Weber State University Department of Performing Arts & the College of Arts and Humanities present Friday, 20 January 2006 Austad Auditorium Val A. Browning Center for the Performing Arts ere a OT nee Make a Joyful Noise! RR gg a ae = the 6th Annual WSU Gospel Music Festival Weber State University Department of Performing Arts presents Joyful ‘A Makeerie se! the 6th Annual WSU Gospel Music Festival Friday, 20 January 2006 * 7:30 pm Austad Auditorium Val A. Browning Center for the Performing Arts Mistresses and Master of Ceremony Stacy Baker, Nate Clayton, Carolyn Davis, Ptoshia Merrills Program Order ccd eee. Master Plan, Washington Heights Baptist Church Quartet Preludés2.5 5.4 Black National Anthem............ Glory Johnson-Stanton, Glory Shekihah Stanton WeltOMe?. <. ic arte es cee Set Ne. Steasyn Baker, Aanjel Clayton, Jarin Clayton History: WSU Gospel Music Festival........... ....Caril Jennings, Karleton Munn Thibute'to Rosa Parks. SOO see OP 22585 SEN sed aa Se eg cle bee Fie Re REL Ae Soe es ba eee Jackie Thompson ee os" James Morris First United Combined Choir Master Chorales Unity Baptist - WSU Concert Choir | New Zion Baptist Church Male Chorus Cibo es pine Ee aT GG A ees a es Shauna Robertson Calvary Baptist Church Scholarship Announcement/ Acknowledgements . . Karlteton Munn, Safiyyah Usman Special-Presentations.0 50:00 0s Bet aba et peat besa ep ome Keith Wilder, Toni Price Hill Air Force Base Inspirational Choir /Male Chorus (Finale) GospeL Music STATEMENT BY BERNICE JOHNSON REAGON curator of the Wade in the Water Smithsonian Traveling Exhibit The African-American worship community—the Black Church in its largest expression—has been the nurturing institution for one of the world’s greatest music cultures. Here we are looking not only at specific practices taking place over a 200 year period within organized religious services, but at the roles sacred music and worship have played in shaping the sound and rhythm of African-American culture as a whole. You will find. . . that the influence of the worship tradition and history of African-American music—in structure and content—influences mainstream music culture worldwide. Any discussion about the contemporary culture of the United States of America should also include a discussion of the African-American music tradition; for African-American music has had a profound impact on the development of contemporary mainstream music culture. However, most participants—musicians and consumers—are woetully ignorant of the source of their expressions, performance traditions and general cultural aesthetics. Regardless of the racial, ethnic, and class composition of the musicians and audience, the wey te voice is used, the way instruments are held and played, the way the instruments sound, the way the audience responds in a contemporary concert, the dialogue between performer and audience—all of the characteristics of comeniporeny popular music culture can be traced to the AfricanAmerican worship tradition. To understand this point, think about a concert you have attended. Can you see the guitarist, the drummers in the band? Do you see the singer/s moving across the stage instead of performin with little or no movement? Listen to the way the voices sound when the performers sing. Watch the audience listening and responding to the music. Watch the pianist at the keyboard and hear the way the piano is played; in some situations the piano becomes almost percussive, like a kind of drum. Then think of yourself and your friends responding to the music, up on your feet, sometimes singing along with the artists, and sounding your voices in approval within the performance. Listen to the performer as you let yourself go and get “in the music.” : All of these characteristics and ways of creating and enjoying music that are now the language of popular music culture came into contemporary culture by way of the performance traditions of the African-American church. Compare the way instruments are held or played in symphonies or chamber music groups to rock and roll bands or contemporary gospel groups. Through this Ba dase you can observe a performance tradition that is influenced by African traditions and another performance tradition influenced by European classical music traditions. In the United States, both of these had an impact on the African-American sacred music tradition. This guide will help show how cultural blends occurred. It is important to understand how African-American music influences many, many other music forms. It is also important to understand the history, structure, and community base of African American music itself. Song repertoire and singing are integral to understanding the sound of African-American cultural history. At each stage of the development of the African-American community, songs and singing documented issues and attitudes of the era illuminating the movement of the people from one period to another and from one stage of economic and social development to another. The story of struggle and searching documented in AfricanAmerican songs is a Black story. It is also very much an American story. Writer Ralph Ellison was concerned with integration of cultures when he argued for the acceptance of African-American folk expression as a vital part of the larger American cultural landscape: The history of the American Negro is a most intimate part of American history. Through the very process of slavery came the building of the United States. Negro folklore, evolving within a larger culture which regarded it as inferior, was an especially courageous expression. It announced the Negro’s willingness to trust his own experience, his own sensibilities as to the definition of reality, rather than allow his masters to define these crucial matters for him. His experience is that of America and the West, and is as rich a body of experience as one would find anywhere. We can view it narrowly as soreetlan exotic, folksy or “low down” or we may identify ourselves with it ad recognize it as an important segment of the larger American experience—not lying at the bottom of it, but intertwined, diffused in its very texture. ... The evolution of sacred music over the past two centuries is an unbroken and dynamic story of cultural, social, and political development. From the days of slavery, when African Americans expressed their feelings with spirituals and lined hymns, through the joyous compositions of modern Bospe eroups, African-American music provides a rich data base for understanding the formation and survival of the African-American community. This opening statement is excerpted from the WADE IN THE WATER Educators’ Guide, a publication of the Smithsonian Institution. For more information: http: / / www.si.edu/ sites /exhibit/wade.htm WSU Gospel Music Festival 2006 OU Sponsors Committee Ore Rita Martin, co-chair Toni Price, co-chair Ue the ahaa co Keith Wilder, co-chair President a oe WSU College o Arts & Humanities Jeremy Dowd WSU Department of Performing Arts ee WSU Diversity Center mea Caril Jennings David Martin ~ Karleton Munn Cole Pravence WSU Services for Safiyyah Usman | Multicultural Student WSU Black Scholars United WSU African American Emphasis Week 13-17 February 2006 (current as of 1/17/2006) Wednesday February 1: Paul Rusesabegina - Hotel Rawanda ¢ Ballroom Wednesday, February 8: Charles Holt - Black Boy * WildCat Theatre For more information contact: Toni Price, MSW, CSW WSU Services for MultiCultural Students Counselor African American Students Area Council Advisor Black Scholars United (BSU) Advisor 1116 University Circle * Ogden, Utah 84408 801-626-7332 © tprice4@weber.edu Jazz in the Junction with Joe McQueen and Friends Wednesday, February 1, 7:30 pm ‘Free ¢ Junction, Shepherd Union Building * well behaved children are welcome! Weber State University Department of Performing Arts * Spring 2006 All performances at 7:30 unless otherwise indicated Jan 24 Faculty Feb1 1-4 2 Jazz in the Junction: McQueen & Furch Top Girls (adult themes) Utah Saxophone Quartet Chamber Music Free 28@4:00 High School Honor Band ; Free 31 Top Girls (adult themes)...WSU students only. Wildcard Required. No others admitted 6 Free $8.50 /$5.50 Free Free , The Formosan Violin-Piano Duo eee $8.50/$5.50 ed. No others admitted | $8.50/$5.50 : 11 12 13-15 18 Free Free $4.50/$3.50 $4.50/$3.50 $8.50/$5.50 - WSU Faculty Strin WSU Percussion Ens WSU Concert Choir... Orchesis Dance Theatre... WSU Symphonic Band .... $4.50/$3.50 19 22@8:30 23 *24 Opera Scenes : $4.50/$3.50 Junction City Big Band Dance. : 1 for lessons at 7:15, $5 for dancing at 8:30 Weber State Symphony Orchestra Concerto Night $4.50/$3.50 WSU Strin Chainer Ensembles Free 25. Whiting for Godot (adult themes)......... WSU students only. Wildcard Required. No others admitted 25 26-29 26 May1 6 12@8:30 WSU Jazz Ensemble Whiting for Godot (adult themes) Flute solo recital @7:00 WSU String Project Concert New American Symphony Junction City Big Band $4.50/$3.50 7 $8.50 /$5.50 Free Donation requested $4.50/$3.50 $1 for lessons at 7:15, $5 for dancing at 8:30 More info? Call the Performing Arts Hotline at 626-6800 or check our website: www.departments.weber.edu /PerformingArts Tickets: Dee Events Center Ticket office * 1-800-WSU-TIKS f In the event it becomes necessary to evacuate the building because of an emergency, please note that exits are located to Dats left and right. Please identify the exits closest to your location and, if necessary, proceed in an orderly manner to a safe area away from the building. Unless previously authorized, cameras and recording equipment of any kind are not allowed at Department of Performing Arts performances. Out of courtesy to our performers and other patrons, please turn off all cell phones, watch alarms and beepers. ~