Current research twelve years after the William Grant still centennial.

In 1995, the world celebrated William Grant Still's centennial. The centennial of a composer's birth date or death date offers an opportunity for retrospection. Customarily, numerous concerts devoted to the honored composer are slated, bringing his or her works before a new audience for that calendar year. A centennial also offers an opportunity for new assessment as scholars appraise past research and outline new areas of inquiry. Consider, for example, the number of performances, recordings, and publications in 1985 for the tercentenary anniversaries of Scarlatti, Handel, and Bach (Williams 1985). The magical centenary number provided similar results for William Grant Still. The one-hundredth anniversary of his birth stimulated a burst of scholarship and performances as scholars, performers, and conductors began to interpret and reinterpret various aspects of his life and music. Since the centennial twelve years ago, there has been a renaissance in Still studies. The purpose of this article is to provide a bibliography of this new scholarship and a selected discography to serve as a bibliographic tool, a reference guide of articles, books, recordings, dissertations, and master's theses that have appeared since 1995.

Reference Works

The scholarship generated by the Still centennial promised to document further Still's life, critique his musical compositions, and suggest areas in which further studies are needed. Still has long been included in important biographical dictionaries on music in general and on African-American music specifically. The New Grove Dictionary of Music and Musicians (Smith 2000a) includes the most up-to-date article on Still's biography, an overview of his accomplishments and importance as a composer, and a selected works list. Still has always been included in biographical reference sources specializing in African-American composers, such as in Eileen Southern's (1982) germinal Biographical Dictionary of Afro-American and African Musicians. Published seventeen years after Southern's pioneering work, the International Dictionary of Black Composers includes an article on Still's biography and a selected works list of landmark musical compositions (Murchison 1999). Still is now recognized as an important figure in American cultural life in reference works outside the field of music. An extensive article appears in the standard biographical dictionary American National Biography (Leab 1999).

Reference books devoted exclusively to Still appeared during or immediately following the centennial year. In 1995, Judith Anne Still, Celeste Anne Headlee (the composer's daughter and granddaughter, respectively), along with others, edited and published the second edition of William Grant Still and the Fusion of Cultures in American Music (Still, Headlee, and Headlee-Huffman 1995). An updated and revised version of Robert Haas's 1972 book, the Still-Headlee volume includes many essays from the first edition as well as several new ones, including eleven essays by Still and his closest creative collaborator (and second wife), Verna Arvey. These essays provide information on his childhood, career, method of composition, and musical aesthetic. The volume expanded Still studies by presenting for the first time original essays on specific works written by Anne K. Simpson, Donald Dorr, Paul Harold Slattery, Louis and Annette Kaufman, Jean F. Matthew, and Carolyn L. Quin. The analytical articles by Slattery, Matthew, and Quin focus on either a specific work or a group of related works. Dorr's essay on Still's operas is particularly valuable because it marks one of the first attempts to assess Still's importance as a composer of American and African-American opera. The centennial year also saw the publication of Dominique-Rene De Lerma's (1995) William Grant Still: A Register of His Works--A Tribute on the Centenary of His Birth. De Lerma has devoted his career to compiling numerous important bibliographies of African-American music, recognizing that before scholarly studies of African-American music can develop at a rapid pace, researchers must have reliable, thorough bibliographic tools.

The following year, Greenwood Press published William Grant Still: A Bio-Bibliography, a research guide that has proven invaluable as a starting place for anyone wishing to do research on Still (Still, Dabrishus, and Quin 1996). Judith Anne Still provided a biographical sketch, a poignant and loving memoir of her father's life and career. Dabrishus (then head of the University of Arkansas's Special Collections, where the William Grant Still--Verna Arvey Papers are archived) and Quin (a musicologist and Still scholar) prepared a thorough bibliography. The book offers a complete bibliography of writings by both Still and Verna Arvey, pianist, journalist, librettist, and Still's first major biographer. Quin provided a detailed catalog of the works, listing all Still's compositions and their dates of publication and first performances. She also prepared an annotated bibliography of the critical reviews of these performances. Her bibliography is extremely valuable because it facilitates research into the Rezeptionsgeschichte (reception history) of Still's work. Quin also compiled a "Preliminary List of Arrangements and Orchestrations," the most extensive catalog to date of Still's arrangements for jazz, musical theater, film, and television. Throughout his years in New York during the early 1930s, Still arranged music for radio figures such as Paul Whiteman and Willard Robison. After his move to Los Angeles in 1934, Still found employment providing music for Hollywood films, including the landmark Stormy Weather (1943) and Frank Capra's recently restored Lost Horizon (1937). Thus, Quin lays important groundwork for research of the early days of radio music and film music. Indispensable, this bio-bibliography places bibliographic control over diverse print and musical sources.

Archives

Researchers are fortunate that Still's music and personal papers, along with those of Arvey, are archived and easily accessible. William Grant Still Music in Flagstaff, Arizona, preserves many of Still's scores, sketches, notebooks, and other primary documents. The bulk of Still's and Arvey's musical works and personal papers and artifacts are housed in the Special Collections of Mullins Library at the University of Arkansas--Fayetteville. A finding aid is available online at the library's Web site (http://www.uark.edu/libinfo/speccoll/stillarveyc.html). The collection is rich in musical scores, family papers, diaries, correspondence (Still and Arvey were prodigious letter writers), speeches, photographs, sound recordings, and other materials. It even preserves the music typewriter Still used to produce copies of his scores. Duke University's Special Collections purchased copies of Still's scores from William Grant Still Music, and these are available for study in Durham, North Carolina. (see http://scriptorium.lib.duke.edu/sgo/ for an overview of the collection and online finding aid). Many collections at the New York Public Library and the Library of Congress's Music Division also archive Still manuscript materials.

Several archives preserve Still's popular music. The Paul Whiteman Collection at Williams College houses letters and scores that Still produced while under contract with the bandleader. Two archives preserve music that he composed and arranged for Willard Robison. Richard Sudhalter donated his collection of Robison materials to the Institute for Jazz Studies (IJS), Rutgers University in Newark, New Jersey, and the Duke Ellington Collection at the Smithsonian in Washington, D.C., also contains several arrangements and compositions that Still made for this radio personality. Materials Still produced for Donald Voorhees survive in the Voorhees Collection with the Allentown (Pennsylvania) Symphony, and there are Still arrangements in the Red Nichols Collection in Special Collections at the University of Oregon in Eugene. Numerous jazz collections such as the WFAA and WBAP Radio Collections in the Special Collections division of the Music Library of the University of North Texas, and archives such as the William Ransom Hogan Jazz Archive at Tulane University in New Orleans and the IJS have in their various collections stock arrangements Still produced during the 1910s and early 1920s. The Eubie Blake Collection at the Maryland Historical Society in Baltimore has the complete Shuffle Along score, for which Still is reported to have contributed some of the orchestrations. The Blake Collection also includes other Still arrangements and orchestrations.

Primary Sources

Verna Arvey wrote the first published biography of Still, a short monograph issued as a promotional item in 1939 by Still's publisher, J. Fischer and Bro. She later wrote the earliest book-length biography of Still, the memoir In One Lifetime (1984). As Arvey reports, there were several difficulties involved in writing this book. She originally intended it to be a memoir of them both--her life, his life, and their life together. At some point during the editorial process, the focus of the project shifted (Arvey suggests that she lost control over her own manuscript), and the editorial decision was made that it should be a memoir of Still alone. Although not a scholarly book, it is an important place to begin biographical research on Still, for Arvey was with the composer for forty-four years, thirty-nine as his wife. She is the one authority closest to the composer and stands as a firsthand witness and his amanuensis. Her account is reliable, infused with the struggles and sometimes disappointment the Stills faced--Still, as he faced racism and the two of them, as they had a mixed (Still was Protestant and Arvey was Jewish) and interracial marriage. Arvey duly chronicles Still's life and career with accuracy, although she does not always provide specific dates. Their daughter, Judith Still, owner of William Grant Still Music, has also written a collection of essays about her father, William Grant Still: A Voice High-Sounding (1990), providing personal insights into her father's life and career.

Still was an author or coauthor of numerous articles, speeches, and lectures, many of which were published in magazines, journals, and newspapers--including Variety, Opportunity, and the Pittsburgh Courier, to name just a few. Two early books contain a few essays and interviews by Still: Haas's (1972) William Grant Still and the Fusion of Cultures in American Music and Domique-Reno de Lerma's (1970) collection, Black Music in Our Culture. For years, however, many of Still's articles were difficult to access. Jon Michael Spencer (1992) alleviated this problem with a special issue of his journal, Black Sacred Music: a Journal of Theomusicology (now defunct), offering a broad selection of Still's published articles and reprinting some articles for the first time in twenty to fifty years since their original publication. The volume also includes important articles Still cowrote with Arvey, who was a professional writer and journalist as well as a concert pianist and Still's librettist. Spencer's collection represents the most extensive collection of Still's writings to date. Because Still wrote extensively about his career and music, these writings are especially important for understanding both his musical style and his aesthetic. In them, he did not hesitate to address issues of race, class, and politics.

Secondary Sources

There is no lack of academic study of Still. Recent biographical work has begun evaluating Still in all his complexity. The most scholarly study of Still's life, Benjamin Griffith Edward's dissertation "The Life of William Grant Still," appeared in 1987. This work represents the most extensive, comprehensive, and critical biography of Still to date. It presents a fairly balanced portrait of Still's early and midcareer; however, the turbulent decades of the 1950s and 1960s are not as well treated as the earlier years. Problematically, the figure of Verna Arvey remains in the background. Edward's volume has yet to appear in updated book form. Nor has any other full-length biography appeared.

Two shorter publications advanced Still studies in the 1990s, pointing in promising directions. Samuel Floyd Jr.'s Black Music in the Harlem Renaissance (1990) includes Rae Linda Brown's (1990) essay, "William Grant Still, Florence Price and William Dawson: Echoes of the Harlem Renaissance," in which Brown identifies Still's Afro-American Symphony with the Harlem Renaissance. Brown, Southern, and Floyd moved beyond viewing Still as a lone African-American composer of art music, situating him within the context of American and African-American intellectual and social history. By discussing Still along with his contemporaries Price and Dawson, Brown further demonstrates that Still was not an unusual figure but was part of a twentieth-century tradition of African-American symphonic and concert music. Other essays in Floyd's volume, while not exclusively about Still, discuss several figures in art music, jazz, and musical theater. These authors also consider music's relation to the fields of literature, the visual arts, and theater. Their articles remind us that Still maintained close personal and professional relationships with several prominent novelists, poets, and playwrights and collaborated or attempted to collaborate with many literary figures of the Harlem Renaissance. Among them were Countee Cullen (unsuccessfully collaborating on an opera in late 1927, Rashana), actor-playwright Carlton Moss (librettist for the opera Blue Steel), Langston Hughes (librettist for Troubled Island), Zora Neale Hurston (Caribbean Melodies), and Alain Locke (who wrote the scenario for the ballet Sahdji, based on Richard Bruce Nugent's short story anthologized in Locke's [1925] The New Negro), and Harold Bruce Forsythe.

Spurred by the approaching Still centennial and her own work on music in Los Angeles, Catherine Parsons Smith (2000b) set a new standard for Still biography in her collection of essays, William Grant Still: A Study in Contradictions. Smith presents multiple perspectives on Still and outlines new directions for future scholarship. In addition to reprinting Arvey's short biography, "William Grant Still," Smith discovered and published heretofore-unknown primary sources by one of Still's fellow Harlem Renaissance artists, Harold Bruce Forsythe. His 1930 essay "A Study in Contradictions" predates Arvey's 1939 monograph. In 1933, Forsythe queried the composer for biographical and career information for a planned book-length biography. Still responded with "Personal Notes" (both items are now part of the Forsythe Papers at the Huntington Library in Los Angeles). These reprinted letters form the cornerstones of Smith's volume, for they fill in many lacunae about the composer's early years in Little Rock and his early years in Ohio, when Still worked as a freelance musician, and in New York. It is an especially rich source of information on his work in musical theater during the 1920s and the early stages of his art-music career up to 1930.

Smith (2000b) also presents several new biographical essays, studies of specific works, and an essay on Still's aesthetic position as a Harlem Renaissance artist. The article by Willard Gatewood sheds new light on the Little Rock of Still's youth, before the racial climate had hardened. It provides important information about race and class and how his mother, Carrie Still Shepperson, and grandmother, Anne Fambro, shaped the composer during his formative years. My essay in Smith's volume, "Dean of Afro-American Composers' or 'Harlem Renaissance Man': The New Negro and the Musical Poetics of William Grant Still," seeks to move Still studies beyond viewing him as the Jackie Robinson of American art music, as someone who conquered racial barriers with his many firsts. This essay situates him in the broader contexts of the Harlem Renaissance and American musical modernism. I discuss how Still's aesthetics and musical style were shaped by the ideas of intellectuals such as W.E.B. Du Bois and Alain Locke. Smith also offers an important new interpretation of Still's best-known work, the Afro-American Symphony. Rather than focusing on the first movement (as do so many other writers about this work), Smith sees the third movement, the Scherzo, as its cornerstone. Wayne Shirley's essay provides the correspondence between Still and a Paris-based American music critic, Irving Schwerke, who never met yet carried on a thirty-four year correspondence. Schwerke promoted Still's music in Europe and secured many of Still's European performances. In these private letters, Still provides Schwerke with revealing insights into germinal works such as Darker America, Africa, and the Afro-American Symphony, among others. Shirley's essay on the friendship-through-correspondence between Schwerke and Still shows the high regard one prominent American critic held for Still's music. It also suggests the popularity his music had among audiences and critics of similar opinion and stature as Schwerke, a view easily forgotten twenty-six years after Still's death. To our ears colored by the music of Babbitt and Cage, Stockhausen and Reich, Still's compositions are now considered "conservative" or "Neo-Romantic." Schwerke, along with American composer-conductor Howard Hanson, figured prominently in bringing Still's music before an international audience. Sadly, these performances are often overlooked in many studies.

Shirley's article brings attention to another facet of Still that is under-recognized. Still maintained many close personal and professional relationships with major music figures. A perusal of a list of the correspondence files in the Still-Arvey Papers at the University of Arkansas-Fayetteville, for example, reveals how extensively Still was connected to prominent musical, artistic, and social and political figures throughout his life. He corresponded for decades with musicians and composers active in New York popular music, such as Eubie Blake, W. C. Handy, Andy Razaf, and Clarence Williams. He also corresponded regularly with composers and conductors such as Hanson, Georges Barrere, Edgard Varese, and Leopold Stokowski. These individuals and others assisted Still in many ways--employing him, programming his works, promoting his music--to list a few examples. The collection also contains correspondence that Still and Arvey exchanged with numerous dancers and visual artists from the 1930s and later. Some performed Still's works; some were primarily in Still's and Arvey circle of friends, which included a large number of artists and literary figures. Among his friends active in politics and civil rights were college friend Nimrod Allen, NAACP secretary Walter White, and journalist George Schuyler.

Smith's own articles in her volume are also germinal (though eliciting dissent from Judith Still). She was the first to examine the importance of Still's move to Los Angeles for his career and personal life. Still produced his second through fifth symphonies and all of his operas in California. In "Still in Los Angeles," Smith outlines how Arvey was closely involved in the city's modern music circles, which Still also entered with his move to the West Coast. Smith writes (2000b, 85), "Los Angeles gave Still a relatively relaxed racial climate, a friendly aesthetic atmosphere, and just enough support so he could pursue his career as a composer." Smith also seeks to examine the personal and creative relationship between Still and Arvey in an essay, "they, Verna and Billy," that has proved unexpectedly controversial. Despite the ensuing criticism, Smith raises important questions in this article, for Arvey proved to be Still's amanuensis, muse, librettist, and musical secretary, and the person closest to him throughout the remainder of his life. Smith opened up a new discourse in Still studies; the importance of Verna Arvey is shamefully underestimated in the Still literature. Smith's essay represents what is perhaps the first treatment of Arvey that does not consider her to be a secondary figure to Still. Smith presents Arvey as an intellectual with her own developed artistic personality who pursued her own music and journalism career prior to her association with Still. This new view shows the importance of fairly evaluating Arvey, for she provided the librettos for most of his operas and texts of several of his art songs. Any serious study of Still's operas must recognize Arvey's views and talents equally, for she is his Da Ponte as well as his Boswell.

Seminal articles that deal with specific works began to appear in musicological journals as Still's centennial approached. Studies of Still's vocal music--particularly his operas--seem to have outpaced studies of his instrumental music. Orin Moe's (1990) "Black Music and Musical Analysis: William Grant Still's Songs of Separation as a Point of Departure" provides an extensive analysis of Still's early song cycle and serves as an introduction to Still's style practices. Donald Dorr (1995) leads the way in Still opera studies with "Chosen Image: the Afro-American Vision in the Operas of William Grant Still." Tammy L. Kernodle's (1999) "Arias, Communists, and Conspiracies: The History of Still's Troubled Island" is an important study of Still's first opera to reach production by a major opera company. In 2003, Catherine Parsons Smith edited a special issue of the American Research Journal devoted to Troubled Island. It includes articles by Kernodle, Smith, Shirley, Horace Maxile Jr., myself, and Earnest Lamb. Beverly Soll's (2005) I Dream a World: The Operas of William Grant Still is the first book-length study of Still's oft-neglected operas. Opera occupied a position in Still's output that surpasses that of his symphonies--he wrote nine operas and five symphonies (in addition to tone poems, orchestral suites, and the Konzerstuck, "Kaintuck"). Wayne Shirley's 1994 "William Grant Still's choral ballad And They Lynched Him on a Tree" focuses on another major vocal work. Shirley explores the commissioning and first performance of Still's important political work protesting racial lynching. His article opens up another new avenue of research, pointing out Still's mastery when composing for a large chorus, as well as his political engagement with issues affecting the African-American community. D. Griggs-Janower's (1995) "The Choral Works of William Grant Still" further explores Still's efforts in choral composition.

Study of Still's orchestral music is also underway. Carol Oja's (1992) germinal article "'New Music' and the 'New Negro': The Background of William Grant Still's Afro-American Symphony" focuses on Still's involvement in New York modernist music circles during the mid-1920s. Oja squarely places Still on par with his European and American peers, such as French modernist Edgard Varese (Still's composition teacher, 1923-1925) and American modernists Virgil Thomson, Aaron Copland, and George Gershwin. She treats works from the early part of Still's career, Darker America (1924) and Levee Land (1925), which combine dissonant harmonies with jazz and blues melody and form. Oja breaks new ground by situating Still in the broader context of 1920s and 1930s American musical modernism. She thereby provides a critical study of Still not solely based on race. Her analysis of Levee Land is the first study of this work, which had long been thought lost. Oja (2000) also discusses Still in her more recent book, Making Music Modern. Violinist Rachel V. Huang's (1996) "The Suite for Violin and Piano: William Grant Still and the Harlem Renaissance" focuses on one of Still's most important works for violin (commissioned by virtuoso Louis Kauffman). Appendix A lists articles that treat Still's accordion and organ music.

Still was an important figure in early jazz, musical theater, and the golden years of radio and worked as one of the most highly sought after arrangers in New York during the 1920s and early 1930s. Wayne D. Shirley (1999) wrote the first article to explore Still's radio music. In "Religion in Rhythm: William Grant Still's Orchestrations for Willard Robison's Deep River Hour," Shirley examines several works Still arranged and composed for Robison that are currently archived in the Duke Ellington Collection at the Smithsonian Institution, Washington, D.C. Although not specifically about Still, Mark Tucker's (1996) "In Search of Will Vodery" is important for those researching Still's work in musical theater. Tucker located and studied original compositions and published jazz stock arrangements by Vodery, Still's close associate. (Vodery reportedly subcontracted work for Donald Voorhees to Still, leading to Voorhees later employing Still as his arranger.) By addressing the 1920s jazz arranger and published stock arrangements, Tucker adds another layer to early jazz history. For Still studies, it shows the importance his commercial music arranging had on his early style, giving him "on-the-job-training" that helped him to master orchestration as he matured as a composer.

Dissertations and Theses

The next generation of Still studies is promising. Since 1990, fourteen dissertations and master's theses devoted to Still have appeared. The authors take a variety of approaches to his music (see Appendix A). Most study specific genres, as do Carlos B. Cody, Rosephanye Dunn-Powell, Mark Edward Hussung, Herbert Johnson, Hortense R. Kerr, and Rahimah A. Sultan, who address Still's piano, vocal, and chamber works. Others focus on a single work, as do Paul-Elliott Cobbs, Horace Maxile Jr., Tammy L. Kernodle, and David Allan Tucker. Of the latter, Kernodle and Tucker deal with Still's operas. Dissertations and theses by Lorraine Dixon and myself have also expanded and enriched our understanding, beyond viewing Still as the "Dean of Afro-American Composers," by situating him and his music within the larger context of African-American and American history and culture, especially that of the Harlem Renaissance. Finally, Karen Elaine has explored the relationship between improvised African-American vernacular music and the written, art music tradition.

Discography

I offer a personal anecdote: In 1983, when I was a senior in college and studying composition, I wanted to know if any symphony had been written by an African-American composer. I found one recording and a score of the Afro-American Symphony. For many years, only recordings of Still's Afro-American Symphony or Darker America were available. During his life-time, Still was perennially frustrated by the lack of recording opportunities available to him. Students today are not hampered by the paucity of recordings of Still's music. In the past twenty years, many recordings of his orchestral and chamber works appeared, especially throughout the early 1990s. Impressive growth in the number of recordings has taken place since 1995. Now, ten years later, all major genres in which Still worked are represented on compact disc. Most impressive is the number of recordings of his symphonies and other orchestral works. Three of his five symphonies are available on compact disc, the first, second, and third. His major suites and tone poems are also available; only those early works that Still withdrew and many composed for Paul Whiteman are not on compact disc. One exception, Levee Land, a Varese-era work discarded by the composer, features Still's granddaughter, Celeste Headlee, as soloist.

Although primarily known as an orchestral composer, Still composed a large number of vocal works. He spent a large part of his career in California composing opera, and over the course of his life, completed nine. Of these, Troubled Island, A Bayou Legend, Costaso, Mota, Minette Fontaine, and Highway 1 U.S.A. have been staged. William Grant Still Music Company has made recordings of these operas available. Still also composed major ballets, including Lenox Avenue, Sahdji, Miss Sally's Party and La Guiablesse. Although he did not devote much effort to composing for solo voice, he did set several texts by African-American poets. These vocal works solidify Still's connection to the Harlem Renaissance. His art songs treat poems by Arna Bontemps, Countee Cullen, Langston Hughes, and Paul Laurence Dunbar. Still's major song cycle, "Songs of Separation," draws poetry from several poets. His charming Caribbean Melodies sets texts collected by Zora Neale Hurston on her research trips throughout the Caribbean. His settings of Hughes' "Breath of a Rose," and Dunbar's "Good Night" and "Winter's Approach" are available on several compact discs. Recordings of the art songs are important, for they make available to students and performers works for one or two performers that are easily programmable for recitals and concerts. In keeping with a tradition established by earlier African-American composers, Still arranged spirituals for both solo voice and chorus. His important choral work And They Lynched Him On a Tree, is also now available on compact disc. Several of his solo and choral arrangements have proved enduring favorites for singers and choral conductors and are frequently recorded.

Works for smaller ensembles and solo instrumentalists are also well represented on compact disc, especially his violin and solo piano works. Perhaps the most significant recording of his violin works, Suite for Violin and Piano, performed by Louis and Annette Kaufman (1999), has been reissued. This work has also been recorded by other violinists. Both new recordings and reissues of Still's Danzas de Panama have appeared in the past ten years. Summerland has also proven popular with violinists, often coupled with Danzas de Panama. Although Still was not a pianist, his piano music enjoys a high degree of popularity, as evinced by the number of recordings of Seven Traceries, Three Visions, and his Preludes for Piano. A short encore piece, "Quit Dat Fool'nish" has also proven a favorite among pianists. Among his chamber works, several recordings of Still's Miniatures have appeared since 1995.

New Directions? Recovering Extant Sources

The musical scores, sketches, and recordings are the primary sources for assessing Still's work in both art and popular music. Fortunately, most of Still's art music survives and is preserved at the Still-Arvey Papers in Fayetteville, Arkansas, and at William Grant Still Music in Flagstaff, Arizona. Judith Still, proprietor of William Grant Still Music, is herself a resource, generously willing to assist researchers and answer queries. Prior to the centennial, many of Still's works from the Varese years--such as Levee Land, From the Land of Dreams, From the Journal of a Wonderer--were reported in many sources as having been discarded or destroyed by the composer. Thanks to the efforts of Judith Still, Lance Bowling, Catherine Parsons Smith, and Carolyn Quin, this view may now be corrected. Many of these pieces were not destroyed but either withdrawn or suppressed by the composer. Still became displeased in later years with many of his works from the early 1920s, especially those dating from his study with Varese. Additionally, previous works truly thought to be lost have been recently discovered, such as Three Negro Songs for Orchestra (1921). The manuscript and parts of Still's earliest know art music work, American Suite (1918), are in the Rosenthal Archive of the Chicago Symphony Orchestra. These newly discovered and rediscovered works (with the exception of American Suite) are preserved by William Grant Still Music in Flagstaff.

The bulk of Still's popular music has not yet been recovered. William Grant Still and the Fusion of Cultures updates Haas's catalog of the works and includes some of Still's popular songs ("Brown Baby" and "Memphis Man"), thereby beginning to hint at Still's earliest career when he worked with W. C. Handy (in both Memphis in 1916 and later in New York in 1919) and the years that Still was active in popular music and early jazz as composer, arranger, and performer. Building on Haas (1972) by listing some of Still's popular music, this expanded edition opens up a new area of investigation and suggests that Still played an important role in jazz and musical theater during the late 1910s and early 1920s. Recently, I have undertaken recovery of as many of Still's published stock arrangements as possible. Research in this area is fraught with difficulties. Still is reported to have composed many popular songs under pseudonyms. Many of his arrangements for musical theater, Harry H. Pace's Black Swan label, for radio, and his original compositions for film simply may not survive. Nonetheless, this music should be restored insofar as is possible to the existing Still corpus. Still often characterized his experience as musical arranger for Handy and for musical theater as part of his musical education. Commercial arranging provided the best training available to any composer: he could hear the results of his work within a relatively short amount of time and judge the success of an orchestration or particular technique immediately. Still's orchestral music shows complete control over a large and diverse combination of instruments; his popular music and arrangements no doubt influenced his art-music compositions. Therefore, it is a crucial and essential task to recover the popular music. Once this is done, we will then be able to establish a complete and systematic catalog of Still's works, both art- and popular-music compositions and arrangements. Study of Still's popular music will allow scholars to determine how and to what extent they influenced his art music. Finally, study of the songs and arrangements will allow scholars of popular, radio, and film music to assess Still's contributions to these repertories.

The problems surrounding the recovery of the musical sources extend to the area of biography. The Still Papers contain materials dating back to Still's years in New York. Although this collection is extensive, sources are lacking for the 1910s and the early 1920s, crucial decades in Still's life. During this time, he performed and toured with Handy and worked in the latter's music publishing company. In the early 1920s, Still worked as musical director alongside Fletcher Henderson and Ethel Waters (then a successful stage actress and blues singer) for Harry H. Pace's Pace Phonograph, Inc., and its Black Swan record label. Still provided arrangements and original compositions for several Black Swan recordings, including ones by Waters. Concurrently, Still also performed with dance and musical theater orchestras. A detailed study of his activities during this time has yet to appear. Before this can be done, however, sources documenting his activities during this period need to be recovered.

Once Still's previously thought to be lost music has been located and recovered--especially the popular and film works--researchers can build on the groundwork laid by a systematic thematic catalog and begin preparing a critical edition of Still's complete works. While Judith Still and William Grant Still Music have worked diligently to make Still's compositions available for study and performance, scholarly critical editions are needed. Editions such as these are now available for American composers William Billings, Scott Joplin, and Stephen Foster. A-R Editions has its series Music of the United States (MUSA), which will include a work by Still; Akin Euba, Naomi Andre, and others are currently editing Africa, a suite for orchestra in three movements, for this series. To paraphrase Catherine Parsons Smith following a performance of Africa at the Still Conference at Northern Arizona State University in Flagstaff in 1998, Still's Africa is our American La Mer. Critical study of this work will also contribute to our understanding of how Harlem Renaissance artists and composers began to construct Africa and the African heritage. It serves as a musical complement to Paul Gilroy's (1993) germinal study The Black Atlantic. In addition, Lyn Schenbeck recently rediscovered the score to the musical Shuffle Along, which she is currently editing for MUSA. These eagerly awaited volumes will enable Still researchers to begin to identity the contributions Still made to the landmark musical and will allow Africa to be restored to the Still catalog.

Conclusion

As this general overview of recent research on Still makes clear, we now know more about Still's work than before the centennial. This is partly due to the resurgence of interest during and following the centennial and partly due to those who have been working in this area for decades. Ten book-length publications have appeared between 1990 and 2005 in the three main categories of reference, memoirs, and academic study. Of these ten, half were published by university presses.

Still's indefatigable daughter, Judith Still, has worked diligently to keep his scores available to those who wish to perform them. Her William Grant Still Music Company provides performers and researchers scores, parts, and other materials for sale. She has also generously made herself available to answer researchers' questions. Her publication company, Master-Player Library (with the editorial staff led by Still herself), ensured that the first important reference book on Still, William Still and the Fusion of Cultures in America (Still et al. 1995), not only remained available when it went out of print but appeared in a second edition. The most impressive growth in Still studies, however, is seen in the numerous recordings and rereleases that have appeared during the ten-year period 1995-2005. Almost three decades after the composer's death in 1978 at the age of eighty-three, William Grant Still's music continues to live, freshly interpreted.

The centennial spurred new interest in bringing Still's music, recordings, and writings before the public. Yet there remains much that we do not know about this composer. Smith (Smith 200b) has filled in many details about Still's college years at Wilberforce, providing information about the period just before he began his career as a professional musician. His earliest jobs were as a dance band musician in the Ohio area and with W. C. Handy during the summer of 1916. We still, however, do not have a full picture of Still's activities during his early years in New York, from 1919 when he rejoined Handy to 1923 when he began studying with Varese. Although Still is known chiefly as a composer of art music, he wrote popular songs and orchestrated and arranged for musical theater. He is often credited with many pioneering orchestration techniques devised specifically for radio. After his move to California, he worked in the film industry, providing original music for at least two feature films, as well as stock music for the studios. Our efforts in Still research are hampered by the lack of sources in these areas. Again, painstaking archival research must be done to recover Still's film music.

Those who study individual or groups of Still's work will have to come to terms with issues of race and social class. It will not serve merely to adapt the same methodological and analytic approaches used for common practice or European and American twentieth-century composers and apply them to Still. As a Harlem Renaissance composer, he viewed his music as making a contribution to fighting racism and promoting interracial understanding, although he knew there remained much to be done to overcome prejudice and racism. From the late 1930s onward, Still saw his music as embodying the ideals of American democracy. That he was an African-American art-music composer working in what was perceived as a white world reinforced his personal political beliefs. It is hard to ignore this dimension of the man and of his music, for therein lies the core of his musical aesthetic and many of his compositional choices. And this is the challenge for the next ten years of Still studies.

APPENDIX A

William Grant Still Selected Bibliography, 1990-2005

Archives

William Grant Still Collection. Held in Special Collections, Duke University Library, Durham, North Carolina.

William Grant Still and Verna Arvey Papers, 1894-1991. Special Collections Division, University Libraries, University of Arkansas-Fayetteville, Fayetteville, Arkansas.

William Grant Still Music. Flagstaff, Arizona.

Publications by Master-Player Library

Still, Judith Anne, Dominique-Rene De Lerma, and Lance Bowling. 1998. William Grant Still: An oral history. Flagstaff, Ariz.: Master-Player Library.

Publications by Other Presses

Dargan, William T., and Joan D. Madeksza. 1995. Still going on: A reassessment of the life and works of William Grant Still. Raleigh, N.C.: Saint Augustine's College.

Ottley, Nevilla E. 1995. Still's life in pictures: The life and works of the Indian, Irish, Spanish, Scottish, African-American Composer, William Grant Still 1895-1978. Compiled and written for the centennial celebration of his birth. Tacoma Park, Md.: Classics of Ebony.

Smith, Catherine Parsons, ed. 2000. William Grant Still: A study in contradictions. Berkeley, Los Angeles, and London: University of California Press.

--, ed. 2003. Troubled Island: A symposium. Special issue, American Research Journal 13.

Dissertations and Theses on Still

Cobbs, Paul-Elliott. 1990. William Grant Still's the Afro-American symphony: A culturally inclusive perspective. D.M.A. diss., University of Washington.

Cody, Carlos B. 1990. A study of selected band compositions of three twentieth century composers: William Grant Still, Ulysses Kay, and Hale Smith. Ph.D. diss., University of Southern Mississippi.

Dixon, Lorraine. 1996. The new Negro renaissance in Harlem and the blues: An historical and aesthetic background to Symphony no. 1 (Afro-American) by William Grant Still (1895-1978). B.A. thesis, University of Leeds.

Dunn-Powell, Rosephanye. 1993. The solo vocal writing style of William Grant Still. Mus.D. diss., Florida State University.

Elaine, Karen. 1998. Diverse cultural voices and improvisation in music of the late twentieth century. Master's thesis, University of California, San Diego.

Howard-Hanson, Michelle Denise. 1998. In dying, born to eternal life: William Grant Still, silenced, still speaks. D.M.A. diss., University of Maryland College Park.

Hussung, Mark Edward. 1998. The solo piano works of William Grant Still. D.M.A. diss., University of Cincinnati.

Johnson, Herbert. 1992. The piano music of William Grant Still. D.M.A. diss., Manhattan School of Music.

Kernodle, Tammy Lynn. 1993. Still's Troubled island, a troubled opera: Its creation, performance, and reception. Master's thesis, Ohio State University.

Kerr, Hortense R. 1996. The chamber music for piano and strings of three African-American composers: the Chevalier de Saint-Georges, William Grant Still, and Roque Cordero. D.M.A. diss., Catholic University of America.

Maxile, Horace J., Jr. 1997. Convention and surprise in William Grant Still's Seven Traceries. Master's thesis, Southeastern Louisiana University.

Murchison, Gayle Minetta. 1998. Nationalism in William Grant Still and Aaron Copland between the wars: Style and ideology. Ph.D. diss., Yale University.

Sultan, Rahimah A. 1993. Compositional techniques in selected vocal works of William Grant Still. Master's graduate project, Eastern New Mexico University.

Tucker, David Allan. 1996. A project in direction and reconstruction of the opera, A bayou legend. Master's project, San Diego State University.

Articles

African-American composers. 2001. Organ 80: 74-75.

Andrews, Dwight. 1996. Reflections on composing black. Institute for Studies in American Music Newsletter 25, no. 2: 4-5, 12.

Bowling, Lance. 1997. William Grant Still. Maud Powell Signature 2, no. 1: 23, 32.

Duke library presents musical legacy of William Grant Still. 1994-1995. American Music Teacher 44, no. 3: 4.

Harvey, Bethany. 1999. Flute music of William Grant Still. Flute Talk 18 (January): 20-22.

Kushner, David Z. 2002. The multifaceted nationalism of William Grant Still. American Music Teacher 52 (August-September): 32-35, 95.

McMahan, Robert Young. 1999. Classical music for accordion by African-American composers: The accordion works of William Grant Still (1895-1978) and Ronald Roxbury (1946-86). Free-Reed Journal 1: 19-37.

Murchison, Gayle. Essay on William Grant Still. 1999. In International Dictionary of Black Composers, edited by Samuel A. Floyd Jr., 1065-1072. Chicago and London: Fitzroy Dearborn.

Newman, R. 1994. "East of Broadway": Florence Mills at Aeolian Hall. Sonneck Society for American Music Bulletin 20, no. 3: 9-10.

News and notes. (William Grant Still Music Society now known as the International African to American Music Society) 1998. CBMR Digest 11 (Spring): 3.

Smith, Catherine P. 1997. Harlem Renaissance man revisited: The politics of race and class in William Grant Still's late career. American Music 15: 381-406.

--. 1998. Still and Price in Flagstaff. Sonneck Society for American Music Bulletin 24 (Fall): 74-5.

--. 2004. William Grant Still in Ohio. American Music 22: 203-230.

Southern, Eileen. 1990. Milestones of black-American composition. Black Music Research Journal 10, no. 1: 123-124.

Spencer, Jon Michael. 1994. Theomusicology: Western classical tradition-William Grant Still: Eclectic religionist. Black Sacred Music 8: 135-156.

Still, alive at 100. 1995. Symphony 46, no. 4: 29-30.

Still, Judith A. 1997. Legacy of hope: William Grant Still music. Maud Powell Signature 2, no. 1: 22.

Taylor, Darryl. 1998. The importance of studying African-American art song. Journal of Singing 54 (January-February): 9-16.

Terry, Mickey Thomas. 1998. A second glance: An overview of African-American organ literature. Diapason 89 (May): 18-21.

Tucker, Mark. 1996. In search of Will Vodery. Black Music Research Journal 16, no. 1: 123-182.

APPENDIX B

Selected Discography of Recordings Available on Compact Disc

Africa (piano arrangement)

Africa: A suite for solo piano. Mark Boozer, piano. William Grant Still Music CD-A115 (2001).

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics, 3-7084-2 H1 (1991).

Rhapsody in black and white. Marco Fumo, piano. Dynamic CDS 351 (2000).

American Scene

Music of Afro-American composers. Celeste Anne Headlee, soprano; Patricia Jean Hoy, conductor. Northern Arizona University Wind Symphony, Northern Arizona University NAUWS 003 (1990).

William Grant Still: The American scene. Margaret Astrup, soprano; Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

And They Lynched Him on a Tree

Still: Witness, vol. 2. Yolanda Williams, soprano; Hilda Harris; mezzo-soprano; Philip Brunelle, organ. Collins Classics 14542 (1996).

Aria, for accordion

Contemporary American composers. Pacifica Quartet. CRS CD 0378 (2003).

Art Songs

Amen! African-American composers of the twentieth century. Oral Moses, bass-baritone; George Bailey, piano. Albany Records TROY459 (2001). (Songs of separation.)

The black art song. Kevin Maynor, bass; Eric Olsen, piano. Fleur De Son Classics FDS 57942 (2000). (Songs of separation.)

Dreamer: A portrait of Langston Hughes. Darryl Taylor, tenor; Maria Corley, piano; William Warfield, narrator; Patricia Terry-Ross, harp. Naxos 8559136 (2002). ("A black pierrot" from Songs of separation.)

Fi-yer! A century of African American song. William Brown, tenor; Ann Sears, piano. Albany Records Troy 329 (1999). ("Breath of a rose.")

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra; Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin, Annette Kaufman, piano. Bay Cities BCD 1033 (1991). Reissue of 1938 performance of Lenox Avenue. Reissued in 1999 (Cambria CD1121). (Song for the lonely; Songs of separation.)

Moonlight escapes. Alexa Still, flute; Susan Smith, piano. Koch International Classics 7626 (2002). ("Song for the lonely," arrangement.)

More Still: The music of William Grant Still. Videmus; East Carolina University Steel Orchestra, Mark Ford, director. Cambria, CD-1112 (1999). (Caribbean melodies; "Breath of a rose"; "Grief"; Bayou home.)

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994). ("If you should go" from Songs of separation; Song for the lonely.)

Works by William Grant Still. Videmus. New World Records 80399 (1992). (Songs of separation; Song for the lonely.)

Bayou Home

Amazing grace: An American tapestry. Donna Wissinger, flute; Jon Klibonoff, piano. Eroica JDT3031 (2000). (Arrangement.)

American made. Carlyn Lloyd-Ford, flute; Jon Warfel, piano. Tri-L-Co Music TLC990002 (1999).

Mississippi classic. Keith Pettway, flute; Lois Hobbs, piano. Delta Classic Records DC0101 (2000). (Arrangement.)

More Still: The music of William Grant Still. Videmus. Cambria CD-1112 (1999).

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

William Grant Still: The American scene. Margaret Astrup, soprano; Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

Bayou Legend, opera

Bayou legend. Opera/South, Leonard de Paur conductor. William Grant Still Music CD-A120 (2002).

Bells for piano

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics 7084-2 H1 (1991). (Reissued 1993 as Koch 7084.)

Caribbean melodies

More Still: The music of William Grant Still. Videmus; East Carolina University Steel Orchestra, Mark Ford, director. Cambria CD-1112 (1999).

Carmela for violin and piano

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Reissue of 1938 performance of Lenox Avenue. Bay Cities BCD 1033 (1991). Reissued, Cambria CD-1121 (1999).

Citadel (for voice and ensemble)

William Grant Still: The American scene. Margaret Astrup, soprano; Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

Works, William Grant Still. Videmus. New World Records 80399-2 (1990).

Costaso

William Grant Still, Nathanial Dett: Piano music. Denver Oldham, piano. Altarus 9013 (1996).

William Grant Still: The American scene. Margaret Astrup, soprano; Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

Danzas de Panama (for string orchestra or string quartet)

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Reissue of 1938 performance of Lenox Avenue. Bay Cities BCD 1033 (1991). Reissued, Cambria CD-1121 (1999).

Masterpieces in miniature/Miniatuur meesterstukke. Odeion String Quartet. JNS Musiek JNSD71 (1998).

Oregon festival of American music presents William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Twentieth century American violin works in historic recordings. Kaufman String Quartet. Music and Arts CD 638 (1990).

William Grant Still. Alexa Still, flute; Susan DeWitt Smith, piano; Symphonisches Orchester Berlin, Isaiah Jackson, conductor. Koch International Classics 3-7154-2 H1 (1993).

Darker America

The incredible flutist: American orchestral works. Westchester Symphony Orchestra, M.I.T. Symphony Orchestra, Westfallisches Sinfonie-Orchester, Siegfried Landau, David Epstein, and Paul Freeman, conductors. Vox Box CDX 5157 (1996).

A Deserted Plantation

Piano music: R. Nathaniel Dett and others. Denver Oldham, piano. Altarus AIR-CD-9013 (1995).

Dismal swamp

Afro-American symphony. "Kaintuck", Dismal Swamp. Cincinnati Philharmonia Orchestra, Jindong Cai, conductor. Centaur Records CRC 2331 (1997).

Elegy 

Skinner organ company opus 475, 1926. Ken Cowan, organ. JAV Recordings JAV 118 (2000).

Still: Witness, vol. 2. Yolanda Williams, soprano; Hilda Harris, mezzo-soprano; Philip Brunelle, organ. Collins Classics 14542 (1996).

Ennanga (for harp, string quartet, and piano)

Twentieth century American violin works in historic recordings. Kaufman String Quartet. Music and Arts CD 638 (1990).

Works, William Grant Still. Videmus. New World Records 80399-2 (1990).

Festive overture

A festive Sunday with William Grant Still. Royal Philharmonic Orchestra, Arthur Bennett Lipkin, conductor; North Arkansas Symphony Orchestra; Royal Philharmonic Orchestra, Carlton R. Woods, conductor; Schola Cantorum, Jack Groh, conductor. Cambria Master Recordings CD-1060 (1996).

Five Preludes

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics 7084-2 H1 (1991). (Reissued 1993 as Koch 7084.)

Folk Suite no. 1 (for flute, string quartet and piano)

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

Folk Suite no. 2 (for flute, clarinet, bassoon [or cello], and harp)

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Folk Suite no. 3 (for flute, oboe, bassoon, and piano)

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Folk Suite no. 4 (for flute, clarinet, bassoon [or cello], and piano)

A festive Sunday with William Grant Still. Royal Philharmonic Orchestra, Arthur Bennett Lipkin, conductor; North Arkansas Symphony Orchestra; University of Arkansas, Fayetteville, Carlton R. Woods, conductor; Schola Cantorum, Jack Groh, conductor. Cambria Master Recordings CD-1060 (1996).

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Vintage America: A musical meritage. Calico Winds. Albany Records TROY693 (2004).

Folk Suite for Band

From the delta. Northern Arizona University Wind Symphony, Patricia J. Hoy, conductor. Northern Arizona University NAUWS001 (1994).

From the Black Belt

The incredible flutist: American orchestral works. Music for Westchester Symphony Orchestra, M.I.T. Symphony Orchestra, Westfallisches Sinfonie-Orchester, Siegfried Landau, David Epstein, and Paul Freeman, conductors. Vox Box CDX 5157 (1996).

From the Delta

From the delta. Northern Arizona University Wind Symphony, Patricia J. Hoy, conductor. Northern Arizona University NAUWS001 (1994).

From the Hearts of Women

William Grant Still: The American scene. Margaret Astrup, soprano; Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

Gamin 

Mississippi classic. Keith Pettway, flute; Lois Hobbs, piano. Delta Classic Records DC0101 (2000). (Arrangement.)

La Guiablesse

American dancer. Symphonisches Orchester Berlin, Isaiah Jackson conductor. Koch International Classics 3-7600-2 (1996).

Carousel of American music: The fabled 24 September 1940 San Francisco concerts. San Francisco Symphony Orchestra, Howard Hanson, Richard Hageman, Edwin McArthur, William Grant Still, conductors. Music and Arts Programs of America CD-971 (1997).

William Grant Still, Nathanial Dett: Piano music. Denver Oldham, piano. Altarus 9013 (1996).

William Grant Still. Alexa Still, flute; Susan DeWitt Smith, piano; Symphonisches Orchester Berlin, Isaiah Jackson conductor. Koch International Classics 3-7154-2 H1(1993).

Highway One

Highway One: An opera. University of Miami Symphony, Fabien Sevitsky, conductor. William Grant Still Music CD-A125 (2002).

In Memoriam

George Szell conducts. Cleveland Orchestra, George Szell, conductor, Disco Archivia 330 (1999). Reissue of 1958 performance.

Incantation and Dance (for oboe and piano)

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Works by William Grant Still. Videmus. New World Records 80399 (1992).

Kaintuck'

Afro American symphony, "Kaintuck," Dismal swamp. Richard Fields, piano; Cincinnati Philharmonia Orchestra, Jindong Cai, conductor. Centaur Records CRC 2331 (1997).

Lament

Songs of heart, land, and spirit. Young Singers of Callanwolde; Spivey Hall Children's Choir; Gwinnett Young Singers; Harmony: Atlanta's International Youth Chorus; Stephen J. Ortlip and Henry H. Leck, conductors. Aca EM30001 (1997).

Lenox Avenue

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Reissue of 1938 performance of Lenox avenue. Bay Cities BCD 1033 (1991). Reissued, Cambria CD-1121 (1999).

Lenox Avenue, "Blues" (arranged for piano)

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics 7084-2 H1 (1991), (Reissued 1993 as Koch 7084.)

William Grant Still. Alexa Still, flute; Susan DeWitt Smith, piano; Symphonisches Orchester Berlin, Isaiah Jackson conductor. Koch International Classics 3-7154-2 H1 (1993).

Lenox Avenue "Blues" (arranged for violin and piano)

A fiddler's tale: Recordings from 1942-1952. Louis Kaufman, violin. University of Wisconsin Press LC5882 (2003).

Here's one. Zina Schiff, violin; Cameron Grant, piano. 4tay CD-4005 (1997).

Louis Kaufman plays violin. Louis Kaufman. Bay Cities BCD 1019 (1990).

Oregon festival of American music presents William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Pan-Americana: The violin artistry of Louis Kaufman. Louis Kaufman, violin; Annette Kaufman, piano; Theodore Saidenberg, piano; Columbia Symphony Orchestra, Bernard Herrmann, conductor. Cambria CD-1078 (1996).

Levee Land

Music of Afro-American composers. Celeste Anne Headlee, soprano; Northern Arizona University Wind symphony, Patricia Jean Hoy, conductor. Northern Arizona University NAUWS 003 (1990).

Little Folk Suites nos. 1-5 (for string quartet)

Oregon Festival of American Music presents William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Little Red Schoolhouse

From the delta. Northern Arizona University Wind Symphony, Patricia J. Hoy, conductor. Northern Arizona University NAUWS001 (1994).

Minette Fontaine

Minette Fontaine: An opera. Baton Rouge Opera; Charles Rosekrans, conductor. William Grant Still Music CD-A121 (2002)

Miniatures (for flute, oboe, and piano)

A tree in your ear. Stephen Caplan, oboe, English horn, and others. Musicians Showcase MS1014 (1999).

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Music for a farce and other works by American composers: Paul Bowles, William Grant Still, and others. Stones River Chamber Players. SRCP 1996 (1996).

Thompson: Suite/Persichetti: Parable/Ginastera: Duo for flute and oboe/Schmidt: the Sparrow and the amazing Mr. Avaunt/Still: Miniatures. Peter Christ, oboe; Crystal Chamber Soloists. Crystal Records 321 (1993).

Vintage America: A musical meritage. Calico Winds. Albany Records TROY693 (2004).

Miss Sally's Party

Still: Witness, vol. 2. Yolanda Williams, soprano; Hilda Harris; mezzosoprano; Philip Brunelle, organ. Collins Classics 14542 (1996).

Mother and child

Mississippi classic. Keith Pettway, flute; Lois Hobbs, piano. Delta Classic Records DC0101 (2000). (Arrangement for flute and piano.)

Out of the Silence

Works, William Grant Still. Videmus. New World Records 80399-2 (1990).

Old California

An American celebration, vol. 1. New York Philharmonic, various conductors. New York Philharmonic NYP 9902 (NYP 9903-NYP 9909) (1999).

Pastorela (for violin and piano)

Flute salad. Alexa Still, flute; Susan DeWitt Smith, piano. Koch International Classics 7602 (1996).

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Reissue of 1938 performance of Lenox Avenue. Bay Cities BCD 1033 (1991). Reissued, Cambria CD-1121 (1999).

Oregon festival of American music presents William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

Phantom Chapel

William Grant Still: The American scene. Margaret Astrup, soprano;

Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

Preludes (for flute, strings, and piano)

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

Preludes (for piano)

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics 7084-2 H1 (1991) (Reissued 1993 as Koch 7084.)

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

24/7+7: The complete preludes of Chopin, Gershwin and Still. Roy Eaton, piano. Summit Classical DCD 318 (2002).

The Prince and the Mermaid, Suite

Oregon festival of American music presents William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Popular Music and Songs

American, classic, fantastic! Twentieth-century American organ classics. James D Hicks, organ and piano; Virginia Hicks, soprano; Marnie Kaller, cello. Pro Organo CD 7187 (2003). ("Memphis man.")

The big broadcast: A recreation of a 1930s broadcast. John McLaughlin Williams, conductor. William Grant Still Music CD-A110 (2000). (W. C. Handy and Willard Robison arrangements.)

Happy feet: A tribute to Paul Whiteman. New England Conservatory Jazz Repertory Orchestra, Gunther Schuller, director. GM Recordings GM3048CD (2002). ("After you've gone" [Turner and Layton] arrangements.)

Quit Dat Fool'nish

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Here's One. Zina Schiff, violin; Cameron Grant, piano. 4tay CD-4005 (1997).

Mississippi classic. Keith Pettway, flute; Lois Hobbs, piano. Delta Classic Records DC0101 (2000).

Oregon festival of American music presents William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

William Grant Still, Nathanial Dett: Piano music. Denver Oldham, piano. Altarus 9013 (1996).

William Grant Still. Alexa Still, flute; Susan DeWitt Smith, piano; Symphonisches Orchester Berlin, Isaiah Jackson conductor. Koch International Classics 3-7154-2 H1 (1993).

William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Radiant Pinnacle

William Grant Still, Nathanial Dett: Piano music. Denver Oldham, piano. Altarus 9013 (1996).

Lift Every Voice and Sing (John Rosamond Johnson, arranged by Still)

Works by William Grant Still. Videmus. New World Records 80399 (1992).

Reverie

The road less traveled. Nancy Cooper, organ. Pro Organo CD 7139 (2001). Still: Witness, vol. 2. Yolanda Williams, soprano; Hilda Harris, mezzosoprano; Philip Brunelle, organ. Collins Classics 14542 (1996).

Rising Tide

William Grant Still, Nathanial Dett: Piano music. Denver Oldham, piano. Altarus 9013 (1996).

Romance (for alto saxophone and piano)

An American celebration, vol. 1. New York Philharmonic, various conductors. New York Philharmonic NYP 9902 (NYP 9903-NYP 9909) (1999).

An American concerto tribute to Sigurd Rascher. Lawrence Gwozdz, alto saxophone; Bohuslav Martinu Philharmonic, Kirk Trevor, conductor, Albany Records TROY 331 (1999).

An American exhibition. Kenneth Tse, alto saxophone; Mami Nagai, piano. Crystal Records CD657 (2002).

An American tribute to Sigurd Rascher. Lawrence Gwozdz, alto saxophone; Lois Leventhal, piano, Crystal Records, CD652 (1994).

A festive Sunday with William Grant Still. North Arkansas Symphony Orchestra; Royal Philharmonic Orchestra, Arthur Bennett Lipkin, conductor; University of Arkansas, Fayetteville, Carlton R. Woods, conductor; Schola Cantorum, Jack Groh, conductor. Cambria Master Recordings CD-1060 (1996).

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Related characters. Bill Perconti, alto saxophone; James March, piano. Centaur CRC 2345 (1998).

Remembering Sigurd Rascher. Styliani (Styliani Tartsinis), alto saxophone. Wisteria Records WR-77957 (2001).

Seasons. Michael Hester, alto saxophone; Marie Sierra, piano. Smooth Stone Productions MJ96514 (2001).

Sahdji: A Ballet

Fiesta in hi-fi. Eastman-Rochester Symphony Orchestra and Eastman School of Music Chorus, Howard Hanson, conductor. Mercury 434 324-2 (1992).

Serenade 

William Grant Still: The American scene. Margaret Astrup, soprano; Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

Seven Traceries

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics 7084-2 H1 (1991) (Reissued 1993 as Koch 7084.) An American portrait. Richard Allen Crosby, piano. Capstone Records CPS-8671 (1999).

Black piano: A treasury of works for solo piano by black composers. Monica Gaylord, piano. Music and Arts CD 737 (1992).

Seven traceries. William Cerny, piano. Wilmarc Records EIPLSTL1 (1998).

Three visions and seven traceries. William Cerny, piano. Wilmarc Records WRPCSLTN (1998).

Song for the Lonely

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Bay Cities BCD 1033 (1991). (Reissue of 1938 performance of Lenox Avenue.)

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin and Annette Kaufman, piano. Cambria CD-1121 (1999).

Works by William Grant Still. Videmus. New World Records 80399 (1992).

Spirituals

American dreams: The American music sampler vol. II. Susan DeWitt Smith, piano; Alexa Still, flute. Koch International Classics 7346 (1995). ("Here's one.")

American portraits: The American music sampler. Alexa Still, flute. Koch International Classics 7233 (1994). ("Sometimes I feel like a motherless child.")

A festive Sunday with William Grant Still. North Arkansas Symphony Orchestra; Royal Philharmonic Orchestra, Arthur Bennett Lipkin, conductor; University of Arkansas, Fayetteville, Carlton R. Woods, conductor; Schola Cantorum, Jack Groh, conductor. Cambria Master Recordings CD-1060 (1996). (Three rhythmic spirituals; "I feel like my time ain't long.")

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995). ("Get on board," arranged for woodwinds, string quartet, and piano.)

Here's one. Zina Schiff, violin; Cameron Grant, piano. 4tay CD-4005 (1997). (Arrangement).

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Reissue of 1938 performance of Lenox Avenue. Bay Cities, BCD 1033 (1991). Reissued, Cambria CD1112 (1999). ("Here's one," arrangement.)

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Cambria CD-1121 (1999). ("Here's one.")

Mississippi classic. Keith Pettway, flute; Lois Hobbs, piano. Delta Classic Records DC0101 (2000). ("Here's one," arranged for flute and piano.)

More Still: Music by William Grant Still-Caribbean suite; spirituals; art songs. Videmus; East Carolina University Steel Orchestra, Mark Ford, director. Cambria CD-1112 (1999). ("Here's one.")

Negro spirituals live! In concert. Francois S. Clemmons, tenor; Paul Klein, piano. American Negro Spiritual Research Foundation 8177 2048 3779 (1998). ("Here's one.")

Pacem. National Lutheran Choir, Larry L. Fleming, conductor. NLCA-142 (2001). ("Sinner, please don't let this harvest pass.")

Songs of innocence. Northern Arizona University Chorale, Jo-Michael Scheibe, conductor. NACMO9 (1993). ("Here's one.")

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

The Moses Hogan choral series 2003. Moses Hogan Singers, Moses Hogan, conductor. MGH Records, 10000 (2002). ("Here's one.")

Touch the spirit: The Riverside choir sings spirituals. Timothy Smith, piano; Riverside Choir, Helen Cha-Pyo, conductor. JAV Recordings JAV 116 (1999). ("Here's one.")

Works by William Grant Still. Videmus. New World Records 80399 (1992). ("Here's one.")

Suite (for violin and piano)

American violin. Fritz Gearhart, violin; Paul Tardif, piano. Koch International Classics 3-7268-2 (1996).

Fiddle-de-bop. Linda Rosenthal, violin; Lincoln Mayorga, piano. Town Hall THCD-45 (1995).

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Bay Cities BCD 1033 (1991). (Reissue of 1938 performance of Lenox Avenue.) Reissued, Cambria CD-1121 (1999).

Mississippi classic. Keith Pettway, flute; Lois Hobbs, piano. Delta Classic Records DC0101 (2000). (Arrangement.)

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; and Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

William Grant Still: The American scene. Margaret Astrup, soprano; Manhattan Chamber Orchestra, Richard Auldon Clark, conductor. Newport Classics NPD 85596 (1995).

Works by William Grant Still. Videmus. New World Records 80399 (1992).

Summerland (for violin and piano)

Here's one. Zina Schiff, violin; Cameron Grant, piano. 4tay CD-4005 (1997).

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Bay Cities BCD 1033 (1991). (Reissue of 1938 performance of Lenox Avenue.) Reissued, Cambria CD-1121 (1999).

Mississippi classic. Keith Pettway, flute; Lois Hobbs, piano. Delta Classic Records DC0101 (2000). (Arrangement for flute and piano.)

More Still: The music of William Grant Still. Videmus. East Carolina University Steel Orchestra; Mark Ford, director. Cambria CD-1112 (1999).

Music of Afro-American composers. Celeste Anne Headlee, soprano; Northern Arizona University Wind Symphony, Patricia Jean Hoy, conductor. Northern Arizona University NAUWS 003 (1990).

Natural escapes. Alexa Still, flute; Susan DeWitt Smith, piano. Koch KIC-CD-7634 (2003).

Oregon festival of American music presents William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Spiritual fantasy. Lucius Weathersby, organ. Albany Records TROY440 (2001).

William Grant Still. Alexa Still, flute; Susan DeWitt Smith, piano; Symphonisches Orchester Berlin, Isaiah Jackson conductor. Koch International Classics 3-7154-2 H1 (1993).

Summerland. New Zealand String Quartet; Susan DeWitt Smith, piano; Michael Steer, contrabass; Alexa Still, flute. Koch International Classics 3-7192-2H1 (1994).

William Grant Still. Lyric String Quartet; Oregon String Quartet. Koch International Classics 3-7546-2 H1 (2002).

Works by William Grant Still. Videmus. New World Records 80399 (1992).

"Swanee River" (arrangement)

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics 7084-2 H1. 1991.

Still: Witness, vol. 2. Yolanda Williams, soprano; Hilda Harris, mezzosoprano; Philip Brunelle, organ. Collins Classics 14542 (1996).

Symphony no. 1, "Afro-American"

African heritage symphonic series, vol. 1. Chicago Sinfonietta, Paul Freeman, conductor. Cedille Records CDR 90000 055 (2000).

Afro-American symphony, "Kaintuck'"; Dismal swamp. Cincinnati Philharmonia Orchestra, Jindong Cai, conductor. Centaur Records CRC 2331 (1997).

Afro-American symphony. Royal Philharmonic Orchestra, Karl Krueger, conductor. Library of Congress OMP-106/LCM 2134 (1989).

Afro-American symphony, "Gaelic" symphony, op. 32, e minor. Royal Philharmonic Orchestra, Karl Krueger, conductor. Bridge 9086(1999).

Still, symphony no. 1; Duke Ellington, the river. Detroit Symphony Orchestra, Neemi Jarvi, conductor. Chandos CHAN 9154 (1993).

Symphony No. 2 in G minor ("Song of a New Race")

Carousel of American music: The fabled 24 September 1940 San Francisco concerts. San Francisco Symphony Orchestra, Howard Hanson, Richard Hageman, Edwin McArthur, William Grant Still, conductors. Music and Arts Programs of America CD-971 (1997).

Still/Dawson/Ellington: Symphony no. 2/Negro Folk symphony/Harlem. Detroit Symphony Orchestra, Neeme Jarvi, conductor. Chandos CHAN 9226 (1993).

Symphony No. 3: "The Sunday Symphony"

A festive Sunday with William Grant Still. Royal Philharmonic Orchestra, Arthur Bennett Lipkin, conductor; University of Arkansas, Fayetteville, Carlton R. Woods, conductor; Schola Cantorum, Jack Groh, conductor. Cambria Master Recordings CD-1060 (1996).

Three Visions (for piano)

Africa: Piano music of William Grant Still. Denver Oldham, piano. Koch International Classics 7084-2 H1 (1991).

Black diamonds: Althea Waites plays music by Afro-American composers. Althea Waites, piano. Cambria CD-1097 (1993).

Black piano: A treasury of works ,for solo piano by black composers. Monica Gaylord, piano. Music and Arts CD 737 (1992)

Here's one. Zina Schiff, violin; Cameron Grant, piano. 4tay CD-4005 (1997).

More Still: The music of William Grant Still. Videmus; East Carolina University Steel Orchestra, Mark Ford, director. Cambria CD-1112 (1999).

Natalie Hinderas: Piano music by African American composers. Natalie Hinderas, piano. Composers Recordings CD 629 (1993).

Piano music. Monica Gaylord, piano. Music and Arts CD-737 (1998).

Spiritual fantasy. Lucius Weathersby, organ. Albany Records TROY440 (2001).

Three visions. William Cerny, piano. Wilmarc Records RS189/190 (1998).

William Grant Still, Nathanial Dett: Piano music. Denver Oldham, piano. Altarus 9013 (1996).

Troubled Island

Troubled island. New York City Center Opera Company, conducted by Laszlo Halasz. William Grant Still Music CD-A130 (2003).

Two Vignettes (for violin and piano)

Here's one. Zina Schiff, violin; Cameron Grant, piano. 4tay CD-4005 (1997).

Vignettes (for oboe, bassoon, and piano)

Get on board: American music for woodwinds by William Grant Still. Sierra Winds. Cambria Records CD-1083 (1995).

Lenox Avenue: The music of William Grant Still. CBS Symphony Orchestra, Howard Barlow, conductor; Standard Hour Symphony Orchestra, Henry Svedrofsky, conductor; Louis Kaufman, violin; Annette Kaufman, piano. Bay Cities, BCD 1033 (1991). (Reissue of 1938 performance of Lenox Avenue.) Reissued, Cambria CD-1121 (1999).

Wailing Woman

Still: Witness, vol. 2. Yolanda Williams, soprano; Hilda Harris, mezzosoprano;

Philip Brunelle, organ. Collins Classics 14542 (1996).

Yamekraw (James P. Johnson, arranged by Still)

Rhapsody in black and white. Marco Fumo, piano. Dynamic CDS 351 (2000).

REFERENCES

Arvey, Verna. 1939. William Grant Still. New York: J. Fischer and Bro.

--. 1984. In one lifetime. Fayetteville: University of Arkansas Press.

Brown, Rae Linda. 1990. William Grant Still, Florence Price, and William Dawson: Echoes of the Harlem Renaissance. In Black music in the Harlem Renaissance, edited by Samuel A. Floyd Jr. New York and Westport, Conn.: Greenwood Press.

De Lerma, Dominique-Rene. 1970. Black music in our culture. Kent, Ohio: Kent State University Press.

--. 1995. William Grant Still: A register of his works--A tribute on the centenary of his birth. Flagstaff, Ariz.: William Grant Still Music.

Dorr, Donald. 1995. Chosen image: The Afro-American vision in the operas of William Grant Still. In William Grant Still and the fusion of cultures in American music. 2nd ed. Edited by Judith Anne Still, Celeste Anne Headlee, and Lisa M. Headlee-Huffman, 144-161. Flagstaff, Ariz.: Master-Player Library. First published in Opera Quarterly 4 (Summer): 1-23 (1986).

Dunn-Powell, Rosephanye. 1995. William Grant Still: A synopsis of his life and his songs. Journal of Singing 52, no. 2: 3-13.

Edwards, Benjamin Griffith. 1987. The life of William Grant Still. Ph.D. diss., Harvard University.

Floyd, Samuel A., Jr. 1990. Black music in the Harlem Renaissance. New York and Westport, Conn.: Greenwood Press.

Gilroy, Paul. 1993. The black Atlantic: Modernity and double consciousness. Cambridge, Mass.: Harvard University Press.

Griggs-Janower, David. 1995. The choral works of William Grant Still. Choral Journal 35, no. 10: 41-44.

Haas, Robert, ed. 1972. William Grant Still and the fusion of cultures in American music. Los Angeles: Black Sparrow Press.

Huang, Rachel V. 1996. The suite for violin and piano: William Grant Still and the Harlem Renaissance. Journal of the Violin Society of America 14: 183-95.

Kernodle, Tammy L. 1999. Arias, communists, and conspiracies: The history of Still's Troubled island. Musical Quarterly 83: 487-508.

Leab, Daniel J. 1999. Still, William Grant. In American national biography, edited by John A. Garraty and Marck C. Carnes. New York: Oxford University Press.

Locke, Alain. 1925. The new Negro. New York: A. and C. Boni.

Lost horizon. 1937. Directed by Frank Capra. Columbia Pictures. Film.

Moe, Orin. 1990. Black music and musical analysis: William Grant Still's Songs of separation as a point of departure. Black Music Research Journal 10, no. 1: 89-90.

Murchison, Gayle, 1999. Essay on William Grant Still. In International dictionary of black composers, edited by Samuel A. Floyd Jr., 1065-1072. Chicago: Fitzroy Dearborn.

Oja, Carol J. 1992. "New music" and the "New Negro": The background of William Grant Still's Afro-American symphony. Black Music Research Journal 12, no. 2: 145-69.

--. Making music modern: New York in the 1920s. Oxford and New York: Oxford University Press.

Shirley, Wayne D. 1994. William Grant Still's choral ballad And they lynched him on a tree. American Music 12: 425-461.

--. 1999. Religion in rhythm: William Grant Still's orchestrations for Willard Robison's Deep River Hour. Black Music Research Journal 19, no. 1: 1-41.

Smith, Catherine Parsons. 2000a. Still, William Grant. In The new Grove dictionary of music and musicians. 2nd ed. Edited by Stanley Sadie. London: Macmillan.

--. 2000b. William Grant Still: A study in contradictions. Berkeley: University of California Press.

--, ed. 2003. Troubled Island: A symposium. Special issue, American Research Journal 13.

Soll, Beverly. 2005. I dream a world: The operas of Willianz Grant Still. Fayetteville: University of Arkansas Press.

Southern, Eileen. 1982. Biographical dictionary of Afro-American and African musicians. Westport, Conn.: Greenwood Press.

Spencer, Jon Michael, ed. 1992. The William Grant Still reader: Essays on American music. Special issue, Black Sacred Music 6, no. 2.

Still, Judith. 1990. William Grant Still: A voice high-sounding. Flagstaff, Ariz.: Master-Player Library.

Still, Judith Anne, Celeste Anne Headlee, and Lisa M. Headlee-Huffman, eds. 1995. William Grant Still and the fusion of cultures in American music. 2nd ed. Flagstaff, Ariz.: Master-Player Library.

Still, Judith Anne, Michael J. Dabrishus, and Carolyn L. Quin. 1996. William Grant Still: A bio-bibliography. Westport, Conn.: Greenwood Press.

Stormy weather. 1943. Directed by Andrew Stone. Produced by William LeBaron. Twentieth Century Fox. Film.

Tucker, Mark. 1996. In search of Will Vodery. Black Music Research Journal 16, no. 1: 123-182.

Williams, Peter, ed. 1985. Bach, Handel, Scarlatti: Tercentenary essays. Cambridge, England: Cambridge University Press.

GAYLE MURCHISON is Assistant Professor of Music History at the College of William and Mary. Her publications include articles on William Grant Still and Mary Lou Williams. Her book on the early works of Aaron Copland will be published by the University of Michigan Press. She was awarded an NEH Fellowship 2004-2005 to research a book on William Grant Still's early career in New York, 1919-1934.