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Prospective college students and their parents have been relying on Loren Pope's expertise since 1995, when he published the first edition of this indispensable guide. This new edition profiles 41 colleges—all of which outdo the Ivies and research universities in producing performers, not only among A students but also among those who get Bs and Cs. Contents include: Evaluations of each school's program and "personality" Candid assessments by students, professors, and deans Information on the progress of graduates This new edition not only revisits schools listed in previous volumes to give readers a comprehensive assessment, it also addresses such issues as homeschooling, learning disabilities, and single-sex education.
Renowned today as a prominent African-American in Music Theater and the Arts community, composer, conductor, and violinist Will Marion Cook was a key figure in the development of American music from the 1890s to the 1920s. In this insightful biography, Marva Griffin Carter offers the first definitive look at this pivotal life's story, drawing on both Cook's unfinished autobiography and his wife Abbie's memoir. A violin virtuoso, Cook studied at Oberlin College (his parents' alma mater), Berlin's Hochschule für Musik with Joseph Joachim, and New York's national Conservatory of Music with Antonin Dvorak. Cook wrote music for a now-lost production of Uncle Tom's Cabin for the Chicago World's Fair of 1893, and then devoted the majority of his career to black musical comedies due to limited opportunities available to him as a black composer. He was instrumental in showcasing his Southern Syncopated Orchestra in the prominent concert halls of the Unites States and Europe, even featuring New Orleans clarinetist Sidney Bechet, who later introduced European audiences to authentic blues. Once mentored by Frederick Douglas, Will Marion Cook went on to mentor Duke Ellington, paving the path for orchestral concert jazz. Through interpretive and musical analyses, Carter traces Cook's successful evolution from minstrelsy to musical theater. Written with his collaborator, the distinguished poet Paul Lawrence Dunbar, Cook's musicals infused American Musical Theater with African-American music, consequently altering the direction of American popular music. Cook's In Dahomey, hailed by Gerald Bordman as "one of the most important events in American Musical Theater history," was the first full-length Broadway musical to be written and performed by blacks. Alongside his accomplishments, Carter reveals Cook's contentious side- a man known for his aggressiveness, pride, and constant quarrels, who became his own worst enemy in regards to his career. Carter further sets Cook's life against the backdrop of the changing cultural and social milieu: the black theatrical tradition, white audiences' reaction to black performers, and the growing consciousness and sophistication of blacks in the arts, especially music.
Women artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier. Including seventy-two black-and-white illustrations, this book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Contributors to this first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers. In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era.
A richly illustrated volume presenting a comprehensive history of the education of African American students at Oberlin College.