TRACING THE HISTORY OF CLASSICALLY-TRAINED AFRICAN AMERICAN TENORS

dc.contributor.advisorBalthrop, Carmenen_US
dc.contributor.authorPaige, Aaronen_US
dc.contributor.departmentMusicen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2019-06-22T05:38:25Z
dc.date.available2019-06-22T05:38:25Z
dc.date.issued2019en_US
dc.description.abstractThis dissertation project will trace the history of classically-trained African American tenor vocalists through performance and narrative. The recitals presented were chosen to highlight tenors who have made significant contributions to the accessibility of opportunities for other African American tenors. The repertoire chosen for the first performance is based on a recital given by Roland Hayes at The Orchestra Hall (now the Chicago Symphony Center) in Chicago, IL on January 15, 1924. The repertoire chosen for the second performance is based on a recital given by George Shirley at Wesleyan College on December 8, 1989. The repertoire chosen for the last performance was inspired by the versatility of contemporary performers, to include the members of the ensemble The Three Mo’ Tenors. The findings in this project can ultimately be used to identify often forgotten contemporaries and predecessors to some of the most important African American tenors in history.en_US
dc.identifierhttps://doi.org/10.13016/yyee-atlu
dc.identifier.urihttp://hdl.handle.net/1903/22200
dc.language.isoenen_US
dc.rightsNOTICE: Recordings accompanying this record are available only to University of Maryland College Park faculty, staff, and students and cannot be reproduced, copied, distributed or performed publicly by any means without prior permission of the copyright holder.
dc.subject.pqcontrolledMusicen_US
dc.titleTRACING THE HISTORY OF CLASSICALLY-TRAINED AFRICAN AMERICAN TENORSen_US
dc.typeDissertationen_US

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