A History of
The A Cappella Choir of Wiley College
Researched and prepared by
Stephen L. Hayes
Assistant Professor of Music, Director
At the end of the Civil War, with the establishment of schools in the South for newly freed slaves, no one could predict the impact these humble buildings of education would have on American history and the world. When music was introduced as a course on these campuses, the eager learners were thrilled because music, especially singing, had always been a natural part of their religious and recreational lives. As a result, an art form evolved on those college and university grounds which would significantly define a people, a nation, and offer this country’s signature gift to world culture – Negro folk music – beginning with the plantation or slave songs, melodies, hymns (called ‘gospels’), ditties, blues, rags, and jazz.
From the founding of Wiley University (now Wiley College) to the present, the role of music has been integral to the continued growth and success of the institution. Documents show that the first group of singers, The Wiley University ‘Jubilee Singers,’ was organized in 1897 by R. E. Brown. Mr. Brown is recognized also for assembling the first Wiley University football team, establishing its first teacher-training program, the first Wiley University extension course in Louisiana, and writing the “College Fight” song.
Through the first quarter of the 20th century, the Jubilee Singers served the university as cultural representatives; traveling the country to promote the mission of the school. Thereafter, an organized chorus was formed to fulfill the tasks of fundraising, recruitment, and public promotion. Wiley College showed excellent foresight when choosing the individuals who would lead the choral ensembles. The tenacious, articulate, and nationally recognized corps of musicians and directors created an atmosphere of excellence that aided Wiley College in capturing national attention as a school for the arts. In the decades to follow, the image of this grand east Texas academy resonated through its music and the social interaction of singers with supporters and patrons. Among the most brilliant conductors are:
EDWARD BOATNER: Baritone, composer and educator Edward Hammond Boatner was born in New Orleans, Louisiana on November 13, 1898. His father, Dr. Daniel Webster Boatner, was a former slave who became an itinerant minister. Edward Boatner was exposed at an early age to the music sung by former slaves in the churches where his father preached. He was particularly fascinated by the spirituals.
Boatner was educated in the public schools of St. Louis, Missouri, and Kansas City, Kansas. Most of his early musical education came from self-training. He entered Western University, Quindaro, Kansas, in 1916, where he studied voice and piano. Despite the strenuous objections of his father--who wanted Edward to become a minister--he gave recitals in the community. At one of these programs, he was heard by tenor Roland Hayes. Hayes encouraged Boatner to move to Boston and continue his studies there. He continued his studies at the New England Conservatory of Music and published the first of his spirituals setting, "Give Me Jesus," in 1920.
The following year, Boatner received a one-year scholarship to attend the Boston Conservatory of Music, studying German, French and Italian vocal literature. He performed in concert at Hampton University, where he garnered the attention of R. Nathaniel Dett. Dett invited Boatner to tour with him across New England, and Dett became a mentor to the younger man. Boatner relocated to Chicago in 1925. He received his Bachelor's degree from the Chicago College of Music seven years later. During this time, he served as a church choir director and continued to concertize. He also became director of music for the National Baptist Convention and published his Spirituals Triumphant, Old and New with Willa A. Townsend in 1927. In the foreword of the collection, the compilers explained that many past settings of spirituals had the…
“...Tendency to get away from the harmony and characteristic way in which the songs were originally sung, and therefore much of their real import is lost. To the end that the 'old-time' way of singing these songs may be preserved, is this edition brought forth.” Nashville, TN: Sunday School Publishing Board, National Baptist Convention, 1927.
In the early 1930s, Boatner joined the faculty of two Texas historically Black colleges, Samuel Huston College in Austin and Wiley College in Marshall, where he was appointed their Dean of Music. He returned to New York in the latter half of the decade and opened his own vocal studio. Over his teaching career, Boatner's students included opera singer George Shirley, entertainers Josephine Baker and Robert Guillaume, Blues songstress Libby Holman, and actor Clifton Webb.
His compositions were regularly performed by many of his era's top concert singers, such as Roland Hayes, Marian Anderson, Paul Robeson, Carol Brice, Ellabelle Davis, and Leontyne Price. Contemporary artists who have commercially recorded Boatner's settings include Barbara Hendricks and Jessye Norman. Boatner received numerous honors from organizations, such as the National Federation of Music Clubs and the National Association of Negro Musicians.
He married three times and had four children. His eldest, Edward Boatner, Jr., was adopted by another family and grew up to develop his own musical career as Jazz saxophonist Sonny Stitt. Boatner, Sr., and his second wife produced two children, Clifford--a classical pianist--and Adelaide--a classically trained contralto. His fourth child, Sarah, was also musically talented.
Edward Boatner continued teaching into his eighties. He died on June 16, 1981 in New York.
WILLIAM HENRY SMITH became choirmaster during the successful era of “The Great Debaters.” He composed the college ‘alma mater’ and is credited with the first use of the title “A Cappella” in identifying the chorus. A native of Massachusetts, Smith came to Marshall, TX in 1939 from Chicago, IL. where he had directed the choir of the Olivet Baptist Church. Nationally recognized for earlier arrangements of “Cheer The Weary Traveler” and “Walk Together Children,” he immediately composed or arranged new works that would forever remain connected to Wiley College. His “Sometimes I Feel Like A Motherless Child” was received with great applause, but his name would etch in music history with his incomparable arrangement of “Ride The Chariot.” This marvelous work captured such broad appeal internationally that it remains a favorite with civic, church and school choral groups today. William Henry Smith died in 1944.
GILBERT FRANCIS ALLEN joined the Wiley College faculty in 1947. Bringing a wealth of education and experience from the University of Southern California, The Julliard School of Music, The University of Virginia, The University of Indiana, and Virginia State College, Mr. Allen recorded for RCA Victor Records and published his choral/instrumental works through Carl Fischer and Summy-Birchard. As conductor of the internationally famous “Wings Over Jordan” Choir, his unique arrangements were heard weekly on CBS Radio. At Wiley College, Gilbert Allen led the A Cappella Choir on a Latin tour to Mexico via sponsorship of the United States Foreign Service Department.
Wiley College alumnus, EARL B. LaRUE faithfully accepted the baton as director in 1971. His fruitful tenure continued the long tradition of choirs, musical performances, and tours. Aside from his excellent work as music professor, Mr. LaRue must also be acknowledged for a sincere interest in his students as evidenced by those graduates influenced by his leadership.
Other Wiley College choral directors, assistant directors and masterful accompanists of the modern era include: Wilhelm A. Sykes, James Ingram Fox, Gerald W. Johnson, B. J. Irving, Ronald L. O’Neal, Bobby Wiggins, Edgar Wiley, T. Bernard Clayton, Lucille Dogan Teycer, Jasper Patton, Joel Jones, Warren Hawkins and Michael J. Rudd.