Flute, Oboe, Clarinet, Bassoon
#2020: i. global smudging, ii. after the last word, iii. 8:46, iv. unity, oboe d’amore, 7’, 2020, commissionedby Alicia Cordoba Tait
Autumn Night: alto flute 3’, 1991
Chassé: b-flat clarinet, piano, 4’, 1978
Feathers & Bowties: clarinet, percussion, piano, cello, 4.5’, 2018, commissioned by CUBE for their WFMT Radio concert tribute to Hale Smith
Foster Pet: voice, piano, oboe, percussion, 5’, 1991, commissioned by Mostly Music, Inc., Joyce Turner Hilkevitch
Karibu: B-flat [or other] clarinets, 2.5’, 2007, In memoriam: Elgie Harris, Sr.
Praise Dance: alto fl, 2.5’, 2017, Nathalie Joachim premiered, Sherwood: Columbia College
Resilience: Ancestral Refrain, bass oboe, 2’, 2021, commissioned by Alex Klein, Chicago Symphony Orchestra Principal Oboe, Calgary Philharmonic Principal Oboe
Shadows: vce, bsn, pf, perc, 3’, 1992, commissionedby Mostly Music, JT Hilkevitch
Snakeskin Shoes, oboe d’amore, 3.45’, 2020, commissionedby Alicia Cordoba Tait
“Regina’s Karibu for clarinet is music that speaks to the Soul—John Bruce Ye, Chicago Symphony Orchestra
Trumpet, French Horn, Trombone, Tuba
Blues for Melba, trombone, 2.17’, 2021, for Melba Liston tribute
Miles Per Hour: trumpet solo or duet, 6’, 1990, commissioned by American Women Composers Midwest, premiered by George Vosburgh, Chicago Symphony Orchestra, performed by Jim Wilt, Los Angeles Philharmonic, David Koch, et al.
Nilisikia Sauti Kubwa (I Heard A Voice): voice, trumpet, percussion, piano, 4’, 2015, commissioned as part of Evanston Township High School’s sesquicentennial
Pastiche: brass quintet, 3.5’, 2021: commissioned by Gaudete Brass Quintet, premiered by GBQ at 2021 Chicago Ear Taxi Festival, performed by Northern Illinois University (NIU) Graduate Student Brass Ensemble, et al.
QFX: I. March of Impotent Ants, II. Bosnia’s Tear, III. Brass Tacks, brass quintet, 11’, 1993, commissioned by Lillian Brulc for the opening of her visual art exhibition, Storms of War, Dreams of Peace: premiered by Chicago Brass Quintet, performed by Milwaukee Brass Quintet, US Army Band, NIU Faculty Brass Ensemble, et al.
Percussion, Orchestra, Strings
African Hands: concerto for ashiko, batá, conga, djembe I. Muse, II. Mbira, III. Ogé, 16’, 1997, commissioned by National Endowment for the Arts Regional Grant. Instrumentation: soloist, 3222, 43311, timpani, percussion, strings, premiered by Seattle Philharmonic Orchestra, Marsha Mabrey, conductor.
Communion: I. Canon, II. Izat, III. Ion: marimba, strings [pf. reduction] 15’, 1999 commissioned by visual artist Lillian Brulc to debut her Communion of Saints mural, St, Elizabeth Seton Church, Naperville, IL, premiere: Quan Choi, m, Roosevelt University’s CCPA Strings; performed by Jimmy Finnie, m, Jamie Hagedorn, pf; Greg Beyer, m, Avalon String Quartet + bass
Deborah: I. Jael, II. Rwanda’s Prayer, III. Percussing up a Storm: percussion, piano, 15’, 1994, commissioned by visual artist Lillian Brulc for opening of Chicago’s Courtyard Gallery, 5401 South Cornell (co-founded by Regina Harris Baiocchi and Cy Maus)
Gullah Ghost Drumming: hand drum choir, 5’, 2017, premiere Harold Washington Library, premiered: Susaami Ensemble: Michael Adams, Craig Williams, Eddie Mason, Don Skoog, Carlos Pride, Coco Elysses, Phil Varnado, performed by ISU Percussion Ensemble, Jimmy Finnie, NIU Perc. Ens., Greg Beyer, et al.
Kaleidoscope: (née Realizations) i. realizations (5.5’), ii. mirrors (4’), iii. confetti (edit-in-progress): string quartet, 2020, premiered Ganz Hall CMC String Quartet: 1978, performed by Connoisseur Musica, Ganz Hall: circa 1990, 5thWave String Quartet, Ganz Hall: May 2022
Muse for Orchestra, 6’, 1997, Detroit Symphony at Orchestra Hall, Leslie Dunner, cond., instrumentation:
3222, 43311, 4331, timpani, percussion, strings
Orchestral Suite: I. Against the ODS, II. Mother to Nique, III. Thunder, 12’, 1992, Detroit Symphony Orchestra Hall, Leslie Dunner, cond., inst.: 3222, 43311, timpani, perc., strings, Southeast Symphony Orch., Los Angeles, John Bradley, cond.
Sketches for Piano Trio: I. Sketches, II. Miriam’s Muse, III. Variations on 2 Puerto Rican Folk Songs, IV. Pentasketch, 15’, 1992, commissioned Anonymously, premiered 1992, Ganz Hall: Lori Ashikawa, vln, Beth Anderson, cello, Jane Kenas-Heller, pf, performed by The Lincoln Trio: Marta Aznavoorian, piano, Desirée Ruhstrat violin, David Cunliffe, cello
Alaffia: solo piano, 2.5’, 2017, In memoriam: Ann Elizabeth Ward, pianist, composer+ and Samuel A. Floyd, founder, Center for Black Music Research, scholar, premiered: Thomas Jefferson, Sherwood Hall, Columbia College Chicago
Azuretta: solo piano, 5’, 2000, In Memoriam: Hale Smith, premiered: Ester Hana, Sherwood, CCC, recorded by Samantha Ege on Hammers, Pipes & Strings, 2022, University of Oxford, Jessica Johnson, UW Madison, NY premiere: Kathleen Supové, Brooklyn Barge Music, 4 September 2021, et al.
Deliverance: solo piano, 4.5’, 2021, dedicated to First Church of Deliverance in Chicago’s Bronzeville, commissioned by Access Contemporary Music for PBS series “Songs About Buildings & Moods,” recorded, premiered by Thomas Jefferson, Nevermore Theatre, Chicago, performed by Richard Nunley: St. Thomas Episcopal, Dett Club’s Black History Month Concert, 2023; Prof. Elsa Harris, CCC Sherwood, the Green Mill Lounge, 2023
Déjà Vu: solo piano, 4’, 1999, composer’s realization of Ask Him: jazz lead sheet realized for classical pianists, premiered by Jamie Hagedorn, HWLC
Doxology: pipe organ, 4’ 2011, commissioned Anonymously, premiere: Thomas Weisflog, Rockefeller Chapel, U Chicago: Tea & Pipes Concert Series; Dr. Anthony Williams, American Guild of Organists: Madonna della Strada, Loyola U,
Chicago; Campbell McNeal, Church of the Good Shepherd, Wil Smith, Denver, CO, Meghann Wilhoite, UC Berkeley’s Noon Concert Series
Equipoise by Intersection: piano étude number 1 & 2; 2’, 1978, 1995, inspired by Paula McHugh’s Poem, origin of its title, published in Black Women Composers: A Century of Piano Music (1893-199o), Hildegard Publishing Company, Helen Walker-Hill, editor, recorded by Helen Walker-Hill: Kaleidoscope CD, Leonarda Records, 1997
Hummingbird Dialogue: two pianos, I. Deborah & Jael, II. Time for Prayer, III. Face to Face, ~9’, 2019, arr. of composer’s Deborah orig. for multi-percuss. and piano
Jazzed Up Circumstance: solo piano, 2.5’, 1992, commissioned by St Elizabeth School (composer’s elem. school alma mater: Chicago’s oldest Black Catholic school’s 8th grade graduation), dedicated to composer’s nieces, Nique & Pebbles (Aminah Hanan, Lanzie Howard)
Liszten, my Husband is not a Hat: solo piano, 7’, 1994, inspired by Franz Liszt, and Dr. Oliver Sachs’ The Man Who Mistook His Wife for a Hat and Other Clinical Tales
Piano Broadsides: solo piano, i. a poet is not a juke box, ii. nocturne for zasha, iii. Shape of the invisible, 8.5’, 2023, dedicated to and commissioned by Chelsea Randall, musical translation of Dudley Randall’s poetry
Piano Poems: i. common things, ii. cockleburs in wooly hair, iii. beatitudes, iv. candle burns time, 11’, 2020, commissioned, recorded by Sarah Cahill for The Future is Female, Vol. 3, 2023, inspired by poetry of Gwendolyn Brooks, Richard Wright, and the composer’s beatitudes
Tightrope: piano étude number 3, 2.5’, 2020, recorded by Marianne Parker: Hammers, Pipes & Strings, 2022
We Real Cool: piano étude number 4, 2.5’, 2020, recorded by Jodi Gandolfi: Hammers, Pipes & Strings, 2022
Art Songs: Poetry Set to Music
3Love Lyrics: voice, piano [guitar]: 1. Love Lyric, 2. Haiku-47, 3. Best Friends, 10’, 2008
Best Friends: vocal duet: med. vces, pf, 3’, 1993
Crystal Stair: treble/bass vces, pf, 3’, 1992, setting of Langston Hughes’ Mother to Son, Anointed Voices: James & Vita Harris, b, a, Jukube Felton, pf, Ganz Hall
Darryl’s Rose: vce(s), pf, 5’, 1995, St. Thomas Apostle Children’s Choir
e. e. cummings songs: high vce, pf: i-little word, ii-brain gesture, iii-imagine, iv-house wind, v-love crumbs, vi-i carry you in my heart, 10’, 2009, commissioned, recorded by Eileen Strempel, vce: unto thee i burn CD, Sylvie Beaudette, pf
Freedom Serenade: vce, pf (lead sheet), 4’, 2001
Honey Air: haiku for vce, pf, 1.5’, 2013, premiered by Richard Nunley, b, Ester Hana, pf, Ganz Hall, 2013, Takesha Meshé Kizart-Thomas, s, Ganz Hall, 2018
I Want to Un-Die You: high vce, pf, 4.5’, 2022, commissioned by Louise Toppin, setting of NC Poet Laureate, Jaki Shelton Green’s poetry, premiered 2022: Duke University’s Black Music Lab
Incantation: med. vce, pf (lead sheet), 2’, 2018, premiered by Takesha Meshé Kizart-Thomas, s, Ester Hana, pf, Ganz Hall
Legacy: vce, pf, 2’, 1992, commissioned by Mostly Music, Inc., premiered by Roberta Thomas, vce, Ester Hana, pf, Ganz Hall
Love Song: high vce, pf, 4.5’, 2022, commissioned Anonymously, premiered by Rae-Myra Hilliard, s, Marta Johnson, pf, Harold Washington Library, “Poetry Set to Music”
Message to my Muse: vce, pf, 2’, 1997, premiered by Michael Adams, b, Ester Hana, pf, Ravinia Festival’s Music Illumination Outreach Program
Much in Common: duet, pf, 2’, 1993, premiered by Sandra Davis, s, Alyce Claerbaut, s, Northeastern Illinois University
Sweet Baby: vce, pf, 5’, 2021, commissioned by Anima Mundi Productions for “We Cannot Walk Alone Project,” premiered by Takesha Meshé Kizart-Thomas, s
Voices of Patriots: vce, pf: 1. Nightmare, 2, Nightmare II, 3. Dixiecrats, 4. Creed, 5. Birth Defects, 6. Homecoming, 17.5’, 2021, commissioned by and for mezzo Samantha Williams’ one-woman show
Art Songs, children’s music (cm), et al.
Black Voices: rapper, vce, pf, bass, drums, 9’, 1992, (cm), commissioned by Mostly Music, Inc., Joyce Turner Hilkevitch, premiered by Tongue Twister, r, Ester Hana, pf, Mike D., b, Michael Adams, dr, composer, alto, South Shore Cultural Center
B’Shuv Adonai: vce, vln, pf, perc, 4’, 1998, (cm, Hanukkah) Ravinia Festival Music Illumination Outreach Program, Jean-Marie Minton, s, Laura Hoffman, pf, Doug Brush and Michael Adams, perc.
Foster Pet: vce, pf, oboe, percuss, 5’, 1991, (cm), commissioned by Mostly Music, Inc., JT Hilkevitch, Roberta Thomas, m, June Matayoski, ob, Don Skoog, perc., RU Ganz
Koan #1: vce(s), flute, percussion, pf, 4’, 2001, Lucretia Jackson, s, Richard Nunley, b, John Goldman, fl, Don Skoog, perc, Ann Ward, pf, RU Ganz Hall
Landscapes: vce, vla, piano, 7.5’, 2021, commissioned by Megan Ihnen, premiered by Megan Ihnen, m, Michael Hall, vla, Marianne Parker, pf, 2021 Ear Taxi Festival, Epiphany Center for the Arts, recorded: Megan Ihnen Currents in Time CD, Parma Records 2022
Libation: 1. Ancestors’ Medley, 2. First Fruits, 3. Legends: John Henry, 4. Say No! to Guns, ballet: vce, pf, bass, perc., 20’, commissioned by Mostly Music, Inc., Joyce Turner Hilkevitch, premiered by Darlene Blackburn Dancers: Blackburn, choreographer at Harold Washington Library Center, performed by Joel Hall Dancers: Vanessa
Truvillion, choreographer, at HWLC (née Bwana’s Libation)
Nilisikia Sauti Kubwa (I Heard A Voice): vce/SATB, tpt, perc, pf, 4’, 2015 commissioned by Evanston Township High School for its Sesquicentennial
Rattenfalle (Rat Trap): septet: fl, b-flat cl, perc, pf, vln, cello, 3.5’, 2022, commissioned by Access Contemporary Music (ACM) for its 17th Annual Sounds Of Silent Film Festival, comedic film by Win Brooks, In memoriam: Dorothy Rudd Moore, premiered at Music Box Theatre, Chicago, by ACM Ensemble
Say Something: vces, piano, perc, 3.5’, 2022, composer’s arrangement of “Say No! to Guns” from Libation, for Jazz Institute of Chicago recorded, 1st Presbyterian Church
Shadows: vce, pf, bsn, perc, 3’, 1992, (cm), commissioned by Mostly Music, Inc., JT Hilkevitch, Roberta Thomas, m, Ester Hana, pf, Joe Urbinato, bsn, Don Skoog, perc., KAM Isaiah Temple, Chicago
Three Questions: vce, vln, pf, perc, 3’, (cm), 1998, commissioned by Ravinia Festival Music Illumination Outreach Program, Jean-Marie Minton, s, Terence Gray, vln, Laura Hoffman, pf, Michael Adams and Doug Brush, perc.
Watoto’s Kwanzaa: vce, perc, 3’, (cm) 1998-99, commissioned by Ravinia Festival Music Illumination Outreach Program, Michael Adams, b, Doug Brush, perc.
Wild Onion Suite: 1. Bronzeville Blues, 2. Mother Gives me Water, 3. Capriccio, 4. Wash-belly Baby, 5. Lifting as They Climb: vce, fl, vln, trb, harpsichord, perc., 18’, 2018 commissioned by The Bach and Beethoven Experience (BBE), performed at Loyola Park, Armour Square Park, and Den Theatre BBE Ensemble
Journey: s, a: divisi, piano, 2.5’, 2020, commissioned by Arlington, VA, Technical School, premiered on Zoom: ATS Choir yearend program
Nourish: cento for SATB, piano, 5’, 2022, commissioned by Latin School of Chicago, performed at their spring concert
Our Time: voice(s), piano, 3-6’, 2022, commissioned by Latin School of Chicago, performed at their spring concert
Sistas Switching: SSAA, piano, 3.5’, 2023 commissioned by Artemis Singers [watch 2023 Sister Singers Network Choral Festival in Cincinnati, OH]
Things Change: s, a: divisi, piano, 3’, 2020, commissioned by Arlington, VA, Technical School, premiered on Zoom: ATS Choir yearend program
Congregational Mass: SATB and/or unison, piano, 53-60’, 2011, 10 mass ordinaries:
1. Doxology: pipe organ, 2. Kyrie: Lord, have mercy, 3. Gloria: Glory to God in the highest, 4. Psalm 23 : The Lord is my Shepherd, 5. Alleluia: A, B, or C, 6. Credo (Nicene) I believe, 7. Mystery of Faith: A, B, C, or D, 8. Lord’s Prayer: Our Father, 9. Sanctus: Holy, holy, holy, 10. Peace be with You , 11. Agnus Dei: Lamb of God, 12. Caint See to Caint See (spiritual)
Father, We Thank You: SATB a cappella, 6’, 2018, In memoriam: Bishop Dominic Carmon, SVD, former pastor St. Elizabeth Church
God is Mighty: vce(s), piano (lead sheet), 2.5’, (cm), 1998, 2007, commissioned by Ravinia Festival Music Illumination Program, premiered at Bennett-Gordon Hall, Harris Singers recorded on Kidstuff CD
(Sometimes) I Hear Voices: I. I Hear Voices, II. Peacework, III. Ain’t Thru with Me Yet, SATB, piano gospel suite, 6’, 2001, Susaami Ensemble premiered at HWLC Chicago, performed 2019 by Choir of St. David Episcopal, Baltimore: Douglas Buchanan, cond., Keith Hampton Singers: Grace Episcopal Church, Chicago, 2020
I’ve Got A Mother & Father: a cappella, 2.5’, 1980: Roberta Thomas, Ganz Hall, 2018: Felicia Payton, Sherwood Hall
Litany (of the Saints): SATB or Call/Response a cappella, 8’, 2000, commissioned by visual artist Lillian Brulc for the unveiling of her mural, “Communion of Saints,” St. Elizabeth Church. C/R: Roberta Thomas/congregation
Psalm 23: baritone, piano, 4’, 2011, for commissioned and premiered by Richard Nunley, Jr., Holy Family Church Chicago, In memoriam: Lanzie Harris
Send Your Gifts: SATB opt. pf, 3.5’, 1980, 2018, Offertory Introit sung within a mass, for St. Elizabeth Church Choir, Bronzeville, Regina Harris Baiocchi, dir
Who Will Claim the Baby?: SATB, piano, Christmas Carol, 4’, 1984, 2015, for St. Elizabeth Church Choir, Bronzeville, Regina Harris Baiocchi, director
After the Rain: bossa nova lead sheet, soprano sax, pf, b, dr, percussion, 7’, 1994, premiere Matthew Arau, sax, Ester Hana, pf, Mike D., b, Michael Adams, dr, Don Skoog, marimba, Craig Williams, maracas, Phil Varnado and Eddie Mason, hand drums, Harold Washington Library Auditorium (HWLC)
Ask Him: ballad lead sheet, vce, pf, b, dr, optional: tpt, sax, 4’, 1999, Roberta Thomas, vce, Ester Hana, p, Ben Willis, b, Michael Adams, d, RHB alumna recital: Ganz Hall
Belize: bossa nova lead sheet, vce, pf, b, drums, opt: sax, tpt, 4-6’, 2001, Ann Ward, vce, pf, Harrison Bankhead, b, Michael Adams, d, Chad McCullough, tpt, John Goldman, sax, RHB alumna recital: Ganz Hall
Cycles: ballad lead sheet: vce, pf, b, dr, opt: tpt, sax, 3-5’, 1998, Roberta Thomas, vce, Ester Hana, p, Ben Willis, b, Michael Adams, dr, CCC Sherwood Auditorium
Dream Weaver: salsa: vce, alto or tenor sax, pf, b, dr, 5’, 1997, Susan Warmington, vce, Matana Roberts, tenor sax, Ester Hana, pf, Ben Willis, Michael Adams, dr, HotHouse Chicago
Farafina: voice, jazz quintet (pf, b, dr, tpt, sax), perc (marimba, vibes, congas), et al. arr., 8-10’, 2016-2022, composer’s tour de force #BlackLivesMatter homage premiered by Sankara Harouna, vce, Ester Hana, pf, Harrison Bankhead, b, Michael Adams, dr, Chad McCullough, tpt, Eddie Mason, perc, Sherwood Auditorium, February 2016
Friday Night: vce, pf, bass, dr, opt: tpt, sax, 5’, 1995, ballad gives way to an upbeat story that traces the history of African American music, premiered by Bobbi Wilsyn, vce, Steven Million, pf, Jack Zara, b, Michael Adams, dr, HWLC
Lovers & Friends: waltz: voice, piano, bass, drums, opt: tpt, sax, 4’, 1999, Roberta Thomas, vce, Ester Hana, pf, Ben Willis, b, Michael Adams, drums, Ganz Hall
Psalm Cat: vce, bass, opt: alto sax, 5’, 1999, premiered: Bobby Wilsyn, vce, Ben Willis, b
Say Something: vocal duo, piano, 3-5’, 2022, arrangement of “Say No! to Guns” from Libation, reading: Felecia Payton, Maggie Brown, Miguel De La Cerna, Jazz Institute of Chicago’s New Works, Fresh Voices commission, First Presbyterian Church
No One’s Child (née Gbeldahoven: No One’s Child): SATB, pf, cello, percuss., 65-90’, 1995-96, commissioned by National Endowment for the Arts, Lila Wallace Foundation, Art Institute of Chicago, Chicago Public Library Foundation
Story: Day in the life of Zora Neale Hurston, Langston Hughes, and their patron Charlotte Osgood Van Der Veer Quick Mason, 1931, Manhattan
One Act: composer’s libretto, 8 roles: female servant, Langston, Zora, Godmother, Louise, Radio Voice, Alain, Narrator
|Aria & poem titles
|1. Servant’s Muse
||Female Servant (mezzo)
|2. But for the Grace of God
|3. How It Feels to be Colored Me
||voice, cello, piano
|4. I am Not Tragically Colored
||voice, piano, cello
|5. Hell hath no Fury! (recitative) Godmother’s Lesson (aria)
||Godmother (soprano) Godmother (soprano)
||voice, piano voice, piano
|6. The Mason Room
|7. Litany of Superstitions
||Zora, Langston, Louise
||[spoken a cappella]
|8. Louise’s Prayer
||Louise (alto), Langston (b)
|9. Ain’t Nobody’s Child
|10. Friday Night
||vce, pf, b, dr
|11. Hold out for Joy
||Radio Voice/SATB chorus
||vces, perc, pf
|12. Hughes Man
|13. Black Pride
|Inside and Out: poem
|Good News Falls Gently: poem
||Narrator, 3 to 5 dancers
Hammers, Pipes & Strings demo CD: vce, pf, organ music: Regina Harris Baiocchi, producer, 2022, recorded: Oxford, UK, Menlo Park, CA, Chicago, et al. Mark Wolfram, engineer, 2022
Percussing up a Storm: ISU, Regina Harris Baiocchi, JF, producers, [not in print], 2018
Kidstuff: children’s music, Susaami Press, Regina Harris Baiocchi, producer, 2007
Percussing up a Storm: ISU, Regina Harris Baiocchi, JF, producers, [not in print], 2018
Kidstuff: children’s music, Susaami Press, Regina Harris Baiocchi, producer, 2007 WBEZ Studio, Chicago, Mary Gaffney, engineer, 2007
Amore e Tragedie in Musica: Lisa Marie Simmons, Marco Cremaschini, Ropeadope, Regina Harris Baiocchi liner notes, 2020
The Future is Female: Vol.3, First Hand Records, UK, Sarah Cahill, pf, “Piano Poems,” i. common things, ii. cockleburs in wooly hair, iii. beatitudes, iv. candle burns time, by Regina Harris Baiocchi, 2023
Good News: African American Spirituals & Art Songs: AACI/Cambria, “Legends: John Henry,” Othello Jefferson, tenor, Deanne Tucker, perc, words & music by Regina Harris Baiocchi, 2021
Good News Falls Gently: Patricia Morehead, Navona “Good News Falls Gently,” poem, lyrics: Regina Harris Baiocchi, 2011
journeys, places, stories: Tunnel6, Regina Harris Baiocchi reads poem, “Time & Tide” from Tenderman, Tim Bowling, 2011
Kaleidoscope: Leonarda Records, “Equipoise by Intersection,” Regina Harris Baiocchi piano étude #2, Helen Walker-Hill, piano, 1997
Lifescapes: one woman’s journey: Ray-Myra Hilliard, s, “Godmother’s Lesson,” “How it Feels to be Colored Me,” and “I am Not Tragically Colored,” from No One’s Child, opera by Regina Harris Baiocchi, 2015
Living Voices: Sacred Inspirations, Vol. 1: Sarah Simko, pipe organ, “Doxology,” by Regina Harris Baiocchi, 2019
NoteSpeak 12: Lisa Marie Simmons, Marco Cremaschini, Ropeadope label, Regina Harris Baiocchi liner notes, 2023
Soul of a Singer: Robert Sims, baritone, Eddie Mason, percussion, “Legends: John Henry,” by Regina Harris Baiocchi, 2013
unto thee i burn: Eileen Strempel, soprano, Sylvie Beaudette, piano, “6 e. e. cummings songs,” i. a little word, ii. brain gesture, iii. imagine, iv. house wind, v. love crumbs, vi. i carry your heart with me, by Regina Harris Baiocchi, 2013
Where Freedom Rings: AACI, “Azuretta,” Deanne Tucker, piano, “Legends: John Henry,” Othello Jefferson, tenor, music by Regina Harris Baiocchi, 2018
Sound Meets Sound
Meg Wilhoite interviews Regina
Seth Boustead interviews Regina
By Regina Harris Baiocchi
22nd Annual Chicago Humanities Festival: (four articles), October, November 2011 “Tech Knowledge: Writing 9-12th grade study guides for classroom settings,” “Common the rapper and the History of Hip Hop,” “Adventurous Violinist: Rachel Barton Pine,” and “Composing Music in the Digital Age,” October, November 2011
“African American Concert Music—Composers and Repertoire: 1942-1968,” Encyclopedia of African American Music (GR4199, 3 vol.), Emmett G. Price, Tammy L. Kernodle, Horace Maxille, Editors in Chief, Greenwood Publishing, Westport, CT, 2010
“African American Music in Chicago,” Ibid
This article traces origins of indigenous Black music: Work Songs, Spirituals,
Gospel, Blues, Jazz, Soul, R&B, House, Hip-Hop, et al. in The Americas.
“Black-Owned and Operated Publishing Companies,” Ibid
A look at Wheatley, Banneker, Douglass, Johnson Publishing, 3rd World Press, Chicago Defender, Amsterdam News, Target Market News, and the “Black Pack.”
“Gospel Music: 1942-1968,” Ibid
Gospel music’s “Golden Age” sprang from early twentieth-century Blues seeds. This “Good News” music exploded nationwide from its Midwest epicenter.
“Music of the Black Arts Movement,” Ibid
This article considers how this era’s music helped define art, culture, and politics (and vice versa) through sacred and secular forces.
“Music of the Civil Rights Movement,” Ibid
A look at musical cornerstones: Spirituals, anthems: Lift Every Voice & Sing, We Shall Overcome, protest songs, Nina Simone, Sam Cooke, Billy Preston, and Motown
“Fanfare for the Uncommon Poet,” Gwendolyn Brooks and Working Writers, Jacqueline Bryant, Editor in Chief, Third World Press, Chicago, IL, 2007-08
“Fanfare for the Uncommon Poet” reveals a story Ms. Brooks told often about her two-hour visit to the author’s classroom. The eight-hour event yielded unexpected lessons
“Margaret Bonds,” Black Women in America Encyclopedia, Volume I, Pages 157-160, Darlene Clark Hine, Editor in Chief, Oxford University Press, New York, NY, 2005-06 Trials and triumphs of Margaret Bonds’ Northwestern University years (1930s) and her Chicago Symphony and Los Angeles Philharmonic performances
“Gospel Music,” BWIA, Volume I, Pages 536-542
Religious music is traced from its 19th century roots through contemporary expressions. Individuals, groups, and subgenres are explored.
“Hip Hop,” BWIA, Volume II, Pages 51-55
This culture, its influence on the resurgence of poetry among youth, its roots and other attributes are examined from 1940s “hep” to the current millennium.
“Jazz,” BWIA, Volume II, Pages 127-140
US art music is examined from its simultaneous birth in various cities; its subgenres, performers, and composers; and its current struggle to stay alive.
“Eileen Jackson Southern,” BWIA, Volume III, Pages 168-170
Dr. Southern’s scholarship as a trailblazing ethnomusicologist and founder of Harvard University’s Black Music Studies Department is featured.
“Spirituals,” BWIA, Volume III, Pages 171-177
This US music is presented as 3-way conversation between Africans and African Americans past, present, and future. Forms and encoded messages are explored.
“Spoken Word,” BWIA, Volume II, Page 516
A thumbnail sketch of one poetic art form that enjoys great popularity among today’s youth, stateside and abroad.
“Women of Cave Canem,” BWIA, Volume II, Page 520
Introduction to the organization known as Cave Canem: its founders, some participating poets, and an alumna’s writing samples.
about Regina Harris Baiocchi
Andre, Naomi, “Regina Harris Baiocchi,” International Dictionary of Black Composers, vol. 1. Edited by Samuel A. Floyd, 7 pages, Fitzroy Dearborn Publishers, 1994-1999 Biographical, analytical essay: analysis of Liszten, My Husband is Not a Hat (piano)
Banfield, William, Musical Landscapes in Color, Scarecrow Press, 2003, Univ. of IL, 2023 Building on David Baker’s The Black Composer Speaks, the next generation of “classical” composers’ self-portraits come to the page.
Brown, Rae Linda, “Kaleidoscope: Music by African American Women.” American Music, vol. 16, no. 1, spring 1998, pp. 116+. Gale In Context: online
Analysis of Kaleidoscope CD, collection music by Black womxn composers: Regina Harris Baiocchi’s serial étude no. 2 is compared with Rachel Eubank’s atonal music.
Walker-Hill, Helen, “Black Women Composers in Chicago: Then and Now,” Black Music Research Journal, Vol. 12, No. 1 (Spring, 1992), pp. 1-23. Center for Black Music Research, Columbia College Chicago Biography and list of compositions by Chicagoan Regina Harris Baiocchi
Walker-Hill, Helen, From Spirituals to Symphonies: African American Women Composers and Their Music, Greenwood Press, Westport, CT, 2002, University of IL Press, 2007 Pages 359-352 explore Regina Harris Baiocchi’s bio, poetry, music: African hand
drum concerto, children’s music, opera, piano music, string music, etc.
Johnson, Calvert, Organ Works by Composers from Africa, and the African American Diaspora: A Bibliography, 2013. www.agoatlanta.org
Doxology for pipe organ by Regina Harris Baiocchi is catalogued with other music
Pendle, Karin, New Grove Dictionary of American Music, online, Oxford Univ. Press, 2001 Biographical sketch and overview of the composer’s writing styles
Ritter, Carol, “Cultural Influences of Organ Music Composed by African American Women,” College Music Symposium (23 pp.) College Music Soc., 1 June 2015, online An organist’s look at Doxology for pipe organ by Regina Harris Baiocchi
Schwall, Molly, “Regina Harris Baiocchi Profile,” Song of America, Hampsong Foundation An online profile of the composer and her music, notably vocal music
Swindler, Chloe Louise, Contemporary Compositions for Trumpet by Black American Composers in an Era of Unrest and Change: Regina Harris Baiocchi’s Miles Per Hour, Alvin Singleton’s Vous Compra, and Alice Jones’s A handful of Sand. UCLA Dissertation, 2022 A look at Regina’s Miles Per Hour for trumpet and its international appeal