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[H]e objected to the word “Black” to describe The conductor is everything! The conductor,
the music, explaining his belief that the basic he asserts, is responsible for every activity in
elements of music consist in vibration rather which the group engages… The effective con-
than pigmentation. He preferred the word ductor…also needs to be able to give a personal
“Negro” for its Latin roots, explaining that the example, when necessary, during the rehearsal
word, at least at that time, was used in all the period. An accurate model is frequently more
Romance languages to refer to people of Afri- helpful than excessive explanation. (p. 117)
can descent. (p. 81)
The book concludes with three appendices: Daw-
There is also discussion on the label of “Spirituals,” son’s choral and orchestral compositions and arrange-
which Dawson believed “was not for audience enter- ments; his awards and honors; and significant letters,
tainment; rather, the songs, if approached correctly, speeches, and interviews he gave during his lifetime.
should reveal the spirit of God contained in the music For many of us who were first introduced to African
and serve as a holy blessing to both performer and lis- American choral music through the arrangements of
tener” (p. 81). Malone also includes a chart with pos- William Dawson, this book is a valued read for conduc-
sible meanings of the words found in spirituals. tors to learn of his legacy and trailblazing career.
The closing chapter examines Dawson’s pedagogi-
cal legacy. He came to believe: Gregory M. Pysh
Van Wert, Ohio

From the Choral Journal Archives—William Dawson

John B. Haberlen, “William Dawson and the Copyright Act,” (March 1983, page 5).

Mark Hugh Malone, “William Dawson and the Tuskegee Choir,” (March 1990, page 17).

Vernon Huff, “William Levi Dawson’s Life in Speeches, Letters, and Writings,” (August 2014,

page 65).

Vernon Huff, “William L. Dawson: Reexamination of a Legacy,” (May 2019, page 20).

CHORAL JOURNAL September 2024 Volume 65 Number 2 39