The History of the Study of Music at Centenary
By Jennifer Gipson '02
“The students make their own music… There is
in this the useful and beautiful. It struck us, and we believe everybody
as, ‘a
The History of the Study of Music at Centenary
By Jennifer Gipson '02
“The students make their own music… There is
in this the useful and beautiful. It struck us, and we believe everybody
as, ‘a thing that ought to be.’”
“Although we are not going to dwell on the laurels of past glory, it is well to mention what we have done in the past.” So begins the 1924 Yoncopin report on “Musical Activities” at Centenary. In 2002, as Centenary reflects on the 150 years that have passed since the formal introduction of music courses, it is, indeed, “well to mention” the role of musical activities in the College’s rich history.
The present-day Centenary College of Louisiana in Shreveport traces its roots to two earlier institutions: a public school, the College of Louisiana, founded in Jackson, Louisiana, in 1825, and Centenary College, established in 1839 by the Methodist Episcopal Church South in Clinton, Mississippi. In 1845, the two colleges merged to form Centenary College of Louisiana in Jackson. The College continued to operate on the Jackson campus, interrupted only by the Civil War, until its move to Shreveport in 1908.
“On motion it was resolved that the faculty be requested
to induce the students to form a musical band to be under its direction
which shall be composed exclusively of performers from among themselves.”
Prior to the first music classes of 1852, music for enjoyment, worship, or ceremony undoubtedly graced the campuses of Centenary College of Louisiana and its predecessors. For example, in 1838, the faculty of the College of Louisiana heard the case of two students who drew knives and fought savagely after a dispute that involved one student disturbing his downstairs neighbor with his “fiddleing” practice during study hours.1 In 1850, the Board of Trustees laid the foundation for a formal music program at Centenary when they resolved that “the faculty be requested to induce the students to form a musical band….”2
In 1852, Centenary welcomed its first music professor, A.E. Blackmar, hailed as “a gentleman of high moral worth, and a musician of universal genius.”3 The Trustees resolved that he would receive no salary, depending solely on the music tuition charges that the faculty would approve.4 Professor Blackmar quickly won the favor of many members of the Centenary community at the multi-day commencement exercises of 1852. Performances of Blackmar’s instrumental and vocal ensembles offered a welcomed change of pace to hot and tired audience members who endured a barrage of speeches in both English and Latin (including honorary degree recipient Charles Gayarré’s one-hour impromptu address).5
The solemn charm of the occasion was not even broken by the “music.” Usually at Commencements the first note of the scraping bow quite dissipates the moral and the intellectual. Four or five red faces and greasy fiddles—looking like a tattered remnant of the Old Guard—have, time out of mind, constituted the sauce of these literary feasts. On this occasion the exercises were relieved alternately by a choir of ladies and students, an orchestra, and a brass band, both composed exclusively of College students, under the conduct of Mr. A.E. Blackmar. The orchestra consisted of nine violins, four flutes, and a clarinet; the brass band of twelve horns, a piccolo and drum. I noticed that several of the graduating class were performers. The music was of admirable time and expression, though the students have been practicing only since February last. Two years ago the Trustees voted that such a band, if possible, be formed, and money appropriated to purchase instruments. This year they have constituted a choir of vocal and instrumental music, and have elected Mr. A.E. Blackmar Professor.6
Shortly after this fulsome praise appeared in the New Orleans Christian Advocate, the paper ran an advertisement detailing the expenses for Centenary’s next session. Instruction in music was, and would long remain, optional study that could be elected at extra cost.
Expenses: September 1852
At the 1853 commencement, Centenary’s new music department again garnered great acclaim. Any description that leaves out the music that regaled the Commencement, would be unfair and imperfect. The college, at its own expense, ordered, two years ago, the purchase of instruments for a full brass band, and elected a competent gentleman, Mr. Blackmar—well designated in the catalogue as professor—to superintend and instruct in this department. That, fro