Minnesota School of the Air: Adventures in Music – Harry T. Burleigh Negro Spirituals

Setting: A classroom-style radio broadcast, likely aired in the 1940s or early 1950s, intended for Minnesota schoolchildren. The episode creates an evocative atmosphere, possibly referencing plantation fields or concert halls to connect listeners to the origins and evolution of Negro spirituals.
Plot/Content:
Introduction: The episode begins with a narrator or music teacher introducing Harry T. Burleigh (1866–1949), born in Erie, Pennsylvania, and celebrated as the first African American composer to arrange Negro spirituals as classical art songs. The narrator likely highlights Burleigh’s early exposure to spirituals through his grandfather, a former slave, and his scholarship at the National Conservatory of Music in New York, where he introduced spirituals to composer Antonín Dvořák. The context of spirituals—sacred folk songs created by enslaved African Americans, expressing faith, hope, and resistance—is explained, noting their roots in the 18th and 19th centuries.

Musical Examples: The program features performances of Burleigh’s spiritual arrangements, likely sung by a soloist or small ensemble (e.g., a baritone or quartet) with piano accompaniment, reflecting Burleigh’s concert style. Songs might include:
“Deep River” (1916–17): Burleigh’s most famous arrangement, a soulful plea for salvation, showcasing his ability to blend spiritual melodies with classical harmonies.

“Sometimes I Feel Like a Motherless Child”: A poignant spiritual expressing longing and isolation, arranged to highlight its emotional depth.

“Nobody Knows the Trouble I’ve Seen”: A lament of suffering and resilience, performed to emphasize Burleigh’s lyrical sensitivity.

“Go Down Moses”: A spiritual linked to Harriet Tubman, symbolizing liberation, with Burleigh’s arrangement adding dramatic intensity.

Educational Segments: Between songs, the narrator discusses Burleigh’s impact, explaining how he transformed spirituals from oral traditions into concert repertoire, making them accessible to classical singers like Marian Anderson. The episode might explore the spirituals’ dual meanings—spiritual salvation and freedom from slavery (e.g., “Canaan” symbolizing Canada). The narrator could also note Burleigh’s 50-year tenure as a baritone soloist at St. George’s Episcopal Church and his influence on American music, including Dvořák’s Symphony No. 9 (“From the New World”). Minnesota’s connection might be mentioned, as Burleigh’s spirituals were performed in churches and schools across the Midwest.

Interactive Element: Consistent with the program’s pedagogical approach, the narrator may encourage students to sing a refrain (e.g., “Deep River, my home is over Jordan”) or pose questions for classroom discussion, such as “How do spirituals express both sorrow and hope?” or “Why was Burleigh’s work important for American music?” The episode might suggest students compare spirituals to other folk music they know, like Scandinavian or German songs common in Minnesota.

Conclusion: The episode closes with a reflection on Burleigh’s legacy, noting how his arrangements elevated spirituals to a respected art form, influencing the Harlem Renaissance and modern gospel. The narrator might encourage students to explore African American music in their communities or create their own songs about faith and resilience. A final performance, possibly “Deep River,” with piano and vocal harmony, leaves listeners inspired by the spirituals’ enduring power.

Themes: Cultural preservation, the transformative power of music, racial uplift through art, and the spirituals’ role as America’s first “signature” music, blending faith and resistance. The episode aims to instill respect for African American contributions to music and history.

Cast and Roles:
Narrator/Teacher: An unnamed KUOM staff member or music educator (possibly E.W. Ziebarth, a known KUOM broadcaster), delivering historical context and commentary with a clear, engaging tone for young listeners. The narrator acts as the guide, framing Burleigh’s life and the spirituals’ significance.

Musical Performers: Unnamed vocalists and instrumentalists, likely local Minnesota musicians, University of Minnesota students, or a hired soloist, performing Burleigh’s arrangements. A baritone (emulating Burleigh’s own voice) or small vocal ensemble with piano accompaniment would be typical, delivering authentic yet polished renditions. Performers are uncredited, as was standard for KUOM’s educational broadcasts.

Supporting Roles: No dramatic characters, but the narrator might read spiritual lyrics expressively or adopt a storytelling tone to evoke the plantation or concert settings.

Note on Cast: Minnesota School of the Air prioritized content over performer credits, and musicians were often sourced from the University’s music department or local talent, ensuring accessible arrangements.

Production Details:
Music: Burleigh’s spiritual arrangements, performed live or pre-recorded, featuring solo voice or small ensemble with piano, reflecting the concert style he pioneered. The Adventures in Music series used modest instrumentation to suit radio and classroom settings.

Director/Producer: Likely overseen by KUOM staff, such as Burton Paulu (station manager) or Judith Waller (program director), who shaped the School of the Air curriculum.

Writer: Script likely written by a KUOM educator or musicologist, drawing on Burleigh’s publications (e.g., Jubilee Songs of the United States, 1929) and contemporary sources like William Arms Fisher’s 70 Negro Spirituals (1926).

Sponsor: Funded by the University of Minnesota and possibly state education grants, with no commercial sponsorship, as KUOM was non-commercial.