T. FitzSimons, 1927. Library: Library of Congress.

LP: Inez Matthews, mezzo-soprano; Jonathan Brice, piano. Period SPL-580 (1953).

----- for SATB with piano reduction. Chicago: H. T. FitzSimons, 1927. 5p. (Aeolian series of choral music, 2015) Library: Spingarn.

LP: Consuela Peterson, soprano; Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

The mongrel Yank; A Yankee is a mixture of many races, op. 6, for TTBB & piano. Chicago: Gamble Hinged Music, 1930. 14p. (Gamble's selection of secular part songs for men's voices, 939) Text: Allen Quade. Library: Spingarn.

The rugged Yank, for medium voice & piano. San Diego: Neil A. Kjos. (TL-132) Text: Allen Quade.

----- for low voice & piano. San Diego: Neil A. Kjos. (TL-132).

----- for SATB & piano

----- for tenor, TTBB & piano. Tuskegee: Music Press, 1920, 1971. 15p. (Tuskegee Choir series, T-133) Library: Library of Congress (1920 imprint).

There is a balm in Gilead, for SATB with piano reduction (1939). Tuskegee: Music Press, 1939. 8p. Text: Jeremiah 8:22. Duration: 5:12.

Park Ridge, San Diego: Neil A. Kjos, 1967, 1939 (Tuskegee Choir series, T-105).

----- for soprano & SATB with piano reduction. Tuskegee: Music Press, 1939. 8p. (Tuskegee Choir series, T-105). Text: Jeremiah 8:22. Dedication: G. Lakelines. Library: Library of Congress, Yale.

CD: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor. BMG 09026-68157-2(1996).

CD: Marvis Martin, soprano; St. Olaf Choir; Anton E. Armstrong, conductor. St. Olaf Records E-2159 (1997). Liner notes: Dominique-René de Lerma; “Conductor’s notes” by Anton E. Armstrong.

LP?: Augustana Choir; Henry Veld, conductor Word 2019

LP?: Augustana Choir; Henry Veld, conductor Key 2019.

LP: Clarissa Cooper, soprano; Virginia State College Choir; Eugene Thamon Simpson, conductor. Black Heritage Recordings O-645 (Black heritage series, v2; 1970).

LP: Leontyne Price, soprano; Rust College Choir; Lassaye van Buren Holmes, conductor.RCA LSC-3183 (1971).

LP: Linda Fulton, soprano; Illinois Wesleyan University Choir; Lewis Wikehart, conductor. RPC CC-5.

LP: Morris Brown College Concert Chorus; G. Johnson Hubert, conductor. Custom Records 002.

LP: Phillips High School Chorus; Andrew Duncan, conductor. Delta Records XCTV-63866.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor.Westminster WGM-8154 (1971, 1968).

LP: Unidentified performers. Victor LSC-3183.

----- for high voice & piano. San Diego: Neil A. Kjos. (TH-105).

----- for low voice & piano. San Diego: Neil A. Kjos. (TL-105).

----- for soprano & SSA with piano reduction. Tuskegee: Music Press, 1939. Library: Library of Congress.

Park Ridge: Neil A. Kjos. (Tuskegee Choir series, T-107).

----- for tenor & TTBB with piano reduction. Tuskegee: Music Press, 1939. Library: Library of Congress.

Park Ridge: Neil A. Kjos (Tuskegee Choir series, T-106).

There’s a lit’l wheel a-turning in my heart, for SATB. Tuskegee: Tuskegee Music Press, 1949 (R-121).

Park Ridge: Neil A. Kjos. (Tuskegee Choir series, T-121).

CD: Brazeal Dennard Chorale; Brazeal Dennard, conductor. BDC 4444 (1999, Remembering, discovering, preserving).

Trio, piano, violin, violoncello, A major (1925).

Were you there? Duration: 3:29.

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster W-9633 (1968).

LP: Tuskegee Institute Choir; William L. Dawson, conductor. Westminster WGM-8154 (1971, 1968).

You got to reap just what you sow, for low voice & piano. Chicago: Gamble Hinged Music Co., 1928. 5p. (#839) Dedication: Paul Robeson. Library: Spingarn.

Zion’s walls, for soprano & SATB. Park Ridge: Neil A. Kjos. (Tuskegee Choir series, T-124).

VC: Morgan State University Choir; Nathan Carter, conductor (Philadelphia; 1993/I). Arts and Entertainment.
 

13 Bibliographie
Prof. Dominique-René de Lerma

“Dawson, William Levi” in Crisis, v40 (1933/II) p40.

“Hail Mary” in Cincinnati Symphony program notes (1954/XII/17) p320.

“Negro composer: Philadelphia Orchestra plays Dawson’s symphony” in Newsweek (1934/XI/24) p22.

“Negro folk symphony is performed amid cheers” in Literary digest (1934/XII/1) p24.

“Negro folk symphony, New York” in Music journal, v22 (1964/X) p64-65. “Negro folk symphony, Orchestra of America” in Musical America, v84 (1964/IX) p44.

“The first Negro symphony” in Literary digest (1933/III/4).

“William L. Dawson” in Black American choral song: The evolution of the spiritual. Washington: Smithsonian Institution, 1984, p29-30.

Abdul-Rahim, Raoul. “Spotlight on Black composers” in Blacks in classical music. New York: Dodd, Mead, 1977, p57-59.

Allison, Roland Lewis. Classification of the vocal works of Harry T. Burleigh (1866-1949) and some suggestions for their use in teaching diction in singing. Graduate paper (Ph.D.) Indiana University, 1965. 2 vols.: xi, 268p.; p271-380 & phonotape. UM 66-14791.

American composers today. New York: H. W. Wilson, 1940, p78-79.

American music, v3n1, p111

Bakers 1992 (1898-)

Berry, Lemuel, Jr. Biographical dictionary of Black musicians and music educators, vol. 1. Guthrie OK: Educational Book Publishers, 1978. (1898-)

Bio-bibliographical index 1972

Black music research bulletin v12n2, p12, 14

Black music research journal, 1980, p84; 1981-1982, p72, 74, 83, 140; v10n1, p116, 143

Black perspective in music, v1, p101, 102; v2, p149; v3n1, p20, 123, 124 147; v3n2, p162; v3n3, p347; v4n1, p103; v5n1, p37; v5n2, p181; v7n2, p204; v8n1, p81; v10n1, p95; v10n2, p207, 236; v11n1, p82; v11n2, p220; v12n1, p147; v12n2, p264; v14n1, p68, 72; v15n1, p16; v15n2, p184, 260; v17, p21, 203; v18, p184, 218, 249, 258

Blackwell 1978

Bogle 1992, p73.

Braithwaite, Coleridge Alexander. A survey of the lives and creative activities of some Negro composers; A report of a Type C project. Graduate paper (Ed.D.) Columbia University, Teachers College, 1952. 185p.

Brown, Rae Linda. “William Grant Still, Florence Price, and William Dawson; Echoes of the Harlem Renaissance” in Black music in the Harlem Renaissance, ed.by Samuel A. Floyd, Jr. Westport: Greenwood Press, 1990, p71-86.

Bull 1964 (1898-)

Bull, Storm. Index to biographies of contemporary composers, vol. 3. Metuchen: Scarecrow Press, 1987. xxiv, 854p. ISBN 0-8108-1930-9. (1898-)

Butcher, Harold. “The Dawson folk symphony” in Crisis, v42n2 (1935/II) p47, 52.

Center for Black Music Research. Digest, v2n2, p11

Cureau 1987, p191

Dawson, William Levi. “Interpretation of the religious folksongs of the American Negro” in William L. Dawson day, ed. by James G. Spady. Philadelphia: Creative Artists’ Workshop, 1981.

Dawson, William Levi. “Interpretation of the religious folksongs of the American Negro” in Etude (1955/III) p11.

DuBois, Shirley Graham McManus. “The survival of Africanism in modern music” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 3p.

Evans, Arthur Lee. The development of the Negro spiritual as choral art music by Afro-American composers, with an annotated guide to the performance of selected spirituals. Graduate paper (Ph.D., music) University of Miami, 1972. 264p. LC 73-5837; RILM 76/13629.

Fleisher 1979 (1898-)

Floyd 1990, p175, 187, 194

Floyd, Samuel A., Jr. Black music biography; an annotated bibliography, by Samuel A. Floyd, Jr., and Marsha Reisser. White Plains: Kraus International Publications, 1986, p143

Fuller, C. “Black composer Dawson’s works honored” in Biography news (1974/III) p263.

Hackney, Carrie. “Dawson, William Levi” in Black perspective in music, v18n1-2 (1990) p218.

Handy, D. Antoinette. Black music; opinions and reviews. Ettrick VA: BM&M, 1974., pviii, 56

Hare, Maude Cuney. Negro musicians and their music, introduction by Josephine Harreld Love. New York: G. K. Hall, 1996, 1936. xl, xii, 439p. (African-American women writers, 1910-1940, Henry Louis Gates, Jr., general editor). LC 96-17696.

Harris, Carl Gordon, Jr. “Three schools of Black choral composers and arrangers, 1900-1970” in School music news, v34n4 (1974/XII) p33-39.

Harris, Carl Gordon, Jr. “Three schools of Black choral composers and arrangers, 1900-1970” in Choral journal, v14n8 (1974/IV) p11-15, 17-18.

Harris, Carl Gordon, Jr. A study of characteristic stylistic trends found in the choral works of a selected group of Afro-American composers and arrangers. Graduate paper ( D.M.A., performance) University of Missouri-Kansas City, 1972. viii, 178 p. facs., mus. exs., append. DDM Code: 71voHarC; DA no.: 33/07:3696; RILM no.: UM no.: 72-29,463.

Horne, Aaron. String music by Black American composers. Westport: Greenwood Press, 1991 (Music reference collection, no. 33). xx, 327p. Foreword by Dominique-René de Lerma. ISBN 0-313-27938-1. +

Howard, John Tasker. Our contemporary composers. New York: Corwell, 1941.==

Johnson, John Andrew. “William Dawson, the New Negro, and his folk idiom” in Black music research journal, v19n1 (1999) p43-60.

Kansas City star (1966/I/30). [Negro folk symphony].

LaBrew, Arthur Randolph. “Biographical notices to the Harmon Foundation Awards (1926-1939)” in Afro-American music review, v2 (1982/I-VI), p209-210. +

Lerma, Dominique-René de. “A selected Dawson bibliography” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 4p.

Lerma, Dominique-René de. “William L. Dawson: A selected discography” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 2p.

Lerma, Dominique-René de. Black music in our culture; curricular ideas on the subjects, materials, and problems. Kent: Kent State University Press, 1970., p173 (1897-), 183, 196

Malone, Mark Hugh. "William Dawson and the Tuskegee Choir” in Choral journal, v30n8 (1990/III) p17-24.

Malone, Mark Hugh. William Levi Dawson, American music educator. Graduate paper (Ph.D.) , Florida State University, 1981.

Mapp, Edward. Directory of Blacks in the performing arts. Metuchen: Scarecrow Press, 1978. (1898-), 1990 (1898-)

Matney, William C. Who’s who among Black Americans. 3rd ed. Northbrook: Who’s Who Among Black Americans, 1981.

McCray, Norma. “Teaching materials on Afro-American composers” in Development of materials foor a one-year course in African music, ed. by Vada Easter Butcher. Washington: Department of Health, and Education, and Welfare, 1970, p123-198.

Mitchell, Abbie. “William L. Dawson: A colleague’s appreciation” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 2p.

Nashville Tennessean (1966/V/2) [Negro folk symphony].

Notes v47n4, p1086.

Oja, Carol J. American music recordings; Discography of 20th century U.S. composers. Brooklyn: Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, 1982. 368p. (1898-)

Perry, Mark. “First impression notes on hearing Dawson’s Negro folk symphony, no.1: Constructs and polarities as musicological nexus” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 2p.

Perry, Mark. “Negro folk symphony: Race and politics, art and truth” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 3p.

Prince, Curtis L. “William Levi Dawson, 1899-1990; Brief biography, analysis and musical examples, Negro folk symphony, first movement, The bond of Africa.” Typescript.

Reagon, Bernice Johnson. “Way out of no way” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 1p.

Reis, Claire. Composers in America; Biographical sketches of contemporary composers with a record of their works. New York: Macmillan, 1947, p93.

Robinson, Paul. Stokowski. [n.p.]: The Vanguard Press, 1977 (The art of the conductor).

Robinson, Wilhelmena S. Historical Afro-American biographies. Washington: Associated Publishers, 1976, p180-181.

Rogers 1947, p562

Slonimsky, Nicolas. “Dawson, William Levi” in Baker’s biographical dictionary of musicians. 6th ed. New York: Schirmer Books, 1978, p388.[6]

Sonneck Society bulletin v16n2, p83

Southern, Eileen. “Dawson, William Levi” in Biographical dictionary of Afro-American and African musicians. Westport: Greenwood Press, 1982, p98-99. (The Greenwood encyclopedia of Black music).

Southern, Eileen. “Dawson, William” in The new Grove dictionary of music and musicians, ed. by Stanley Sadie. London: Macmillan, 1980, v5, p286.

Southern, Eileen. “William Levi Dawson” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 1p.

Southern, Eileen. “Dawson, William Levi” in The new Grove dictionary of American music, ed. by H. Wiley Hitchcock and Stanley Sadie. London: Macmillan, 1986, v1, p590.

Spady, James G. “Eye adawura ma efree owura William L. Dawson maa ọkọọ Kumasi/Africa: It’s the gong gong that called Mr. Dawson to Kumasi/Africa” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 14p.

Spady, James G. William L. Dawson: A Umum tribute and a marvelous journey. Philadelphia: Creative Artists Workshop, 1981. [unpaged]

Strong, Willie. “Dawson, William Levi” in International dictionary of Black composers, ed. by Samuel A. Floyd, Jr. Chicago: Fitzroy Dearborn, 1999, v1, p 354-359.

Symphonium v5n1

Thomas 1989, p1, 7, 13.

Tischler, Alice. “William Levi Dawson” in Fifteen Black American composers: A bibliography of their works. Detroit: Information Coordinators, 1981, p107-123.

Trice, Patricia Johnson. Choral arrangements of African-American spirituals; historical overview and annotated listings. Westport: Greenwood Press, 1998.

Turner, Patricia. Dictionary of Afro-American performers: 78rpm and cylinder recordings of opera, choral music, and song, c1900-1949. New York: Garland Publishing, 1990., p49, 132, 263, 373.

White, Evelyn Davidson. Choral music by Afro-American composers; A selected, annotated bibliography. 2nd ed. Metuchen: Scarecrow Press, 1996. viii, 126p. ISBN 0-8108-3037-X. First edition issued by Scarecrow in 1981: (1898-)

Who's who colored 1927 (1898-), 1928 (1898-), 1929 (1898-), 1932 (1898-), 1944 (1898-), 1950 (1898-); 1928 (1898-); 1929 (1898-).

Wilkins, Roy. “Talking it over” in Kansas City call (1934/12/13).

Wilkins, Roy. “Talking it over” in William L. Dawson: A Umum tribute, ed. by James G. Spady. Philadelphia: Creative Artists Workshop, 1981, 2p.

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