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The Heart of a Woman
Book Prize Winner of the International Alliance for Women in Music of the 2022 Pauline Alderman Awards for Outstanding Scholarship on Women in Music The Heart of a Woman offers the first-ever biography of Florence B. Price, a composer whose career spanned both the Harlem and Chicago Renaissances, and the first African American woman to gain national recognition for her works. Price's twenty-five years in Chicago formed the core of a working life that saw her create three hundred works in diverse genres, including symphonies and orchestral suites, art songs, vocal and choral music, and arrangements of spirituals. Through interviews and a wealth of material from public and private archives, Rae Linda Brown illuminates Price's major works while exploring the considerable depth of her achievement. Brown also traces the life of the extremely private individual from her childhood in Little Rock through her time at the New England Conservatory, her extensive teaching, and her struggles with racism, poverty, and professional jealousies. In addition, Brown provides musicians and scholars with dozens of musical examples.
Symphonies nos. 1 and 3
http://www.areditions.com/rr/rra/a066.html Florence Beatrice Smith Price (1887-1953), who settled in Chicago in 1927, was the most widely known African-American woman composer from the 1930s until her death. This edition presents two important unpublished orchestral works: the Symphony no. 1 in E Minor (1932) and the Symphony no. 3 in C Minor (1940). The style of these works is quite different. Price's Symphony in E Minor is squarely in the nationalist tradition, and it may be more fully considered in the context of the Harlem Renaissance and the New Negro Movement of the 1920s and 1930s. Cultural characteristics are borne out in the pentatonic themes, call-and-response procedures, syncopate...
Music in Black American Life, 1600-1945
This first volume of Music in Black American Life collects research and analysis that originally appeared in the journals American Music and the Black Music Research Journal, and in the University of Illinois Press's acclaimed book series Music in American Life. In these selections, experts from a cross-section of disciplines engage with fundamental issues in ways that changed our perceptions of Black music. The topics includes the culturally and musically complex Black music-making of colonial America; string bands and other lesser-known genres practiced by Black artists; the jubilee industry and its audiences; and innovators in jazz, blues, and Black gospel. Eclectic and essential, Music in Black American Life, 1600–1945 offers specialists and students alike a gateway to the history and impact of Black music in the United States. Contributors: R. Reid Badger, Rae Linda Brown, Samuel A. Floyd Jr., Sandra Jean Graham, Jeffrey Magee, Robert M. Marovich, Harriet Ottenheimer, Eileen Southern, Katrina Dyonne Thompson, Stephen Wade, and Charles Wolfe
Margaret Bonds:The Montgomery Variations and Du Bois 'Credo'
An incisive exploration of two works whose revival is a milestone in modern musical life: Margaret Bonds's Montgomery Variations and Credo - now receiving the recognition long denied them. This brief, yet informative, appraisal introduces readers to masterworks that, though originating in the mid-twentieth century, speak directly to our own age.
Soul on Soul
First time in paperback and e-book! The jazz musician-composer-arranger Mary Lou Williams spent her sixty-year career working in—and stretching beyond—a dizzying range of musical styles. Her integration of classical music into her works helped expand jazz's compositional language. Her generosity made her a valued friend and mentor to the likes of Thelonious Monk, Charlie Parker, and Dizzy Gillespie. Her late-in-life flowering of faith saw her embrace a spiritual jazz oriented toward advancing the civil rights struggle and helping wounded souls. Tammy L. Kernodle details Williams's life in music against the backdrop of controversies over women's place in jazz and bitter arguments over the...
Analytical Essays on Music by Women Composers: Concert Music, 1900DS1960
"This is the second of four volumes in a multi-authored series of analytical essays on music by women composers from Hildegard of Bingen to the twenty-first century. Volume 2 presents detailed studies of compositions written between 1900 and 1960 by Alma Mahler-Werfel, Rebecca Clarke, Ethel Smyth, Ruth Crawford, Florence B. Price, Galina Ustvolskaya, J. M. Beyer, and Peggy Glanville-Hicks. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of a single representative composition, occasionally including other works where comparison strengthens the analytical argument. The repertoire explored by the authors includes art song, opera, choral, sol...
Who Is Florence Price?
Florence loved her mother's piano playing and wanted to be just like her. When she was just four years old she played her first piano concert and as she grew up she studied and wrote music hoping one day to hear her own music performed by an orchestra. This is the story of a brilliant musician who prevailed against race and gender prejudices to become the first Black woman to be recognised as a symphonic composer and be performed by a major American orchestra in 1933.
Representing Black Music Culture
In this collection of essays, interviews, and profiles, William C. Banfield reflects on his life as a musician and educator, weaving together pieces of cultural criticism and artistry and paying homage to Black music of the last forty years and beyond. The essays and interviews in Representing Black Music Culture: Then, Now, and When Again? are enhanced by seven years of daily diary entries that reflect on some of the country's most respected Black composers, recording artists, authors, and cultural icons, including Ornette Coleman, Bobby McFerrin, Toni Morrison, Amiri Baraka, Gordon Parks, the Marsalis brothers, Maya Angelou, Patrice Rushen, Billy Taylor, Herbie Hancock, and Quincy Jones. A...
Interwar Symphonies and the Imagination
Reveals how in the culturally volatile 1930s the symphony, long associated with ideas of selfhood, was a flourishing transnational phenomenon.
