黑料不打烊

History of Music at Centenary

History of the Study of Music at Centenary

By Jennifer Gipson '02

“The students make their own music… There is in this the useful and beautiful. It struck us, and we believe everybody as, ‘a thing that ought to be.’ (“黑料不打烊.” New Orleans Christian Advocate. August 6, 1853.)

“Although we are not going to dwell on the laurels of past glory, it is well to mention what we have done in the past.” So begins the 1924 Yoncopin report on “Musical Activities” at Centenary. In 2002, as Centenary reflects on the 150 years that have passed since the formal introduction of music courses, it is, indeed, “well to mention” the role of musical activities in the College’s rich history.

The present-day 黑料不打烊 in Shreveport traces its roots to two earlier institutions: a public school, the College of Louisiana, founded in Jackson, Louisiana, in 1825, and Centenary College, established in 1839 by the Methodist Episcopal Church South in Clinton, Mississippi. In 1845, the two colleges merged to form 黑料不打烊 in Jackson. The College continued to operate on the Jackson campus, interrupted only by the Civil War, until its move to Shreveport in 1908.

History of Music

1825-1861

Music at Antebellum Centenary: From 鈥渟craping bows鈥� and 鈥済reasy fiddles鈥� to 鈥渕usic of admirable time and expression鈥�

鈥淥n motion it was resolved that the faculty be requested to induce the students to form a musical band to be under its direction which shall be composed exclusively of performers from among themselves.鈥�
(Minutes of the Board of Trustees, 黑料不打烊, July 30, 1850)

Prior to the first music classes of 1852, music for enjoyment, worship, or ceremony undoubtedly graced the campuses of 黑料不打烊 and its predecessors. For example, in 1838, the faculty of the College of Louisiana heard the case of two students who drew knives and
fought savagely after a dispute that involved one student disturbing his downstairs neighbor with his 鈥渇iddleing鈥� practice during study hours.1 In 1850, the Board of Trustees laid the foundation for a formal music program at Centenary when they resolved that 鈥渢he faculty be requested to induce the students to form a musical band鈥�.鈥�2

In 1852, Centenary welcomed its first music professor, A.E. Blackmar, hailed as 鈥渁 gentleman of high moral worth, and a musician of universal genius.鈥�3 The Trustees resolved that he would receive no salary, depending solely on the music tuition charges that the faculty would approve.4 Professor Blackmar quickly won the favor of many members of the Centenary community at the multi-day commencement exercises of 1852. Performances of Blackmar鈥檚 instrumental and vocal ensembles offered a welcomed change of pace to hot and tired audience members who endured a barrage of speeches in both English and Latin (including honorary degree recipient Charles Gayarr茅鈥檚 one-hour impromptu address).5

The solemn charm of the occasion was not even broken by the 鈥渕usic.鈥� Usually at Commencements the first note of the scraping bow quite dissipates the moral and the intellectual. Four or five red faces and greasy fiddles鈥攍ooking like a tattered remnant of the Old Guard鈥攈ave, time out of mind, constituted the sauce of these literary feasts. On this occasion the exercises were relieved alternately by a choir of ladies and students, an orchestra, and a brass band, both composed exclusively of College students, under the conduct of Mr. A.E. Blackmar. The orchestra consisted of nine violins, four flutes, and a clarinet; the brass band of twelve horns, a piccolo and drum. I noticed that several of the graduating class were performers. The music was of admirable time and expression, though the students have been practicing only since February last. Two years ago the Trustees voted that such a band, if possible, be formed, and money appropriated to purchase instruments. This year they have constituted a choir of vocal and instrumental music, and have elected Mr. A.E. Blackmar Professor.6

Shortly after this fulsome praise appeared in the New Orleans Christian Advocate, the paper ran an advertisement detailing the expenses for Centenary鈥檚 next session. Instruction in music was, and would long remain, optional study that could be elected at extra cost.

Expenses: September 1852
Tuition per Session of ten months $ 50.00
Room Rent $5.00
Contingencies $3.00
Use of Library $3.00
Total of College Charges $ 61.00
Tuition in Preparatory Deparment $ 40.00
Board and Washing per month $10.00
Tuition in Musical Department, (extra) Flute,
Violin, Guitar, Clarinet, Violoncello, etc. per month 6.00
Vocal Music per month $2.00
Band or Orchestra, per month $3.00
Thorough Bass or Instrumentation $6.00

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At the 1853 commencement, Centenary鈥檚 new music department again garnered great acclaim. Any description that leaves out the music that regaled the Commencement, would be unfair and imperfect. The college, at its own expense, ordered, two years ago, the purchase of instruments for a full brass band, and elected a competent gentleman, Mr. Blackmar鈥攚ell designated in the catalogue as professor鈥攖o superintend and instruct in this department. That, from such young and raw material he can and has trained such an orchestra and brass band, is astonishing. The students make their own music, and it not only enlivens and adorns their public exhibitions, but it is to them personally no mean accomplishment and development. There is in this the useful and beautiful. It struck us, and we believe everybody as, 鈥渁 thing that ought to be.鈥�7

Though Professor Blackmar resigned officially in 1855,8 Centenary鈥檚 musical offerings continued. An 1855 program shows that Professors Kroll and Hebestreet led the 1855 College Brass Band in a 鈥淕rand Concert鈥� followed by a fireworks display. However, fireworks of another kind鈥攕parked by sectional and political tensions鈥攕oon swept across the nation. The 18619 resignation of W.J. Crerar, Professor of Vocal and Instrumental Music since 1858,10 was of little consequence. The first shots of the Civil War rang out at Fort Sumpter in April of 1861, and the Minutes of the Board of Trustees from October 7, 1861 succinctly described the College鈥檚 situation: Students have all gone to war. College suspended and God help the right!

- See more at: http://www.centenary.edu/about/history/music/1825#sthash.kH2ntezO.dpuf

1861-1865

War!

Hearts of the South; though peace no more May visit again your sunny shore, Yield no inch of your dear bought right, Yield if you yield a life in fight, And as with your feet to the foe you lie, Let the red field echo your last, deep cry God and Our Rights! (4th verse of 鈥淕od and Our Rights.鈥� Lyrics by William M. Johnson)11

The onset of the Civil War halted the College鈥檚 operations but not its musical influence. After his departure from the College, Professor Blackmar founded a music publishing company, and, in 1861 printed an arrangement of a poem written by a Centenary student from South Carolina. The excessively maudlin song, 鈥淚 Cannot, Cannot Say Farewell,鈥� expresses the student鈥檚 doleful lament upon leaving the Jackson campus. Professor Blackmar, a New York native,12 rallied behind the South, and took advantage of the wartime market for nationalistic Confederate songs. Blackmar composed a musical arrangement to 鈥淕od and Our Rights,鈥� a poem by 1861 Centenary graduate William M. Johnson dedicated 鈥淭o the Friends of Southern Independence.鈥�13 Centenary鈥檚 first music professor also published several editions of the still-famous 鈥淏onnie Blue Flag,鈥� prophetically advertising it as a 鈥減opular song destined to become a national air of the South.鈥�14听

1865-1907

Centenary Struggles for Survival

鈥淩esolved that the committee appointed鈥s hereby instructed to make an effort to rebase the College from its present embarrassment in view of its obligations to the State, provided that they deem it safe and advisable to do so.鈥� (Minutes of the Board of Trustees, 黑料不打烊, July 26, 1866.)

The fervor of Southern patriotism soon abated, leaving in its wake the horror of war and its aftermath. Classes met again in 1866, but the College languished in a state of 鈥渇inancial embarrassments.鈥�15 Lack of documentation from this time period makes it difficult to determine when and to what extent formal instruction in music resumed in the postwar years. By 1889-90, the College offered vocal鈥攂ut not instrumental鈥攕tudy.16 In the absence of College ensembles, the 1892 Board of Trustees allocated $25 to hire musicians for commencement.17 During its last two decades on the Jackson campus, the College employed other voice instructors and, by the 1895-96 announcements mentions a 鈥淐ourse of Instruction in Vocal Music,鈥� which any student could elect at extra cost. At the turn of the century, Centenary faced declining enrollment and shaky finances. A proposed move to Shreveport offered a glimmer of hope for the struggling College鈥檚 future. Classes met for the last time on the Jackson campus in 1907.18 - See more at: http://www.centenary.edu/about/history/music/1865#sthash.y4SNKEaL.dpuf

1908 - 1923

The Early Years in Shreveport

鈥淧rovision will be made for the instruction in music
of young ladies who may attend Centenary, if the
demand justifies the expense of equipment.鈥�
(Announcements for 1909-10, 黑料不打烊.)

Centenary opened on its present-day campus in 1908. However even a cursory glance at early Shreveport catalogues shows that little besides physical location parallels the College we know today.

鈥tudents will not be permitted to leave the College ground day or night, without permission. We believe that the moral influences in Shreveport and vicinity, are as good as in any other city of the country. There are no saloons in Shreveport. It is a prohibition city.19

The 1909-10 announcements declared, 鈥淭he purpose of our school is to develop a fine type of manhood,鈥�20 but reserved music offerings for the 鈥測oung ladies.鈥� However, the next year鈥檚 catalogue extended the invitation to male students as well. Mrs. Rebekah Ellison Johnston, the accomplished wife of the Dean, will be prepared to give instruction in music to such young ladies who may wish to receive it. She will also give instrumental or vocal training to young men who may desire to avail themselves of such an opportunity鈥�21

It seems that some male students did 鈥渁vail themselves of such an opportunity鈥� for the catalogue of 1910-11 mentions a Glee Club under Mrs. Johnston鈥檚 direction. By the early 1920s, the College even employed a director of brass band and orchestra.22 Furthermore, the Centenary Quartette would fast become a favorite of the community, and, in 1925, the Shreveport Journal proclaimed it 鈥渢he best amateur number to appear on any local stage.鈥�23

- See more at: http://www.centenary.edu/about/history/music/1908#sthash.2Xo9UTWk.dpuf

1923 - 1931

The Music Department 鈥渢aken up in earnest鈥�

Press reports from all over the state were very favorable,
heralding the Centenary concerts as the most accomplished
performances that had been witnessed in their locality,
by any college organizations.
(1928 Yoncopin, 黑料不打烊.)

In the 1920s, under the presidency of Dr. George S. Sexton, the College erected many new structures, including a wood-frame building on the South corner of campus (near the present-day site of Smith Building) that would soon become home to the Department of Music. Finally, in 1923, 鈥溾€usic, as a Department, was taken up in earnest and a very talented young lady, Miss Catherine McComb, undertook the task of putting over a real program for the year鈥︹€�24 Miss McComb, the Director of Music, led a Glee Club for male students as well as a choral ensemble for women. While Centenary was still a few years away from awarding an actual degree in music, the departmental offerings served as electives and, by 1924, could be counted toward a Certificate in Music. 25

Looking back on the Music Department鈥檚 early years in Shreveport, the 1935 Yoncopin proclaimed, 鈥淭he value of group playing in securing facility, development of sound musicianship and keen sense of rhythm, have long been recognized by Centenary College.鈥�26 Indeed, ensembles abounded, and among the best known was the Centenary Band whose morale-boosting music won the hearts of the football team and fans.

At every game the band was there and sounded off, filing the air with music and making each heart light. Those were the great old days, when the spirited playing of the band announced that Centenary had made another touchdown. The band soon became an auxiliary to the team, for on several trips the band went along to show the foreigners we were all behind the team.27

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Many ensembles fulfilled not only an artistic and educational purpose but also served as excellent means of publicity for the College. In the 1924 Yoncopin, the Glee Club is hailed as 鈥渙ne of the College鈥檚 best advertising mediums鈥�28 and the 1926 Yoncopin maintains that the band 鈥渉as successfully convinced many people that Centenary is a school where things are accomplished in great style.鈥�29

Though the triumphant days of a Centenary鈥檚 football team and marching band are now a thing of the past, any Centenary student dedicated to the study of music has shared one common experience: a unique appreciation of the oft-dreaded concept of 鈥減ractice.鈥� Indeed, many a music student has gained insight into (and perhaps a certain doubt of) the school鈥檚 motto Labor Omnia Vincit (Work Conquers All). The practice requirements in the 1928-29 catalogue are a reminder of a more regimented鈥攁nd supervised鈥攑ractice system.

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Practice rooms with pianos are available at the Music Hall, and except when special permission is granted, students are required to practice in these rooms under the direction of the Practice Supervisor.
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Regular hours are assigned students, and they are required to report to the Supervisor at the beginning and end of each practice period.
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Where practice is carried out at the home of the student, a weekly report, showing hours of practice, must be attested by the parent or guardian of the student. Forms for this purpose are furnished by the Practice Supervisor.

1931-1964

First Music Graduates, Accreditation, and Expansion听

鈥淚t was brought out at this time that it would be necessary to make some changes in the requirements for the Music degree, if Centenary was to be added to the National Association of Schools of Music.鈥� (Faculty Minutes, 黑料不打烊, December 15, 1931.)

In the late 1920s and early 1930s, Centenary鈥檚 music department evolved from a conglomeration of ensembles and optional private instruction to a formal degree-granting program with an academic mission. The College first awarded Bachelor of Music degrees in 1931,31 the same year that faculty minutes document a move to seek accreditation from the National Association of Schools of Music (NASM). Course offerings expanded greatly and, in 1936, the Centenary School of Music was granted membership in the NASM.32

However, this heightened emphasis on music as an academic discipline did not preclude the development of popular music ensembles, most notably Kollege Kapers. This wildly popular variety show, begun in 1933, featured comedians, dancers, vocalists, instrumentalists, comedy skits, magicians, and ensembles. Mr. B.P. Causey鈥攚ho conducted Centenary鈥檚 band from 1941-1981, leaving only for military service during World War II鈥攆ondly remembers his time as the director of Kapers. 鈥淲e had a lot of fun. We traveled all over. It was a big deal, and more people wanted us to come than we could accommodate.鈥� In spite of its early successes, Kollege Kapers faded out by the late 1940s. (Editor's note: It would later be reprised beginning in 2005 on campus.)

On the other hand, the Band鈥檚 popularity did not waiver. In 1938, they traveled widely in the southern U.S. and even enjoyed a 鈥渉istoric鈥� trip to California. Furthermore, 鈥淭he year (1938) started off with many innovations, six to be exact, for much to the disgust of the male members of the band, a half dozen girls were added to increase the quantity if not the quality of music produced.鈥�33 1939 brought even more change when the band was placed under the direction of the School of Music and longtime-conductor Dr. S.D. (鈥淒oc鈥�) Morehead, Professor of Economics and History, stepped down. The 1939 Yoncopin laments that the Band 鈥溾€urned orthodox in a big way, deserting swing for symphony and becoming a bona fide college band (whatever that is) instead of a group of knocked-out musicians.鈥�34 Soon the female band members were allowed to actually march with the rest of the band. 鈥淲hen I first got there (in 1941), the girls didn鈥檛 march with the band,鈥� recollects Mr. Causey. 鈥淎nd I said, 鈥楴o, that鈥檚 a lot of baloney鈥擳hey do.鈥� Without regard for instrumentation, the women, wearing white skirts, marched in front of the Band. Marching in formation was more difficult: 鈥淚t got to be a problem always to get it to look right.鈥� The years immediately after World War II saw the Centenary Band at its pinnacle as the G.I. Bill attracted an influx of students, including experienced musicians who had played in military bands during the war. Mrs. Causey remembers them fondly as an 鈥渋nteresting and dedicated鈥� group. 鈥淧robably as large a band as they ever had there, we had it after the war.鈥� As the football program deteriorated, the Band marched only for local parades and eventually became a seated ensemble.

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However, the decline of football and marching band coincided with the rise of Centenary鈥檚 best-known ensemble, the Centenary College Choir. When Ralph Squires assumed leadership of the Centenary School of Music in 1941, he asked A.C. 鈥淐heesy鈥� Voran, then employed in student affairs, to start a touring choir鈥攏ow known as the Centenary College Choir. According to Dr. Will Andress, Director since 1974 and proud Centenary Choir alum, the first Centenary College Choir (1941-42) was among the nation鈥檚 first university choirs to don modern attire instead of choir robes (dubbed 鈥渂ath robes鈥� by a Shreveport Lion鈥檚 Club Centenary Choir supporter).35 Audiences delighted in the group鈥檚 varied repertoire and innovative approach. Traveling, practicing, and socializing together fostered an enduring bond among Centenary Choir members. 鈥淭he choir is a working group of friendly persons, and musicianship alone is not sufficient to complete satisfactory requirement for entrance into the organization. There must be a community of spirit and group unity,鈥� the 1942 Yoncopin maintains.36 The Centenary Choir amassed an amazing travel log even in its first two decades: entertaining soldiers during World War II; visiting military bases in Korea and Japan in 1956; singing for Easter sunrise services in Okinawa in 1957; and performing at Radio City Music Hall four times a day for nine weeks in 1961.

The first three decades of Centenary鈥檚 School of Music gave rise to other lasting musical traditions. In the 1940s and 鈥�50s, Mr. Squires鈥攚hom Mr. Causey remembers as a truly 鈥渙utstanding pianist鈥濃€攈elped to develop Centenary鈥檚 piano department. Since 1950, the College has hosted the Shreveport Symphony Nena Wideman Piano Competition, founded by former Centenary piano professor Nena Wideman. The Wideman Competition is among the oldest small piano competitions in the United States.37 The organ 鈥渢he king of instruments鈥� was not without representation on Centenary鈥檚 campus. In 1956, an 脝olian-Skinner organ was installed in the Chapel and a dedication recital given by Professor William Teague in 1957.38 Also in 1957, Mr. Causey founded the Centenary summer band whose outdoor performances attracted concertgoers from Louisiana, Texas, and Arkansas to the Centenary amphitheater for thirty years. Furthermore, Opera Workshop, introduced in 1963,39 continues to offer Centenary vocalists the opportunity to gain valuable musical experience.

Gradually, with an increase in its quality and popularity, the music program outgrew its 1920s wooden frame building.

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1964-2000

The Hurley School of Music Develops

鈥淭he dedication of the Ed E. Hurley Memorial Music Building on Sunday, April 19, 1964, provided a building badly needed at Centenary over a long period of time. This stands as one of the most beautiful buildings on the Centenary campus, and one which will enable our Department of Music to move forward in a field which is of great interest to the many music lovers of this area. We are most grateful to Mrs. Hurley, a member of our Board of Trustees, for this magnificent gift.鈥� (Minutes of the Board of Trustees, 黑料不打烊, May 23, 1964.)听

If there is one name most closely associated with music study at Centenary it is that of the School of Music鈥檚 generous benefactor, Mrs. Gladys Hurley. In 1964, Centenary鈥檚 School of Music moved into new facilities, given by Mrs. Hurley in memory of her late husband, Shreveport oilman Ed E. Hurley. Here, Centenary鈥檚 music program, as we know it today, began to take shape. The music library expanded, originally occupying a modern-day downstairs classroom.40 The new recital hall offered an excellent venue for public performances.

However, Mrs. Hurley鈥攚hom Professor Emeritus of Music Ronald Dean remembers as a 鈥渧ery unassuming delightful little Arkansas lady鈥濃€攇ave much more than a building whose practice rooms and classrooms have become a second home for many music students. Through its educational mission and tradition of community enrichment, the Hurley School of Music has become a staple of the cultural life well beyond Centenary鈥檚 campus.

In 1973, the School of Music, under the direction of Dr. Frank Carroll, launched the Friends of Music Series.41 These concerts, featuring a variety of professional musicians, continue to enhance the regional musical scene. In the same year, Dr. Carroll contributed an article to Centenary, a magazine for alumni/ae, examining the goals and achievement of the thriving music department in the context of the College鈥檚 educational mission.

"The School of Music enjoys a rather special place in the scheme of things at Centenary. While firmly committed to the liberal arts ideal and happy to be a part of this venture, as a department offering a professional degree in music we are also able to encourage that degree of specialization necessary for the development and training of fine musical talents鈥� In addition to the course offerings that make such an arrangement possible and productive, we have developed a spirit, a student body and a faculty that is dedicated to achieving significant musical and artistic success within the framework of a liberal arts institution."42

The music program鈥檚 mission remained the same, but on August 18, 1975, the Board of Trustees renamed it the Gladys F. Hurley School of Music in honor of its preeminent supporter.43 The Hurley School of Music continued to field numerous vocal and instrumental ensembles. After the decline of Kollege Kapers, jazz ensembles like the pep band and Dixieland Band had led sporadic existences. In the fall of 1976, Jazz ensemble finally emerged as a distinct course and has continued as such ever since.44 Centenary had previously hosted instrumental ensembles with student and community members, but Hurley Chamber Orchestra became a for-credit course in 197745 under the direction of Dr. Carroll. Opera Workshop performed a broad spectrum of literature, including 鈥淭he Old Woman and the Pig,鈥� an opera written by Dr. Carroll. These experiences have proved valuable for former 鈥淥pShop鈥� students such as Karl Dent, Twyla Robinson, Timothy Jones, Margaret Williams Jones, and Martile Rowland who have gone on to operatic success. The vocal ensemble Camerata, founded in 1983, succeeded other choral chamber groups that had developed over the years.46 Camerata鈥檚 annual Christmas program attracted community interest, and the group also began to perform at Renaissance festivals. 47

With professors like Nena Wideman and Constance Knox Caroll, the piano department carried on its tradition of excellence on the foundation laid by former Director of the School of Music Ralph Squires. In the 1960s and 70s, Centenary had a student chapter of the local American Guild of Organists chapter. In 1971, Schantz installed the current organ console. The organ is now about double the size the 1956 instrument with additions by Schantz, Moller and Dan Garland.48

In 1990, the Hurley Music Library, adjacent to the School of Music, was dedicated. It is the only music library in the ArkLaTex region, and it houses several special collections: the Wayne Sanders Broadway Sheet Music Collection, the David Redwine Opera Recordings Collection, the Robert Murray Opera Score Collection, the Virginia Carlton Collection of West African Musical Instruments, and the Lewis Bettinger Soundtracks Collection.

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2000-2002

Music in the New Millennium

In 2000, festivities for Centenary鈥檚 one hundred and seventy fifth anniversary highlighted plans for the College鈥檚 expansion, including the renovation of the Hurley Music Building and construction of a new Arts Complex, which was begun the following year. After thirteen years of silence, the Centenary Summer Band series also made a comeback in 2000.

In that same year, the School of Music, in concert with the Nena Wideman Piano Competition鈥檚 fiftieth anniversary celebration, launched a fundraising campaign that netted a new Steinway Concert Grand. The ribbon cutting for the stunning piano kicked off a memorable and aptly named 鈥淢onster Concert.鈥� This daring feat of collaborative musicianship combined the talents of eight former Wideman Competition winners, accompanists, and judges, playing eight Steinway grands on the stage of the Hurley School of Music.

Based on their record of choral excellence, Camerata, directed by Dr. Julia Thorn, received a prestigious invitation to perform at the 2003 conference of MENC: The National Association for Music Education in Savannah, Georgia. Camerata also sang as part of the Educational Concert Series in Morrow, Georgia on the stage of Spivey Hall, a much-coveted performance venue. Barbara Harlow, President of Santa Barbara Music Publishers also recognized the group鈥檚鈥渙utstanding quality鈥� very sensitive interpretation, and beautiful sound鈥� and asked them to record a demonstration CD of new music. She maintains that, with this professional recording project slated for the fall of 2002, Camerata 鈥渨ill join an elite group of choirs from around the world.鈥�

For the Centenary Choir, 2001 brought a landmark fifth consecutive White House Christmas performance. Tradition and group loyalty remain defining features of the Centenary Choir that now claims about 800 alumni/ae. The group has sung about in about thirty-two countries on five continents. In reality, the Centenary Choir has not only fulfilled its nickname 鈥淎merica鈥檚 Singing Ambassadors鈥� but also made a mark as 鈥淐entenary鈥檚 singing publicity.鈥� 鈥淚t (the choir) is a really good recruiting arm for the College鈥攖he fact that it goes into churches and high schools whereas athletics go into college campuses. And we鈥檙e written up on the front of the paper and they鈥檙e written up on the sports page鈥� and that鈥檚 another part of our reason for being鈥�.鈥� comments Dr. Andress. 鈥淲e have been fortunate over the years to be able to go and to do so much.鈥�49 The Centenary Choir鈥檚 future promises even more globe-trotting as they plan their 2003 "Two-Continent Tour,鈥� during which they will venture to South America, their sixth and last continent鈥攁lthough Dr. Andress still laments that he 鈥渃an鈥檛 figure out how to sing to the penguins.鈥�

In the spring 2002, the Centenary community watched the construction on the new Arts Complex progress as a gaping mud pit was transformed into the foundation for the new music facilities. The drone of bulldozers became a staple of the aural environment at Hurley, but music continued in spite of鈥攁nd even because of鈥攖he construction. One afternoon, as percussion ensemble director Chandler Teague directed from a ledge overhead, music students turned the work site into an experiment in percussive sonorities, 鈥減laying鈥� everything from accommodating steel beams to stray buckets. For some time to come, construction work will be a tangible reminder of the School Music鈥檚 progress. The new choral building and instrumental rehearsal hall, dedicated in November 2002, are only the first phase of the Arts Complex that will eventually occupy the entire northeast corner of Centenary鈥檚 campus.

2002
Music鈥檚 150th Anniversary at Centenary

2002 marks a pivotal year in life of music program. With the expansion of music facilities, enhanced course offerings, and an impressive lineup of performances, it is a time for the Hurley School of Music to project its multifaceted mission into the future. At the same time, the celebration of music鈥檚 one hundred and fiftieth anniversary at Centenary is a reminder of the wise counsel of the 1924 Yoncopin feature on the music department:

鈥溾€t is well to mention what we have done in the past.鈥�

From 鈥渞ed-faced鈥� musicians with 鈥済reasy fiddles鈥� to practice supervisors or a music department 鈥渢aken up in earnest,鈥� the rich history of Centenary鈥檚 music program merits mention鈥攁nd a place in our collective memory. When the Trustees of antebellum Centenary encouraged the faculty to 鈥渋nduce students to form a musical band,鈥� they initiated a tradition of music study that is now at the forefront of academic and cultural life at 黑料不打烊. Throughout one hundred and fifty years of immense social and political change, the drive to cultivate the musical arts at Centenary has endured, flourished, and, ultimately, promises to be a formative force in the College鈥檚 future.

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i Faculty Minutes, 黑料不打烊, January 1838.
ii Minutes of the Board of Trustees of 黑料不打烊, 1841-1907. July 30, 1850, 88.
iii 鈥満诹喜淮蜢�.鈥� New Orleans Christian Advocate. August 7, 1852.
iv Minutes鈥�1841-1907. July 26, 1852, 105.
v 鈥満诹喜淮蜢�.鈥� New Orleans Christian Advocate. August 7, 1852.
vi Ibid.
vii 鈥満诹喜淮蜢�.鈥� New Orleans Christian Advocate. August 6, 1853.
viii Minutes鈥�1841-1907. July 23, 1855, 125.
ix Minutes鈥�1841-1907. July 22, 1861, 156.
x Minutes鈥�1841-1907. July 29, 1858, 143.
*xi Johnson, William M. and A.E. Blackmar. 鈥淕od and Our Rights,鈥� A.E. Blackmar & Bro: New Orleans, 1861. (Accessed from http://memory.loc.gov/ammem/award97/ncdhtml/hasmhome.html.)
xii 鈥満诹喜淮蜢�.鈥� New Orleans Christian Advocate. August 7, 1852.
*xiii Johnson, William M. and A.E. Blackmar. 鈥淕od and Our Rights,鈥� A.E. Blackmar & Bro: New Orleans, 1861.
*xiv 鈥淪elect Catalogue of the Most Popular Music鈥� A.E. Blackmar & Bro: New Orleans. (Accessed from http://scriptorium.lib.duke.edu/eaa/
broadsides/B04/B0423/B0423-01-72dpi.html.)
xv Minutes鈥�1841-1907. July 25, 1866, 166.
xvi Catalogue of 黑料不打烊 1894-95 with Announcements for 1895-96, 30.
Early catalogues include announcements for the coming year. For example, the catalogue for 1924-25 with announcements for 1925-26 was actually printed in May of 1925.
xvii Minutes鈥�1841-1907. May 30, 1892, 300.
xviii Brock, Eric J. 黑料不打烊. Charleston: Arcadia 2002, 33.
xix Catalogue鈥�1909-10.
xx Catalogue鈥�1908-09.
xxi Catalogue鈥�1909-10.
xxii Catalogue鈥�1920-21.
xxiii 鈥淭he Band and Glee Club.鈥� The Yoncopin, 1925, 103.
xxiv 鈥淢usical Activities.鈥� Yoncopin, 1924.
xxv Catalogue鈥ummer 1924.
xxvi 鈥淓nsemble Playing.鈥� The Yoncopin, 1935.
xxvii 鈥淢usical Activities.鈥� The Yoncopin, 1924.
xxviii 鈥淕lee Club.鈥� The Yoncopin, 1924.
xxix 鈥淐entenary College Band.鈥� The Yoncopin, 1926, 126.
xxx Catalogue鈥�1928-29, 61.
xxxi Catalogue鈥�1932-33.
*xxxii 2002 The National Association of Schools of Music 2002 Directory, 41.
xxxiii 鈥淭he Centenary Band.鈥� The Yoncopin, 1938.
xxxiv 鈥淭he 1939 Band.鈥� The Yoncopin, 1939.
xxxv Dr. Will Andress (interview), 1 May 2002.
xxxvi 鈥淭he College Choir.鈥� 1942 The Yoncopin, 黑料不打烊.
*xxxvii 鈥淲ideman Piano Competition.鈥� 黑料不打烊. http://www.centenary.edu/departme/music/wideman.html.
xxxviii Professor Ronald E. Dean (email), 23 August 2002.
xxxix 鈥淗arlan to Offer Opera Workshop.鈥� The Conglomerate. 黑料不打烊. October 21, 1963, 4.
xl Professor Ronald E. Dean (interview) 10 May 2002.
xli 鈥淐entenary to Present Music Series.鈥� Shreveport Times. October 2, 1973.
xlii Carroll, Frank M. 鈥淭he School of Music: A Special Place in the Scheme of Things.鈥� Centenary. September 1973, 7-8.
xliii Minutes of the Board of Trustees of 黑料不打烊, August 18, 1975, 2.
xliv Catalogue鈥�1976-77, 106.
xlv Catalogue鈥�1977-79, 106.
xlvi Professor Ronald E. Dean (interview), 19 July 2002.
xlvii Dr. Gale Odom (interview), 18 July 2002.
xlviii Professor Ronald E. Dean (email), 23 August 2002.
xlix Dr. Will Andress (interview), 1 May 2002.

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