William Grant Still


By Gary R. Boye



Adams, Stanley. "Birthday Greetings to William Grant Still." The Black Perspective in Music III, special issue n.2 (May, 1975): 133-34.

Ardoyno, Dolores. "William Grant Still." High Fidelity/Musical America 34 (October 1984): 18-20.

Arvey, Verna [Mrs. William Grant Still]. Studies of Contemporary American Composers: William Grant Still. New York: J. Fischer & Bro., 1941.

________. "In memoriam: William Grant Still (1895-1978)." Black Perspective in Music 7, n. 2 (Fall, 1979): 235-43 [messages of condolence by various authors].

________. In One Lifetime. Fayetteville, Ark.: University of Arkansas Press, 1984.

Bennett, Elsie. "William Grant Still and Accordion Music." The Black Perspective in Music III, special issue n.2 (May, 1975): 193-95.

Brown, R. Donald. William Grant Still. Fullerton, Cal.: California State University, 1984.

Cobbs, Paul-Elliott. "William Grant Still's The Afro-American Symphony: a Culturally Inclusive Perspective." D.M.A. thesis, University of Washington, 1990.

Cody, Carlos B. "A Study of Selected Band Compositions of Three Twentieth Century Composers: William Grant Still, Ulysses Kay, and Hale Smith." Ph.D. diss., University of Southern Mississippi, 1990.

Cook, J. Douglas. "Visits to the Homes of Famous Composers." Opera, Concert and Symphony (November, 1946).

Cunningham, Arthur. "Eclatette." The Black Perspective in Music III, special issue n.2 (May, 1975): 226-34.

Dorr, Donald. "Chosen image: The Afro-American Vision in the Operas of William Grant Still." The Opera Quarterly 4, n. 2 (Summer, 1986): 1-23.

Dunn-Powell, Rosephanye. "The Solo Vocal Writing Style of William Grant Still." Mus.D. thesis, Florida State University, 1993.

de Lerma, Dominique-René., ed. Black Music in our Culture. Kent, Ohio: Kent State University Press, 1970.

Edwards, Benjamin Griffith. "The Life of William Grant Still." Ph.D. dissertation, Harvard University, 1987.

Everett, Thomas. "Concert band music by black-American composers, a selected list." Black Perspective in Music 6, n.2 (Fall, 1978): 143-50.

Haas, Robert Bartlett, ed. William Grant Still and the Fusion of Cultures in American Music. Los Angeles: Black Sparrow Press, 1972.

Harley, Sharon. The Timetables of African-American History. New York: Simon & Schuster, 1995.

Headlee, Judith Anne. "William Grant Still: a voice high-sounding (includes transcription of a 1968 taped interview)." Music Educators Journal 70 (February 1984): 24-30.

________. "A musical dreamer." Keyboard Classics 5, n. 4 (1985): 6.

Hudgins, M. "An Outstanding Arkansan: William Grant Still." Arkansas Historical Quarterly 24, n. 4 (Winter, 1965): 308-14.

James, Shaylor L. "Contributions of Four Selected Twentieth-Century Afro-

American Classical Composers." Ph.D. diss., Florida State University, 1988.

Johnson, Herbert. "The Piano Music of William Grant Still." D.M.A. thesis, Manhattan School of Music, 1992.

Jones, Isabel Morse. "Meet the Composer: William Grant Still; Fron Tin Pan Alley to Symphony and Opera, His Beliefs Have Never Faltered." Musical America (25 December 1944).

Kay, Ulysses. "Visions." The Black Perspective in Music III, special issue n.2 (May, 1975): 222-223.

Krueger, Karl. "Homage to William Grant Still." The Black Perspective in Music III, special issue n.2 (May, 1975): 134.

Michaelis, Adrian. "Still Music on the Western Air." The Black Perspective in Music III, special issue n.2 (May, 1975): 177-89.

Moe, Orin. "Black music and musical analysis: William Grant Still's Songs of Separation as a point of departure." Black Music Research Journal 10, n. 1 (1990): 89-90.

Newman, R. "`East of Broadway:' Florence Mills at Aeolian Hall." Sonneck Society Bulletin for American Music 20, n.3 (1994): 9-10.

O'Connor, Tom. "Los Angeles Life: Portrait Number 17, William Grant Still." Los Angeles Evening News , 26 September 1936.

Oja, C. J. "`New music' and the `new Negro': the background of William Grant Still's Afro-American Symphony." Black Music Research Journal 12, n.2 (1992): 145-69.

Ryder, Georgia. "Another Look at Some American Cantatas." The Black Perspective in Music III, special issue n.2 (May, 1975): 135-40.

Shirley, Wayne D. "William Grant Still's Choral Ballad And They Lynched Him on a Tree." American Music 12, n.4 (Winter, 1994): 425-461.

Sampson, Henry T. The Ghost Walks: A Chronological History of Blacks in Show Business, 1865-1910. Metuchen, N.J.: Scarecrow Press, 1988.

Simpson, Ralph Ricardo. "William Grant Still: the Man and His Music." Ph.D. diss., University of Michigan, 1964.

Smith, Catherine Parsons, 1933-. William Grant Still : a study in contradictions / Catherine Parsons Smith ; with contributed essays by Gayle Murchison and Willard B. Gatewood ; chronology by Carolyn L. Quin ; and contemporary sources from the 1930s, Verna Arvey ... [et al.]. Berkeley, Calif. : University of California Press, c2000.

Smith, Hale. "For One Called Billy." The Black Perspective in Music III, special issue n.2 (May, 1975): 224-225.

Southern, Eileen. "Conversation with William Grant Still." The Black Perspective in Music III, special issue n.2 (May, 1975): 165-76.

________. The Music of Black Americans: a History. New York: W.W. Norton, 1971/rev. 1983.

________. Readings in Black American Music. New York: W.W. Norton, 1971/rev. 1983.

________. "In retrospect: letters from W. C. Handy to William Grant Still, with notes by E. Southern." Black Perspective in Music 8, n. 1 (Spring, 1980): 65- 119.

________. Biographical Dictionary of Afro-American and African Musicians. Westport, Conn.: Greenwood Press, 1982.

________. "Milestones of Black-American composition." Black Music Research Journal 10, n. 8 (1990): 123-24.

Spence, Martha Ellen Blanding. "Selected Song Cycles of three Contemporary Black American Composers: William Grant Still, Songs of Separation, Hale Smith, Beyond the Rim of Day, John Duncan, Bluz Set." D.M.A. diss., University of Southern Mississippi, 1977.

Spencer, Jon Michael. "The Writings of Robert Nathaniel Dett and William Grant Still." Ph.D. diss., Washington University, 1982.

________. "Theomusicology: Western classical tradition: William Grant Still: eclectic religionist." Black Sacred Music 8, n.1 (1994): 135-36.

Standifer, James Allred. "Reminiscences of black musicians." Jazz Research 17 (1985): 205-22.

Still, Judith Ann. "In My Father's House." The Black Perspective in Music III, special issue n.2 (May, 1975): 199-206.

________. "The genesis of Ennanga." The American Harp Journal 9, n.4 (1984): 15- 17.

________. "The American composer: a durable victim." Sonneck Society Bulletin for American Music 15, n.3 (Fall, 1989): 99-103.

Still, William Grant. "An Afro-American Composer's Point of View." In American Composers on American Music. ed. Henry Cowell, pp.??, Palo Alto, Cal.: Stanford University Press, 1933.

________. "The American Composer." The Baton (March, 1937).

________. "Are Negro Composers Handicapped?" The Baton (November, 1937): 3.

________. "For Finer Negro Music." Opportunity 17, n. 5 (May, 1939): 137-38.

________. "A Negro Symphony Orchestra." Opportunity 17, n. 9 (September, 1939): 267.

________. "The Negro and His Music." The War Worker (October, 1943).

________. "The Men Behind American Music." The Crisis 51, n. 1 (January, 1944): 12-15.

________. "How Do We Stand in Hollywood?" Opportunity 13, n. 2 (Spring, 1945): 74-77.

________. "A Symphony of Dark Voices." Opera, Concert and Symphony (May, 1947).

________. "Politics in Music." Opera, Concert and Symphony (August, 1947).

________. "American Music and the Well-Timed Sneer." Opera and Concert (May, 1948)

________. "Music, A Vital Factor in America's Racial Problems." Australian Musical News (November, 1948).

________. "Can Music Make a Career?" Negro Digest (December, 1948): 79-84.

________. "The Composer Needs Determination and Faith." The Etude (January, 1949).

________. "Troubled History of `The Troubled Island'" New York Times, 20 March 1949, II 7:4.

________. "My Biggest Break." Los Angeles Sentinel, 1 September 1949.

________. "The Structure of Music." The Etude (March, 1950).

________. "50 Years of Progress in Music." Pittsburgh Courier, 11 November 1950.

________. William Grant Still and Verna Arvey Scrapbooks, William Grant Still and Verna Arvey Papers, Series 4. University of Arkansas, 1984-91. Microfilm.

________. Papers, 1877-1992 [2,250 items]. Duke University.

________. Collection of programs, press releases, articles, and related papers, n.d. [location??]

________. "A Composer's Viewpoint." In Black Music in our Culture, ed. Dominique-René de Lerma, 93-108, Kent, Ohio: Kent State University Press, 1970.

________. William Grant Still Studies at the University of Arkansas: a 1984 Congress Report. Claire Detels, ed., Fayetteville, Ark.: University of Arkansas, 1985.

________. The William Grant Still Reader: Essays in American Music., vol. 6, no. 2, Black Sacred Music. Durham, N.C.: Duke University Press, 1992.

Still, William Grant and Verna Arvey. "Negro Music in the Americas." Revue Internationale de Musique (May-June 1938).

________. "Modern World Challenges Contemporary Composers." Los Angeles Times, 5 July 1939.

________. "Does Interracial Marriage Succeed?" Negro Music (April 1945).

________. "My Arkansas Boyhood." Arkansas Historical Quarterly 26, n. 3 (Autumn, 1967): 285-292.

Thompson, Leon Everette. "A Historical and Stylistic Analysis of the Music of William Grant Still and a Thematic Catalog of His Works." D.M.A. thesis, University of Southern California, 1966.

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A project of The Digital Scriptorium, Special Collections Library, Duke University. September 1995