Original Air Date: 11/7/23 Featured Music: Scorpio Rising – Eddie Henderson; Totem Pole – Eddie Henderson; Born To Be Blue – Eddie Henderson
Dr. Eddie Henderson spoke with Carlos Lando on The Morning Set about his latest album “Witness to History” and his upcoming performance at the conference on “Theorizing African American Music”
Trained psychiatrist and octogenarian trumpet master Dr. Eddie Henderson will perform in concert at the culmination of the conference on “Theorizing African American Music,” on Wednesday, November 8 at 8 PM at the King Center Concert Hall on the University of Colorado – Denver’s Auraria campus. He will be performing alongside members of CU Denver’s Music & Entertainment Industry Studies department.
Dr. Eddie Henderson – Trumpet
Sean McGowan – guitar
Carmen Sandim – piano
Greg Garrison – bass
Todd Reid – drums
Theorizing African American Music (TAAM) highlights African-American perspectives on music and music theory, perspectives that have historically been marginalized in the United States. In our current environment, the situation is ripe for such perspectives to be heard. Because American music theory is deeply rooted in whiteness, African Americans have had virtually no agency in shaping how music theory, as a subdiscipline, is taught or how musical genres that are deeply rooted in African Americanism are presented. This conference provides a platform for scholars interested in the theory and analysis of African-American music.
TAAM foregrounds Black voices as we welcome music theorists, musicologists, ethnomusicologists, music critics, performers, and others invested in African-American music. The intent of the conference is twofold. First, address this erasure of African-American scholars and their perspectives from the discipline of music theory. Equally important, include musicological, ethnomusicological, and other analytical perspectives on American music that can reasonably be said to have roots in African Americanism. Session titles include: “Nicole Mitchell’s Mandoria Awakening II and the Sounds of Black Utopian Social Theory,” and “Duke Ellington’s Theorizing of Blue(s) Moods” as well as “Beatmaking as Music Theory: Marley Marl, Golden Age Hip Hop and Vernacular (Meta)theory.”