Lenard C. Bowie DMA's Books

African American Musical Heritage

An Appreciation, Historical Summary, and Guide to Music Fundamentals

By: Lenard C. Bowie

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African American Musical Heritage

An Appreciation, Historical Summary, and Guide to Music Fundamentals

By: Lenard C. Bowie

LENARD C. BOWIE, DMA ASSOCIATE PROFESSOR OF MUSIC, RETIRED THE UNIVERSITY OF NORTH FLORIDA JACKSONVILLE , FLORIDA Dr. Lenard C. Bowie has developed an enviable reputation as a consummate musician. He is a classical trumpet artist, accomplished band director, effective music administrator, skilled lecturer and publi shed author. As an author, Bowie's expertise in several fields of endeavor has been documented through the following subjects, as published in the professional music journals indicated: "Solving Problems of Young Trumpet Players, " published in the Music Educators National Journal (December, J979) , a critical review of "Black University Marching Bands in the 80's." published by The Marching Band (January, 198 1), and the Proceedings of an Informal Research Conference whose mission was to document the extent to which African American music courses were offered in Florida's Public Schools was published by the Florida Music Educator (June, 2002). As an undergraduate, Bowie was plagued bymany questions concerning the absence of formal instruction in the music of his people, especially when considering the fact that there were only two authentic types of American music -- that of the American Indians and that of African Americans, with African American Music being the most important of the two. Bowie's search for answers to his probing questions began when he enrolled in Professor Willie Ruffs course in Black Music as a graduate student at Yale University in 1974. This course opened Bowie's eyes, ears and mind to many of his here-to-fore unanswered questions; including the extent to which African music traditions are practiced in African American Music today, and the impact that African American Music has made on the social, political, economic, and religious climates of modern American Society. After graduating from Yale with a Master of Musical Arts Degree in 1976, Bowie struck out on a mission to enlarge on what he had learned about African American Music.This mission brought him in contact with a wealth of information through independent study of numerous publications and documentaries; lectures, festivals, concerts; and personal contacts with scholars who were, or have become, major players in the research, dissemination, performance and composition of African American Music. Some of these scholars include former colleagues Dr.Oily W. Wilson, composer and Chair of Composition at UCLA , Berkeley, Samuel Floyd, Founder and Director of the Center for Black Music Research, found at Fisk University, now housed at ColumbiaCollege,Chicago,Dr. AaronHorne,AfricanAmericanMusic Biographer and Dean of Fine Arts, Winston Salem Unive rsity, North Caro lina, Aramentha Adams - Hummings, Founder and Director ofthe Gateways Music Festival , initiated at the North Carolina School of the Arts, now housed at the East man School of Music in Rochester,New York, Operatic Tenor and Music Educator, the late Dr. William A, Brown. Others include Dr. Portia Maultsby, Professor of Music at Indiana University, Dr. Dena Epstein, Retired Music Librarian, Archival Researcher and Author, Chicago, Dr. Rene Boyer-White, Professor of Music Education, College-Conservatory of Music, The University of Cincinnati, and Dr. John Smith, Dean of Fine Arts, The Univers ity of South Florida at Tampa. During the first of Dr. Bowie's two terms as Music Department Chair at The University of North Florida, he was afforded an opportunity to apply and distribute his long sought know ledge. The opportunity came in the form ofa Mill ion Dollar Endowment from the Koger Company to develop programs of study in American Music. The response of the faculty to the endowmentwas to institute two programs: a Jazz Studies Program and a program in African American Music. The Jazz Studies Program has become nationally recognized for outstanding achievements in jazz theory, history and performance. The latter program , designed and developed by Bowie, was chall

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575

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Xlibris Corporation

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ISBN 10

1465305750

ISBN 13

9781465305756

TRUMPET THERAPIES

A HANDBOOK OF SOLUTIONS TO COMMON PHYSICAL PERFORMANCE PROBLEMS

By: Lenard C. Bowie, DMA

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TRUMPET THERAPIES

A HANDBOOK OF SOLUTIONS TO COMMON PHYSICAL PERFORMANCE PROBLEMS

By: Lenard C. Bowie, DMA

Best wishes in applying the therapies proposed on these pages. The extent of your success will be determined primarily by the amount and quality of practice time engaged in. The great amount of time and effort required to become a professional trumpeter equates to a condition of work—hard work, not play. If you noticed, the phrases, “trumpet player”, “play the trumpet”, or any other reference to the word “play” is never used in this booklet. Pray tell me why not?

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ISBN 10

1479774987

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9781479774982

THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH

Memoirs of my life while working with the Florida A&M University Marching Band

By: Lenard C. Bowie, DMA

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THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH

Memoirs of my life while working with the Florida A&M University Marching Band

By: Lenard C. Bowie, DMA

After terminating my tenure and positions as Trumpet Teacher, Associate Director of Bands and Chairman of Instrumental Music at Florida A&M University in 1980, I was bombarded with questions and often criticized on the wisdom of abandoning the pathway I had earned as heir apparent to the position of Director of Bands. Rumors were also whispered that I was fired for involvement in questionable and unprofessional faculty-student relationships. I deliberately hesitated to answer such questions, first, because they could possibly be interpreted as my being critical of the people and the program that made it possible for me to develop whatever God given talents I possessed. Second, I chose to quietly accept said criticisms and dismiss the rumors to avoid giving them credibility by commenting on them one way or the other. However, I have always felt an obligation to provide the truth to the friends, colleagues, and fans that assisted in the realization of my professional pursuits at FAMU. These questions and inquiries gradually subsided after my appointment as Chairman of Fine Arts at the University of North Florida four years later. Thirty one years later, the disturbing news from Orlando, Florida, announcing the death of Robert Champion, a FAMU Drum Major, renewed the urgency for me to address long standing and new questions on various aspects about FAMU’s band. The untimely death of Champion resulted, allegedly, from a brutal “ritual of acceptance” hazing, on the occasion of the 2011 Orange Blossom Classic football game between the Florida A&M and Bethune Cookman Universities. Regrettably many supporters, fans and former band members, including myself, had long feared such an occurrence would happen sooner or later. I was similarly harassed as a freshman during the 1958 band season following the Orange Blossom Classic held in Miami. In spite of my negative treatment, I went on to become Band President and, after graduating, Associate Director of this esteemed organization. Therefore, I feel intimately familiar with the band and its history, including the unsanctioned tradition of hazing, and feel competent to voice my opinions on the question of hazing and on the current and future status of the FAMU band program. Following the death of Mr. Champion, I again began receiving renewed calls, visits, and e-mails, inquiring of my thinking and position on the situation at hand. After Dr. Julian White, Director of Bands, was unceremoniously terminated, over 150 former students encouraged me to seek the position of Director. Obviously, those encouraging me to do so, did not factor in my advancing age or health status. Nonetheless, these renewed questions awakened the need and obligation for me to speak out and weigh- in on long standing issues about the band and my reasons for abandoning it. Accordingly, the crisis of Mr. Champion’s death has created a renewed sense of urgency for me to finally speak out and describe how such issues led to my departure from the FAMU Marching Band. It is hoped that this booklet will provide truthful answers to long standing questions and serve to explore a plethora of traditions and misconceptions about the band. This writing is a recollection of my personal journey as a student participant and eventual Associate Director of this Band. The reader is therefore afforded to share the author’s perspective, insight and self-discovery during this time frame. It is hoped that this booklet will positively assist in a similar “societal-discovery” and serve as a deterrent to hazing, violence and other punitive actions that have all but become standard codes of conduct on many college and university campuses. Lenard C. Bowie, DMA Former Associate Director of Bands Florida A&M University

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1483678881

ISBN 13

9781483678887

The Cyclic System of Transposition for Trumpet

By: Lenard C. Bowie DMA

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The Cyclic System of Transposition for Trumpet

By: Lenard C. Bowie DMA

The study of transposition is of great importance to prospective composers, arrangers, conductors and performance majors studying orchestral instruments. This is due to the fact that the subject is central to the content of almost every performance-oriented course in the collegiate instrumental music curriculum. Having witnessed the level of frustration and confusion suffered by most neophyte trumpet students, and finally admitting my own ineptness with the subject, I started an in depth study of transposition over thirty years ago with the intent of resolving my own misconceptions about the subject. This study led to the development of a system of transposition that I could easily understand one that would apply to all trumpets and would answer all of my questions pertaining to transposition. My study revealed the following factors as root causes of my misconceptions about transposition. In subsequent years, I found these same factors to be the cause of frustration and misconception for the average student regarding the subject of transposition; specifically: 1. The misconception that instruments transpose. 2. The misunderstanding about the differences between written and sounding pitch. 3. Transposition is defined and approached differently by teachers who specialize in different music disciplines. 4. For most music students and professionals, transposition is regarded as a theoretical process. For the prospective and professional orchestral trumpeter, transposition is a performance skill, of which mastery is ultimately required. To confirm the level of confusion on the subject of transposition, one has only to google Trumpet Transposition to be confronted with a number of different methods and approaches used by professional musicians, and some of their confusion about the subject. The Cyclic System of Transposition for Trumpet incorporates the more salient approaches and concepts of transposition systems that can be used effectively for any pitched trumpet.

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1493155520

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9781493155521

African American Musical Heritage

An Appreciation, Historical Summary, and Guide to Music Fundamentals

By: Lenard C. Bowie

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African American Musical Heritage

An Appreciation, Historical Summary, and Guide to Music Fundamentals

By: Lenard C. Bowie

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Solve jigsaw puzzle

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575

Publisher

Xlibris Corporation

Published Date

ISBN 10

1465305750

ISBN 13

9781465305756

Book's by Lenard C. Bowie DMA

African American Musical Heritage

African American Musical Heritage

TRUMPET THERAPIES

TRUMPET THERAPIES

THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH

THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH

The Cyclic System of Transposition for Trumpet

The Cyclic System of Transposition for Trumpet

African American Musical Heritage

African American Musical Heritage

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