By Bill Banfield
A sequel to the award-winning The Black Composer Speaks (Scarecrow Press, 1978), this exploration of the inventive international of African American composers lines the lives and careers of forty gifted members and, of their personal phrases, offers views on a global that has been sluggish to acknowledge their notable contributions to classical song. each one bankruptcy is dedicated to someone composer, who discusses his or her musical education, compositional ideas and elegance, and the composer's own philosophy as mirrored in his or her song. a specific record of compositions for every composer is integrated, in addition to a photograph and pattern of the composer's _hand._
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Additional info for Musical Landscapes in Color: Conversations with Black American Composers
I did a lot of things while I was in high school. One of the interesting things I taught myself to do was play saxophone, while I was in high school. There was a band at the Veteran’s Hospital that needed a baritone saxophone player. I had never played sax in my life, so I got a student manual, cut out the fingers, and practiced on a stick. Of course I could read music; all I had to do was get a sound out of the thing. So I went up to audition, put the reed on the sax, blew it, and passed the audition-because I could read the music.
I felt I was accepted and received well in all kmds of cultural situations. I felt very comfortable in various settings. Artists of different cultural backgrounds seemed to take to my work very nicely. It was a good time for me. Oberlin had been the same way. I have always enjoyed a very healthy relationship with people of all ethnic backgrounds. I think one reason is because I grew up in a culturally diverse neighborhood in Cleveland. As far back as I can remember there were boys and girls of different backgrounds.
I also had a couple of full evening programs, one at Steinway Hall and one at Jutson Hall, which was across from Carnegie. They were favorably reviewed in the New York Times and New York Herald-Tribune. Generally this was the beginning of my professional career as a composer. I found the racial climate, from my standpoint, from my response to circumstances, quite positive. I felt I was accepted and received well in all kmds of cultural situations. I felt very comfortable in various settings. Artists of different cultural backgrounds seemed to take to my work very nicely.