Kay, Ulysses (1917-1995)
The following sources are recommended by a librarian whose research specialty is African-American composer Ulysses Kay.
· Baker, David N., Lida M. Belt, and Herman C. Hudson, eds. The Black Composer Speaks: A Project of the Afro-American Arts Institute, Indiana University. Scarecrow Press, 1978, pp. 139-71. Provides definitive biography with text of interview with the composer and a full catalog of his compositions to 1978.
· Hadley, Richard T. "The Life and Music of Ulysses Simpson Kay." Negro Educational Review 26 (January 1975): 42-51. Biographical sketch of Kay's life to 1975. Author divides Kay's life into periods entitled: Early Years, Professional Preparation; Years of Promise; Travel and Study in Italy; Travel and Study in Russia; In the United States Again; Prolific Decade; and Professor of Music.
· Hobson, Constance Tibbs, and Deborra A. Richardson, compilers. Ulysses Kay: A Bio-Bibliography. Greenwood Press, 1994. Includes 25-page biography, a chronological listing of works, and complete discography, with selected performance notes and an annotated bibliography.
· Slonimsky, Nicolas. "Ulysses Kay." American Composers Alliance Bulletin 5, no. 1 (1957): 3-11. Complete biography of Kay to 1957, highlighting Kay's education, teachers, awards, grants, and fellowships. Style analysis and accompanying musical examples provide insight into Kay's use of melody, form, instrumentation, rhythm, and other elements. Includes catalog of works, arranged chronologically, with descriptive data and selected quotes from critical reviews.
· Slonimsky, Nicolas, and Laura Kuhn, eds. Baker's Biographical Dictionary of Musicians. Centennial Edition. Schirmer Books, 2001. Biographical sketch of Kay includes a list of compositions, short biography, and brief bibliography.
· Ulysses Simpson Kay. International Dictionary of Black Composers. Center for Black Music Research. http://www.colum.edu/CBMR/CBMR_Publications/Ulysses_Simpson_Kay.php
-- WORKS BY KAY --
· Kay, Ulysses S. "An American Composer Reports on Russian Musical Life." National Music Council Bulletin 19 (Winter 1959): 13-14. Kay recounts his visit to the Soviet Union with Roy Harris, Peter Mennin, and Roger Sessions, "arranged by the U.S. State Department under an agreement for cultural, technical and educational exchanges between the USSR and the U.S. The trip marked the first visit of a delegation of American composers to the Soviet Union by official invitation." Kay reveals that "the four American composers...were offered an opportunity to select the places they would like to visit and the people and things they would like to see. The choice...was narrowed down to Moscow, Leningrad, Tiflis and Kiev. These cities were chosen because of the variety of their musical life."
· Kay, Ulysses S. "Ah, Roma!" American Composers Alliance Bulletin 3, no. 3 (1953): 16-17. Narrative of Kay's lengthy visits to Perugia, Rome, and Naples (1950-51) to pursue his interest in the liturgical music of Italy. Other cities visited were Genoa, Torino, Firenze, and Arrezzo. "Knowing as we do the rich heritage of Italian liturgical music, one might think, as I did, that music in Italian churches is of high quality today. If the reader is of this opinion, let him disabuse himself of the idea, for nothing is further from the truth!" Kay described his experiences in the various regions with particular emphasis on performance, chorus participants, problems, and literature.
· Kay, Ulysses S. "Impressions of the Soviet Musical Scene." American Composers Alliance Bulletin 8, no. 3 (1959): 17-18. Kay recounts his impressions of the music and musicians in Soviet Russia.
· Kay, Ulysses S. "The Roman Seasons." American Composers Alliance Bulletin 2, no.3 (1952): 21-22. Impressions of the Italian musical scene based on Kay's observations during his three years at the American Academy in Rome as a fellow and as a Fulbright student. "Possibly the most important factor is that policy in Italian musical life is based primarily on matters musical. True, audience and economic factors enter in, but only after musical considerations. And this occurs with no loss of public support and interest! Perhaps this state of affairs obtains because the Italian composers are in the forefront with the impressarios in all matters of policy, projects, and programming for concert, opera, and radio. And considering the scene as a whole, one senses a high general level of achievement with admirable direction, variety, continuity, and integration of materials, means, methods, and individuals."
· Kay, Ulysses S. "Thirty Days in Musical Russia." HiFi Review 2 (February 1959): 35-38, 53. A diary of Kay's trip to Russia with Roy Harris, Roger Sessions, and Peter Mennin from September 17 to October 17, 1958. The daily account logs concerts, interviews, reviews, social gatherings, composer interaction, and sight-seeing tours through the arts and political centers of Russia.
· Kay, Ulysses S. "Where Is Music Going?" Music Journal 20, no.1 (1962): 48, 99. Article reflects Kay's views on twentieth-century music, particularly noting "stylistic blending in...contemporary compositions." He concludes that "we are presently living in a musical period of great flux with a great deal being done creatively in a multitude of different styles of composition. Our decade will watch these styles and experiments, as they become more widely accepted by others, evolve and it remains for a very talented composer or others of perception and intelligence to utilize these factors and to mold them into a striking and comprehensive approach to composition."
-- WORKS ABOUT KAY --
· Anderson, Thomas Jefferson. "Black Composers and the Avant-Garde." In Readings in Black American Music, comp. and ed. by Eileen Southern. W.W. Norton, 1972, p. 281. Discusses the influence the black composer is having upon the more recent facets of composition. Includes Kay and his relationship to the avant-garde movement in an excerpt from the article which first appeared in Black Music in Our Culture: Curricular Ideas on the Subjects, Materials and Problems, edited by Dominique-René de Lerma (Kent State University Press, 1970), pp. 63-67.
· Arvey, Verna. "Symphonies in Black." Music Journal (April 1974): 28-29, 32-36. An overview of African and African-American composers from the mid-eighteenth century to 1974. Among those mentioned are Fela Sowande and J.K. Nketia, prominent African composers. Ulysses Kay and Hale Smith are mentioned as established American composers.
· Brooks, Tilford Uthratese. America's Black Musical Heritage. Prentice Hall, 1984, pp. 196, 231-36, 285-91, 306-7. An update of the 1972 Washington University doctoral dissertation by Brooks gives an historical overview of black American music. Includes biographical sketches of seventeen African American composers whose works come from the "European Tradition," with lists of their compositions and recordings in the appendices. Ulysses Kay appears among the biosketches of "The Eclectics." Also provides a brief discussion of his musical style and includes an analysis of Fantasy Variations, a catalog of compositions to 1977, musical examples, and photo.
· Bull, Storm. Index to Biographies of Contemporary Composers. Vol. 3. Scarecrow Press, 1987, p. 387. This concordance of reference sources relating to composers "either still alive or who were born in 1900 or later" updates volumes 1 (1964) and 2 (1974). It adds 5,900 new entries and cites Kay in 25 sources, including foreign dictionaries and encyclopedias.
· Caldwell, Hansonia LaVerne. "Black Idioms in the Works of Six Afro-American Composers." Ph.D. dissertation, University of Southern California, 1975. Examines the black idiom in opera and discusses the achievements of Afro-American composers in serious music. Selected for review are: Scott Joplin, Clarence Cameron White, Alonzo Levister, Mark Fax, Arthur Cunningham, and Ulysses Kay. Includes a biography of Kay and analyses of his one-act operas: The Boor, The Juggler of Our Lady, and The Capitoline Venus.
· Carter, Warrick L. "Black Composers: Their Contribution to Serious Music." Orchestra News 11 (June 1972): 6, 10. Discusses the lack of information pertaining to contemporary European-influenced black composers in current music studies. Mention of important nineteenth and twentieth century composers includes Kay, Ignatius Sancho, Newport Gardner, Thomas Kerr, Adolphus Hailstork, among others. The author concludes "that black composers should be included in any study of music, not only because they are black and historically have been selectively omitted from all previous study of serious music, but more important, because they are (were) great musicians and offer the student and/or performer a new and challenging source of literature and information."
· Chapin, Louis. "Ulysses Kay." BMI, The Many Worlds of Music (February 1970): 9. Review of Kay's rise "as a representative, articulate American composer." Includes biographical information and a discussion of Kay's compositional style, with observations by the composer. Chapin concludes that "Ulysses Kay possesses keen musical draftsmanship, superb discipline and a steady concern. From the middle of his road, the view ahead over the countryside looks lively and promising." Photo.
· Davidson, Celia Elizabeth. "Operas by Afro-American Composers: A Critical Survey and Analyses of Selected Works." Ph.D. dissertation, Catholic University of America, 1980. Includes a biography of Kay, as well as historical and analytical discussions of Jubilee. Other composers represented are: Clarence Cameron White, William Grant Still, Mark Fax, Harry Lawrence Freeman, and Scott Joplin.
· Delaunoy, Didier. "Finally, Black Composers Get the Recognition They Deserve." Soul 9 (July 8, 1974): 17. Discusses CBS recording series, "The Black Composer." Kay's Markings is included among the reviews of the first four albums. Reference is made to Kay as "probably the best known" of the composers recorded in this series and to the paucity of music by black composers on record.
· "Doctoral Dissertations (1970-72)." Black Perspective in Music 1 (Spring 1973): 96. Among dissertations that include Kay and discuss various aspects of his compositions are those by Hansonia Caldwell, Celia Davidson, Richard Hadley, and Laurence Hayes.
· Dower, Catherine. "Ulysses Kay: Distinguished American Composer." Musart (January-February 1972): 9-10, 16-17. Includes biographical sketch through 1971 and a chronological review and analysis of music. According to author Dower, "Ulysses Kay stands as a principal figure in the field of contemporary music...his compositions...have enjoyed world-wide performance."
· Duncan, John. "Art Music by Negro Composers on Record." Negro History Bulletin 31 (April 1968): 6-9. Ulysses Kay is referred to as "the most frequently heard Negro composer on records." Works listed are Brass Quartet, Concerto for Orchestra, Choral Triptych, "Round Dance" and "Polka," Serenade for Orchestra, Sinfonia in E, Umbrian Scene, and Fantasy Variations. Other composers included in the article are Julia Perry, Amadeo Roldan, William Grant Still, Fela Sowande, Samuel Coleridge-Taylor, Howard Swanson, Clarence Cameron White, Duke Ellington, J.J. Johnson, and John Lewis. Discography included.
· Ewen, David. American Composers: A Biographical Dictionary. G.P. Putnam's Sons, 1982, pp. 366-368. A brief, comprehensive biography, including quotations, musical analysis, statement by the composer, bibliography, and a list of principal works to 1979. Also provides an appendix, "Index of Programmatic Titles," in which Kay's works are included.
· Floyd, Samuel A., Jr., ed. "Ulysses S. Kay," International Dictionary of Black Composers. Fitzroy Dearborn, 1999. This exceptional work, which provides information on composers of African heritage from around the world during the last 300 years, includes a thorough article on Ulysses Kay. The comprehensive entry contains information on Kay's life and works including reviews, analyses, and synopses.
· "4 Composers Tell of Trip to Russia." New York Times, November 13, 1958, p. 38. Narrative of tour by American composers who participated in the exchange program sponsored by the U.S. State Department. Describes the training, goals, and pressures of USSR composers.
· Gardner, Effie Tyler. "An Analysis of the Techniques and Style of Selected Black-American Composers of Contemporary Choral Music." Ph.D. dissertation, Michigan State University, 1979. Includes biographical sketch, complete lists of works to 1979, analyses of five choral works, and conclusions as to the style and technique of each selected composer. In addition to Kay, other composers included are George Walker, Ronald Roxbury, Hale Smith, and James Furman. Makes recommendations for the use of music in educating secondary and college students in choral and nonchoral settings.
· Hadley, Richard T. "The Published Choral Music of Ulysses Simpson Kay." Ph.D. dissertation, University of Iowa, 1972. Contains a biographical essay, analyses of Kay's published choral works, a summary of his choral style, bibliography, and three appendices. Hadley affirms that "Kay is a Black composer whose writing includes but few of the characteristics normally associated with Afro-American music. Even though the influence of Hindemith...is evident, this has not precluded the development of a personal style.... The choral works of Ulysses Simpson Kay are a significant addition to choral literature. The extent of his contribution has been demonstrated by its wide acceptance as meaningful, contemporary musical expression by audiences, conductors, performers, and critics."
· Harris, Carl Gordon, Jr. "A Study of Characteristic Stylistic Trends Found in the Choral Works of a Selected Group of Afro-American Composers and Arrangers." D.M.A. dissertation, University of Missouri, Kansas City, 1972. Traces the development of choral music by selected Afro-American composers from the late nineteenth century to contemporary times. Discusses characteristic trends in the compositions of: Harry T. Burleigh; John Wesley Work, Jr.; John Wesley Work III; Frederick Work; Hall Johnson; Frederick Hall; William L. Dawson; and others. Identifies the composers as "Black Trailblazers," "Black Nationalists," or "Black Innovators." Kay is placed in the latter category with Margaret Bonds. Includes a brief biography of each composer and a discussion of stylistic trends evolved and developed in the performance of Negro spirituals by black college and professional choral groups. Of particular interest is a list of selected choral works by black composers and arrangers.
· Hayes, Laurence Melton. "The Music of Ulysses Kay, 1939-1963." Ph.D. dissertation, University of Wisconsin, 1971. Provides a brief biography and discusses the composer through an analysis of compositions to 1963. Hayes emphasizes that the "study further reveals that the period studied can be separated...into two periods with crystallizing tendencies beginning to show with a third period. Although there are overlapping characteristics concomitant to each of the decades of the 1940's and the 1950's, the two ten-year periods represent the two divisions with the style crystallization beginning to emerge in the early 1960's." Further, the author maintains that "the most accurate style classification should be that of an 'eclectic modern.'"
· Herrema, Robert D. "The Choral Works of Ulysses Kay." Choral Journal 11 (December 1970): 5-9. Narrative of Kay's life and career with quotations by Kay. Discusses style and techniques in his choral compositions; includes analysis of Choral Triptych. "Of the many outstanding black composers on the scene today, Ulysses Kay certainly ranks among the finest. It would not be presumptuous to say that this statement also would be true if the word 'black' were omitted.... It is sometimes easier to describe a composer's style by what it is not. It is not black. Kay believes that a composer is a product of his extraction and environment as well as his political and ethnic interests, but should not be limited by them." Photo.
· Horne, Aaron. "A Comprehensive Performance Project in Clarinet Literature with an Essay on Solo and Ensemble Chamber Music for Woodwinds by Black Composers Composed from 1893-1976." D.M.A. dissertation, University of Iowa, 1976. Provides Kay's biography to 1968 and a catalog of his works for woodwinds. Includes chart of "Black Composers of Woodwind Literature," and a discography cites Kay's Prelude for Flute.
· James, Shalor Lorenzo. "Contributions of Four Selected Twentieth-Century Afro-American Classical Composers: William Grant Still, Howard Swanson, Ulysses Kay, and Olly Wilson." Ph.D. dissertation, Florida State University, 1988. Includes an in-depth biography of Kay, a descriptive analysis of his Fantasy Variations, a classified list of Kay's compositions to 1986, and a letter from the composer. According to the author, "the purpose of the study is twofold...to develop a sourcebook which explores the contributions of four selected twentieth century Afro-American composers...and...to provide a perspective through which scholars and educators may become more aware of orchestral compositions by these composers and explore musical and philosophical influences on the composers, especially those arising from ethnic heritage."
· "The Odyssey of Ulysses." Down Beat 25 (October 2, 1958): 11. Report of Kay's departure to Russia for the cultural exchange, sponsored by the U.S. Department of State. "Particularly interested in gauging the impact, if any, of American jazz on Russia and its composers, Kay huddled with Down Beat on a list of records to take with him to play behind the Iron Curtain, and on observations to make of the scene there." Included among the records were compositions by Miles Davis and Gil Evans, Duke Ellington, W.C. Handy (played by Louis Armstrong), Thelonious Monk, and Johnny Richards.
· Roach, Hildred. Black American Music: Past and Present. 2 vols. Robert E. Krieger Publishing, 1985, pp. 7, 17-19. This two-volume set provides a history of black American music to the 1980s. Volume 1 is a revision and reprint of the 1973 publication. Volume 2, Pan-African Composers Thenceforth and Now, is an update. In it are highlights of Kay's life and career from 1973 to 1983 including performances, commissions, recording releases, and publications. Also included is an analytic outline of his Nocturne for Piano.
· Ryder, Georgia. "Another Look at Some American Cantatas." Black Perspective in Music 3 (May 1975): 135-40. Notes impact of Kay's Juggler of Our Lady and Still's Highway No. 1, U.S.A., upon the public-at-large. "This public acclaim given to the brilliant artists and scholars who produced these works undoubtedly attributed to the kindling of an avid interest in and receptivity to such music among Americans, black and white, who had 'discovered' Afro-American music during and immediately after the civil strife of the 1960s."
· Southern, Eileen. "America's Black Composers of Classical Music." Music Educators Journal 62 (November 1975): 34, 46-53. Historical discussion of Afro-American composers of the twentieth century. Kay, among the many composers discussed, is cited and referred to as one of the composers whose reputation had been established before he became a college professor. Southern affirms that for these composers "there has been no pressure on them to write music specifically for performance by black artists and groups. For the first time in history, a generation of black composers -- this generation -- has moved into the professional world in the same way their white colleagues do. Obviously, sociological changes in the United States allowed this to come about." Photo included.
· Southern, Eileen. Biographical Dictionary of Afro-American and African Musicians. The Greenwood Encyclopedia of Black Music. Greenwood Press, 1982, pp. 226-27, 422, 428, 438, 440. Provides biographical sketch and brief discussion of Kay's works. Includes a catalog of compositions from 1939 to 1974, arranged by medium. Appendices list musical occupation, place, and date of birth. Short bibliography provided.
· White, Evelyn Davidson. Choral Music by Afro-American Composers: A Selected Annotated Bibliography. Scarecrow Press, 1981, pp. 136, 148. Includes biographical sketch, discography, and annotated list of four choral works by Kay: Choral Triptych, "How Stands the Glass Around?", Two Folk Song Settings, and "What's In a Name?" Provides descriptive information by voicing, vocal range for women and men, range of difficulty, instrumentation, publisher, and catalog number.
· White, Evelyn Davidson, compiler. Selected Bibliography of Published Choral Music by Black Composers. Howard University, 1975, pp. 27-29. Includes titles of published choral compositions of sixty-three composers, providing descriptive information by copyright date, number of pages, voicing and solo requirements, vocal ranges, range of difficulty, a cappella or type of accompaniment, publisher, and catalog number. Includes a catalog of Kay's choral works among the lists of choral music by selected black composers.
· Wyatt, Lucius. "The Mid-Twentieth-Century Orchestral Variation, 1953-1963: An Analysis and Comparison of Selected Works by Major Composers." Ph.D. dissertation, Eastman School of Music of the University of Rochester, 1974. A technical analysis and comparison of fourteen orchestral variations of contemporary composers -- Kay, Dallapiccola, Ginastera, Copland, Luening, and Ussachevsky, among others -- with a view toward the delineation of significant techniques used in the variations process. Includes discussion of Kay's Fantasy Variations with emphasis upon thematic elements, its presentation and elaboration, musical form, melodic style, harmony and tonality, rhythm, meter, and orchestration. The author notes that "the composers on the whole reflected sensitivity to the organization of rhythm and treatment of orchestral color in achieving contrasts between variation movements."
· Wyatt, Lucius. "Ulysses Kay's Fantasy Variations: An Analysis." Black Perspective in Music 5 (Spring 1977): 75-89. Discusses the structure of the composition in terms of thematic materials, form, melodic style, harmony, tonality, and orchestration. The author refers to Fantasy Variations "as one of the most successful American works of the mid-twentieth century utilizing the theme and variations idea." He concludes that "while the listener perceives the total effect of the piece as an entity, he also is able...to perceive the individual variations as a series of musical events in which each event espouses a distinct character." Wyatt adds that "listening to the Fantasy Variations is an exciting experience!" Musical examples provided.
-- DISCOGRAPHY-- All are 33 1/3 rpm vinyl records unless otherwise noted. The date following the entry title is the date of composition; the record title is enclosed in parentheses; and the date of record release is indicated by the word, "released." Further information appearing in discographic citations includes the performers and works of additional composers on the recordings.
· BRASS QUARTET (1950) Folkways Records FM 3651. Released 1965; duration 8:32; (Music for Brass Quintet). American Brass Quintet. With works by Josquin des Pres et al.
· CHORAL TRIPTYCH (1962) Cambridge Records CRS 1416 (mono) and CRM 416 (stereo). Released 1963; duration 12:53; (Four Contemporary Choral Works). King's Chapel Choir of Boston; Cambridge Festival Strings; Daniel Pinkham, cond. With works by Ned Rorem et al.
· CONCERTO FOR ORCHESTRA (1948) A. Remington Musirama R 199-173. Released 1954; duration 12:43. Teatro La Fenice Symphony; Jonel Perlea, cond. With works by Norman Lockwood. B. Varese Sarabande VC-81047. Released 1979; duration 12:43. Berlin Radio Orchestra; Jonel Perlea, cond. With works by Henry Brant.
· FANTASY VARIATIONS (1963) Composers Recordings CRI SD-209. Released 1966; duration 15:40. Oslo Philharmonic Orchestra; Arthur Bennett Lipkin, cond. With works by Nicolai Berezowsky et al.
· FIVE PORTRAITS FOR VIOLIN AND PIANO (1972) Grenadilla Productions 1056 (cassette tape). Released 1986; duration 17:05. Ruggiero Ricci, violin; Michael Andrews, piano. With work by David Baker.
· MARKINGS (1966) Columbia Records Col. M-32783. Released 1974; duration 19:05; (Black Composer Series, Vol. 3). London Symphony Orchestra; Paul Freeman, cond. With work by George Walker.
· A NEW SONG: 3 PSALMS FOR CHORUS (1961) Gothic Records G 78932 (casette tape) and GC 78932 (compact disc). Released 1989; duration, app. 8:15; (Music from Trinity Church, vol. 1: Choral Music by Twentieth Century American Composers). Trinity Church Choir; James A. Simms, associate and principal cond; Larry King, music dir. "Sing unto the Lord" 3:02; "Like as a Father" 2:18; "O Praise the Lord" 2:49. With works by Daniel Pinkham et al.
· OF NEW HORIZONS (1944) Century Record V-14599-2. Released 1962; duration, app. 9:00; (Recording of music composed by University of Arizona graduates for the one hundredth anniversary of the land grant colleges in the university system). University of Arizona Symphony Orchestra; Henry Johnson, cond. With works by Robert Backsa and Robert McBride.
· ORGAN SUITE NO. 1 (1959) Orion ORS-76255. Released 1977; duration 8:35 (American Organ Music of Three Centuries) Thomas Harmon, organ. With works by Samuel Barber et al.
· PRELUDE FOR FLUTE (1975) Eastern ERS-513 (2 records). Released 1973; duration, app. 3:00; (Contemporary Black Images for Flute). D. Antoinette Handy, flute. With works by Arthur Cunningham, Noel Da Costa, John Duncan, Robert L. Holmes, Joseph Kennedy, Hale Smith, Undine Smith Moore, and Frederick Tillis.
· ROUND DANCE AND POLKA (1954) A. London LL-1213. Released 1955/56; duration, app. 5:40; (Modern American Composers, Vol. l). New Symphony Chamber Orchestra; Camarata, cond. "Round Dance" 3:00; "Polka" 2:34. From Six Dances for String Orchestra; with works by Robert McBride et al. B. Composers Recordings CRI-119. Released 1958; duration, app. 5:40; (Teen Scenes for String Orchestra). The New Symphony Orchestra of London; Camarata, cond. "Round Dance" 3:00; "Polka" 2:34. From Six Dances for String Orchestra; with works by Avery Claflin et al.
· SALLY ANNE (1975) Columbia Records M 33838. Released 1975; duration 1:38; (A Bicentennial Celebration: 200 Years of American Music). Leonard de Paur Chorus; Leonard de Paur, cond. From Two Folk Settings; with arrangements by Wendell Whalum, Jester Hairston, and Alice Parker.
· SERENADE FOR ORCHESTRA (1954) Louisville First Edition Records Lou-545-8 (XTV 22207). Released 1958/59; duration 17:58. Louisville Orchestra; Robert Whitney, cond.; Jorge Mester, music dir. With works by Luigi Dallapiccola et al.
· A SHORT OVERTURE (1947) Desto Records DC 7107. Released 1970; duration 6:31; (The Black Composer in America). Oakland Youth Orchestra; Robert Hughes, cond. With works by George Walker, William Grant Still, Arthur Cunningham, William L. Dawson, Stephen Chambers, and William Fischer.
· SINFONIA IN E (1950) Composers Recordings CRI-139. Released 1960; duration 17:56. Oslo Philharmonic Orchestra; George Barati, cond. With work by Norman Binkerd.
· SIX DANCES FOR STRING ORCHESTRA (1954) Turnabout TVS 34536. Released 1974; duration 19:40; (The Contemporary Black Composer in the USA). Westphalian Symphony Orchestra, Recklinghausen; Paul Freeman, cond. With works by William Grant Still.
· SUITE FOR FLUTE AND OBOE (1943) Composers Recordings CRI CD-561 (compact disc). Released 1988; duration 5:22 (A Tribute to Otto Luening). New York Flute Club. With works by Roger Goeb et al.
· THREE FANFARES (FOR FOUR TRUMPETS) (1964) Crystal Records S230. Released 1981; duration 1:35; (Dallas Trumpets). Dallas Symphony Orchestra trumpet section (Richard Giangiulio, Bert Truax, Thomas Booth, and Glen Bell). With works by Benjamin Britten et al.
· TWO MADRIGALS (1954) Composers Recordings CRI-102. Released 1956; duration, app. 7:15; (Lament for April 15th and Other Modern Madrigals). Randolph Singers; David Randolph, cond. "How Stands the Glass Around?" 3:29; "What's in a Name?" 3:39. With works by Avery Claflin et al.
· UMBRIAN SCENE (1963) Louisville First Edition Records Lou-651 (XTV 96254). Released 1965; duration 9:25. (The Louisville Orchestra). Louisville Orchestra; Robert Whitney, cond.; Jorge Mester, mus. dir. With works by Charles Ives et al.
"The Infography about Ulysses Kay (1917-1995)"
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