{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/183416v789/manifest","type":"Manifest","label":{"en":["Morgan State University Choir 3, 1988-11"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","metadata":[{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://marmia.libraryhost.com/repositories/2/archival_objects/11819"]}},{"label":{"en":["Date"]},"value":{"en":["1988-11 (Creation)"]}},{"label":{"en":["Description"]},"value":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program. (Funding note)","Dr. Nathan M. Carter, who led the Morgan State University Choir, is interviewed. (Scope and Content Note)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-EVMAG-151-004 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["Evening Magazine"]}}],"summary":{"en":["Be advised that this video may contain sensitive, triggering, and offensive language and content.","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program.","Dr. Nathan M. Carter, who led the Morgan State University Choir, is interviewed."]},"provider":[{"id":"https://marmia.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["MARMIA"]},"homepage":[{"id":"https://marmia.aviaryplatform.com/","type":"Text","label":{"en":["MARMIA"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/216/774/small/open-uri20231116-484-g7tbjx_1700163222.jpg?1700145222","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20250108-2687357-19t3vf.mp4"]},"duration":1349.425,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/216/774/small/open-uri20231116-484-g7tbjx_1700163222.jpg?1700145222","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/216/774/original/open-uri20250108-2687357-19t3vf.mp4?1736369737","type":"Video","format":"video/mp4","duration":1349.425,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-EVMAG-151-004.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There's take some fellows on a whoever's there, move the set off the stage, but don't dismantle it. See, when we finish, we're going to put it back on the stage. You know, he's always on stage. Whatever's on the stage, we want to make it better. And. Right. You've got to set those things up over the bleachers, above the seats, right out in the hall, maybe to the left as you're going to stand. Don't. I got to live there with Glenn? I want to keep it like it is, but just set it off the stage. I mean, and then I want to bring risers around, unless they're like four or five and just set it up there on the stage. You can be doing that now and tell everybody move around. Well, is that the way to do the take the fellows, You get it. You in the middle of telling us about Russia and the reactions that you've received. Russia was a quick experience. We came here in the seventies. We were in Russia in 74. That's something I don't know how the what happens is the turnaround of the car was this is it was rather quick. In 72, we were singing for the National Association of Music Music Educators in Atlanta, Georgia, The world. It was like something came to town. It really began to take place and we started to get these national kind of invitations. Okay. At that time, that was a group. No, this is now get into Russia. There was a group out of Minneapolis whose primary was to focus on musical black composers. And in so doing, what they wanted to do was to arrange with different symphonies around the United States, to come to the country, come to that city, and do readings of black composers music which had not been heard.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=0.34,99.53"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Some of them was called where they just happened to arrange for the Baltimore Symphony to do a reading a whole week. And Paul Freeman, black conductor with that group known as a more, they no longer exist. They had this contract with Columbia Records. If they found some good music, the Columbia would produce it. That did come out under the Black Composers Series by Columbia. So what happened was this all that just seemed to work right with us at that time. So in seventies, early seventies, Baltimore was a host for this Black composer series, and we were the choir in evidence for that. Out of that, the design of what we performed here in Baltimore was to record this for the Columbia series. That meant going to Europe to record it because it was set up that London would do the Helsinki Orchestra. So we knew we were going to Helsinki that close to Russia. So it was arranged for us to continue our tour in Leningrad, you see, and all of that made a big tour. So what I'm saying to you is this we were not there. Our principal reason for going to Europe was to do these recordings. The Morgen choir, conducted by another conductor, is not the same as the Morgan quite in its own thing is what I'm trying to say. So we were hosts in what we were doing. It was excellent. But those audiences heard us in major works like Prokofiev's Alexander Nevsky. It was a dimension that was not the total package. And I thought that that in that respect we were greatly received. And it's just funny. How do you get that out of the car? I'm spontaneous. I mean, okay, music is this music is on the printed page even as early as the great composers Marshall, Palestrina and others.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=100.01,203.9"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This is Bach. But I mean, if we're talking about contemporary times, composers go as far as to try to tell you everything. But in the earlier times you just may see the notes you may not even know. The conductor's role is to conduct from the page through the perform. It may not be himself, may be others. What based upon training history of the times, what might have inspired the piece? Not just what I see, but what I feel from knowledge that the person who wrote it want it? Now, if I'm immersed into that, then it's my job to extract that from others. So if I relive it inwardly, even if I don't show it, if I know it, it transmits itself. Not don't ask me how that happens, but I'm saying you cannot be a fake if I'm so. So if I know it, it gets across and I'm excited about it. It gets across. Now. They are basic standards of technique by which one goes, There's no personality thing in the psychology. How do you get people to do what you want them to do? You know, first of all, they have to like it, but then they may not like it. There's so many variables here. Musically speaking, it's hard to get people to sing for you if they hate you. And so there has to be a little love involved there, too. I mean, a lot of respect. It is sad that instrumentalists might play for conduct that they don't like better than singers with singers. I mean, that's not necessarily I don't say that that's proven, but I know that it's pretty hard to get people to use their human voices for someone up in front of them, they cannot relate to them.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=204.68,302.13"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I think even though I have to demand a lot, I think I radiate a genuine desire to get the best from people. And and sooner or later they understand that. And I want to ask you a question. I've already asked you this, but I might not have a good take on tape. And if you could react to the question, what makes the choir so special and also go through the repertoire of the different kinds of sounds? Okay. Programing is very important. Is the I said to you, we are classically structured, but out of which there are many avenues of departure. Some of us here tonight. Stephanie Mills We are on my wall is Stevie Wonder, Patti LaBelle. Every artist has his medium. His songs are her songs. So I don't say we sing everything we may sing in the style of, but I'm very careful about which songs we sing in these various styles. So we're constantly trying to educate. The other hand, we are we are choosing music that's appropriate to the talent. We have that. So it's a knowledge of the music that's out there. It's it's not like some of my colleagues who are not as adamant about doing things right. Wait until they hear somebody else doing. I'm always certain. I'll tell you, I have about ten years of music to perform Black and brown. I'm always searching for material and I don't want to wait till I hear it. I'm looking for it if I have to be the first to perform it. So if you get the right material, you see it is you can show you off to a best advantage. And I think I'm pretty good at picking a package of music that best represents the choir, that shows the versatility.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=302.48,401.61"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that's one thing. And then you see we're not doing a major work like a Broadway show where all of the 2 hours is written down page by page. If I'm taking 20 different titles, how they proceed on that page is very important to have that concept because there's so many things that can make an addition to that is to get into the group psyched up to doing it. Well, I mean, you know, like you, you can't just assume they're going to be there with you there and you can't wait on the audience to bring it, you know. And that's getting the team ready. So it's getting them prepared, but it's technical, but also being able to motivate, to motivate, that is the key, their motivation. My mother was an excellent teacher, and I'm not only told that by her, but by all the students who came from and her walls as a teacher. I think my leadership and ability to teach and my father was a teacher and a leader. I think I have some inborn traits of, uh, that weren't taught of being able to get people. When I was when I was in high school, I was organizing groups just, you know, putting quartets and things together. Uh, in college without being a conductor was organizing groups. I have a had a propensity to extract from others their talents. And it's, it's, it I think it drives us on and. Thank you. Yeah, that's it. Go with it. Donald That was it. That was at its best. Like this didn't pass on to me. Like, I just caught up with it. That's. That's ten years ago. I would. Very good video. Now I need to. I need to catch it. I can get that to you next.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=402.39,517.82"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"First. Next. But if you have 5 seconds left or are a lot of folks that were just kind of out there now, come on, just about everybody. But first of all, you guys, you live off an area that, you know, come on. I think the second school year this year, I don't want to bother talking about good intentions to be able to get thing going where? Well, I'm going to talk more about it right now. But what I'm going to. Right. Like, Oh, yeah, this is coming out of the. For him. They want to make. You. Just be aware when you go out. Got to go back to see where we are. That's kind of what I want to do, is to pass on the music. And this is not a performance that she's playing around. Now. What I want to be on board is a little bit. But I'm getting. We focus on what we're doing. All right? What I want you to do is turn to make. Be careful now, though. We definitely don't see all the problems that go with you and. Uh, but he went over there. The flood. Forget you listening to me. Don't worry about the news. But I'm glad you got. We have heard some of that. Why was that not? We have learned the art of being able to do the inverse. We have to shift around and shift our position to do it and not get all about it. Some of you are certainly right. I mean, you have to wait. You're ready to go. And I know have that you have had to wait. It also is the way it makes you think that they have to wait all day before you them. The versatility of your movement, an addition you're not always have the same way, not the same variables.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=518.14,945.81"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I want you to be able to make a rule you live right, and I want to get you not to go down. And I do that. But just by chance, that's because we work in such. You're so dog. You get along so quick, don't mind and that's why you got to work out so well. And I don't need it. I don't need any kind of change of attitude about things. And I, we come into work and I. This is one of the first not even thought about it. I'll get one year. Now, does it seem that you've got thing all saying, okay, they want to go out and go to. Oh. The first time. It's going to be rather quick and rather loud in the next hour or so. Now, this is obviously the other piece of the markets here. Just the way it was brought up, some of the strategy that we just want to get to. I don't know if somebody walked out the. You know that I they a concert Sunday. Oh. The thought of the moon. People going about this, okay, trying to see God, why don't you get on the floor, give a little bit about people out there. Come on down the floor. Come here. Come here. You stepped on it. Saying I stand before, you should not go with that growth. And you know that God I know asked you to do that. Let me tell you something slightly different, Hall said, because I talked to the people at the summit. We have a general relationship with each other in the rehearsal as opposed to anything he goes on to perform. It may be a different location, but you know just about where you are if you know.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=946.6,1104.68"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Not about the first time that I felt that way. And then when I, I was going to go from this block of Baghdad that's always known as being a relationship developed between 100000. That is what I would say about this. Here is the second number to be. It's a real soap opera. I want to do this now. Not to expect it, but I want you to do that. No doubt you get the sun and the beach time. That's why I've done it with the sun. You wake up for the first time, go. Oh, Caldicott is so loud and brings out. Not the best. You got a color? How. Calorie count. 120. Oh. Oh. Oh. Oh. Oh. Oh. Oh. Oh. You're saying that? I don't think I don't get excited to look at something You get to look at. I'm sorry. I called her name. Break it up. Pick it up. O. O. O. O. O. O. O. So it's okay to say that I watch. We started the second time around. So I we take the third in a little too far. He would stop, in fact, insult, insult them. The second is total assault. The first one starts, boy. That's not. I care. Don't forget, the rupee is also set to have 1.0000. Oh. Oh. Oh. Oh. So don't to. Oh.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774#t=1104.92,1259.99"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/114036/file/216774/transcript/61569/annotation/9","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/061/569/original/open-uri20231117-60067-rsssd2?1700180868","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/061/569/original/open-uri20231117-60067-rsssd2?1700180868"}]}]}]}