LENARD C. BOWIE, DMA ASSOCIATE PROFESSOR OF MUSIC, RETIRED THE UNIVERSITY OF NORTH FLORIDA JACKSONVILLE , FLORIDA Dr. Lenard C. Bowie has developed an enviable reputation as a consummate musician. He is a classical trumpet artist, accomplished band director, effective music administrator, skilled lecturer and publi shed author. As an author, Bowie's expertise in several fields of endeavor has been documented through the following subjects, as published in the professional music journals indicated: "Solving Problems of Young Trumpet Players, " published in the Music Educators National Journal (December, J979) , a critical review of "Black University Marching Bands in the 80's." published by The Marching Band (January, 198 1), and the Proceedings of an Informal Research Conference whose mission was to document the extent to which African American music courses were offered in Florida's Public Schools was published by the Florida Music Educator (June, 2002). As an undergraduate, Bowie was plagued bymany questions concerning the absence of formal instruction in the music of his people, especially when considering the fact that there were only two authentic types of American music -- that of the American Indians and that of African Americans, with African American Music being the most important of the two. Bowie's search for answers to his probing questions began when he enrolled in Professor Willie Ruffs course in Black Music as a graduate student at Yale University in 1974. This course opened Bowie's eyes, ears and mind to many of his here-to-fore unanswered questions; including the extent to which African music traditions are practiced in African American Music today, and the impact that African American Music has made on the social, political, economic, and religious climates of modern American Society. After graduating from Yale with a Master of Musical Arts Degree in 1976, Bowie struck out on a mission to enlarge on what he had learned about African American Music.This mission brought him in contact with a wealth of information through independent study of numerous publications and documentaries; lectures, festivals, concerts; and personal contacts with scholars who were, or have become, major players in the research, dissemination, performance and composition of African American Music. Some of these scholars include former colleagues Dr.Oily W. Wilson, composer and Chair of Composition at UCLA , Berkeley, Samuel Floyd, Founder and Director of the Center for Black Music Research, found at Fisk University, now housed at ColumbiaCollege,Chicago,Dr. AaronHorne,AfricanAmericanMusic Biographer and Dean of Fine Arts, Winston Salem Unive rsity, North Caro lina, Aramentha Adams - Hummings, Founder and Director ofthe Gateways Music Festival , initiated at the North Carolina School of the Arts, now housed at the East man School of Music in Rochester,New York, Operatic Tenor and Music Educator, the late Dr. William A, Brown. Others include Dr. Portia Maultsby, Professor of Music at Indiana University, Dr. Dena Epstein, Retired Music Librarian, Archival Researcher and Author, Chicago, Dr. Rene Boyer-White, Professor of Music Education, College-Conservatory of Music, The University of Cincinnati, and Dr. John Smith, Dean of Fine Arts, The Univers ity of South Florida at Tampa. During the first of Dr. Bowie's two terms as Music Department Chair at The University of North Florida, he was afforded an opportunity to apply and distribute his long sought know ledge. The opportunity came in the form ofa Mill ion Dollar Endowment from the Koger Company to develop programs of study in American Music. The response of the faculty to the endowmentwas to institute two programs: a Jazz Studies Program and a program in African American Music. The Jazz Studies Program has become nationally recognized for outstanding achievements in jazz theory, history and performance. The latter program , designed and developed by Bowie, was challenged with goa ls to teach , research, perform and provide serv ices in African American Music to the University of North Florida and Greater Jacksonville communities . Com ponents of the Africa n American Music Program included two academic courses, AFRICAN AMERICAN MUSICAL HERITAGE and MUSIC IN THE HARLEM RENA ISSANCE; The Heritage Singers, a 20 voice chora l ensemble, directed by Dr. William A. Brown; and a lectur e and concert series, that produced ove r 28 concerts, 5 festivals, 3 workshops and 2 conferences durin g a 14 yea r period. The course in AfricanAmerican Music became the most popular elective course in the College of Artsand Sciences. Because of its popularity, the course was offered every semester, including summers, duri ng the fourte en year life of the program. The book, AFRICAN AMERICAN MUSICAL HERITAGE, was con ceive d from research conducted during the initial and subsequen t stages ofthe courses deve lopment. Altogether, this undertaking has taken 21 years to come to fruition in the formof th is book by the same name as the parent course. Dr. Bowie is an honor graduate of Florida A&M University, hold s a Master ofMusic Degree from the Manhatta n School of Music of New York City, Maste r of Musical Arts and Docto r of Musica l Arts Degrees from Yale Unive rsity. In add ition to his 24 yea r tenu re at The University of Nort h Florida, where he serve d as Founding Director of Bands and Instrum ental Music, Classica l Trumpet Teacher, Music Depa rtmen t Chair, and Founder > Director of the African American Music Program, he serve d as Associate Directo r of Bands and Chair of Instrumental Music at his Alma Mate r for twenty-two years. He has also enriched the music programs of Edwar d Waters College of Jacksonvill e, Florida and Albany State Univers ity in Albany, Georgia, as a part-time teacher of Music Theory and Applied Trumpet, respective ly.

LENARD C. BOWIE, DMA ASSOCIATE PROFESSOR OF MUSIC, RETIRED THE UNIVERSITY OF NORTH FLORIDA JACKSONVILLE , FLORIDA Dr. Lenard C. Bowie has developed an enviable reputation as a consummate musician. He is a classical trumpet artist, accomplished band director, effective music administrator, skilled lecturer and publi shed author. As an author, Bowie's expertise in several fields of endeavor has been documented through the following subjects, as published in the professional music journals indicated: "Solving Problems of Young Trumpet Players, " published in the Music Educators National Journal (December, J979) , a critical review of "Black University Marching Bands in the 80's." published by The Marching Band (January, 198 1), and the Proceedings of an Informal Research Conference whose mission was to document the extent to which African American music courses were offered in Florida's Public Schools was published by the Florida Music Educator (June, 2002). As an undergraduate, Bowie was plagued bymany questions concerning the absence of formal instruction in the music of his people, especially when considering the fact that there were only two authentic types of American music -- that of the American Indians and that of African Americans, with African American Music being the most important of the two. Bowie's search for answers to his probing questions began when he enrolled in Professor Willie Ruffs course in Black Music as a graduate student at Yale University in 1974. This course opened Bowie's eyes, ears and mind to many of his here-to-fore unanswered questions; including the extent to which African music traditions are practiced in African American Music today, and the impact that African American Music has made on the social, political, economic, and religious climates of modern American Society. After graduating from Yale with a Master of Musical Arts Degree in 1976, Bowie struck out on a mission to enlarge on what he had learned about African American Music.This mission brought him in contact with a wealth of information through independent study of numerous publications and documentaries; lectures, festivals, concerts; and personal contacts with scholars who were, or have become, major players in the research, dissemination, performance and composition of African American Music. Some of these scholars include former colleagues Dr.Oily W. Wilson, composer and Chair of Composition at UCLA , Berkeley, Samuel Floyd, Founder and Director of the Center for Black Music Research, found at Fisk University, now housed at ColumbiaCollege,Chicago,Dr. AaronHorne,AfricanAmericanMusic Biographer and Dean of Fine Arts, Winston Salem Unive rsity, North Caro lina, Aramentha Adams - Hummings, Founder and Director ofthe Gateways Music Festival , initiated at the North Carolina School of the Arts, now housed at the East man School of Music in Rochester,New York, Operatic Tenor and Music Educator, the late Dr. William A, Brown. Others include Dr. Portia Maultsby, Professor of Music at Indiana University, Dr. Dena Epstein, Retired Music Librarian, Archival Researcher and Author, Chicago, Dr. Rene Boyer-White, Professor of Music Education, College-Conservatory of Music, The University of Cincinnati, and Dr. John Smith, Dean of Fine Arts, The Univers ity of South Florida at Tampa. During the first of Dr. Bowie's two terms as Music Department Chair at The University of North Florida, he was afforded an opportunity to apply and distribute his long sought know ledge. The opportunity came in the form ofa Mill ion Dollar Endowment from the Koger Company to develop programs of study in American Music. The response of the faculty to the endowmentwas to institute two programs: a Jazz Studies Program and a program in African American Music. The Jazz Studies Program has become nationally recognized for outstanding achievements in jazz theory, history and performance. The latter program , designed and developed by Bowie, was challenged with goa ls to teach , research, perform and provide serv ices in African American Music to the University of North Florida and Greater Jacksonville communities . Com ponents of the Africa n American Music Program included two academic courses, AFRICAN AMERICAN MUSICAL HERITAGE and MUSIC IN THE HARLEM RENA ISSANCE; The Heritage Singers, a 20 voice chora l ensemble, directed by Dr. William A. Brown; and a lectur e and concert series, that produced ove r 28 concerts, 5 festivals, 3 workshops and 2 conferences durin g a 14 yea r period. The course in AfricanAmerican Music became the most popular elective course in the College of Artsand Sciences. Because of its popularity, the course was offered every semester, including summers, duri ng the fourte en year life of the program. The book, AFRICAN AMERICAN MUSICAL HERITAGE, was con ceive d from research conducted during the initial and subsequen t stages ofthe courses deve lopment. Altogether, this undertaking has taken 21 years to come to fruition in the formof th is book by the same name as the parent course. Dr. Bowie is an honor graduate of Florida A&M University, hold s a Master ofMusic Degree from the Manhatta n School of Music of New York City, Maste r of Musical Arts and Docto r of Musica l Arts Degrees from Yale Unive rsity. In add ition to his 24 yea r tenu re at The University of Nort h Florida, where he serve d as Founding Director of Bands and Instrum ental Music, Classica l Trumpet Teacher, Music Depa rtmen t Chair, and Founder > Director of the African American Music Program, he serve d as Associate Directo r of Bands and Chair of Instrumental Music at his Alma Mate r for twenty-two years. He has also enriched the music programs of Edwar d Waters College of Jacksonvill e, Florida and Albany State Univers ity in Albany, Georgia, as a part-time teacher of Music Theory and Applied Trumpet, respective ly.

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Jimi Hendrix is primarily looked at as a Rock musician, which is fine, but he is much more. From his seminal beginnings on the R&B chitlin� circuit to his whirlwind international fame, Jimi Hendrix took from all sources musically. The consummate musician, Jimi was looking for any and every opportunity to jam with like-minded musicians, who did not want to be caged by musical categories. Almost by chance, Jimi was involved in two pioneering performances that launched two genres, that would dominate the African-American music scene for multiple decades (1970�s�present). These genres are P-Funk and Hip-Hop! This is not a Jimi Hendrix biography, because that has already been done multiple times. Nobody Cages Me! is told from the perspective of a young African-American male, who had to discover Hendrix on his own. It took the popular wrestler Hulk Hogan to connect the author with Jimi Hendrix. The author�s journey to Hendrix is a unique story in of itself. About the Author Corey Washington is an Educator/Author/Blogger/Journalist from Augusta, Georgia. He is also the author of Plain Talk volumes 1 and 2 (a two part series designed to promote cultural diversity and awareness). He holds both a bachelor�s and master�s degree in Middle Grades Education from Augusta State University. Born in New York City during the twilight of Disco and the dawn of Hip-Hop(1976), the author did not discover Jimi Hendrix until 1997. Since then, he has studied and listened to every Hendrix recording and book that he could get his hands on. He hopes Nobody Cages Me! will get some people to see beyond the parameters of traditional "White" and "Black" music.

Nobody Cages Me official website

Plain Talk Volume 1 official website

link to Plain Talk Volume 2

link to article on examiner.com

Jimi Hendrix is primarily looked at as a Rock musician, which is fine, but he is much more. From his seminal beginnings on the R&B chitlin� circuit to his whirlwind international fame, Jimi Hendrix took from all sources musically. The consummate musician, Jimi was looking for any and every opportunity to jam with like-minded musicians, who did not want to be caged by musical categories. Almost by chance, Jimi was involved in two pioneering performances that launched two genres, that would dominate the African-American music scene for multiple decades (1970�s�present). These genres are P-Funk and Hip-Hop! This is not a Jimi Hendrix biography, because that has already been done multiple times. Nobody Cages Me! is told from the perspective of a young African-American male, who had to discover Hendrix on his own. It took the popular wrestler Hulk Hogan to connect the author with Jimi Hendrix. The author�s journey to Hendrix is a unique story in of itself. About the Author Corey Washington is an Educator/Author/Blogger/Journalist from Augusta, Georgia. He is also the author of Plain Talk volumes 1 and 2 (a two part series designed to promote cultural diversity and awareness). He holds both a bachelor�s and master�s degree in Middle Grades Education from Augusta State University. Born in New York City during the twilight of Disco and the dawn of Hip-Hop(1976), the author did not discover Jimi Hendrix until 1997. Since then, he has studied and listened to every Hendrix recording and book that he could get his hands on. He hopes Nobody Cages Me! will get some people to see beyond the parameters of traditional "White" and "Black" music.

Nobody Cages Me official website

Plain Talk Volume 1 official website

link to Plain Talk Volume 2

link to article on examiner.com

Jimi Hendrix is primarily looked at as a Rock musician, which is fine, but he is much more. From his seminal beginnings on the R&B chitlin� circuit to his whirlwind international fame, Jimi Hendrix took from all sources musically. The consummate musician, Jimi was looking for any and every opportunity to jam with like-minded musicians, who did not want to be caged by musical categories. Almost by chance, Jimi was involved in two pioneering performances that launched two genres, that would dominate the African-American music scene for multiple decades (1970�s�present). These genres are P-Funk and Hip-Hop! This is not a Jimi Hendrix biography, because that has already been done multiple times. Nobody Cages Me! is told from the perspective of a young African-American male, who had to discover Hendrix on his own. It took the popular wrestler Hulk Hogan to connect the author with Jimi Hendrix. The author�s journey to Hendrix is a unique story in of itself. About the Author Corey Washington is an Educator/Author/Blogger/Journalist from Augusta, Georgia. He is also the author of Plain Talk volumes 1 and 2 (a two part series designed to promote cultural diversity and awareness). He holds both a bachelor�s and master�s degree in Middle Grades Education from Augusta State University. Born in New York City during the twilight of Disco and the dawn of Hip-Hop(1976), the author did not discover Jimi Hendrix until 1997. Since then, he has studied and listened to every Hendrix recording and book that he could get his hands on. He hopes Nobody Cages Me! will get some people to see beyond the parameters of traditional "White" and "Black" music.

Nobody Cages Me official website

Plain Talk Volume 1 official website

link to Plain Talk Volume 2

link to article on examiner.com

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John Field is the most misunderstood composer in the history of classical music. The author, a former educator, classical pianist, and member of the Aldenori Piano Trio, finally sets the record straight. Pianists both professional and amateur, educators, teachers of piano performance, and musicologists who want to meet the real John Field and understand his finest creations, the nocturnes, will find this book indispensable.

John Field is the most misunderstood composer in the history of classical music. The author, a former educator, classical pianist, and member of the Aldenori Piano Trio, finally sets the record straight. Pianists both professional and amateur, educators, teachers of piano performance, and musicologists who want to meet the real John Field and understand his finest creations, the nocturnes, will find this book indispensable.