A Guide to the Latin American Art Song Repertoire: An Annotated Catalog of Twentieth-Century Art Songs for Voice and Piano

14 Jamaica

175 14 Jamaica Searches for sources on Jamaican music will generally lead to information on the popular genre of reggae. However, classical music by Jamaican composers, while difficult to find, does exist. Although the findings on art songs by Jamaican composers thus far are admittedly few, there is evidence of activity, and several internet sources will lead ambitious singers to more information. There is confusion regarding composer delimitations, as many com­posers who identify themselves as Jamaican either were not born in Jamaica or no longer live there. In the interest of inclusion, this chapter includes composers who identify themselves as being of Jamaican heritage, regardless of place of birth or current residence. A wonderful source of information on Jamaican music is the website entitled “Jamaica’s Classical Musicians.”1 While it is not always clear whether or not the composers included on this website wrote art songs following the scope of this study, it does serve as a basis for information on these composers. This site includes composers Oswald Russell (1933–); Noel DeCosta (1929–), who was born in Nigeria to Jamaican parents and whose work incorporates African, West Indian, and African American folk traditions; and Frederic H. Cowen (1852– 1935), some of whose three hundred songs can be obtained through the personal collection of Christopher Parker, who currently resides in the United Kingdom.2 This chapter includes the song cycles of Richard Thompson (1954–), who, like Noel DeCosta, was born in Nigeria to Jamaican par- a guide to the latin ­american art song repertoire 176 ents and identifies himself as Jamaican. His songs contain lyric vocal lines with a wide range, and complex piano accompaniments which combine with the voice to create rich textures that are both beautiful and interesting. Thompson, Richard, 1954– 14.1, Dream Variations 14.1a, I, too, sing America, 2004, Langston Hughes, F#4–G5*, Med-high, Tenor, Dedicated to Darryl Taylor, MMB 14.1b, The Negro speaks of rivers, 2004, Langston Hughes, E4–A5, High, Tenor, Dedicated to Darryl Taylor, MMB 14.1c, Monotony, 2004, Langston Hughes, A4–G5, Med-high, Tenor, Dedicated to Darryl Taylor, MMB 14.1d, A Black Pierrot, 2004, Langston Hughes, F4–Ab5, Med-high, Tenor, Dedicated to Darryl Taylor, MMB 14.1e, Dream variations, 2004, Langston Hughes, F4–Ab5, High, Tenor, Dedicated to Darryl Taylor, MMB *Ranges in this cycle are listed in treble clef; however, the cycle is intended to be sung by a tenor. 14.2, The Shadow of Dawn: Five Poems by Paul Laurence Dunbar 14.2a, 1. Dawn, 1999, Paul Laurence Dunbar, E4–G5, High, Soprano, —, MMB 14.2b, 2. Love’s apotheosis, 1999, Paul Laurence Dunbar, E4–G5, High, Soprano, —, MMB 14.2c, 3. We wear the mask, 1999, Paul Laurence Dunbar, Eb4–Gb5(Bb5), High, Soprano, —, MMB 14.2d, 4. One life, 1999, Paul Laurence Dunbar, B3–G5, Med-high, Soprano, —, MMB 14.2e, 5. Sympathy, 1999, Paul Laurence Dunbar, F4–Gb5, Med-high, Soprano, —, MMB Publishers MMB, MMB Music, Inc. ...