Theodore Charles Stone Papers

Biographical Note

An accomplished baritone and music journalist, Theodore Charles Stone also served for many years as president of the Chicago Music Association (CMA) and National Association of Negro Musicians (NANM). Stone was born Nov. 18, 1912 in Gainesville, Texas, to Samuel William and Rosa Houston Stone. His parents passed away when he was young, and he, along with six brothers and sisters, was taken in by maternal grandmother Mary Houston. During high school, he held a part-time job with a German organist and music teacher, Mrs. Otto Vaeth, who began giving him piano lessons. Following high school, he earned a bachelor of arts from Samuel Huston College (now Huston-Tillotson University) in Austin, Texas.

By the time he moved to Chicago in the early 1930s, Stone was already known in music circles, hailed as “one of the artistic successes of the season” by Maud Roberts George in November 1931. ( Chicago Defender , 11/28/1931) Stone moved to Chicago to begin further studies at Chicago Musical College (now part of Roosevelt University). Following this period of musical training, a teaching position at the Allied Arts academy, and growing local and national recognition, he was offered a scholarship to study at the Sibelius Academy in Helsinki, Finland. He was sponsored by composer Kosti Vehanen, known for his work as accompanist to contralto singer Marian Anderson. Stone was the first African American to study at Sibelius and in his short time there, received a certificate in Performing Arts and Opera, Concert Repertoire, toured much of Scandinavia and Eastern Europe, and performed in front of Scandinavian royalty.

The onset of World War II forced Stone to return in late December 1939 through a harrowing 21-day journey on the S.S. Astrid Thorden to New York, where he stayed until October 1940. This period marked the beginning of regular and glowing reviews of Stone’s performance career. Throughout the 1940s and 1950s, he gave recitals around the United States, including New York, Chicago, Pittsburgh, Philadelphia and Baltimore . According to critics, Stone was an exceptional musician and praised for his mellow baritone, eloquent articulation of both spirituals and foreign pieces, and stage presence. He was praised for his “feeling for drama and pathos” ( New York Times , 3/3/1947) and his interpretation of “each and every song as one would interpret a poem.” ( Los Angeles Sentinel , 4/24/1952)

When he returned to begin the musical season in Chicago in 1940, Stone also began an illustrious career in journalism. According to contemporaries, Stone’s music writing career began with the writing of press releases to promote his concerts and friends’ concerts. From the 1940s to the 1990s, Stone wrote columns on musical events and performances for the Chicago Bee , the Pittsburgh Courier , the Chicago Defender (1957-61), the Metropolitan Post and finally, beginning in 1961, the Chicago Crusader . In 1968 he became a member of the National Music Critics Association, which worked to improve music criticism nationally and encourage public interest.

Stone was a key figure in the history of the National Association of Negro Musicians and its founding branch, the Chicago Music Association. Both NANM and CMA were founded in 1919 in Chicago and addressed growing concerns about access to performance venues for classically trained black musicians and concerns about the corruption of black musical traditions by popular music. NANM provided professional opportunities, scholarships and training for black concert musicians around the country. NANM was headquartered in Chicago but growing alongside it was the CMA, which addressed needs of Chicago-based musicians and offered performance opportunities through its many annual concert series. Stone served as president of CMA from 1954 to 1996 and as president of NANM from 1968 to 1975.

In addition to this varied work, Stone was also director of the Musical Arts Bureau, through which he presented and promoted new musical talent. He was also well-known in Chicago for his modeling and support of local fashion, and as a public figure he was frequently asked to serve on panels, to speak at tribute events, and to function as toastmaster or master of ceremony for local and national events. Finally, Stone volunteered regularly as a music instructor at the Parkway Community Center, an affiliate of the Hull House Association. He died on Oct. 17, 1998.

Bibliography

Floyd, Samuel A. The Power of Black Music: Interpreting Its History from Africa to the United States . New York: Oxford University Press, 1995.

McBrier, Vivian Flagg. R. Nathaniel Dett: His Life and Works (1882-1943) . Washington, D.C.: Associated Publishers, 1977.

McGinty, Doris Evans. A Documentary History of the National Association of Negro Musicians . Chicago: Columbia College Center for Black Music Research, 2004.

Nettles, Darryl Glenn. African American Concert Singers Before 1950 . Jefferson, NC: McFarland, 2003.

Patterson, Willis Charles. “A History of the National Association of Negro Musicians (NANM) the first quarter century, 1919-1943.” PhD diss., Wayne State University, 1993.

Walker-Hill, Helen. From Spirituals to Symphonies: African-American Women Composers and Their Music . Westport, CT: Greenwood Press, 2002.

Waters, Enoch P. American Diary: A Personal History of the Black Press . Chicago: Path Press, 1987.

Scope and Content

Stone’s papers range in date from the early part of the century to the 1990s, although the predominant date range is from 1940s to 1990s. The papers have been arranged in 15 separate series: Biography, Manuscripts, Correspondence, Music Career, Chicago Music Association (CMA), National Association of Negro Musicians (NANM), Journalism Career, Professional Life (Other), Music Programs, Programs, Subject Files, Serials, Photographs, A/V and Memorabilia. The papers have been arranged to reflect Stone’s varied professions: his music performances, his leadership as president of CMA and NANM, his career as a journalist, and his other professional and society interests, including the Musical Arts Bureau.

This collection represents only part of the larger Stone Papers, the rest of which are housed at the Center for Black Music Research at Columbia College in Chicago. Related papers at the Harsh Research Collection include the Abbott Sengstacke Family Papers, the Sydonia Brooks/NANM Papers, the Walter Dyett Papers, the Etta Moten Barnett Papers, the Charles Walton Papers and the Edith Wilson Papers.

Series 1: Biography, 1931-1998

This series is arranged chronologically and includes the many biographical sketches found in Stone’s manuscripts and from newspapers. Posthumous material has been included to illustrate Stone’s significance to the local, national and international music worlds.

Series 2: Manuscripts, 1899-1991

This series begins with Stone’s own manuscripts, which are arranged chronologically when the date is known and then followed by a large number of undated manuscripts. Manuscripts by other authors follow Stone’s manuscripts, and these are arranged alphabetically by author, followed by manuscripts by unknown authors. Of particular significance in this section of the series are two older manuscripts: an undated piece entitled “Ethiopia at the Bar of Justice” and the Proceedings of the Induction of Albert B. George as Associate Judge in Chicago in 1924. Albert George was the husband of Maud Roberts George, who was the leading music critic in Chicago until the 1940s, when she was succeeded by Stone. Roberts George likely gave these proceedings to Stone. Next is a collection of music manuscripts, the bulk of which are sheet music.

Series 3: Correspondence, 1949-1996

The correspondence series is arranged alphabetically by author or organizational affiliation, if the author was writing on behalf of an organization or company. In addition, envelopes, cards, invitations and Stone’s annual Christmas greetings have been arranged in this series. This is followed by correspondence written between people other than Stone, which itself has been arranged by the name of author. Correspondence with Stone in regards to either NANM or CMA has been arranged separately under those series, Series 5 and 6.

Series 4: Music Career, 1944-1994

This series includes all material related to Stone’s music career, including clippings, music programs, flyers and press releases. This series has been arranged alphabetically by subject and then chronologically within each subject heading. Oversized flyers for Stone’s performances have been arranged at the end of the collection in Series 16: Oversized Material.

Series 5: Chicago Music Association (CMA), 1945-1997

This series includes all material related to the Chicago Music Association and includes correspondence by Stone when related to his organizational duties as president of CMA (1954-96). The newsletter series published by CMA has been arranged within this series. The series has been arranged alphabetically by subject and then chronologically within each subject heading. Oversized CMA flyers and clippings have been arranged at the end of the collection in Series 16: Oversized Material.

Series 6: National Association of Negro Musicians (NANM), 1931-1995

This series includes all material related to the National Association of Negro Musicians. The series is arranged alphabetically by subject and then chronologically within each subject heading. This series includes correspondence by Stone when related to his organizational duties as president of NANM (1968-75) and as a member. NANM’s published newsletters have also been arranged within this series. Material on the NANM Annual Convention, including souvenir programs from 1944-77, has been arranged together. Oversized NANM flyers and clippings have been arranged at the end of the collection in Series 16: Oversized Material.

Series 7: Journalism Career, 1959-1996

This series includes all material related to Stone’s employment as a journalist. It begins with all non-article material (i.e., employment records, memoranda, drafts) arranged chronologically, beginning with the Chicago Defender and ending with the Crusader . This section of the series is followed by his articles, which are arranged first by serial name, then by column name and then chronologically. The journalism series includes a particularly large run of Stone’s pieces for the Chicago Crusader (1961-96). It also includes material on his employment at the Defender (1957-61), where he was president of the credit union. Following an employee strike in 1961, workers withdrew their accounts from the credit union, and Stone’s presidency and Defender journalism career ended.

Series 8: Professional Life (Other), 1961-1997

This series includes all other material related to Stone’s professional and public life. The first part of the series is material from the Musical Arts Bureau, Stone’s own promotion company. This is followed by programs and clippings from his non-musical public appearances, including panels, tributes and events in which Stone served as master of ceremonies. Each subseries is arranged alphabetically by subject and chronologically within each subject heading.

Series 9: Music Programs, 1945-1997

This series includes a large collection of programs from music performances. Music programs that featured one musician or group have been arranged alphabetically by name. Following this are programs featuring multiple performers, which have been arranged chronologically. Programs sponsored by Musical Arts Bureau have been arranged separately in Series 8; programs sponsored by CMA have been arranged separately in Series 5; and programs sponsored by NANM have been arranged separately in Series 6.

Series 10: Programs, 1941-1997

This series includes all programs from non-music events or events in which there was some music within a larger non-music program. This series has been arranged chronologically.

Series 11: Subject Files, 1942-1997

This series includes all subject research files kept by Stone, which includes published information on musicians, other individuals, organizations, events, concerts and subjects, as well as clippings on people, organizations and events. This series is arranged alphabetically by subject.

Series 12: Serials, 1919-1997

This series includes all published serials in the collection and is arranged alphabetically by serial name, and chronologically within each folder if there are multiple serials. NANM and CMA newsletters have been arranged separately within each series. Oversized serials are arranged separately at the end of the series.

Series 13: Photographs, 1940s-1990s

This series includes all photographs in the collection and is arranged by subject when known but otherwise follows no arrangement.

Series 14: A/V, 1970s-1990s

This series includes all audiovisual material in the collection and is arranged first by audiovisual format (45, 10” LP, 12” LP, VHS, cassette) and then chronologically within each audiovisual format. There are several audiocassettes that have recordings of Stone’s music performances.

Series 15: Memorabilia, 1919-1990s

This series includes all memorabilia in the collection and follows no arrangement. Similar kinds of memorabilia (plaques, nametags, business cards, travel souvenirs) have been grouped together.

Series 16: Oversized Material

This series includes oversized clippings and posters from the CMA, NANM and Music Career Series.

Addendum

Two boxes, totaling 84 additional photographs from the Theodore Charles Stone Papers, were received in 2012. They have been added to the end of this collection, after Oversized Material. Researchers should see Boxes 60 and 61, Photographs 523-606.

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