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Shaping Uplift Through Music
Sarah Schmalenberger
Doris Evans McGinty and others have documented the corps of black musicians
and educators who embraced the repertoire of western European composers
as a means to facilitate a self-help philosophy known as racial uplift
propelling African-American upward mobility after Emancipation. This paper
continues her work on the Washington Conservatory, a privately funded
music school for black students that was located in the once-affluent
black U-Street neighborhood of Washington, D.C. (McGinty, 1979). I hoped
to discover how the conservatory's founder, Harriett Marshall, shaped
the rhetoric of racial uplift through music. I was especially curious
about the motivations behind some of Marshall's more adventurous projects
to celebrate black concert music as high art.
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