{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://streaming.peabody.jhu.edu/iiif/t727941p7s/manifest","type":"Manifest","label":{"en":["David Burton oral history, 2002 March 27"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","metadata":[{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eAfter graduating from Douglass High School, David Burton (b. 1949) went on to study at Baltimore City Community College, Morgan State University and Towson State University. Burton joined the faculty at Douglass High School in 1985 as Director of Bands. He is the organizer and leader of the Douglass Jazz Combo. In the interview, Russell Frisby and Burton discuss jazz, growing up in Baltimore, Douglass High, and the state of music education.\u003c/p\u003e (Abstract)"]}},{"label":{"en":["Date"]},"value":{"en":["2002-03-27 (created)"]}},{"label":{"en":["Agent"]},"value":{"en":["Burton, David, 1949- (Interviewee)","Frisby, Russell (Interviewer)"]}},{"label":{"en":["Language"]},"value":{"en":["English (Primary)"]}},{"label":{"en":["Format"]},"value":{"en":["audio/mp3"]}},{"label":{"en":["Publisher"]},"value":{"en":["Peabody Institute of the Johns Hopkins University"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eThe collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information.\u003c/p\u003e"]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://aspace.library.jhu.edu/repositories/4/archival_objects/215339"]}}],"summary":{"en":["\u003cp\u003eAfter graduating from Douglass High School, David Burton (b. 1949) went on to study at Baltimore City Community College, Morgan State University and Towson State University. Burton joined the faculty at Douglass High School in 1985 as Director of Bands. He is the organizer and leader of the Douglass Jazz Combo. In the interview, Russell Frisby and Burton discuss jazz, growing up in Baltimore, Douglass High, and the state of music education.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eThe collection is open for use. Contact peabodyarchives@lists.jhu.edu for more information.\u003c/p\u003e"]}},"provider":[{"id":"https://streaming.peabody.jhu.edu/aboutus","type":"Agent","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"homepage":[{"id":"https://streaming.peabody.jhu.edu/","type":"Text","label":{"en":["Peabody Institute of the Johns Hopkins University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/008/original/peabody-institute.logo.large.horizontal.blue.cropped.png?1549570058","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381","type":"Canvas","label":{"en":["Media File 1 of 2 - pims0091_BurtonD_side1.mp3"]},"duration":3007.03347,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/381/original/pims0091_BurtonD_side1.mp3?1624270774","type":"Audio","format":"audio/mpeg","duration":3007.03347,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135","type":"AnnotationPage","label":{"en":["Burton1_OHMS_20220113 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"RUSSELL FRISBY: Wednesday, March 27, 2002. I'm here with Mr. David Burton. Mr. Burton, I guess we could start with some of the things we went over in our pre-interview.\nOriginally you're from Richmond, Virginia. Correct?\n\nDAVID BURTON: That's correct.\n\nFRISBY: When were you born?\n\nBURTON: 1949.\n\nFRISBY: Okay. 1949 in Richmond, Virginia. And did you spend all your time down there?\n\nBURTON: Well, my parents moved to Maryland, to Baltimore in particular, when I\nwas three. So I really have very little knowledge of Virginia. I consider myself\na Marylander.\n\nFRISBY: I see. Why did you move to Maryland?\n\nBURTON: People move and change their locales. My father was in the service. He\nhad a service related job so that may have brought him here, to Baltimore.\n\nFRISBY: I see. That makes sense. So, you moved to Baltimore. Where in Baltimore\ndid you live?\n\nBURTON: I lived in west Baltimore, Druid Hill and North Avenue which I really\ndon't remember much of that time. And then we moved to East Baltimore, Brentwood\nAvenue, Forest Street and Barclay Street [in Charles Village].\n\nFRISBY: So from Brentwood Avenue, you moved, and after that, you went to Park Circle?\n\nBURTON: We moved to the Park Circle area. It was very nice there. I had very\ngood experiences in school and what have you. That's where I actually began to\nstudy the trumpet in the sixth grade.\n\nFRISBY: I see.\n\nBURTON: So that's where I [started], around the age of eleven or so. And then\nfrom that area we moved over to Edmondson Village. And at that time I was in\nhigh school, and I was here at Douglass High School, and had some talent for\nmusic. So then I decided ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=0.0,120.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that music would be the thing for me.\n\nAnd especially looking at my band director who was, at that time, Thomas H.\nDeLaine, he's now Dr. Thomas H. DeLaine. Doc was a role model both as a person,\na professional, a teacher, a friend, and a mentor. And so after spending two\nyears here with him, during my senior year, I decided that I might want to try\nmusic and music education in particular.\n\nSo I found myself leaving Douglass and going to Morgan State University for a\nyear. I didn't particularly care for Morgan.\n\nFRISBY: Oh, why not?\n\nBURTON: I don't know. It just wasn't my cup of tea. And I then came over to what\nis now the Baltimore City Community College, which was BJC, Baltimore Junior\nCollege at that time. We had a smaller community. Maybe that had something to do\nwith me not liking Morgan. It had wide open spaces, lots of large buildings, and\nthe hustle and bustle.\n\nSo I found myself at B triple C as it's called now, and I enjoyed it. It was a\nmuch smaller, more intimate community, and I enjoyed myself. I earned my\nAssociates Degree, and then I went on to Towson University. And being back on a\nlarge campus, with a lot of large buildings, and very independent atmosphere, I\nfelt that at that time I was able to cope better with the larger setting.\n\nFRISBY: I see.\n\nBURTON: The reason I chose Towson was because my mother had done some course\nwork there, and going out there with her, I sort of liked the campus, I liked\nthe people with whom I came in contact. So I said, well, I think I'll try\nTowson. And I found that that was a good experience. It was really a good choice.\n\nFRISBY: I see. I guess you really enjoyed Towson. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=120.0,240.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"[Laughter] So essentially the\nsame degree throughout, Music Education.\n\nBURTON: That's right.\n\nFRISBY: At any point in time did you ever want to switch out of that or switch\ninto a different type of a field?\n\nBURTON: I never had a desire to do anything other than music, and education in particular.\n\nFRISBY: I see. So essentially, your role model really pushed you into the whole thing.\n\nBURTON: Straight ahead. Well, it wasn't until I was in school that he even\nrealized the role that he played in my decision to go into music education.\n\nFRISBY: But how so? What types of things would he do to sort of get you in the\nmind set for that specific career?\n\nBURTON: He knew how to inspire a student to reach their full potential.\n\nFRISBY: How so? What types of things would do?\n\nBURTON: He was encouraging. If I played wrong notes, he was never down on me. He\nwould simply show me the right thing to do. And if I had a problem, he was the\none person in the school to whom I could go with whatever the problem was and\nget some advice.\n\nAnd that set up what has now become a thirty-three or thirty-four year long\nconnection with him. As a matter of fact, he was here a couple of days ago. He\nbrought some music over to give me that had been written for the Douglass band\nabout four or five years ago. It is music that had been commissioned for this band.\n\nHe's like a, sort of like a big brother figure. And I just had a real good\nexperience with him here. You know, and he was the professional, the\nprofessional. Very knowledgeable. For anything I asked him, he had an answer\nthat made sense. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=240.0,360.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he was a good dresser. [Laughter] All these things. I mean\neverything just fell into place. So basically it was a whole ball of wax. And he\nwas the person, as I look back, who really inspired me to do what I do today.\n\nFRISBY: I see. I can just imagine that you would really try to take that role\nwith some of your students now. Like trying to be very inspirational and more\nencouraging. Do you see yourself taking on those types of traits?\n\nBURTON: Well, I have just received notification that I've been recommended to be\nplaced in the Who's Who for teachers in the United States. And this was a\nrecommendation of one of the students who was in my percussion section who was\ngraduated about three years ago. So I guess I'm having an effect on a couple of\npeople. And I have several students who are going to higher learning\ninstitutions or have gone who are deciding to go into teaching in particular. I\nhad one student who left and was bent on being a performer, but since then he's\nchanged his mind, and he's decided to go into education. I'm glad to see that.\n\nFRISBY: About higher education, where do the majority of your students go after\nDouglass High School?\n\nBURTON: I have students who go to Morgan. I've had a couple who go to Coppin\n[State College]. But on the other end of the spectrum, I have students who go to\nBerklee [school of music]. I had one student who was a special education\nstudent, and he actually started here as a beginning band student in the ninth\ngrade. By the time he was graduated, he had worked his way out of special\neducation, was in regular education, went on to Claflin College in South\nCarolina and became president of the band. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=360.0,480.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He got two scholarships, one for\nmusic and one for physical education. He was a long distance runner. So he put\ntwo scholarships together, and he finished at Claflin, he moved to Atlanta, and\nthe last I heard he is an elementary school principal. You know, we've had a lot\nof success from our students here.\n\nI had one student who was a clarinetist and he was very accomplished. And this\ncertificate is one of the ones that I could find which attest to his skill and\nmusicality. He received a rating of one at the city level and the state level,\nand as a result he received blue ribbons from the state level.\n\nAnd now he is a medical doctor, OB-GYN.\n\nFRISBY: This is the person you were talking about earlier. Wow! That's one heck\nof a switch from music.\n\nBURTON: Well, yes it is, but I'm running into more people, especially in the\nfield of medicine, who are actually musicians. My wife is the band director at\nSouthwestern High School, and she plays in the Baltimore Clarinet Quartet, and\nthe other clarinetist in the group is a medical doctor.\n\nSo these guys, even though they go into medicine, they continue to hone and work\ntheir musical skills. And he plays with the [Johns] Hopkins Symphony by the way.\nSo he plays on a professional level.\n\nFRISBY: Do you see any correlation between medicine and music?\n\nBURTON: Certainly. Certainly. Music is the healing balm of the soul. This is a\nmusic careers program, here at Douglass. So we explore a lot of different\ncareers, and one of them is actually music therapy. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=480.0,600.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"How, you ask? I'll just give\nyou a little example.\n\nThere was a young boy who was totally paralyzed. The only movement he had was in\nhis eyes, and no one could get a reaction from this boy so they brought in a\nmusic therapist. And the music therapist continued to come and continued to\ncome, and one day as she showed the little song on the ceiling with the bouncing\nwhite ball on the words, he then began to follow the white ball with his eyes.\n\nSo it took music to reach inside of him -- to get him to respond. And everything\nelse that they tried, they had no success.\n\nMusic is an integral part of the well-being of the human being. And I firmly\nbelieve that.\n\nFRISBY: During our pre-interview you mentioned that you have two sons and\nthey're both also into music. Was it easy to get them into music?\n\nBURTON: Well, they were both playing notes on the trumpet before they could\nwalk. So it wasn't difficult at all. And they were raised in a musical\nhousehold, my wife, as I mentioned, is a band director. She is a clarinetist and\nsaxophonist. I play the trumpet and the piano. We perform together at churches\nand civic events and things like that.\n\nAs my children gained skills in playing, both of them elected to play my\ninstrument, which is the trumpet. And we are the Burton Ensemble. So we do\nperform quite a bit in and around Baltimore and wherever we're called basically.\n\nThey have sort of branched out from just playing the brass instruments. My\noldest son is twenty now, and he is a percussionist. As a matter of fact, these\nare my sons right here [shows photograph]. So the oldest one is a percussionist.\nHis younger brother also became a percussionist, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=600.0,720.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but the younger one, who is\nseventeen now, also plays the piano and the flute, and I would imagine whatever\nelse he gets his hands on. [Laughter]\n\nFRISBY: Oh wow. So it wasn't like \"Oh, you're gonna play this because I play\nthis\" or anything?\n\nBURTON: No. No. They just naturally took to it.\n\nFRISBY: Just a minute ago you mentioned church. We were talking earlier, and\nyou're an assistant pastor. I guess you've been involved with the ministry for a\nwhile. Can you tell me a little bit about that?\n\nBURTON: Well, I have, both my parents were -- my mother is still living, and my\nfather is deceased -- but they both were ministers. And I grew up in a home that\nwas a church going and church oriented home.\n\nAt the age of thirteen, I was called into the ministry, and I received a lot of\ninstruction by my parents being accomplished ministers, and I received\ninstruction that way. And I've taken some courses in theology. But I've\ncontinued from the age of thirteen until fifty-two. I'm about to turn fifty-three.\n\nAnd about four or five years ago I was elected to be the assistant pastor of our\nchurch, which is the House of Jacob Hebrew Pentecostal on Park Heights Avenue, 3805.\n\nSo it is just another hat to wear in addition to being an educator and a father\nand a husband, and everything.\n\nFRISBY: How does that fit in with your music? Like your music teaching and also\nyour performance. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=720.0,840.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"How does your religious life fit in with all that?\n\nBURTON: Well, I look at it from the standpoint of it allows me to interact with\nmy students in a very positive way, and to try to instill certain values in them\nwhich are not, well; these values are not addressed sometimes in the home or in\ntheir immediate surroundings or among their peers.\n\nSo it allows me to share with them some of the things that I've learned and some\nof the teachings of Christ.\n\nAnd I know that we're supposed to separate church and state, and I do that. But\nwhen you look at the Bible and its teachings, it's simply a code of morality.\nAnd that's what's missing in our society today. And that which is there is being\ndeteriorated for whatever reasons. So it's incumbent upon us who still hold onto\nthese moral values to share them with these young people because they don't get\nthe teaching in their own environments.\n\nFRISBY: Wow. I see. I mean, it's the truth. Essentially, what's your favorite\ntype of music?\n\nBURTON: Everything. Everything. And my kids laugh at me, my students here. They\nall laugh at me because I bring in everything. They bring in the rap -- I make\nthem, you know, keep it clean-- but they bring in the rap, and we just dissect\nit, and we talk about it, and then we relate it to Ethiopian Kithara music. Or\nwe relate it to the music of China. Or, we'll relate it to what we know of\nEgyptian music, ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=840.0,960.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which is still on the continent. So that they get an idea of\nwhere our roots come from. And then we move on and encompass the music of\nEurope, and show how the African influences from Ethiopia, Egypt, wherever, how\nthat had an influence on the music that eventually came out of Europe.\n\nAnd then it all came back around, and European music than began to influence the\nmusic of America, which was a blend of African, European and everything else.\n\nSo I -- we -- listen to everything. And some of it, they can't believe that I\nwould actually listen to it. But that's the only way to get a true musical\nexperience and to be a world thinker. You know, universal, with music.\n\nFRISBY: That's good. You talk to some musicians and they sometimes they're very\none-sided about their music. They mainly will listen to the music that they\nperform. Or just try and stay within their little niche. You don't often hear\nthat from someone.\n\nBURTON: That's the only way to look at it. Basically, you know, that's the way I\nsee it because of the organizations that we have. Now we have a marching band,\nwe have a concert band, we have a jazz band, the big band, and I have a jazz\ncombo, which is small, four or five piece more intimate group. And we play for a\nwide variety of audiences. So whatever repertoire we develop, we try to put\nsomething in that will appeal to anyone from any ethnic or racial background or\nwhatever. Whatever their likes or dislikes, we try to do something that will\nappeal to everyone. So, when you do that, then you have to really encompass a\nlot of different musical styles.\n\nFRISBY: I see. That makes perfect sense. What's in your current repertoire now\nwith the jazz band?\n\nBURTON: The jazz band, we do ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=960.0,1080.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Duke Ellington tunes, Count Basie tunes. As a\nmatter of fact, we are one of the Grammy schools.\n\nFRISBY: I was reading about that on the Internet earlier on about the Grammy\nsignature schools.\n\nBURTON: Right. And I'm also a member of Essentially Ellington. Those two white\nboxes there contain the music from Jazz at the Lincoln Center under the\ndirection of Wynton Marsalis. So we get the packets of music, and eventually I\nwill have enough resources to be able to go to New York and compete in that competition.\n\nBut in the meantime, we do get the music. We rehearse it, and I had an\nopportunity last year to do a seminar about the development of music from its\nearliest stage right on up through the present. And this was sponsored by the\nEnoch Pratt Library.\n\nSo our students got an opportunity to do some of what we call the vintage music,\nthe Dixieland style music, and then bring it up to Thad Jones and Thelonious\nMonk and composers like that. And Parker, Charlie Parker, Dizzy Gillespie, Miles\nDavis. We do it all.\n\nFRISBY: That is a very extensive repertoire. Tell me a little bit about the jazz\nband. When was it founded?\n\nBURTON: Oh, the jazz band, the big band has always existed. It is a part of\nDouglass High School. Douglass has a very long and rich history of music. So the\njazz band has always been here. It's always been concert band, jazz band and\nmarching band. The jazz combo came into existence around 1985, and that's when I\ncame here to Douglass, and since then, we have won many competitions. I have a\nthree foot trophy ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1080.0,1200.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"downstairs that we're very proud of.\n\nThese young men went to Myrtle Beach, South Carolina last spring. And it's so\nstrange because we showed up in a van, and all the other bands came in buses and\ntrucks and all of this. So when we got out, the girl, our greeter, came up and\nsaid, well, where's the rest of your band? Is your bus coming? I said, no, this\nis it.\n\nAnd she's looking at six guys. And the other bands are going in, and they're\nlike eighteen,\n\ntwenty, and all these big bands, and I just took my combo. Well, they couldn't\nbelieve it. So when we played during the competition, everyone came to see this\nlittle group from Baltimore. But when it was over, they received the outstanding\nsoloist award for piano, outstanding saxophone, outstanding rhythm section,\noutstanding trombonist award, the superior award for the festival, and then the\ngrand trophy, which is that three foot trophy, for the entire festival. So we\nbrought all of that home.\n\nFRISBY: Man oh man! [Laughter] You guys really showed them.\n\nBURTON: So that was quite a feather. But in 1992 and 1994, we were fortunate\nenough to go to Florida, and those trips included the festival, the competition,\nplus a cruise to the Bahamas, the island of Lucaya in the Grand Bahamas and\nback. So we were fortunate enough to go twice, and each time we cleaned up with\nabout eleven plaques and trophies, first place.\n\nFRISBY: I can imagine a whole lot of work goes into this. How often do you guys meet?\n\nBURTON: We meet five days a week. The big band rehearses on Tuesdays and\nThursdays from 4 to 6 p.m. And the other bands meet during the regular portion\nof the school day, with the exception of the marching band. The marching band\nrehearses, during marching band season, from 4 ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1200.0,1320.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to about 5:30, maybe six o'clock,\ndepending on the weather.\n\nFRISBY: Now, what types of students actually come and join? Like is it open for\neverybody or do you have to audition in?\n\nBURTON: We have auditioning because this is a city-wide program. So we can glean\nfrom students anywhere in the Baltimore City area, but they do have to audition\nto get into the program.\n\nFRISBY: What's the typical student like? How would you classify their\npersonality or their commitment level?\n\nBURTON: The typical student in music careers is sort of easy going. And by that\nI mean we don't have students who are suspended or whatever for fighting or any\nof that type of activity. It's very unusual for one of our music students to be\ninvolved in an altercation.\n\nThey usually have good grades, and that's directly correlated to their study of\nmusic I'd like to think. I mean it's been proven, because it develops a certain\ndiscipline within the student. And when they use that discipline to concentrate\nin the music area, they carry that same discipline, that same concentration,\ninto the core subjects. So consequently, they do better academically than the\naverage student in the school.\n\nFRISBY: That makes a lot of sense. What do some of the other students think of\nlike students in this program? Is there any friction or anything like that?\n\nBURTON: Not usually. Since we've gone into the academy situation, we've been\ntrying to work together so that the students understand that we are one school.\nIt's just that everyone has their own special skill.\n\nSo to promote this, one of the things that I will do ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1320.0,1440.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is work very closely with\nthe junior ROTC academy. And they're about to have an inspection, and so the\nband will get geared up in full uniform, and we'll go to the inspection and play\nmilitary music which is appropriate for that ceremony. And so that means special\nrehearsals to get the music together, special rehearsals with the JROTC cadets\nto have this whole ceremony in place. And it's their annual inspection, so it's\na pretty big deal.\n\nAnd we're just happy to be of service. You know, to be a part of it. When we do\nparades, our JROTC provides a color guard and battalion of students who will go\nout and represent Douglass High School in a united way, a united front.\n\nFRISBY: I saw the whole Douglass troop out at the Morgan Homecoming in the fall.\nIt was really interesting to see. They did a great job.\n\nBURTON: Well, thanks.\n\nFRISBY: Let's see. Just going back, what type of music did you listen to as a\nkid? What were some of your favorite bands, music forms, things like that?\n\nBURTON: Well, because of the outlook of my parents, I was not really encouraged\nto listen to jazz. \n\nFRISBY: Why was that?\n\nBURTON: Because of the upbringing. You know, in the old days jazz was considered\nthe devil's music. So I never really had that kind of background as a young kid.\nBut later on, as I got into high school and my parents understood music is more\nthan just the music of the church or the concert stage -- that there's another\nvenue that needs to be explored.\n\nAnd so then ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1440.0,1560.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I began to get involved with Armstrong's music which is the basis of\njazz. You cannot say you've studied jazz unless you know Louis Armstrong.\n\nFRISBY: Are you saying this just because you're a trumpet player? [Laughter]\n\nBURTON: No. No. You cannot say that you know anything about jazz unless you know\nLouis Armstrong. Now, I have a very prominent young man who is prominent now.\nHe's doing CDs and things. But he had to come back and explain to me that he\nfound out that he had to know about and understand the music of Louis Armstrong\nin order to know how to progress up to Miles Davis or Charlie Parker.\n\nWynton Marsalis now has put out several video presentations explaining to young\nmusicians that Louis Armstrong is the basis of all jazz. I mean, if you don't\nknow Louis's music, you can't really say that you know the history or the\ndevelopment of jazz because he set so many things in motion.\n\nFRISBY: Like how so? What were some of the things that he set in motion?\n\nBURTON: Scat singing. The story goes that he was in a studio, and he dropped a\nsheet of music. So as not to disturb the recording session or to break the flow,\nhe just went into a scat because his music was on the floor with the words on\nit. His style of solo. He is the first musician to actually do a solo as a part\nof an ensemble.\n\nIn the Dixieland style, every person in the ensemble is playing their own line.\nBut he was the first one to put together a background with a solo lead. So he\nset up the whole idea of a solo lead instrument with the other instruments in\nthe group being a background.\n\nFRISBY: Wow! All right. That is pretty tremendous. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1560.0,1680.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I was always wondering where\nthe exact turning point was in all that.\n\nBURTON: Right. Well, after Joe \"King\" Oliver brought Louis to Chicago, Louis\nthen received some acclaim, and then he struck out on his own. Just before 1927,\nhe had a tonsillectomy, and that's when the voice changed.\n\nFRISBY: Wow! Okay. Cause most people would think that it's more of like a\nnatural thing, that his voice was always like that.\n\nBURTON: No. He had a tonsillectomy, and when he recovered from it, that's the\nvoice that he had. And for whatever reasons, America decided it was a wonderful\nvoice. Well, the world decided, because he really became a world-renowned\nperson. And he was our Ambassador of Good Will from the United States at one\ntime. He went to the Congo and the people just almost rocked the whole continent\nwhen he got off the plane. And if you talk to real jazz musicians and\nprofessionals, they will tell you that it all goes back to Pops.\n\nFRISBY: So obviously Louis Armstrong was a big character in your whole upbringing.\n\nBURTON: Yes. Louis Armstrong, Al Hirt, who passed away a few years ago. Al Hirt\nhad a TV show, and I used to watch this man play Dixieland jazz and then put on\na tuxedo and sit down and play a concerto. And that blew me away that this man\ncould play jazz, and then turn around and play a concerto. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1680.0,1800.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then we find\ntoday this young man Wynton Marsalis, who's doing the same thing. You know, he's\nheavy in the jazz scene, yet he performs with the London Symphony Orchestra.\nSame thing. You know, music is music. And so once we understand that, then we\ncan tell our kids, and that's what happens here at Douglass. Music is simply\nmusic, it's just how it's performed that's different. You know, in one vein if\nyou're doing Frank Tichelli's Amazing Grace, you're going to go ta, ta-ta, ta.\nRight. And if you're doing a Count Basie tune and it's the same rhythm, you're\ngoing doo, dooby do, dooby do.\n\nSo it's just, it's the same notes. I mean C is C, but it depends on how you're\ngoing to perform it. And so this is one of the things that I strive to educate\nmy students about, and to constantly make them aware of the fact of styles of\nmusic. This is one of the concepts that I learned from Dr. DeLaine\n\nFRISBY: It's all just style differences.\n\nBURTON: That's right.\n\nFRISBY: What did your parents think of your music aspirations?\n\nBURTON: My mother wanted me to be a doctor. My father wanted me to be whatever I\nwanted to be.\n\nSo since I announced that I wanted to go to school for music education, they\nboth said fine, wonderful, as long as you go to school, you know. And my mother\nwho's still living is -- was a pianist, and she doesn't play anymore. But she's\nalways loved music, and she's always supported me in music.\n\nAnd a few weeks ago we had a concert here, and my mother sat in the audience.\nAnd as it got close to the time for the jazz band to perform, I'm like \"okay,\nwhat's going to happen here\", right. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1800.0,1920.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I got on the podium and we got cranked\nup. And when it was over, she told me she actually really enjoyed the jazz band.\nIt reminded her of the days when she used to see Cab Calloway and Count Basie\nBand, the Ellington Band in person as a young girl.\n\nSpeaking of styles, I styled this band on the order of Ellington and Basie. To\nme they represent the epitome of excellence and style and elegance in jazz.\n\nFRISBY: Did you ever go to clubs or anything like that?\n\nBURTON: No. No clubs. No clubs.\n\nFRISBY: What about any concerts or anything like that?\n\nBURTON: Yes. I've been to some concerts. I'm trying to think about. I go to\nUniversity of Maryland in College Park quite often. But you're talking in terms\nof professional jazz artists? I have seen Max Roach, Wynton [Marsalis], Billy\nTaylor, Clark Terry and others.\n\nFRISBY: But it wasn't really like a mainstay of your youth or anything like that?\n\nBURTON: No.\n\nFRISBY: Okay. It wasn't like \"oh, I snuck into clubs when I was thirteen,\" and\nwhat not.\n\nBURTON: No. I wasn't into that. Because I was so heavily involved at the age of\ntwelve, I was part of the church band. At one point, when I was in high school,\nI belonged to five different performing groups. None of them were jazz groups.\nBut I mean, my parents would see me come in, have dinner, and then I was gone,\nback out the door, and getting on a bus to go somewhere to rehearsal. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=1920.0,2040.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I belonged\nto a youth orchestra, two or three different concert bands, a marching band, a\nchurch band. So I had my hands full.\n\nFRISBY: That's a pretty intense schedule right there.\n\nBURTON: Yes it was. But, you know, youth has strength, and when you enjoy\nsomething, it doesn't become a bother or a problem. You just do it.\n\nAnd I think that's part of the reason that I've been here so long because I\nreally enjoy working with my students here at Douglass. And I enjoy the flavor\nof our department.\n\nFRISBY: How so?\n\nBURTON: Well, I'm the only male in the music academy. I have the support of all\nthe ladies, and I support them as well. And they are all very professional. And\nwe all strive to give our students the very best music education that's possible.\n\nI just enjoy it. And I enjoy the idea that we can go out and perform. As a\nmatter of fact, I have a performance up here at the Forum tomorrow morning with\nmy jazz combo. So we'll be out, and that's pretty nice to be able to get out and\ndo things.\n\nFRISBY: Did you ever think that you would necessarily be coming back to Douglass?\n\nBURTON: No. I never dreamed that I'd be back to Douglass. As a matter of fact, I\nhave a rather unique situation because when I was hired into the school system,\nmy first position was at Lemmel, which is my junior high school. And I worked\nthere for four years, and then the call came that there was an opening here, and\nI was recommended by Dr. DeLaine for this position. So that's how I ended up\nbeing here.\n\nSo I just followed myself from junior high school right back to my same high school.\n\nFRISBY: This place has such a great reputation for music. Cab Calloway came out\nof here. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2040.0,2160.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You had W. Llewellyn Wilson way back, and Rivers Chambers and his\norchestra and all that. I mean, what do you feel? How does it make you feel\nbeing in a place like this?\n\nBURTON: Well, it puts a lot of pressure on you first of all because you have to\ncontinue to keep the music at a certain standard. And the worst thing that could\nhappen is to have someone come in who was here fifteen, twenty, thirty years\nago, and talk about how it used to be. So I strive to keep it as close as I can\nto what it used to be.\n\nAnd then I don't have to hear that reminiscing back in the old days. It's like,\nwell, what are you guys doing now? You know, we're doing the same thing you were\ndoing. We're keeping it alive.\n\nFRISBY: Did any of that reputation affect your decision to go into music\neducation when you were here at Douglass?\n\nBURTON: No. It didn't. As a matter of fact, when I was here, there wasn't a\nmusic careers curriculum as it exists today, so we just had band and choir. So I\nwas not really aware of the fact that this school was so great in music.\n\nI knew that we were a bad band and we had a tremendous choir, and all of that,\nbut not the history of it or the longevity of what was going on, what I was a\npart of. And I enjoy the fact that I'm a part of the history of this school. And\nnow I have the opportunity to help create more history with this school. So I\nenjoy that position.\n\nFRISBY: I can imagine. That's a great outlook to have -- as a history maker.\n\nBURTON: Right. But at that time when I was younger, I didn't really realize ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2160.0,2280.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"how\ngreat the school was, and the reputation that it had for music and all of that.\nI just knew that every minute here was practically rehearsal time. [Laughter]\n\nFRISBY: As I was like looking on the internet earlier just doing some general\nresearch, I came across a number of up and coming musicians who came out of\nDouglass. Like Britney Spears' drummer came from Douglass. I think his name was\nSlam or something like that. I can see that you're obviously thinking hard over there.\n\nBURTON: I'm trying to get this kid's name -- Gerrard Barnes.\n\nFRISBY: I think that might have been his name.\n\nBURTON: Gerrard came out of here maybe about four or five years ago. And he had\nperformed with Patti Labelle. When he was in Germany, he performed with Michael\nJackson, and after that his career just took off.\n\nFRISBY: I can imagine.\n\nBURTON: So he actually was graduated by bringing work packets, dropping them\noff. Once his plane landed, he would come here, drop his work off, pick up\nanother work packet and fly out. And that's how he was graduated out of this school.\n\nFRISBY: That's amazing.\n\nBURTON: He was already out on the road by the time he reached his senior year.\n\nFRISBY: That Michael Jackson gig obviously made him. There's another person who\nrecently performed at the Kennedy Center. Let me see. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2280.0,2400.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He has his own quartet\nright now, and he plays saxophone I'm pretty sure. He's a recent graduate. Steve Carrington.\n\nBURTON: Yes. Steve did a year here as our resident artist. And I didn't know\nSteve. He came through after my years here, and before I came back as a teacher.\nBut he came in. I had an opportunity to work with him, and he had a tremendous\nimpact on my saxophone players, and he taught them quite a bit. And he is a\nphenomenal musician.\n\nFRISBY: Do a lot of the alumni come back to help?\n\nBURTON: From time to time they do.\n\nFRISBY: What do the students think of that?\n\nBURTON: It's really interesting because they come in and they will do seminars,\nthey will work with the students. One of the other graduates that I think a lot\nof is Melvin Miles [Dr. Melvin Miles, professor of music at Morgan State\nUniversity and conductor of the university's jazz band].\n\nHe had a set of twins, Jermaine and Jarrett, trombone and trumpet, and they both\nwere graduated out of this program. One of them is in Philly working as a\nfreelance musician, a professional musician. And the other is teaching here in\nthe city school system.\n\nThey both are recording artists, and they perform. I bought a jazz CD, down in\nSouth Carolina. When I opened it, their picture was there. And I said, I know\nthese characters, you know. And it's Jermaine and Jarrett.\n\nThere's a gospel star by the name of Richard Smallwood, and I think Jermaine,\nthe trumpet player, is on that CD. So they're really making their way, you know,\nin and out of the studios and hobnobbing with the professional people.\n\nWe have a young man who just won on the Grammy's. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2400.0,2520.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Sanchez Harley. He received\nseveral awards on the Grammy's. He's from Nashville. Now he's in Nashville. But\nhe graduated from this program. And he's a producer now in Nashville.\n\nFRISBY: How does that make you feel to have all these successful people?\n\nBURTON: Wonderful. Wonderful. It's great.\n\nFRISBY: You're obviously doing things right. Seriously.\n\nBURTON: Well, we try.\n\nFRISBY: Did you know before you reached high school that you would ever end up\nin music?\n\nBURTON: Not really. I played, and, you know how you do. You get an instrument,\nyou learn to play it, and you do pretty well, and I sort of felt that I would\ncontinue to play, but I did not know that music would become actually my\nlivelihood at that point.\n\nSo the decision wasn't really made until mid-way through my senior year of high\nschool. That's when I decided actually what I wanted to do.\n\nFRISBY: What other things were you considering at the time?\n\nBURTON: Well, my mother wanted me to do medicine. And that was sort of there,\nbut I didn't have an inclination towards that. But I mean, if they want to send\nme to medical school, okay, you know, I'll go and see what happens.\n\nBut this music thing, once I got to that point, and I met Dr. DeLaine, there was\njust no question. And when I went through school, nothing else ever interested\nme other than music.\n\nFRISBY: Who are some of your other role models in the music field? As you were\ncoming up, who were some of the people you looked up to?\n\nBURTON: There was a gentleman ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2520.0,2640.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"who was basically my first trumpet teacher. His\nname was Fred Dixon. And he was a band leader at one of the local churches. And\nhe took me under his wing, taught me my first solo that I performed in church.\nAnd I was in the band, and under his tutelage, I learned a lot, especially about\nimprovisation. And I found out three years ago by seeing someone from that\nchurch organization that Brother Dixon, as we called him, had passed away. And\nthis still hurts because I didn't know, I wasn't there. That's one of the\nregrets that I have that I just didn't know anything about it, and that I had\nnot had an opportunity to see him, you know, one more time so to speak before he passed.\n\nBut he had a tremendous impact on me as far as music. And what would happen,\nespecially when I got into the high school years, he was there as support for me\nto help me with the band thing here, you know. And then I had Dr. DeLaine on\nthis end to help me, you know, with my musicianship. So the two of them really\nhad a lot of importance in my life.\n\nAnd there's another gentleman in the same church, but he did the marching band\nunit of the church. And he was a minister. We called him Elder Graham. And two\nyears ago he came here, and he spent the day with us. We went to College Park to\ndo a mass band activity, which is that picture on the wall. And that's where you\nhave two thousand college and high school students on the field playing at the\nsame time. It's a tremendous activity.\n\nBut Elder Graham came, and he went with us. And we enjoyed the day. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2640.0,2760.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we had\nan appointment, you know, to do the same thing the following year. However,\nwithin that year, he passed. And I didn't find out until after it was all over.\n\nDuring the period of my life that I needed the support and the training and all\nof that, they were there for me and I shall never forget them. I just hope that\nI can help a student as much as they helped me.\n\nFRISBY: It's good, seriously good to have those type of role models always\nthere. I mean, like how you were talking about how you can still talk to Dr.\nDeLaine to this day --\n\nBURTON: To this day.\n\nFRISBY: --about whatever you have to.\n\nBURTON: As a matter of fact, we were in the throes of doing an opera, Hansel and\nGretel, and we have a vocal coach here who is the president of the Harbor City\nOpera Company, which I'm the principal trumpet for the orchestra when we do\nproductions. But this year I was to conduct. And we found out yesterday, she\nfell and broke her ankle. So she will not be able to come in, and we'll have to\npostpone the opera until the fall.\n\nBut Dr. DeLaine was coming in to collaborate with me on this project -- to get\nthis opera done.\n\nAnd so we have become friends, but also this friendship and our relationship has transformed into being a peer or colleague relationship. And I still stand in awe of him,\nyou know. And that's why I call him Dr. DeLaine very easily. ","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2760.0,2880.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381/transcript/35135/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he has given me\npermission to call him Tom, but he's still Dr. DeLaine, and I just can't help myself.\n\nBut we are on that collegial level. And he's pulled me in on several projects.\nHe was the one who started me on the curriculum writing, and guided me through\nthe first two or three years. And so I've continued on the curriculum writing\nteam for Baltimore City Schools.\n\nFRISBY: We actually didn't get to that part about the curriculum. So you've been\nin charge of the curriculum for quite a while.\n\nBURTON: Well, not in charge, but I have been one of the members of the\ncurriculum writing team. And my input has really been on the instrumental side,\nand the American music or the descriptive course side. Since I teach both those\ncourses, I've had some direct input in developing curriculum for both of those\ncourse offerings.\n\nFRISBY: So what all does that entail?\n\nBURTON: Research, research, writing, research, writing, typing, deadlines,\nresearch. That sort of thing. To keep up with current trends in education you\nhave to do the research to find out what the trends are around the country in\nurban areas such as ours so that our students are always on par with the\nnational standards and the City and State standards.\n\nFRISBY: Very complex.\n\nBURTON: Yes. Because now we're moving into the era of real high technology.\n\nTechnology in music is the way of the future. We must embrace this new way of\nthinking and producing music.\n\n[END OF SIDE ONE]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117381#t=2880.0,3000.0"}]}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382","type":"Canvas","label":{"en":["Media File 2 of 2 - pims0091_BurtonD_side2.mp3"]},"duration":1070.02776,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/content/1","type":"AnnotationPage","items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-peabody.s3.wasabisys.com/collection_resource_files/resource_files/000/117/382/original/pims0091_BurtonD_side2.mp3?1624270776","type":"Audio","format":"audio/mpeg","duration":1070.02776,"width":640,"height":360},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382","metadata":[]}]}],"annotations":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809","type":"AnnotationPage","label":{"en":["AUTO_TRINT_pims0091_BurtonD_side2.mp3 [Transcript]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e -- this city to be music friendly?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=1.83,4.22"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e It's not as much as it used to be, but it is. We find a lot of success. And there's a resurgence now of interest in developing music, especially in the jazz scene in Baltimore. A lot of the local resident professional musicians now are starting to try and create ways of bringing music back into the public limelight so that the public will be more aware and more supportive of the efforts of the musician. Because most of the musicians that have become professional musicians and renowned musicians have had to leave Baltimore. They go to D.C., they go to New York. And then one time this was the place to be. I was talking to a gentleman who was there when Louis Armstrong came, and all these big names used to come down to the Royal Theatre, and he was actually there to see these people -- Billie Holiday, all of them. And he talked about how they would stay in this town. Dizzy Gillespie, the whole gang, they would stay in Baltimore and do gigs in various places and frequent the various clubs around and people used to come and listen and support. And over the last few years that's sort of dropped off in Baltimore. But now there is a resurgence of interest and the musicians are pushing it.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=6.14,88.34"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e I see. What do you think of the whole decline of Pennsylvania Avenue, with the Royal Theatre, that whole scene -- ?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=88.85,95.389"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e I think it was just unfortunate that that occurred and has been allowed to just die the way that it has, because the younger generations will never be able to see what was seen back then. And even though I wasn't there to see it I was aware of it, I was made aware of it. But I just wasn't there to see all of this go on, but I was aware of it. And through doing research on my own and all, I've been able to sort of relive through pictures and, you know, video and things like that what it must have been like, you know, and appreciate it for what it was. There is a celebration that will be taking place concerning jazz on the Avenue on May 3, and our jazz band will be appearing down at the Shake and Bake [recreation center] to help this two-day celebration go in that area.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=96.41,154.25"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Do you actually see a resurgence of that area? Do you see that coming? Or do you see that even being successful in itself?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=155.51,164.6"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Well, I don't know if it will ever come back to what it was. I don't know if it'll ever come back to what it was. I don't know if it's going to happen on the Avenue per se. There are other areas now that have been built up in places that may spring up, which will accommodate the same type of thing. But I don't necessarily see it happening on the Avenue as such.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=166.98,194.7"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e I see. Where would you think that it would take place?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=195.24,199.23"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Well, now that jazz has become a major art form, a major musical form, people have to accept it for what it is. And they have to understand, it's not some little shady music that you have to keep in the back room. It is a major form. It's the only form of real American music. Every other form of music that we have in this country came from somewhere else. Jazz is the only truly American form, and by it being that, the other problem with the mainstream of America is that they don't want to give credit because it was developed by African Americans. But now it has to be recognized. So it is finding its way into the Meyerhoff [Symphony Hall]. It is finding its way into the Lyric [Theatre]. It's finding its way into the Baltimore Arena and other larger places that would be some similitude of the Royal Theatre and beyond.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=200.1,256.05"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e It's sort of hard to even duplicate the Royal Theatre, unfortunately.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=259.62,261.3"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Exactly.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=261.93,261.93"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e And that's a real tragedy. I mean, it was way before my time, back in '71. What do you think is the perception of that type of music in this city?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=262.52,275.93"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Jazz?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=277.19,277.19"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Yes.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=279.559,279.559"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e I think it's it's accepted and there's a certain number of people, even with the students that I have -- when we go out and it's publicized, we have a pretty good turnout. So there's still an audience. There is an audience for jazz in this city.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=279.648,292.7"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e I see. Do you see popular music sort of taking more of a front -- ?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=293.24,297.35"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Yes, because that's the music that the young people are exposed to, that's the music they hear more of. You can hear pop music without trying. To find a jazz station you have to search. So it's what's readily available, you know? And I did an experiment last semester with my American music class. When they came in, I told them there would be no rap music. I said, \"You already know all the rap music, so there would be no point in us going over rap music.\" I said, \"Here, let me share some other things.\"","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=301.05,342.51"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e So we did some European classical music and they recognized some of the major things -- Beethoven's Fifth, the Moonlight Sonata, those type things; the Bach Organ Fugue in D Minor, that type thing -- they recognized as major themes because they've been heard so much they could identify with them. So we moved on to some other things and then we got into ragtime music and we brought it up through Dixieland and we got it up to jazz. And I pulled out the CD Kind of Blue, which is Miles Davis. And among the musicians who are really into jazz, they're saying that you can't really say you're a jazz lover if you don't own Kind of Blue. So I have the tape and the CD. But anyway, there's a cut on there that's called \"So What.\" And these kids, initially, they sort of resisted the jazz thing, but we got into \"So What.\" And I actually had them make lyrics to go into the song and they come back now -- and this is the next semester -- they're still coming to me talking about where they're hearing jazz, where they've heard certain tunes that we explored in the class. So it made an impact on them. And some of them may decide, hey, this is a music that's worth listening to.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=343.11,424.26"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e I see. Do you see more an infusion of that type of music, like jazz music, in today's popular music?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=428.41,434.29"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Jazz is finding its ways somewhat into popular music, really into gospel music.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=435.22,440.38"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e How so?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=442.48,442.54"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e I heard a gospel tune the other day, which was sort of a medley, but the break, the middle of it or the bridge, if you will, was \"Killer Joe.\" They did entirely \"Killer Joe\" in the middle of it, and then they brought it back in and I was, \"Whoa, I know my mother hasn't heard this one,\" right? But that was kind of strange. And I hear a lot of different things where they're infusing real jazz licks or jazz themes that you can recognize more into gospel music than into the popular music. A lot of the popular music is being infused with classical music. That's strange. And I was doing marching bands. Some of the themes -- the tunes that we do are drawn from the concert repertoire, and they fused it in and made it pop tunes and the kids go for it.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=442.564,491.38"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Wow. I mean, like looking at Alicia Keys -- she's classically trained and everything. And now she's won Grammys and all that kind of stuff, and if you listen to her CD, there's a lot of sort of classical themes in a lot of her songs. So I mean, yeah, that makes sense, how there's a correlation -- infusion, all that kind of stuff. I see.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=492.6,511.41"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Do you see a lot of your students necessarily seeking out music as a -- well, let me see how I can phrase this. How willing are students to go into the music field or even begin studying music in today's day and age?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=519.63,537.97"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e A lot of them [are]. We have a sound engineering studio, which is a recording arts and media production lab, and a lot of the students are into creating and mixing. And it's a computer program so they can go into a studio. They can go to Peabody and take advantage of the recording arts curriculum there and get a degree for that -- for sound engineering or whatever they choose to do. But we do have an entire curriculum that's built just for that, and the students are clamoring -- they have to meet certain criteria to get in. So they're in line. There's a waiting list to get into that course.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=538.39,576.862"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Wow. So it's not like, \"Oh, that's music, I don't want to do that,\" or anything like that?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=579.31,583.42"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e No, no, no, no. We explore it from every angle. So some of our students -- one of the young men who was leaving as you came in just graduated in June, and he's at Bowie [State University]. He wants to be a performer. And then some of the other kids are going for education. And then other kids are going for the actual nuts and bolts of sound engineering and mixing and all of that -- actually working in the studio.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=583.6,605.52"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e This is actually pretty interesting how there's a big emphasis -- not a big emphasis, but there's a lot of people interested in the recording arts. Do you think it has a direct correlation with like today's popular music? Like seeing producers like Puff Daddy -- ?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=607.87,624.729"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e I'm sure it does, because for one thing -- to do recording, you don't necessarily have to be a musician. And that was a point of dismay for me -- to find a person doing music and producing music who's not a musician. But it's a business because of the technology and the availability of high technology that allows a person who knows how to use it to be creative with music. So given that, we have students who -- some of them -- have gone into the recording industry who've graduated from the school, who were never in any of our music offerings, but they got into it from the standpoint of technology.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=625.54,672.61"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e That makes sense. Yeah, that's the thing about today's technology, or about the music industry as a whole, today. It's so technology driven that you can just get in wherever. This is really interesting. Do you see that really changing your music department here, or even the curriculum?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=672.96,693.607"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Yes. We're just trying to figure out how we can get resources together to get much needed equipment and materials to move towards that more high tech side. Because this is what the students will need in order to be competitive once they leave this setting, because even the higher institutions are using more technology. I mean, the way music was taught when I was a student, even at Towson [University] is now altogether different. You know, we had pencil and paper and you sat down and wrote music. Now the kids do it at a computer. [Laughter]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=693.85,732.249"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e We used tape recorders and they download into the computer. We had to write notes on a page. They play it on a keyboard and it runs to the computer and prints out on the printer. [Laughs]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=735.58,747.556"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e And MIDI files, and all that kind of stuff.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=749.5,751.389"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Exactly.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=751.75,751.75"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Do you recommend that all of your students, regardless of their chosen career path or aspirations rather, and because of their concentration in the music program here, do you recommend that they all have a sort of basis in that technology?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=757.48,775.51"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e I would because it allows you to do a number of different things, even if it's not related to the field of music. But I think all students should have exposure to whatever technology is available. Now, you're talking to a guy who went to the computer kicking and screaming, shaking, sat down at the computer maybe five years ago, didn't even know how to turn the thing on, [Laughs] and now they've got me doing -- I have a laptop, I have a desktop, I do PowerPoint presentations and Inspiration [software], and the whole nine yards. My lesson plans are done on computer. I do my own charts and things, the setup for the band so everyone knows what they're doing. And I do my grading on computer and I mean, five years ago, I didn't know how to turn it on. [Laughter] So, if it can drag me along and all these kids, they do need it.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=777.03,838.86"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e I was looking at this ACT-SO [NAACP-sponsored high school competition] poster here. Do a lot of the students actually compete in ACT-SO?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=840.04,844.097"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Yes, we have students and they win. They do.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=844.96,848.01"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Oh, trust me, I know. Boy oh boy, I went to the 2000 one at the convention center and it was just like, \"Baltimore chapter wins this. Baltimore chapter. Douglass High School, Douglass High School.\" I was like, \"Wow! Man, oh, man.\" Yeah, I guess they do pretty well.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=848.99,868.17"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e They do, yes. And it's not just instrumental, it's the vocal students as well. And some of them -- I have one little core group of seniors who are into creating their own music and really writing their own tunes, and they perform them and all of that. There's a lot of creativity that goes on, and we allow the students to do that. It has structure here, but when my students reach a certain level, then they're given the opportunity -- \"Now you take what you know and go and create.\"","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=869.1,900.27"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e What are these medals right here?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=904.27,905.05"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e These are superior ratings. This is for Thaddeus [phonetic] and this is for someone else. And these were the only two that I could find offhand, but we have quite a few of these. You get the blue ribbon when you go to the state level and you receive the highest rating. When you receive the second highest rating, which is a two, you'd receive a red ribbon. I don't have any reds. They're all blues. [Laughter]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=905.65,931.299"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Darn. [Laughter]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=932.86,933.239"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e They're all blues. Number one.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=937.63,939.1"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e I guess that's pretty much most my questions. This is like a run-of-the-mill interview question, but if you had this all over to do again, would you do it again?","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=942.16,952.57"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Yes, I would. I think I would have started earlier. I did not go through straight through college to do this. I went out into the work world for a few years and I worked for the Federal Reserve Bank of Richmond, which is here in Baltimore. It's based in Richmond, but they have branches all over. I worked for the Federal Reserve Bank. I was a vice president of a construction company for a couple of years. I've worked as a security officer. I've worked as a gas station attendant. I've worked in a daycare providers facility. Number of things, just a number of things. I think I would have circumvented all of that and come into this earlier if I had it to do over again.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=954.62,1005.55"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e But I was told by Dr. DeLaine [Laughter] -- And I expressed it to him, \"Boy, if I could do this again, I would have not done all that other --.\" He says, \"But sometimes it takes all of those experiences and dealing in various areas and dealing with various people to give you the understanding of how to come into a classroom and deal with the myriad of complexities that present themselves through the students and their characteristics, and their personalities.\" You know, and being in the business world is a lot different from being in an educational setting. So if you can deal in the business world, then you can use some of that savvy to apply the principles to an educational setting, and I think, according to what he said, be more successful. [Laughs]","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=1006.0,1053.009"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eRUSSELL FRISBY:\u003c/strong\u003e Wow. All right, well, that makes a lot of sense. It's been a really great interview. Thank you very much.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=1057.47,1062.42"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/transcript/32809/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eDAVID BURTON:\u003c/strong\u003e Yes, sir, thank you. Appreciate that.","format":"text/plain"},"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=1063.289,1064.16"}]},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334","type":"AnnotationPage","label":{"en":["Burton2_OHMS_20220113 [Index]"]},"items":[{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/49","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Music Friendliness of Baltimore","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=5.0,52.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/50","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Burton discusses the state of the music scene in Baltimore. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=5.0,52.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/51","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: It's not as much as it used to be, but we find a lot of success. And there's a resurgence now of interest in developing music, especially in the jazz scene in Baltimore. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=5.0,52.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/52","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Baltimore","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Jazz","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=5.0,52.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/53","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Baltimore was \"the place to be\"","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=52.0,91.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/54","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: ...because most of the musicians that have become professional and renowned musicians have had to leave Baltimore. they go to dc they go to New York. and at one time this was the place to be. I was talking to a gentleman who was there when Louis Armstrong came, and all these big names used to come down to the royal theater and he was actually there to see these people-- Billie Holliday, all of them, and he talked about how they would stay in this town--Dizzy Gillespie, the whole gang--they would stay in Baltimore and do gigs in various places and frequent the various clubs around. And people used to come and listen and support and that over the last few has sorta dropped off in Baltimore. But now there is a resurgence of interest. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=52.0,91.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/55","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Billie Holliday","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Dizzy Gillespie","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Louis Armstrong","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Royal Theater","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=52.0,91.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/56","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"'Decline' of Pennsylvania Avenue","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=91.0,139.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/57","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frisby asks about the decline of Pennsylvania Ave and the Royal, Burton responds characterizing it as unfortunate, and describes his experience of reliving the heyday of Pennsylvania Ave through his research, where he discovered videos and photos. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=91.0,139.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/58","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: I think it was just unfortunate that that occurred and has been allowed to just die the way that it has.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=91.0,139.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/59","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Pennsylvania Avenue","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Royal Theater","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=91.0,139.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/60","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"A Celebration","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=139.0,221.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/61","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: There is a celebration that will be taking place concerning jazz on the avenue on May 3rd, and our jazz band will be appearing down at the Shake'n'Bake [Recreation Center] to help this 2 day celebration sort of go in that area.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=139.0,221.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/62","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Jazz","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Shake'n'Bake","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=139.0,221.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/63","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Jazz is \"the only truly american music\"","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=221.0,283.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/64","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frisby asks about Jazz could ever be as big in Baltimore, and Burton answers 'not on the avenue' so Frisby asks where, and Burton replies that since Jazz is so American it is being heard in larger venues like The Meyerhoff, The Lyric, and Baltimore Arena.","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=221.0,283.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/65","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: Well, now that Jazz has become a major art form, a major musical form, people have to accept it for what it is. They have to understand it's not some little shady music that you have to keep in the backroom, you know, it is major form, it's the only form of real American music, every other form of music that we have in this country came form somewhere else. Jazz is the only truly American form, and by being that the other problem with the mainstream of America is that they don't want to give credit because it was developed by African Americans but now it has to be recognized. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=221.0,283.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/66","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Baltimore Arena","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Lyric","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Meyerhoff","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Royal Theatre","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=221.0,283.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/67","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Jazz reception in Baltimore is still good","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=283.0,326.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/68","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frisby inquires as to the reception of Jazz in Baltimore and Burton says there's an audience.","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=283.0,326.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/69","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: ...There are a certain number of people even with the students that I have, when we go out and its publicized, we have a pretty good turn out. there's still an audience, there is an audience for jazz. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=283.0,326.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/70","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"jazz","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=283.0,326.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/71","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Burton's American Music Class","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=326.0,436.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/72","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Burton describes teaching an American Music class where he told his students 'no rap' and instead they listened to European Classical Music, Ragtime, Jazz. He then describes the impact the class had on his students, who have been coming back to tell him where they heard jazz that they were exposed to in his class. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=326.0,436.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/73","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=326.0,436.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/74","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Classical","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Jazz","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Miles Davis","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Music Education","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Ragtime","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=326.0,436.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/75","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Jazz fusion in Gospel","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=436.0,471.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/76","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Burton cites examples of Jazz being fused with Gospel. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=436.0,471.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/77","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: Jazz is finding its way somewhat into popular music, really into gospel music. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=436.0,471.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/78","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"fusion","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Gospel","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Jazz","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=436.0,471.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/79","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":" Classical fusion in Pop","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=471.0,536.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/80","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Burton continues, saying not only are there fewer jazz themes in pop than gospel, popular music is typically infused with classical themes. Frisby replies that this makes sense, and mentions Alicia Keys' classical training. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=471.0,536.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/81","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: A lot of the popular music, is being infused with classical music. That's strange. Doing marching band, some of the tunes we do are drawn from the concert repertoire and they fused it made it pop tunes and the kids go for it.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=471.0,536.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/82","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Classical","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Jazz","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"popular music","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=471.0,536.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/83","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Sound Engineering","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=536.0,606.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/84","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: We have a sound engineering studio, which is a recording arts and media production lab, and a lot of the students are into creating, and mixing and it's a completer (?) program, they can go into a studio, they can go to Peabody and take advantage of the recording arts curriculum there and get a degree for that, for sound engineering or whatever they choose to do, but we do have an entire curriculum that's built just for that. And the students are clamoring, they have to meet certain criteria to get in so they're in line, there's a waiting list to get into that course. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=536.0,606.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/85","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Music Education","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Peabody","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Sound Engineering","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=536.0,606.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/86","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"The Art of Recording","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=606.0,705.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/87","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frisby asks about if the high interest in recording arts/sound engineering is correlated to popular music and producers like Puff Daddy. Burton says absolutely and talks about how there are students who go into the recording industry who never took any music classes. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=606.0,705.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/88","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: For one thing, to do recording you don't necessarily have to be a musician. And that was a point of dismay for me. To find a person doing music and producing music who's not a musician. but it's a business because of the technology and the availability of high technology that allows a person who knows how to use it to be creative with music. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=606.0,705.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/89","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"recording arts","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"sound engineering","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"technology","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=606.0,705.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/90","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Already a need for more technology in music education","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=705.0,848.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/91","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frisby asks about whether technology might change the music department or curriculum.","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=705.0,848.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/92","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: Yes, we're just trying to figure out how we can get resources together to get much needed equipment and materials to move towards that more high tech side because that is what the students will need in order to be competitive once they leave this setting, because even higher institutions are using more technology. I mean, the way music was taught when I was a student at even at Towson is now altogether different. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=705.0,848.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/93","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Music Education","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Technology","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Towson University","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=705.0,848.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/94","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Students winning competitions","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=848.0,946.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/95","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frisby spots some ribbons or trophies and asks about a competition--APSO? ACSO? and Burton talks about his students winning. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=848.0,946.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/96","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: Yes, we have students, and they win!","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=848.0,946.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/97","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Frederick Douglass High School","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=848.0,946.0"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/98","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Would you do it over again?","format":"text/plain","label":{"en":["Title"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=946.0,1070.02776"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/99","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Burton describes his work experience, and how he would do it over, and discusses overlap between the business world and educational world. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=946.0,1070.02776"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/100","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"BURTON: Yes I would. I think I would've started earlier. I did not go straight through college to do this, I went out into the work world for a few years. [...]  I worked for the Federal Reserve Bank.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=946.0,1070.02776"},{"id":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382/index/50334/annotation/101","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"business","format":"text/plain","label":{"en":["Subjects"]}},{"type":"TextualBody","value":"Music Education","format":"text/plain","label":{"en":["Subjects"]}}],"target":"https://streaming.peabody.jhu.edu/collections/1178/collection_resources/44115/file/117382#t=946.0,1070.02776"}]}]}]}