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From Spirituals to Symphonies
Exploding the assumption that black women's only important musical contributions have been in folk, jazz, and pop Helen Walker-Hill's unique study provides a carefully researched examination of the history and scope of musical composition by African American women composers from the nineteenth and twentieth centuries. Focusing on the effect of race, gender, and class, From Spirituals to Symphonies notes the important role played by individual personalities and circumstances in shaping this underappreciated category of American art. The study also provides in-depth exploration of the backgrounds, experiences, and musical compositions of eight African American women including Margaret Bonds, Undine Smith Moore, and Julia Perry, who combined the techniques of Western art music with their own cultural traditions and individual gifts. Despite having gained national and international recognition during their lifetimes, the contributions of many of these women are today forgotten.
Piano Music by Black Women Composers
In recent years, considerable scholarly attention has been paid to women in music, and information on the music of a handful of black women composers, such as Florence Price and Mary Lou Williams, has been published. Determined search, however, is needed to locate what little data is available on most such composers. Proceeding from a desire to use music of black women composers in her piano performance and teaching, Helen Walker-Hill has dedicated herself to uncovering this material, utilizing secondary sources and numerous archives, conducting interviews with composers, and engaging in voluminous correspondence with individuals and institutions. The result is the most comprehensive catalog...
Information Literacy in Music
Information Literacy in Music: An Instructor’s Companion is a practical guide to information literacy instruction for busy librarians and music faculty. This book contains examples of course-integrated assignments designed to help postsecondary music students develop foundational skills in information literacy. These assignments have been solicited from experienced librarians and faculty across the United States, and they represent a broad spectrum of approaches to music research, from historical to applied studies. Be inspired by new and creative solutions to students’ information literacy challenges and by the many examples of successful collaborations between librarians and music faculty.
The Reader's Companion to U.S. Women's History
Covers issues and events in women's history that were previously unpublished, misplaced, or forgotten, and provides new perspectives on each event.
After Modernism
While celebrating the centenary of the “annus mirabilis” of modernism, we now encounter modernism after postmodernist, poststructuralist, postcolonial, critical race, feminist, queer and trans writing and theory. Out of the figures, narratives and concepts they have developed, a less universal, more global, decentred, context-specific, interconnected modernism emerges. In “after modernism” the meanings of “after” include periodisation, homage and critique. This book attends to neglected genealogies and intertexts—“high” and “low,” yet offering unacknowledged ontological, epistemological, conceptual and figurative resources. How have artists of the Global South negotiate...
South Side Impresarios
Between the world wars, Chicago Race women nurtured a local yet widely resonant Black classical music community entwined with Black civic life. Samantha Ege tells the stories of the Black women whose acumen and energy transformed Chicago’s South Side into a wellspring of music making. Ege focuses on composers like Florence Price, Nora Holt, and Margaret Bonds not as anomalies but as artists within an expansive cultural flowering. Overcoming racism and sexism, Black women practitioners instilled others with the skill and passion to make classical music while Race women like Maude Roberts George, Estella Bonds, Neota McCurdy Dyett, and Beulah Mitchell Hill built and fostered institutions central to the community. Ege takes readers inside the backgrounds, social lives, and female-led networks of the participants while shining a light on the scene’s audiences, supporters, and training grounds. What emerges is a history of Black women and classical music in Chicago and the still-vital influence of the world they created. A riveting counter to a history of silence, South Side Impresarios gives voice to an overlooked facet of the Black Chicago Renaissance.
Women & Music
Women & Music now features even more women composers, performers, and patrons, even more musical contexts, and an expanded view of women in music outside Europe and North America. A popular university textbook, Women & Music is enlightening for scholars, a good source of programming ideas for performers, and a pleasure for other music lovers.
Who Hears Here?
Introduction : who hears here now? -- Cosmopolitan or provincial? : ideology in early black music historiography, 1867-1940 -- Who hears here? : black music, critical bias, and the musicological skin trade -- The pot liquor principle : developing a black music criticism in American music studies -- Secrets, lies and transcriptions : new revisions on race, black music and culture -- Muzing new hoods, making new identities : film, hip-hop culture, and jazz music -- Afro-Modernism and music : on science, community, and magic in the Black Avant-Garde -- Bebop, jazz manhood and "piano shame" -- Blues and the ethnographic truth -- Time is illmatic : a song for my father, a letter to my son -- A new kind of blue : the power of suggestion and the pleasure of groove in Robert Glasper's black radio -- Free jazz and the price of black musical abstraction -- Jack Whitten's musical eye -- Out of place and out of line : Jason Moran's eclecticism as critical inquiry -- African American music -- Onward : an afterword by Shana L. Redmond.
Guide to the Pianist's Repertoire
Guide to the Pianist's Repertoire continues to be the go-to source for piano performers, teachers, and students. Newly updated and expanded with more than 250 new composers, this incomparable resource expertly guides readers to solo piano literature and provides answers to common questions: What did a given composer write? What interesting work have I never heard of? How difficult is it? What are its special musical features? How can I reach the publisher? New to the fourth edition are enhanced indexes identifying black composers, women composers, and compositions for piano with live or recorded electronics; a thorough listing of anthologies and collections organized by time period and nationality, now including collections from Africa and Slovakia; and expanded entries to account for new material, works, and resources that have become available since the third edition, including websites and electronic resources. The "newest Hinson" will be an indispensible guide for many years to come.
