Podcast appearances and mentions of William L Dawson

Joshua and Angela discuss the foresight and impact of composer, musicologist, arranger, and premier torchbearer of Negro spirituals, William Levi Dawson.  A protege of Booker T. Washington, the life and works of Dawson score an accurate narrative of Black people during the Great Migration. His symphony illustrates the cultural links that were lost and then found as a result of the colonial world's Global Slave Trade.  Revered internationally, Dawson's tenure and role as an educator and choral director at the historic Tuskegee University cemented his legacy as a champion of Black music.Featured Music:"Ev'ry Time I Feel the Spirit" - arranged William L. Dawson - performed by the Tuskegee Institute Choir"The Bond of Africa," 1st movement, Negro Folk Symphony - composed by William Levi Dawson - performed by The American Symphony Orchestra - Leopold Stokowski, conductor " Ain' -A That Good News" - arranged by William L. Dawson - performed by the Tuskegee Institute ChoirSupport the show

SynopsisToday's date in 1899 marks the birthday of the famous African-American composer, choir director, and teacher, William L. Dawson, in Anniston, Alabama. After musical studies in Kansas City and Chicago, from 1931 to 1956 Dawson taught at the Tuskegee Institute, where he developed the Institute's Choir into an internationally-renowned ensemble.Dawson's arrangements of African-American spirituals, which he preferred to call folksongs, are justly famous, but in 1934 he produced his masterwork, a Negro Folk Symphony, modeled on Dvorak's New World Symphony, but exhibiting Dawson's own distinctive mastery and development of his themes. His goal, he said, was for audiences to know that it was "unmistakably not the work of a white man.""The themes,” wrote Dawson, “are taken from what are popularly known as Negro Spirituals. In this composition, the composer has employed themes … over which he has brooded since childhood, having learned them at his mother's knee."Dawson's symphony was successfully premiered by Leopold Stokowski and the Philadelphia Orchestra, who took the new work to Carnegie Hall, where its 35-year old composer was repeatedly called to the stage. The symphony was revised in 1952 with added African rhythms inspired by the composer's trip to West Africa.Music Played in Today's ProgramWilliam L. Dawson (1899 – 1990) Negro Folk Symphony Symphony of the Air; Leopold Stokowski, cond DG 477 6502

Ezekiel has been ushered up to the foot of the war chariot of the Living God. It is a unique vehicle more in the form of a palanquin or escorted litter, than a chariot. Whether Ezekiel was taken to God, or God had come to him, the effect was the same. Ezra said it best, “Who shall stand when he appeareth? For he is like a refiner's fire.”35 Ezekiel found himself face down on the ground before the royal presence. The kindness of our God is also here manifested.Gratitude for the incomparable talents of William L. Dawson and Johnny Cash.We are claiming Fair Use for the items in this podcast in which we do not own the copyright.We are happy to announce that the author's latest book Elijah the Prophet is now available on Amazon. Time for another feast into the word of God!Ready for some meat after all the milk? The Gospel Feast Series is available here in 20+ volumes.It's time to Feast on the Word of God!

October 23, 2022 - "There is a Balm in Gilead" William L. Dawson Cynthia Mellon - Soloist

10:00 a.m. Sunday Worship Service Download the bulletin here: Justification Defining Words of Faith Series The Rev. Dr. Agnes W. Norfleet Anthem: Be Thou Our Vision Text: Eighth century Irish hymn. Music: arr. Alice Parker, 1976. Music: ©1976 Hinshaw Music, Inc., Chapel Hill, NC; (a div. of Fred Block Publishing Group). Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Hymn: How Clear Is Our Vocation, Lord Text: Fred Pratt Green, 1981. Music: C. Hubert H. Pary, 1888. Text: ©1982 Hope Publishing Company. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved. Offertory Hymn: There is a Balm in Gilead Text: African-American Spiritual. Music: ©1939; ren. ©1967 William L. Dawson. Music: ©1967 Neil A. Kjos Music Company, San Diego, CA. All rights reserved. Doxology: Praise God, from Whom All Blessings Flow Music: Geistliche Kirchengesäng, 1623; harm. Hal H. Hopson, 1998. Text: ©1989 Hope Publishing Company. Music Harm: ©1998 Hope Publishing Company. Reprinted and streamed with permission under ONE LICENSE #A-716211. All rights reserved.

Religion scholar David Halperin stops by to discuss his book Intimate Alien: The Hidden Story of the UFO. David shares his own history as a young ufologist, and how he later came back to ufology as a scholar. Tangents include: the cover of Whitley Strieber's Communion, the Jungian quaternity, and "Ezekiel Saw the Wheel." Links/sources mentioned: David Halperin, Intimate Alien: The Hidden Story of the UFO (Stanford University Press, 2020) Carl Jung, Flying Saucers: A Modern Myth of Things Seen in the Sky (1959) Gray Barker, They Knew Too Much About Flying Saucers (1956) Frank Scully, Behind the Flying Saucers (1950) Jacques Vallee, Passport to Magonia (1969) Whitley Strieber, Communion (1987) David Halperin, "Judaism and the UFO," in Handbook of UFO Religions (Brill, 2021) William L. Dawson leading the Tuskegee choir in his arrangement of "Ezekiel Saw de Wheel" (1942): https://www.youtube.com/watch?v=51rIXqGxLOk (this is the arrangement Bill sang in high school) Ray Bradbury, "Way in the Middle of the Air," in The Martian Chronicles (1950)

Always wanted to visit New York? Well, that's where we're headed today! But this is no 2020s New York City. Nope, we're going to Harlem in the 1930s and 40s to visit the movement called the Harlem Renaissance. A movement that explored African American identity through all the arts, the Harlem Renaissance stands as a testament to artists and artistry. You won't want to miss this handful of creators and creations from this impeccable American movement!   Art: Meta Vaux Warrick Fuller (1877-1968): Ethiopia (1921) James Van Der Zee (1886-1983): Couple, Harlem (1932) Jacob Lawrence (1917-2000): Pool Parlor (1942)   Music (Spotify playlist): William Grant Still (1895-1987): Africa (1930) William L. Dawson (1899-1990): Negro Folk Symphony (1934)   Connect with us! Patreon | Instagram | Facebook | notesandstrokespodcast@gmail.com

We too often mistake "Success" with physical or material things. This leads to bad situations and possible negative interaction with the legal system. Judge William L. Dawson is the administrative and presiding Judge of the East Cleveland Court. He is a speaker, author and Certified Yoga Teacher. Judge Dawson teaches leadership & yoga in order to help people reach their highest potential. www.JudgeDawson.com  

How different would this world be if people looked at the WONDER around them and the WONDER in them? Judge William L. Dawson is the administrative and presiding Judge of the East Cleveland Court. He is a speaker, author and Certified Yoga Teacher. Judge Dawson teaches leadership & yoga in order to help people reach their highest potential. www.JudgeDawson.com     

Finding your purpose isn't always a straight path. Judge William L. Dawson didn't wake up one day thinking, I want to go into law. No, he was happy to simply graduate high school and keep his mom off his back. Listen as he shares his story and why he is so passionate about his role today.When Judge Dawson was a kid, he was doing things that likely would have landed him in jail had he been caught. His mom was an amazing woman and rather than disappoint her, he made sure to graduate. After high school he decided to go into music, but realized that he needed something more stable.He finally made his way to college where he pursued a degree in finance. From there he got a job as an insurance adjuster and realized that he loved interacting with attorneys. He went to night school, got his law degree, and started practicing as an attorney. After several twists and turns and his own mistreatment by the court system, he knew that he needed to push and become a judge. He wanted to empower those in his community and let them know that there is such a thing as compassion in the law. He's sharing all of the twists and turns as well as the turning point case that inspired him to create the Cycle Breaker program. Listen in to learn all about the law and why it's so important to make connections and keep pushing on through adversity.In this episode:[00:31] Welcome Judge Dawson to the show to share his career journey.[02:27] From finance degree, to insurance, to a degree in law.[03:40] Why law school is an asset no matter if you use it or not.[04:43] How his career in law started off. [06:19] He started his own firm while being a public defendant at the same time.[07:28] Why he decided to run to become a judge.[10:10] The mission that pushed him to become a judge. [12:17] Judge Dawson remembers his first case as an attorney but not as a judge. [13:30] He was a great defender but he realized he wasn't helping people change their lives. [15:09] Why he wouldn't go back to being a public defender if he ever loses his seat as a judge.[15:48] Learn about the Cycle Breakers Movement. [18:46] The importance of having Black male judges to serve the community.[19:57] Rachael shares why it's important that leaders acknowledge moments when people actually try and show respect.[22:18] His advice for a young person coming out of high school. [24:06] The pros and cons of being a judge. [28:32] Connect with Judge Dawson and Cycle Breakers. Links and Resources:Connect with Judge Dawson:The Cycle Breaker by Judge William L. DawsonJudge Dawson's WebsiteJudge Dawson on InstagramJudge Dawson on TwitterJudge Dawson on YouTubeHere Comes the Judge PodcastStay connected with the PGD FamKeep in touch with us by Subscribing and Following us on our socials ...Website PGD InnovationsBuy our book OUT NOW PGD BooksPGD on Facebook  (We go live every Friday at 6pm for Fruit Punch Fridays)PGD on InstagramPGD on Support the show (https://www.paypal.com/donate?hosted_button_id=K8JFC4ZXAZU98)

Today’s date in 1899 marks the birthday of the famous African-American composer, choir director, and teacher, William L. Dawson, in Anniston, Alabama. After musical studies in Kansas City and Chicago, from 1931 to 1956 Dawson taught at the Tuskegee Institute, where he developed the Institute’s Choir into an internationally-renowned ensemble. Dawson’s arrangements of African-American spirituals, which he preferred to call “folksongs,” are justly famous, but in 1934 he produced his masterwork, a “Negro Folk Symphony,” modeled on Dvorak’s “New World “ Symphony, but exhibiting Dawson’s own distinctive mastery and development of his themes. His goal, he said, was for audiences to know that it was "unmistakably not the work of a white man." "The themes,” wrote Dawson, “are taken from what are popularly known as Negro Spirituals. In this composition, the composer has employed themes … over which he has brooded since childhood, having learned them at his mother's knee." Dawson’s symphony was successfully premiered by Leopold Stokowski and the Philadelphia Orchestra, who took the new work to Carnegie Hall, where its 35-year old composer was repeatedly called to the stage. The symphony was revised in 1952 with added African rhythms inspired by the composer's trip to West Africa.

Today’s date in 1899 marks the birthday of the famous African-American composer, choir director, and teacher, William L. Dawson, in Anniston, Alabama. After musical studies in Kansas City and Chicago, from 1931 to 1956 Dawson taught at the Tuskegee Institute, where he developed the Institute’s Choir into an internationally-renowned ensemble. Dawson’s arrangements of African-American spirituals, which he preferred to call “folksongs,” are justly famous, but in 1934 he produced his masterwork, a “Negro Folk Symphony,” modeled on Dvorak’s “New World “ Symphony, but exhibiting Dawson’s own distinctive mastery and development of his themes. His goal, he said, was for audiences to know that it was "unmistakably not the work of a white man." "The themes,” wrote Dawson, “are taken from what are popularly known as Negro Spirituals. In this composition, the composer has employed themes … over which he has brooded since childhood, having learned them at his mother's knee." Dawson’s symphony was successfully premiered by Leopold Stokowski and the Philadelphia Orchestra, who took the new work to Carnegie Hall, where its 35-year old composer was repeatedly called to the stage. The symphony was revised in 1952 with added African rhythms inspired by the composer's trip to West Africa.

This scripture lesson for Sunday, September 29 was Jeremiah 8:18-9:1. Rev. Laura Mayo gave the proclamation. The music included a soloist singing "Be Not Afraid" by Craig Courtney; and the choir singing the African American spiritual "There is a Balm In Gilead" arranged by William L. Dawson. #Theseareoursacredstories

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play •

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • 

The Rev. Dr. Karen Coleman, Associate Chaplain for Episcopal Ministry, preaches a sermon entitled "God Can't Forget You". The Marsh Chapel Choir sings “Set me as a seal” by René Clausen and “There is a balm in Gilead” arr. by William L. Dawson

The Rev. Dr. Karen Coleman, Associate Chaplain for Episcopal Ministry, preaches a sermon entitled "God Can't Forget You". The Marsh Chapel Choir sings “Set me as a seal” by René Clausen and “There is a balm in Gilead” arr. by William L. Dawson

The scripture readings for Sunday, December 23, were Matthew 1:12-16 and Luke 1:26-56. This recording includes the Call to Worship, the scripture readings, the music "Mary Had a Baby" arranged by William L. Dawson, and the proclamation by Laura Mayo. This is the conclusion of the women of Jesus' genealogy series.  #TheseAreOurSacredStories

The scripture lessons for this Sunday were Psalm 56:1-4 and Psalm 59:16-17. Our proclamation was sung by our choir. Included in this recording:  "Hush" arranged by Alice Parker, "There Is a Balm in Gilead" arranged by William L. Dawson, "The Creation" from God's Trombones by James Weldon Johnson, narrated by Moses Mason, "Listen to the Lambs" by Nathaniel Dett. This Sunday was also a day of celebration for our new building. All ages joined in writing thier hopes and prayers for the future on the framing (Photo). And we welcomed organist Patrick Parker! #TheseAreOurSacredStories #TheseAreOurSacredSongs  

Rev. Dr. Robert Allan Hill preaches a sermon entitled "With All Your Mind". The Marsh Chapel Choir sings "O clap your hands" by John Rutter and "Ev'ry time I feel the spirit" arr. by William L. Dawson along with service music and hymns.

Rev. Dr. Robert Allan Hill preaches a sermon entitled "With All Your Mind". The Marsh Chapel Choir sings "O clap your hands" by John Rutter and "Ev'ry time I feel the spirit" arr. by William L. Dawson along with service music and hymns.

William L. Dawson (1899-1990)

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Thanksgiving Feast". The Marsh Chapel Choir sings "Canite tuba" by Francisco Guerrero and "Ain'-a that good news" by William L. Dawson along with service music and hymns.

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Thanksgiving Feast". The Marsh Chapel Choir sings "Canite tuba" by Francisco Guerrero and "Ain'-a that good news" by William L. Dawson along with service music and hymns.

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Thanksgiving Feast". The Marsh Chapel Choir sings "Canite tuba" by Francisco Guerrero and "Ain'-a that good news" by William L. Dawson along with service music and hymns.

The Reverend Doctor Robert Allan Hill preaches a sermon entitled "A Thanksgiving Feast". The Marsh Chapel Choir sings "Canite tuba" by Francisco Guerrero and "Ain'-a that good news" by William L. Dawson along with service music and hymns.

Doctor Wafaa El-Sadr gives the Baccalaureate Address. The Marsh Chapel Choir sings "Ev'ry time I feel the spirit" by William L. Dawson and "Let the people praise thee, O God" by William Mathias along with service music and hymns.

Doctor Wafaa El-Sadr gives the Baccalaureate Address. The Marsh Chapel Choir sings "Ev'ry time I feel the spirit" by William L. Dawson and "Let the people praise thee, O God" by William Mathias along with service music and hymns.

Doctor Wafaa El-Sadr gives the Baccalaureate Address. The Marsh Chapel Choir sings "Ev'ry time I feel the spirit" by William L. Dawson and "Let the people praise thee, O God" by William Mathias along with service music and hymns.

Doctor Wafaa El-Sadr gives the Baccalaureate Address. The Marsh Chapel Choir sings "Ev'ry time I feel the spirit" by William L. Dawson and "Let the people praise thee, O God" by William Mathias along with service music and hymns.