African-American music was often adapted for white audiences, who would not have as readily accepted black performers, leading to genres like swing music, a pop-based outgrowth of jazz. In addition, African Americans were becoming part of classical music by the turn of the 20th century. While originally excluded from major symphony orchestras, black musicians could study in music conservatories that had been founded in the 1860s, such as the Oberlin School of Music, National Conservatory of Music, and the New England Conservatory. Black people also formed their own symphony orchestras at the turn of the 20th century in major cities such as Chicago, New Orleans, and Philadelphia. Various black orchestras began to perform regularly in the late 1890s and the early 20th century. In 1906, the first incorporated black orchestra was established in Philadelphia. In the early 1910s, all-black music schools, such as the Music School Settlement for Colored and the Martin-Smith School of Music, were founded in New York. The Music School Settlement for Colored became a sponsor of the Clef Club orchestra in New York. The Clef Club Symphony Orchestra attracted both black and white audiences to concerts at Carnegie Hall from 1912 to 1915. Conducted by James Reese Europe and William H. Tyers, the orchestra included banjos, mandolins, and baritone horns. Concerts featured music written by black composers, notably Harry T. Burleigh and Will Marion Cook. Other annual black concert series include the William Hackney's "All-Colored Composers" concerts in Chicago and the Atlanta Colored Music Festivals. The return of the black musical to Broadway occurred in 1921 with "Sissle" and Eubie Blake's "Shuffle Along". In 1927, a concert survey of black music was performed at Carnegie Hall including jazz, spirituals and the symphonic music of W. C. Handy's Orchestra and the Jubilee Singers. The first major film musical with a black cast was King Vidor's "Hallelujah" of 1929. African-American performers were featured in the musical "Show Boat" (which had a part written for Paul Robeson and a chorus of Jubilee Singers), and especially all-black operas such as "Porgy and Bess" and Virgil Thomson's "Four Saints in Three Acts" of 1934. The first symphony by a black composer to be performed by a major orchestra was William Grant Still's "Afro-American Symphony" (1930) by the New York Philharmonic.