Most online reference entries and articles do not have page numbers. (March 11, 2021). Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Unusually successful for a contemporary composition, the work was published by Warner Bros, the following year and has remained in print ever since as a perennial favorite among college and community choirs. Manheim, James "Moore, Undine Smith She married fellow Virginia State faculty member James Arthur Moore; the couple had a daughter, Mary, who became a dancer and educator. Moore traveled to Africa in 1971 and 1972 and was deeply moved by her experiences there. She went on to Columbia University Teachers’ College in New York, where she completed her masters in 1931, and also studied at the prestigious Julliard School, the Manhattan School of Music, and the Eastman School of Music. . [4], Undine Smith Moore was born the youngest of three children to James William Smith and Hardie Turnbull Smith. Many of her most popular compositions are for chorus, and draw in one way or another upon the settings of spirituals that she had absorbed during her years at Fisk. 22 By and By Carol Barnett. © 2019 Encyclopedia.com | All rights reserved. [61], Moore was a strong advocate for the promotion of black music and art: in her opinion, art could be used as “a powerful agent for social change.”[62] Moore was careful to point out that because of the social issues surrounding African-Americans, their music and art could be stereotyped:[63], I use the term black music to describe music created mainly by people who call themselves black, and whose compositions in their large or complete body show a frequent, if not preponderant, use of significant elements derived from the Afro-American heritage. [18] The couple often performed together in recitals, as James Moore was a trained vocalist. Its chorus had been well known since the 1870s for its performances of spirituals. An accomplished and prolific classical music composer, George Walker has achieved many “firsts” in his career, mostl…, Robert Nathaniel Dett The Smiths’ lives were filled with music – whether at home or singing in church. In 1908, her family moved to Petersburg, Virginia. . [12], In 1931, during the Harlem Renaissance, Moore received a Master of Arts and professional diploma in music at Columbia University’s Teachers College. Scenes from the Life of a Martyr (narrator, chorus, soloists, orchestra), 1980. [38] Moore was named one of the Virginia Women in History for 2017.[39]. Contemporary Black Biography. [57] The 16-part oratorio is based on the life of the Reverend Dr. Martin Luther King Jr. and written for chorus, orchestra, solo voices and narrator. Contemporary Black Biography, Volume 28, Gale Group, 2001. (March 11, 2021). . “The Unique World of Undine Smith Moore: Teacher-Composer-Arranger.”, Moore, Undine Smith. Winning a scholarship to Fisk University seemed to seal Moore’s choice of a music as her life’s work, for the musical traditions at that historically black institution ran deep. So wrote composer Undine Smith Moore in 1978. Pick a style below, and copy the text for your bibliography. "My mother loves music. Undine Eliza Anna Smith Moore (25 August 1904 – 6 February 1989), the "Dean of Black Women Composers," was a notable and prolific American composer and professor of music in the twentieth century. Composer, conductor, music educator Floyd, Samuel, ed., International Dictionary of Black Composers, Fitzroy Dearborn, 1999. Mus., 1926; Columbia University, M.A., 1931; further studies at Manhattan College of Music, Juilliard School, Eastman College of Music. [17], In 1938, Undine Smith married Dr. James Arthur Moore, the chair of the physical education department at Virginia State College. After graduating from Juilliard, Moore became supervisor of music for the Goldsboro, North Carolina public school system. Retirement only increased Moore’s compositional productivity, and she composed prolifically until just before her death. On this day in 1904, Undine Smith Moore, the “Dean of Black Women Composers,” was born in Jarratt, Virginia! Contemporary Black Biography. ... shallwegather @perfectdaymusicfoundation @northwesternu @bienenschoolnu @northwesternoperatheatre Some tidbits about Undine Smith Moore—- “Her father was a railroad brakeman; her grandparents were slaves. Many of Moore’s compositions, then, might be described as attempts to infuse a distinct African American sensibility into European forms. (1951), "I Want To Die While You Love Me" (1975), "Come Down Angels" (1978), on, “To be Baptized” and "Watch and Pray." Rose Manuscript, Archives, and Rare Book Library, https://en.wikipedia.org/w/index.php?title=Undine_Smith_Moore&oldid=1001642452, College of Saint Benedict and Saint John's University faculty, Teachers College, Columbia University alumni, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, "Daniel, Daniel, Servant of the Lord," on, "Mother to Son" (1955), "We Shall Walk Through the Valley" (1977), "Tambourines to Glory" (1973), on, "To Be Baptised" (1973), "Set Down!" Moore was born August 25, 1904, in Jarratt, Virginia, in the state’s predominantly rural southern tier known among African Americans as “southside.” Her father was a railroad brakeman; her grandparents were slaves. Goldsboro Public Schools, supervisor of music, 1926-27; Virginia State University, associate p… [6] Her hometown of Jarratt, Virginia consisted of a large African-American population, and Moore would later recall memories of the community singing and praying at the Morningstar Baptist Church. Her mother was a voracious reader who stressed the importance of books and music lessons. Born Undine Smith on August 25, 1904, in Jarratt, Virginia; died on February 6, 1989; daughter of James William Smith, a railroad man, and Hattie (Turnbull) Smith; married James Arthur Moore, an educator; children: Mary, Education: Fisk University, BA and B.Mus., 1926; Columbia University, MA, 1931; further studies at Manhattan College of Music, Julliard School, Eastman College of Music. "I Want to Die While You Love Me" is a song by Undine Smith Moore for contralto and piano setting the poetry of Georgia Douglas Johnson. The word chose me,” she was quoted as saying in the International Dictionary of Black Composers. Manheim, James "Moore, Undine Smith Therefore, that information is unavailable for most Encyclopedia.com content. • Early African American Composers and Conductors . In 1904 in the state of Virginia, Undine was born to African American parents James William Smith and Hardie Turnbull Smith, whose own parents had been slaves. Please have a listen. "Moore, Undine Smith 1904–1989 The family moved to the city of Petersburg, Virginia, when Moore was four, but they often spent time in Jarratt in the summers. [34] At her funeral, several of her spiritual arrangements were performed. "Like everyone else able to hold a pen, I have been asked to do a large work on Martin Luther King." [4] In 1975, Moore was labeled music laureate of the state of Virginia, and the National Association of Negro Musicians named her an “outstanding educator”. Encyclopedia.com. In the early 1950s, having reached an age when many educators are looking forward to retirement, Moore instead resumed her compositional career at full force. In 1927, she landed a job at Virginia State College (now University) in Petersburg; she would teach there until her retirement in 1972. She was the granddaughter of slaves. “Before I’d be a Slave.” In, Learn how and when to remove this template message, "Undine Moore, Composer of Note and Innovative Music Teacher", "The Black Composer Speaks: An Interview with Undine Smith Moore", "CANDACE AWARD RECIPIENTS 1982-1990, Page 3", "Undine Smith Moore (1904-1989) Marker, QA-28", "Virginia Women in History 2017 Undine Anna Smith Moore", "Steal Away: The African American Concert Spiritual", "Vocalessence Witness - Dance Like The Wind", "Ah! [32] Among her many awards was a Candace Award from the National Coalition of 100 Black Women in 1984. This video is unavailable. Composer and educator; Goldsboro Public Schools, Supervisor of Music, 1926-27; Virginia State University, Associate Professor of Music, 1927-72, Professor Emerita, 1972-89; numerous visiting faculty appointments, 1972-89; prolific compositional activity in later life; composed choral work Lord, We Give Thanks to Thee for centennial of Fisk Jubilee Singers, 1971; completed cantata Scenes from the Life of a Martyr on life of Dr. Martin Luther King Jr., 1980; composed trio Soweto, 1987. . . Scenes from the Life of a Martyr, for narrator, chorus, soloists, and orchestra, 1980. Melina Jaharis, soprano. “I think that black people need to remind themselves of the importance of remembering,” she was quoted by the Richmond Times-Dispatch. Moore was originally trained as a classical pianist, but developed a compositional output of mostly vocal music -- her preferred genre. She rarely had the chance to think on a larger scale musically, but she did explore her African American heritage with a series of choral pieces based on spirituals in the 1930s and 1940s. Love, But A Day - Songs And Spirituals Of American Women", Stuart A. The word chose me,” she was quoted as saying in the International Dictionary of Black Composers.Undine Smith Moore died on February 6, 1989. Her hometown of Jarratt, Virginia consisted of a large African-American population, and Moore would later recall memories of the community singing and praying at the Morningstar Baptist Church. Daniel, Daniel, Servant Of The Lord (as Undine Smith Moore) Peoria Area Civic Chorale - 25th Anniversary Commemorative Recordings (Sing We Now Of Christmas & The Sounds Of Glory: Folk Songs, Spirituals And Hymns) ‎ (2xCD, Comp) Not On Label: none: US: 2007 Shut de Do’ Randy Stonehill & Mark Hayes. One small thing we can do as an organization today is amplify the amazing BIPOC voices and composers in our society. Date of birth : 1904-08-25 Date of death : 1989-02-06 Birthplace : Jarratt, Virginia,U.S. Moore was born on August 25, 1904, in Jarratt, Virginia, in the state’s predominantly rural southern tier known among African Americans as “southside.” Her father was a railroad brakeman; her grandparents were slaves. She received a scholarship from the Julliard School to study music at Fisk University, and later studied composition at the Manhattan School of Music and the Eastman School. Additional information was obtained from Creative Black Artists, video interview, produced by Indiana University Instructional Television and the Afro-American Institute, 1980. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list. [56], In 1981, Moore's Pulitzer Prize-nominated oratorio Scenes from the Life of a Martyr was premiered at Carnegie Hall. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites: http://www.chicagomanualofstyle.org/tools_citationguide.html. [1] Much of her work was inspired by black spirituals and folk music. "Composer and Master Teacher. Looking back at her years at Fisk University, Undine Smith Moore described her early compositions, especially her piano music, as having a general similarity to the music of Leopold Godowsky. 11 Mar. She attended Fisk University, where she studied piano with Alice M. Grass and first began to compose. Disturbed by what she saw as a deteriorating knowledge of the history of black music among her students, Moore worked during her last years at Virginia State to establish the Black Music Center, a combination archive, research center, and performance-promotion organization. Her Principal Composition teacher includes Dean of African American Women Composers, Professor Undine Smith Moore of Virginia State University. As an African American musical pioneer in the university setting, Undine Smith Moore inspired and influenced black musicians across the United States. Moore learned to read music and even to attempt small composition exercises by the time she was eight or nine. I Got a Home in-a dat Rock Moses Hogan. The text is both a proclamation of faith and an invitation for all to come and see Jesus. In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Classical composer [55] The 1970s were Moore’s “most prolific” years, with twenty-seven works composed. She was the granddaughter of slaves. U.S. Moore) - YouTube [26] She continued her teaching career as a distinguished professor at Virginia Union University until 1976, meanwhile teaching at multiple colleges in Minnesota. [54] Most of this work occurred after 1950. Performed live May 26, 2018 at Hibernian Hall, Boston as part of Castle of our Skins's "Ain't I a Woman" project. Undine Eliza Anna Smith Moore (25 August 1904 – 6 February 1989), the "Dean of Black Women Composers," was a notable and prolific American composer and professor of music in the twentieth century. Mentored by Booker T. Washington ." As with her music, Moore worked toward a broad-based approach that would touch both upon the efforts of African Americans in the classical field and upon, as she told Creative Black Artists, the “true creative genius of the black people in the ditches and the sawmills.” She retired from Virginia State in 1972 and was feted by her former students in a ceremony held at New York’s Town Hall. Undine Smith Moore died on February 6, 1989. In 1926 Moore graduated at the top of her class with a dual degree that included studies in piano and music theory, and then decided to pursue a career in music education. Even as an undergraduate at Fisk, Moore had already begun to compose; her first known work was an ambitious choral piece, Sir Olafand the EH King’s Daughter, with a text based on Norwegian folklore. [14], Although her teachers encouraged her to continue her studies by enrolling at the Juilliard School, Undine Smith Moore instead took a job as supervisor of music in the public schools in Goldsboro, North Carolina. Undine Smith Moore (Arranger) Anton Armstrong (Editor) This collection showcases five of Undine Smith Moore's spirituals edited by Anton Armstrong, who includes an instructional forward written for this newly-engraved edition. “I think that black people need to remind themselves of the importance of remembering,” she was quoted as saying on the Black History: Virginia Profiles website. Its chorus had been well known since the 1870s for its performances of spirituals. After she finished her first year at Fisk, Moore’s father gave her a Steinway grand piano as a gift, and for a time she considered trying to become a concert pianist. ", Harris, Carl. Undine Smith Moore. The work’s text, depicting scenes from the life of Dr. Martin Luther King Jr., was written by Moore herself, with interpolations from the Bible and from the works of poets of various different backgrounds. We’ve put together a list of some choral music created and performed by black composers and artists. Career: Composer and educator. Some of them, especially her works for instruments alone, followed European methods, including the extremely intellectually rigorous twelve-tone technique, while others turned to African American history in various ways. The granddaughter of slaves, Undine Smith Moore’s first musical memories were of the Morningstar Baptist Church in Jarratt, Virginia. She went on to Columbia University Teachers’ College in New York, where she completed her M.A. “Undine Smith Moore,” Richmond Times-Dispatch, http://www.timesdispatch.com/blackhistory/MGBXKD41CIC.html (November 6, 2002). One of the few African Americans to have enjoyed a successful career in the rather closed-in world of acade…, Walker, George and B. Scenes from the Life of a Martyr (1981), is a 16-part oratorio composed by Undine Smith Moore in memory of Martin Luther King Jr. Moore wrote the libretto, which includes passages from the Bible, quotations and poetry excerpts. [46] Helen Walker-Hill, author of From Spirituals to Symphonies, writes that Moore’s compositional style was “freely tonal… sometimes strongly modal, often using twentieth-century techniques…, frequently using recitative… style, almost always strongly contrapuntal, and dominated by the black idiom.”[47] As for the influence of African-American traditional music, Walker-Hill writes: [Moore’s] ‘black idiom’ was the use of additive and syncopated rhythms, scale structures with gaps, call and response antiphony, rich timbres, melody influenced by rhythm, the frequent use of the interval of the third and, less frequently, fourths and fifths, nonhomophonic textures, and the ‘deliberate use of striking climax with almost unrestrained fullness.’[48]. Her sixteen-section choral cantata “Scenes from the Life of a Martyr” (1980), for narrator, chorus, orchestra, and soloists, combined all these influences and was nominated for a Pulitzer Prize after its premiere in 1982. Winning a scholarship to Nashville, Tennessee’s Fisk University seemed to seal Moore’s choice of a music as her life’s work, as the musical traditions at that historically black institution ran deep. [51], The works of Undine Smith Moore range “from arrangements of spirituals, to solo art songs, instrumental chamber music, and multimovement works for chorus, soloists, and instruments.”[52] Although she composed more than one hundred pieces between 1925 and 1987, only twenty-six were published during her lifetime. Her mother was a voracious reader who stressed the importance of books and music lessons. Composer Moore was originally trained as a classical pianist, but developed a compositional output of mostly vocal music—her preferred genre. [37] A historical marker was approved in 2010 for installation in Petersburg. Many of her most popular compositions are for chorus, and draw in one way or another upon the settings of spirituals that she had absorbed during her years at Fisk. Moore was born in Jarratt, Virginia. [2] Undine Smith Moore was a renowned teacher, and once stated that she experienced “teaching itself as an art.”[3] Towards the end of her life, she received many awards for her accomplishments as a music educator. One of them, 1952’s “Daniel, Daniel, Servant of the Lord,” was based on one of the songs she had transcribed from her mother’s singing. In a volume of The Choral Journal, Carl Harris analyzes Moore’s music as being influenced by “ragtime, blues, jazz, and gospel music.”[49] Moore herself, however, only acknowledged “black folk music and Bach as true influences.”[50] Of the philosophy of her music, Moore has stated: ...in retrospect, it seems I have often been concerned with aspiration, the emotional intensity associated with the life of black people as expressed in the various rites of the church and black life in general - the... desire for abundant, full expression as one might anticipate or expect from an oppressed people determined to survive. [20], In 1969, Undine Smith Moore and Altona Trent Johns become co-founders of the Black Music Center at Virginia State College, which aimed to educate members about the “contributions of black people to the music of the United States and the world.”[21][22] Aside from teaching, Moore considered the Center to be her “most significant accomplishment. Undine Smith Moore was born the youngest of three children to James William Smith and Hardie Turnbull Smith. I've Just Come from the Fountain (arr. Moore’s early musical life combined formal education with African American musical roots. Sir Olaf and the Eri King’s Daughter, choral cantata, 1925. [58] Moore had planned the piece for at least five years, and considered it her “most significant work.”[40]. Sadie, Stanley, editor, The New Grove Dictionary of Music and Musicians, second edition, Macmillan, 2001. Smith, Jessie Carney, ed., Notable Black American Women, Book I, Gale, 1992. Moore traveled to Africa in 1971 and 1972 and was deeply moved by her experiences there. And if … [44] Moore acknowledged that there was “almost always strong contrapuntal influence”[45] in her music, which began leaning towards a more dissonant counterpoint after 1953. I thought them so beautiful that I wanted to have them experienced in a variety of ways -- by concert choirs, soloists, and by instrumental groups.[43].