Dwight Andrews


Research Statement

Throughout my career at Emory, I have been grateful for the University’s support and interest in my activities both in the classroom and in the field of music making for the concert hall, the theater, film, and in recordings. I have had a rich and varied career and regard performance and musical composition as my research/scholarly/creative profile. I continue to be quite active on a variety of musical fronts as composer, performer, theatre artist, presenter, and lecturer.


Scholarly / Artistic Achievements

My work spans Theater, including Music Direction, Performance, and Creative Artistic Supervision; Film; Video; Composing; Music Performance and Recording; Interviews, Lectures, and Presentations on diverse themes; and numerous Publications.



In addition to my compositions for theatre and film, I have composed a number of chamber pieces and art songs. African American writers such as Mari Evans, Maya Angelou, and James Baldwin have especially informed my art songs. I have been recognized by my peers in composition by my invitation to teach composition at the Yale School of Music and my service on the Pulitzer Prize Committee for Music Composition on two separate occasions.



My work in theatre is primarily concerned with incorporating music into dramatic works. My responsibilities include a wide range of contributions depending on the requirements of the play and the production. My contributions range from providing original compositions and interstitial music for straight plays, working directly with the actors on musical segments within a dramatic work, and arranging pre-existing historical works to fit the historical detail of the play.

Music for Film

I serve as principal composer and music director for most of my film work. This work involves “spotting” the film with the director to determine where music goes and the character and nature of each music segment.



“In Search of Real Progress,” in The Future of Race Relations, Reflections Magazine (Yale Divinity School publication), Spring 2013

“Race, Music and Popular Culture,” The Academic Exchange: A Forum for Emory Faculty Work, Life and Thought, Spring 2011

Liner Notes, Geri Allen, A Child is Born, Motema Records, 2011

“Congregational Power and Grace in a Hostile Culture,” Reflections Magazine (Yale Divinity School publication), Fall 2009

Liner Notes, Thamyris, A City Called Heaven, ACA Digital 20064, 2003

Liner Notes, Watch and Pray: Spirituals and Art Songs by African American Women Composers, Koch International, 3-7247-2H1, 2000

“The Musical World of Anthony Davis,” Amistad Sourcebook (Chicago, IL: Lyric Opera of Chicago, 1997)

Review: “Videmus: Works by T. J. Anderson, David Baker, Donal Fox, and Olly Wilson.” Institute for the Studies in American Music Newsletter, Spring, 1993, Volume XXII, Number 2

Guest Editorial "Rap and Race,” Atlanta Journal Constitution, May 24, 1992, N1-2

"From Black to Blues: Toward a Blues Aesthetic," In The Blues Aesthetic: Black Culture and Modernism, ed. Richard Powell. Washington, D. C.: Washington Project for the Arts; Also reprinted in Journal of Black Sacred Music 6:1 (Spring 1992): 47- 54

American Studies: An Annotated Bibliography, published in 3 volumes. New York: Cambridge University Press, 1986. Author of "Jazz" section

Prospects, Volume 10, Part 2. Annual Bibliography. New York: Cambridge University Press, 1985, Author of "Jazz" section.

"Pop Music in Black and White", Program Notes, Avenue X by John Jiler, Dallas Theater Center

"Black Composers on New World", I.S.A.M. Newsletter, Volume XXII/2, 1993

Turning to Public Scholarship, Race and Music, The Academic Exchange, Emory University, 2011

Interviews and Talks