Gospels, Spirituals, and More!

Girl with a dove.

Photo Eddie van W.

Gospels, Spirituals, and More!
with Dr. J. Donald Dumpson and Friends

Wednesday, April 19th
12:00pm – 12:50pm
Paley Library Lecture Hall
Light refreshments served. Boyer recital credit given.

Gospel Songs led by singers from the Arch Street Presbyterian Church
Valerie Gay, soprano
Markus Beam, baritone
Dr. Clipper Erickson, piano
Dr. Rollo Dilworth, composer, pianist
Dr. Jay Fluellen, composer, pianist

We are pleased to present one of Philadelphia’s foremost leaders in music, Dr. J. Donald Dumpson, to perform this moving and fun repertoire. Tap your feet, sing along, or just relax and enjoy!

Spirituals and Gospel music are unique African American contributions to the musical culture of the United States. Their origins lie in the syncretizing of African traditions with the Christian culture of Europe. Songs of African American slaves combine the hymns of America, England, and elements of African singing, such as call-and-response between single singers and a group to create a poignant and uplifting repertoire. After the Civil War, groups such as Fisk University’s Jubilee Singers toured America and Europe with performances by a professional choir of arranged spirituals, and efforts to codify and arrange this expressive genre of music began.  Composers such as  the English Creole composer Samuel Coleridge-Taylor (1875-1912) and Canadian-born African American composer R. Nathaniel Dett (1882-1943) incorporated material from Spirituals as the basis for their works. Gospel music initially began for religious worship in the late 19th and early 20th century. Unlike the primarily vocal Spirituals, gospel music incorporated instrumental elements from the start, including everything from the banjo to the piano to the organ. Significant overlap with the ascent of jazz is notable, and the two influenced each other. Gospel music incorporates the virtuosity and complexity of jazz and will often showcase the solo singer.  Today, Gospel’s reach and appeal extend far beyond its original use as music intended solely for church, into concert halls, communities, and films.

photo of Dr. Dumpson

Dr. J. Donald Dumpson

Dr. J. Donald Dumpson was minister of music and arts at Bright Hope Baptist Church from 1985- 2010 and founding conductor and artistic director of the Westminster Choir College Jubilee Singers from 1994- 2011. In November 2015, Dr. Dumpson provided choral preparation for the Philadelphia Orchestra’s world premier of Hannibal Lokumbe’s One Land, One River, One People conducted by Maestro Yannick Nézet-Séguin. He also curated regional singers for the World Meeting of Families Festival of Families Celebration performance featuring Aretha Franklin, Andrea Bocelli, Juanes, the Philadelphia Orchestra, and the Philadelphia Heritage Chorale. The chorale also appeared with jazz bassist Christian McBride at the Merriam Theatre in The Movement Revisited featuring Sonya Sanchez as Rosa Parks and Rev. Dr. Alyn Waller as Dr. Martin Luther King, Jr.

Dr. Dumpson has served as the co-producer of An Evening of Stars, formally known as the Lou Rawls Parade of Stars, benefiting the United Negro College Fund, Inc. For one of the syndicated broadcasts, which honored Quincy Jones, he secured the talents of Bill Cosby, Oprah Winfrey, Stevie Wonder, Whoopi Goldberg, Kenneth “Babyface” Edmonds, Denyce Graves, Nancy Wilson, Macy Gray, Joss Stone, Yolanda Adams, Monique, Tyler Perry, Kirk Franklin, and many more. For that telecast, Dr. Dumpson accompanied opera diva, Denyce Graves. He made his Carnegie debut in March of 2001 when the Westminster Choir College Jubilee Singers performed Porgy and Bess under the baton of the legendary maestro Skitch Henderson. As musical director of the New Jersey Symphony Orchestra Chorus, he prepared the chorus for Hannibal Lokumbe’s God, Mississippi, and a Man Called Evers. The New York Times cited the composer’s statement, “this was the best chorus I have ever heard.” He recently prepared a chorus of regional singers the world premier of A Shepherd Among Us also composed by Hannibal Lokumbe and in 2009 was chorus master for the New Jersey State Opera’s production of Porgy and Bess.

photo of Rollo Dilworth

Dr. Rollo Dilworth

Rollo Dilworth is Professor of Choral Music Education and Chair of Music Education and Therapy at Temple University’s Boyer College of Music in Philadelphia, PA.  In addition to teaching undergraduate and graduate courses in choral music education, Dilworth conducts the “Singing Owls” Campus/Community Chorus. His choral publications can be found in the catalogs of Hal Leonard, Colla Voce, and Santa Barbara Music Publishing. Dilworth frequently serves as a guest conductor and/or clinician for festival and all-state choirs throughout the United States and abroad.  He currently serves as Immediate Past Chair of the Board for Chorus America.

Rochelle Ellis received her DMA Voice degree from Rutgers University. She has performed with orchestras throughout the USA, Europe and Asia. Dr. Ellis is on the voice faculty at Westminster Choir College and Princeton University; she conducts the high school Chorale with the Trenton Children’s Chorus; and she serves as the Teaching Artist for opera workshops with The Princeton Festival.

Clipper Erickson

Dr. Clipper Erickson

Clipper Erickson made his debut as a soloist with the Young Musicians Foundation Orchestra at age nineteen in Los Angeles. After studies at The Juilliard School, Yale University, and Indiana University with the renowned British pianist John Ogdon, his interpretations began earning prizes at international competitions including the Busoni, William Kapell, and the American Pianists Association. He has performed as a soloist with orchestra and as a recitalist in venues such as the Kennedy Center in Washington, D.C., and Weill Recital Hall at Carnegie Hall.  His powerful performances of the great classical repertoire have been described as “colorful,” “powerful” and “exciting.”  In January 2016, Gramophone UK honored Clipper’s disc of the complete piano music of African descent composer Nathaniel Dett, as an editor’s choice, writing: “this historically and musically important release not only fills a crucial catalogue gap but sets reference standards.”  American Record Guide agreed: “Erickson is simply a fabulous pianist, the perfect guide to Dett.”  Clipper teaches at Westminster Conservatory in Princeton and Temple University.

Photo of Dr. Fluellen playing the piano.

Dr. Jay Fluellen

Jay Fluellen, D. M. A. is a Philadelphia born musician, highly sought after as composer pianist, choir director and educator. His doctorate in music composition is from Temple University and his PA certification in K-12 music is from Eastern University. Dr. Fluellen is currently a teacher with the School District of Philadelphia at Northeast High School. He has been commissioned by various performers and institutions, including; Orchestra 2001, Philadelphia Jazz Project, Opera Company of Philadelphia, Network for New Music, Relâche, Singing City, Bucks County Choral Society, The Settlement School of Music, Since January 1997, he has been an organist /choir director at the historic African Episcopal Church of St. Thomas, Fr. Martini Shaw, rector.

Photo of Valerie Gay

Valerie Gay

Valerie V. Gay is an active performer as a solo recitalist and multi-genre vocalist, and is a member of the EVER Ensemble. Val especially enjoys presenting recitals which feature lesser known composers, especially women and composers of color. Some of her recent performing highlights include singing in concert with renowned soprano Kathleen Battle, and being featured in the preview and world premiere of Hannibal Lokumbe’s Can You Hear God Crying and A Shepherd Among Us, respectively. As a student of Dr. Christine Anderson, Val received a MM and Professional Studies Certificate in Vocal Performance from Temple University.

Find out more!

Darden, Bob. Nothing but Love in God’s Water: Black Sacred music from the Civil War to the Civil Rights Movement.  University Park, PA: Penn State Press, 2014.  Web access.

Dixon, Robert M. W., John Godrich, et al.  Blues & Gospel Records, 1890-1943. New York : Oxford University Press, 1997. 4th ed. Paley Stacks.  ML156.4.B6 D59 1997

Graham, Sandra Jean . “Spiritual.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 31 Mar. 2017.

Hillsman, Joan R. Gospel Music : an African American Art Form. Washington, D.C. : Middle Atlantic Regional Press, c1990. Paley Stacks. ML3187.H54 1990

Horne, Aaron. Keyboard Music of Black Composers : a bibliography.  Westport, Conn. ; London : Greenwood Press, 1992.  Paley Stacks.  ML128.B45H68 1992

Marovich, Robert M. A City Called Heaven [electronic resource] : Chicago and the Birth of Gospel Music. Urbana : University of Illinois Press, [2015]  Web Access.  ML3187

Moore, Allan, ed. The Cambridge  Companion to Blues and Gospel Music. New York : Cambridge University Press, 2002.
Web Access and Paley Stacks. ML3521 .C36 2002

Robinson-Martin, Trineice. So You Want to Sing Gospel : a Guide for Performers. Lanham : Rowman & Littlefield, [2017]  Paley Stacks.  MT820 .R72 2017


Beyond the Notes is Temple University Libraries and the Center for the Performing and Cinematic Arts Concert and Performance Series.

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Piano Music from Around the World

Iceland, Norway, Belgrade

Piano Music from Around the World

Charles Abramovic and his Studio

Wednesday, February 15th

12:00pm – 12:45pm

Paley Library Lecture Hall

Light refreshments served. Boyer recital credit given.

On Wednesday, February 15, Paley Library’s Beyond the Notes concert series will present Piano Music from Around the World featuring professor and chair of the keyboard department Dr. Charles Abramovic and his students. This concert will present works by composers who may be little known from around the world, including some places that may not immediately spring to mind. In this post, we will introduce you to some of the composers whose works will be featured.

Vasilije Mokranjac

Vasilije Mokranjac

Serbian pianist and teacher Vasilije Mokranjac (1923 – 1984) was the son of two cellists but entered the Belgrade Music Academy as a pianist. After graduating in 1948, his experiences lead him to turn toward composition and teaching rather than performing. His work brought him to prominence as a professor, earning him numerous awards in his home country. His output includes virtuosic piano works, music for film and theatre, and orchestral works exploring modernist tendencies such as Arnold Schoenberg’s dodecaphony (twelve-tone music) and Igor Stravinsky’s neoclassicism.

Emmanuel Durlet

Emmanuel Durlet

Emmanuel Durlet (1893 – 1977) graduated from the Royal Flemish Conservatory in his native Belgium at sixteen years old. In 1912 he traveled to Vienna to study with Leopold Godowsky, a prominent pianist and composer, but was interrupted by World War I. In 1918, he launched a career as a performer and two years later joined the faculty of his alma mater. In 1933, he added his own music to his repertoire. He ultimately composed numerous works for piano (including pedagogical works for the young) and other instrumental ensembles. He gives his name to the International Emmanuel Durlet Prize for Piano, a competition founded in 1978, which has been awarded to performers born in Belgium, Germany, Austria, Russia, Israel, Armenia, and Brazil, among other countries.

Miriam Hyde

Miriam Hyde

Miriam Hyde (1913 – 2005) studied first with her mother, a pianist and teacher, before attending the Elder Conservatory of Music in her native Adelaide, Australia. Here, she won a scholarship to study at the Royal College of Music in London and began making a name in England – she endured a nervous break while composing her first Piano Concerto, which she premiered in 1934 with the London Philharmonic. In her native Australia, contrarily, a publisher had suggested she change her name to “Hydekovsky” to sound more exotic! Her works as composer, teacher, and even poet yielded pedagogical materials, piano music, art songs, works for orchestra, hundreds of poems, and an autobiography, Complete Accord. She reported that she drew inspiration for her music from everything from nature, poetry, painting, and all of the miscellaneous incidents of life.

Alexandre Rey Colaco

Alexandre Rey Colaco

Portuguese pianist and composer Alexandre Rey Colaco (1854 – 1928) was born in Morocco, the son of French father and Spanish-Portuguese mother. He studied first at the Madrid Royal Conservatory and later at Paris and the Berlin Hochschule für Musik; the latter institution hired him as a piano instructor. In 1887, he settled in Lisbon and became a piano teacher at its Conservatory of Music, where one of his students was the future King Manuel II of Portugal. His works frequently exhibit characteristics of the dance music of both Spain and Portugal and he left behind his memoirs in a book entitled simply De Música.

Viktor Kosenko

Viktor Kosenko

The family of Viktor Kosenko (1896 – 1938) moved from Saint Petersburg to Warsaw shortly after his birth. This city allowed the young boy to hear great performers of the day, supplemented by his mother’s piano playing, singing, and composing. In 1914, World War I caused his family to return to Saint Petersburg, where he was admitted to that city’s conservatory the following year. Through the 1920’s, he gave around a hundred concerts throughout the Ukraine, leading to a prominent position as a teacher, performer, and composer. His music explored Ukrainian characteristics such as modal melodies and he paid special attention to writing music for children.

Augusto Espino

Augusto Espino

Augusto Espino is a graduate of and professor at the University of the Philippines College of Music. He has been involved not only in the piano world as solo performer and orchestral soloist but also in choral and band music.

Arni Egilsson

Arni Egilsson

Árni Egilsson (b. 1939) is an Icelandic composer and bassist who is at home in classical, jazz, and even popular music. Studies in Reykjavík, Hamburg, and the United States lead to studio work with artists such as Tom Waits and Earth, Wind and Fire. In the classical world, he has collaborated with conductors John Barbirolli and André Previn and was for a time a professor of bass at California State University, Northridge.

Ernesto Lecuona

Ernesto Lecuona

Ernesto Lecuona (1895 – 1963), born in Guanabacoa in Havana, Cuba, first learned piano as a child from his sister Ernestina, herself a composer. After studying at Cuba’s Peyrellade Conservatory he toured through Spain and France in the 1920’s. Much of his work was written in the United States, and includes music for film, orchestral concert music, and songs. It is for the latter on which his fame largely rests; he was inducted into the Songwriters Hall of Fame in 1997.

This concert, featuring composers from as far apart as Iceland and Australia, Ukraine and Cuba, has something to meet almost any audience member’s taste. We hope you will be able to experience this music with us!

Beyond the Notes is graciously supported by the Boyer College, Temple University Libraries, and the Arts and Humanities Research Center of Temple University.

Find out more!


*Allan Marett, et al. Australia.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 2 Feb. 2017.

Richards, Fiona, ed. The Soundscapes of Australia: music, place, and spirituality.  Burlington, VT: Ashgate, 2007.


*”Belgium.The Harvard Dictionary of Music, edited by Don Michael Randel, Harvard University Press, 2003. Credo Reference, http://search.credoreference.com/content/entry/harvdictmusic/belgium/0. Accessed 02 Feb 2017.

*”Durlet, Emmanuel.Grove Music Online. Oxford Music Online. Oxford University Press. Web. 2 Feb. 2017. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/46159>.


*Aurelio de la Vega. Lecuona, Ernesto.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

*Gerard Béhague and Robin Moore. Cuba.Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

Jacobson, Gloria. The Life and Music of Ernesto Lecuona.  Thesis (Ph.D.), University of Florida, 1982.


Pandora Hopkins and Thorkell Sigurbjörnsson. Iceland.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

*”Iceland.Fodor’s Iceland, Fodor’s Travel, 2013. General OneFile.


*Salwa El-Shawan Castelo-Branco and Manuel Carlos De Brito. Portugal.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

Silva, João.  Entertaining Lisbon: music, theater, and modern life in the late 19th century. New York: Oxford U Press, 2016.


*José Maceda, et al. Philippines.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 2 Feb. 2017. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/48467>.


*Serbian and Greek Art Music. Katy Romanu, ed. Bristol: Intellect, 2009.

*“Serbia and Montenegro.” The Harvard Dictionary of Music, edited by Don Michael Randel, Harvard University Press, 2003. Credo Reference.


Helbig, Adriana.  Culture and Customs of Ukraine. Westport, Conn. : Greenwood Press, 2009.

*Virko Baley and Sofia Hrytsa. Ukraine.” Grove Music Online. Oxford Music Online. Oxford University Press. Web. 3 Feb. 2017.

Anne Harlow is research librarian for music, dance, and theater at Temple University Libraries.

Robert Pegg is a doctoral candidate in the music composition program at the Boyer College. His advisor is Dr. Maurice Wright.

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A Concert 420 Years in the Making!

Beyond the Notes : Temple Library’s Noontime Concert Series


A Concert 420 Years in the Making

Thomas Weelkes

Thomas Weelkes, 1575-1623.

 Madrigals of Thomas Weelkes and Salamone Rossi
Edward Latham, Mitos Andaya Hart,
Temple Ten
and the
Graduate Choral Literature Singers!
Wednesday, October 12th
12:00 – 1:00pm
Paley Library Lecture Hall

In A Concert 420 Years in the Making, Edward Latham, professor of music theory, Mitos Andaya Hart, professor of choral activities, the Temple Ten, an elite group of Boyer College singers, and the Graduate Choral Literature Singers collaborate in a historic performance of English madrigals by Thomas Weelkes and corresponding Italian madrigals by Salamone Rossi, based on research by Temple physician Eric Altschuler.  Conjectures of Weelkes’ familiarity with the madrigals of Salamone Rossi have been made a number of times based on Weelkes’ using the same texts and the musical similarity of these settings. Althschuler solidified this link statistically; therefore we now know for sure that Weelkes 1597 book of madrigals nos. 13 through 18, correspond to madrigals of Salamone Rossi set in 1589, no.s 7, 6, 2, 11, 15, and 19 both texts and musically, and that Weelkes had to have been familiar with the Rossi set.  On Wednesday, October 12th, at noon in Temple University’s Paley Library, A Concert 420 Years in the Making will bring together these corresponding madrigals in a performance for the first time. To add to the historic importance of this event, none of the Weelkes’ madrigals on this program have previously been recorded.

picture of 17th century English musicians

Mid 17th Century English tapestry. Museum of Fine Arts, Houston.


Madrigals, beautifully expressive secular vocal pieces originated in Italy and increased in popularity through the 16th and 17th centuries. Composed for 3 or more voices, each voice had its own unique florid melody that when sung all together combine to create beautiful music. (Music with several melodies  occurring at the same time is called polyphony.) The expressive and complex melodies found in madrigals necessitate a considerable amount of skill and artistry to compose and to perform. The popular Italian madrigal spread north, and flourished particularly in England after the 1588 publication of Musica Transalpina, a collection of Italian madrigals translated into English. So popular was the madrigal, and so many madrigals were composed by English composers that an “English Madrigal School” developed with its own unique musical characteristics. At the end of the 16th century, the English Madrigal School reached its height with Thomas Morley, John Wilbye, and Thomas Weelkes considered to be the best English madrigalists.

Thomas Weelkes

Thomas Weelkes (1570-1623), arguably the finest English madrigalist, wrote sacred  and instrumental music in addition to madrigals.  His served as organist at Winchester College and as organist and informator choristarum at the Chichester Cathedral.  He presumably suffered from alcoholism and records indicate that he was noted for neglecting his duties and behaving in a disruptive unseemly manner during worship services.  In spite of all this, Weelkes was a prolific composer.  In his first publication (1587) of  Cantus prim[us]. Madrigals to 3.4.5. & 6. voyces, numbers 13 through 18, all for 5 voices, correspond to canzonettes published in 1589 by Italian composer Salamone Rossi.

title page of Rossi's 1589 set of madrigals.

Rossi Primo Libro delle Canzonette, Venice, 1589.


Salamone Rossi   

Salamone Rossi (1570? – 1630),  a contemporary and colleague of Claudio Monteverdi, served as violist at the court of Vincenzo Gonzaga in Mantua. Duke Vincenzo thought so highly of Rossi that a royal decree was issued absolving Rossi from having to wear the yellow patch required of all Jews in Mantua at that time.   Rossi is most known for writing Jewish liturgical music, particularly the Hashirim asher lish’lomo (‘The Songs of Solomon’), a collection of 33 polyphonic settings of Hebrew psalms, hymns and songs.  In addition, Rossi was an important composer of instrumental music, and morphed the instrumental canzona into what we now call the trio sonata. He was known for using vocal compositional techniques for instrumental music. Rossi’s first publication, Primo libro delle canzonette a tre voci (Venice, 1589), directly influenced Thomas Weelkes’ 5 voice madrigals of 1597.

Weelkes 1597 Madrigals on the left, correspond to Rossi 1589 Primo libro delle canzonette on the right. (Cohen, 110)

Weelkes 1597 Madrigals on the left, correspond to Rossi 1589 Primo libro delle canzonette on the right. (Cohen, 110)


photo of Dr. Hart

Dr. Mitos Andaya Hart

Internationally renowned Dr. Mitos Andaya Hart, Associate Professor of Choral Music and Choral Activities, has performed in South Africa, Kenya, Australia, the Netherlands, Sweden, the United Kingdom, Italy, Portugal, Spain, and throughout the United States. At Temple University, Dr. Hart currently teaches undergraduate conducting, graduate choral literature, assists with graduate conducting, and directs the Temple University Singers.
Andaya Hart has Renaissance and other editions published with Alliance Music Publications, and jazz compositions and arrangements with UNC Jazz Press and Hal Leonard.  She is active in the American Choral Directors Association and International Federation of Choral Music, and currently serves as President-Elect of the National Collegiate Choral Organization (NCCO).

photo of Ted Latham

Dr. Edward Latham

Dr. Edward Latham was the recipient of Temple University’s 2008 Lindback Award and the 2007 Teaching Academy Award for excellence in teaching. His research focuses on the interdisciplinary analysis of texted or danced musical works and his publications (in Music Theory Online, Indiana Theory Review, Theory and Practice, Gamut, Dance Chronicle, and Ex Tempore) include articles and chapters on the music of Bach, Debussy, Gershwin, Korngold, and Schoenberg, an article on the analysis of multimedia works, and reviews of the work of Ethan Haimo, Stephanie Jordan, Philip Rupprecht and Arnold Whittall. His recent regional, national and international conference papers have also addressed the intersection of musical and dramatic or choreographic structure in works by Bach, Mozart, and Weill. His book on twentieth-century American opera, Tonality as Drama, was published in 2008 by the University of North Texas Press.

photo of Dr. Altschuler

Eric Altschuler, MD

Dr. Eric Altschuler is an Associate Professor of Physical Medicine and Rehabilitation at the Lewis Katz School of Medicine at Temple University. In addition to his extensive publications in the field of medicine, Dr. Altschuler also writes about Johann Sebastian Bach and the English composer Thomas Weelkes.  Dr. Altschuler’s articles on Weelkes include:

Altschuler, Eric Lewin, and Jansen William. “Shakespeariana in a Thomas Weelkes Dedication from 1600.The Musical Times146.1892 (2005): 83-91.

Altschuler, Eric Lewin, and Jansen William. “Thomas Weelkes and Salamone Rossi: Some Interconnections.The Musical Times145.1888 (2004): 87-94.

Altschuler, Eric Lewin, and Jansen William. “Thomas Weelkes’s Text Authors: Men of Letters.The Musical Times 143.1879 (2002): 17-24. Web.


Find out more!

Scores of Weelkes’ 1597 Madrigals

Weelkes, Thomas, 1575 (ca.)-1623.  Cantus prim[us]. Madrigals to 3.4.5. & 6. voyces. Made & newly published by Thomas Weelkes. At London : Printed by Thomas Este, 1597.

Your Beauty It Allureth.
If thy deceitful looks.
Those sweet delightful lilies.
Lady your spotless feature.
Make haste ye lovers.
What haste, fair lady.

Thomas Weelkes

Brown, David. Thomas Weelkes: a biographical and critical study. New York: F.A. Praeger, 1969. Paley Stacks ML410.W36B8

Brown, David. “Weelkes, Thomas (bap. 1576?, d.1623).” David Brown. Oxford Dictionary of National Biography. Online ed. Ed. David Cannadine. Oxford: OUP, 2004.

Weelkes, Thomas (C. 1575, Elsted?, Sussex – 30 Nov. 1623, London).” The Harvard Biographical Dictionary of Music, edited by Don Michael Randel, Harvard University Press, 2003. Credo Reference.

Salamone Rossi

Iain Fenlon. Rossi, Salamone.Grove Music Online. Oxford Music Online. Oxford University Press.Web.

Newman, Joel and Fritz Rikko. A Thematic Index to the Works of Salamon Rossi. Hackensack, NJ: J. Boonin, 1972. Paley Stacks ML134.R685N5 Library Use Only

Harrán, Don. Salamone Rossi: Jewish Musician in Late Renaissance Mantua. Oxford, 1999. Paley Stacks ML410.R78 H37 1999

The Madrigals

Cohen, Judith. Thomas Weelkes’s Borrowings from Salamone Rossi’, Music and Letters, lxvi (1985), 110–17.

Einstein, Alfred.  Salamone Rossi as Composer of Madrigals’, Hebrew Union College Annual, xxiii/2 (1950–51),383–96.

Fellowes, Edmund H.  The English Madrigal Composers. Oxford, 1948. Paley Stacks ML2631.F46 1948.

Fellowes, Edmund H.  English Madrigal Verse, 1588–1632. Oxford, 1968. Paley Stacks PR1195.M2F4 1968.

Kerman, Joseph. The Elizabethan Madrigal. New York: American Musicological Soc, 1962. Paley Stacks ML2631K47

Roche, Jerome.  The Madrigal. Oxford, 1990. Paley Stacks ML2600.R63 1990.

Many thanks to Temple University Libraries, Boyer College, and the Presidential Humanities and Arts Program for their support of Beyond the Notes.

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Butterfly Lovers

Photo by Xianyi Shen.

Photo by Xianyi Shen.

Beyond the Notes : Temple Library’s Noontime Concert Series


The Butterfly Lovers’ Concerto

Performed by violinist Millie Bai and pianist Joy Bai.

Wednesday, September 28th, 12:00pm – 1:00pm

Paley Library Lecture Hall (Ground Floor)
Light refreshments served. Boyer recital credit given.

Beyond the Notes, Temple Library’s noontime concert series, is thrilled to open the season with a performance of the beautiful Butterfly Lovers’ Concerto by violinist Millie Bai accompanied on the piano by her sister, Joy Bai.

Photo by TanoyPhoto.

Photo by TanoyPhoto.

The ancient Chinese story of the Butterfly Lovers, or Liang Zhu (梁祝), is sometimes considered the Chinese Romeo & Juliet. As with most ancient legends, a number of variations exist, but the basic story takes place during the Eastern Jin dynasty (265-420 AD). The young girl Zhu Yingtai (祝英台) disguises herself as a boy so that she can pursue an education, expressly forbidden for women.  She meets Liang Shanbo (梁山伯), a student and scholar at the school, and they become close friends, Liang believing all the while that Zhu is a boy. Zhu falls in love with Liang but keeps her identity secret. Several years later Liang discovers that Zhu is indeed a woman, and he falls in love with her. But sadly, Zhu’s family has promised her to another, and she must leave the school.  Liang, heartbroken, contracts a severe illness and dies. On the way to her wedding, Zhu and her entourage encounter strong winds and a storm which prevent her from continuing the journey. Finding out that they were near Liang’s grave, Zhu approaches and as she weeps the ground opens and she throws herself into the grave to be with Liang forever. When the grave closes, the spirits of Zhu and Liang emerge as two butterflies never to be separated again.

The beautiful Butterfly Lovers’ Concerto by He Zhan-Hao and Chen Gang, although written for a symphony orchestra and solo violin, features Chinese musical elements such as the pentatonic scale, Chinese melodies, and chords. The composers, He Zhan-Hao and Chen Gang, wrote the concerto while they were students at the Shanghai Conservatory. The premier in 1959 was part of the 10 year anniversary celebration of the founding of the People’s Republic of China. In the late 1970s, the Butterfly Lovers’ Concerto became an emblem for change and China’s new openness to western art forms after the restrictive years of the Cultural Revolution. In the version to be performed the orchestral parts are played by the piano.

Mille Bai, violin and Joy Bai, piano

At the age of 17, MILLIE BAI began her self-study of the violin, taking lessons occasionally with professional musicians. Four years into her violin studies, while working full-time as a factory employee under the system at the time during China’s Cultural Revolution, she won the 1975 audition for a position in the Shanghai Opera House Orchestra. Due to her factory occupational assignment by the Chinese government Ms. Bai was initially rejected as a member of the orchestra. The audition judges were so impressed with her playing that it was agreed that the opera house would “borrow” her from the local factory to perform with the orchestra, however, without compensation beyond receiving meal tickets. She played with the Shanghai Opera House Orchestra for almost two years until the Cultural Bureau of Shanghai terminated her engagement and ordered her return to the factory. Later, after successfully passing multiple rounds of auditions, Ms. Bai was enrolled in the extension division of the Shanghai Conservatory of Music because, by this time, she had surpassed the maximum age limit for entry into the college division. Two years later, her recorded audition earned her admission to the New School of Music in Philadelphia where she was granted a four-year full scholarship to study with world-renowned teacher and musician, Jascha Brodsky, first violinist of the original Curtis String Quartet. Ms. Bai continued her studies with Mr. Brodsky following the New School’s merge with Temple University’s Boyer College of Music. Shortly after receiving her Master of Music degree, Jascha Brodsky appointed Ms. Bai as his teaching assistant until his retirement in 1996. In addition to teaching, Ms. Bai regularly performs in recitals with her sister, pianist Joy Bai, and in other chamber music and orchestra concerts.


Find out more – Read!

Dai, Fan. Butterfly Lovers: a tale of the Chinese Romeo and Juliet. Dumont, NJ: Homa & Sekey, 2000.  Paley Stacks PS3554.A2 B87 2000

Idema, Wilt L., ed. and trans. The Butterfly Lovers: the Legend of Liang Shanbo and Zhu Yingtai, four versions, with related texts.  Indianapolis: Hackett, 2010.  Paley Stacks GR335.4 .L53B88 2010

Qingge, Zhao. The Legend of White Snake [and] Liang Shanbo and Zhu Yingtai (The butterfly lovers).  New York: Better Link Press, 2008. Paley Stacks GR335.4 .L68L34 2008

Sieber, P. and Sieber, P. (2009). Butterfly Lovers. In L. Cheng (Ed.), Berkshire Encyclopedia of China: Modern and historic views of the world’s newest and oldest global power. Great Barrington, MA: Berkshire Publishing Group. Retrieved from http://search.credoreference.com/content/entry/berkchina/butterfly_lovers/0

Smith, Ken. “On the Wings of Love – The Butterfly Lovers has survived revolution and political turmoil to become one of the best-loved 20th-century violin concertos.” The Strad, May2005, Vol. 116 Issue 1381, p56-63.

Find out more – Listen!

Chen, Gang and He, Zhanhao. The Butterfly Lovers’ Violin Concerto.  Yellow River, 1992,http://temple.naxosmusiclibrary.com/catalogue/item.asp?cid=82031#  (Temple authentication required.)

Find out more – Watch!

Butterfly Lovers[videorecording].  Catherine Hun, producer, screenplay by Jingle Ma.  Kowloon, Hong Kong: Mei An Entertainment, 2008. Paley Media Services PN1997.2 B888x 2008

The Lovers [videorecording] Hong Kong: Universe laser, 2002. Paley Media Services DVD 16 342

Find out more – In depth

Cheung, Chan-Fai. “Western Love, Chinese Qing, a Philosophical Interpretation of the Idea of Love in Romeo and Juliet and The Butterfly Lovers.” Journal of Chinese Philosophy, 12/1999, Vol. 26 Issue 4, p469-488. doi:10.1111/j.1540-6253.1999.tb00553.x

Yinxian, Gao.  “The Karmic Affinity of Liang Shanbo and Zhu Yingtai” in  Heroins of Jiangyong: Chinese Narrative Ballads in Women’s Script, trans. and intro. by Wilt Idema.   pp.123-134. http://site.ebrary.com/lib/templeuniv/reader.action?ppg=132&docID=10519789&tm=1472065332294

Xu, L. “The Lure of Sadness: The Fever of Yueju andThe Butterfly Lovers in the Early PRC.” Asian Theatre Journal 33.1 (2016): 104-129. Project MUSE. Web. 24 Aug. 2016. <https://muse.jhu.edu/>.

Beyond the Notes is supported by the Boyer College, Temple University Libraries, and the Presidential Humanities and Arts Research fund.















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Beyond the Notes Announces 2016-2017 Season!

Beyond the Notes, Temple University Library’s popular and award-winning noontime concert series, announces a varied, imaginative and fun 2016-2017 season!

All concerts are 12:00pm-1:00pm, Paley Library Lecture Hall.
Light refreshments served.
Boyer recital credit given.

Mille Bai, violin and Joy Bai, piano

Millie Bai, violin and Joy Bai, piano

Violinist Millie Bai, accompanied by her sister Joy Bai, open the season with the beautiful Butterfly Lover’s Concerto. Millie will share her extraordinary life story, and tell us how Chinese art and calligraphy inform and influence her interpretation of the concerto.

Wednesday, September 28th, 12:00pm – 1:00pm.


Thomas Weelkes

Thomas Weelkes, 1575-1623

In A Concert 420 Years in the Making, Edward Latham, professor of music theory, Mitos Andaya Hart, professor of choral activities, and the Temple Ten, an elite group of Boyer College singers collaborate in a historic performance of English madrigals by Thomas Weelkes and corresponding Italian madrigals by Salamone Rossi, based on research by Temple physician Eric Altschuler.

Wednesday, October 12th, 12:00pm – 1:00pm


folk guitar


Returning to the library, the ever-popular and enormously talented students of Allen Krantz will beguile us with beautiful classical  guitar music.  Beyond the Notes and Temple Libraries enthusiastically welcome back Professor Krantz and his students and thanks them for sharing their exquisite artistry with us.

Wednesday, November 9th, 12:00pm – 1:00pm



Johann Sebastian Bach being silly.

Do you feel like this during finals?

What can be better than coffee during finals and study days?  Coffee with the Coffee Cantata!  Join us as graduate students and faculty from the Boyer College turn the library’s Lecture Hall into a coffeehouse. Sip coffee and sample treats from all over the world while enjoying the hilarious Coffee Cantata and more by none other than the great Johann Sebastian Bach, who said “Give me some coffee or I will turn into a goat!” Anais Naharro-Murphy, Benjamin Katz, Matthew Lulofs, Brandon McShaffrey and more collaborate in costume for a partially staged performance that is not to be missed.

Wednesday, December 14th, 12:00pm – 1:00pm


Spring Semester Features – Save the dates!

Ring in the New Year – music inspired by and performed on keyboard and bells!
Joyce Lindorff and friends
Wednesday, January 25th, 12:00pm – 1:00pm

Classical Music for Piano from Unexpected Places
Charles Abramovic and studio
Wednesday, February 15th, 12:00pm – 1:00pm

The Beggar’s Opera – a Timely and Timeless Political Satire
Marcus DeLoach and Brandon McShaffrey with Temple Opera Theater
Wednesday, March 8th, 12:00pm – 1:00pm

An Afternoon of Gospel and Spirituals
Dr. J. Donald Dumpson
Wednesday, April 19th, 12:00pm – 1:00pm

All concerts are 12 – 1pm in the library’s Lecture Hall and are free and open to the public.

Many thanks to Temple University Libraries, Boyer College, and the Presidential Humanities and Arts Program for their support of Beyond the Notes.

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Shhh…. a Contest!

Beyond the Notes banner

Contest banner

Renowned composer Maurice Wright and Sandra James, computer artist, speak about their music/art installation!

Wednesday, February 10th, 12:00pm – 12:45pm
Paley Library Lecture Hall
Refreshments served.
Boyer recital credit given.

Answer the question to win a $10 gift certificate!

What is SEAMUS?
Remember to cite your source for extra chances to win!

Contest Rules:

  • You can only enter once.
  • The deadline for entering is 10:00 p.m. on February 9th.
  • You must be present at the event to receive the prize!

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Scarlatti Marathon Contest!

Scarlatti Marathon!
Paley Library Lecture Hall
10:00am – 6:00pm
Refreshments served. Boyer recital credit given

Answer the question to win a $10 gift certificate!
1685 was a very good year! What three renowned classical composers were born that year?
Remember to cite your source for extra chances to win!

Contest Rules:

  • You can only enter once.
  • The deadline for entering is 10:00 p.m. on January 26th.
  • You must be present at the performance to receive the prize!

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Scarlatti Marathan!

Wednesday, January 27th
10:00 am – 4:00 pm
Paley Library Lecture Hall

Why? Because there is never enough Scarlatti!

Portrait of Domenico Scarlatti

Domenico Scarlatti  1685 (same year as J.S. Bach!) – 1757

Domenico Scarlatti’s keyboard sonatas, expressive and elegant, quintessentially baroque, transport the listener to a time of grace and beauty with the charm and freshness of the Spanish and Portuguese countryside. One would never guess that the composer of this gorgeous music had a difficult beginning to his career.

A Coming of Age Story

Being born into a family of musicians undoubtedly can and usually does provide many benefits, but for the young and extraordinarily talented Domenico Scarlatti, a typical father-son competition ensued.  An authoritarian father with a fragile ego, Domenico’s father, opera composer Alessandro Scarlatti, placed obstacles in the way of his own son’s career. Alessandro first sent Domenico, at age fifteen, to Naples, then to Florence, back to Naples, forcibly removed him from his positions in Naples and from Rome, and eventually sent Domenico to Venice. However, a talent like Domenico’s cannot easily be hidden.  In Venice, Domenico participated in a keyboard competition with Georg Frederic Handel. Handel proved superior on the organ, but tied with Domenico on the harpsichord. Handel said about Scarlatti  that “besides his great talents as an artist he had the sweetest temper, and the genteelest behavior,” and the two held each other in mutual esteem. While in Rome, Marquis de Fontes, Portuguese ambassador, noticed Domenico’s extraordinary talent, which later led to Scarlatti’s appointment in Lisbon as the Maestre of the Royal Chapel to Juan V.  In Lisbon, Scarlatti taught Maria Barbara, who was to become the Queen of Spain.  Scarlatti also met Carlos Seixas, and through him learned to combine Andalucian folk melodies into his music.

Flamenco, Seguidilla, Fandango!

As you listen to this music, you may find yourself tapping your toes! That’s ok! Andalucian folk music sounds a little like flamenco. Gypsies created flamenco combining Spanish, Moorish, and Jewish melodic and harmonic elements from the folk music of the Andalucian peninsula.  Melodically, Andalucian folk music uses phrygian mode but in the Moorish version, e, f, g sharp, a, b, often with a tension between the g and g-sharp. Harmonically, these folk songs often switch between major and minor keys, using the same melodies in first one, then in the other mode. Scarlatti incorporated these techniques into his music and also included dance-like passages from flamenco, bulerias, seguidilla, fandango (3/8 time), and canarios. On the humorous side, the theme for the Cat’s Fugue K30, was said to be invented from a kitten’s steps on a keyboard.

Our Artists

Joyce Lindorff

Joyce Lindorff
Professor of Early Keyboard

Charles Abramovic

Charles Abramovic,
Chair, Keyboard Studies

Clipper Erickson

Clipper Erickson,
Temple faculty

Ted Latham

Dr. Edward Latham, Professor of Music Theory







Our Scarlatti Marathon will feature performances by Temple’s world-renowned faculty including Joyce Lindorff, Charles Abramovic, Clipper Erickson and Ted Latham.  Joining the faculty will be Boyer all-star student artists on the harpsichord, piano, and guitar.

Scarlatti Marathon – A Sparkling Celebration of Music!
Come for a little, stay for a while!
Wednesday, January 27th
10:00 am – 4:00 pm
Paley Library Lecture Hall
Light refreshments served. Boyer recital credit given.
Be prepared to be dazzled!


Contest! Answer this question about Scarlatti to win a $10 Barnes & Noble gift certificate!

Listen to Scarlatti’s music!

Domenico Scarlatti on YouTube.

Domenico Scarlatti on Naxos Music Library. (requires Temple authentication)

Find out more!

Boyd, Malcolm. Domenico Scarlatti, Master of Music. London: Weidenfeld and Nicolson, 1986.

“Domenico Scarlatti”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2016. Web. 14 Jan. 2016

Kirkpatrick, Ralph. Domenico Scarlatti. Princeton: Princeton U. Press, 1953.

Pagano, Roberto. Alessandro and Domenico Scarlatti: Two Lives in One. Trans. Frederick Hammond. Hillsdale, N.Y.: Pendragon, 2006.

Roberto Pagano, et al. Scarlatti.Grove Music Online. Oxford Music Online. Oxford University Press. Web. 22 Dec. 2015.<http://www.oxfordmusiconline.com/subscriber/article/grove/music/24708pg7>.

Sitwell, Sacheverell. A Background for Domenico Scarlatti, 1685-1757: Written for his Two Hundred and Fiftieth Anniversary. Westport, Conn.: Greenwood Press, 1970.

Vidali, Carole Franklin. Alessandro and Domenico Scarlatti: a Guide to Research. New York: Garland, 1993.

Williams, Peter, ed. Bach, Handel, Scarlatti, Tercentenary Essays. New York: Cambridge U. Press, 1985.


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