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"Very Beautiful and Very American": A Multicultural Analysis of Florence B. Price's Quintet in A Minor for Piano and StringsCarvajal Harding, Taryn Jane 26 April 2023 (has links) (PDF)
This paper examines the Quintet in A Minor for Piano and Strings by Florence B. Price (1887-1953). One of Price's latest compositions (with final revisions dated January 21, 1952), the Quintet is a masterful example of what is possible when using a multicultural lens to approach the making of American music. This paper exposes the insufficiency of examining (and assessing) multicultural composers and their works only with traditional Western European analytical views, when an expanded approach is needed to explain many of the non-European musical influences and phenomena. While more complex and challenging, this expanded analytical approach sheds added light and understanding on all compositional techniques used within this work. This analysis of the Quintet in A Minor shows that Price often self-quotes from some of her own earlier works; specifically works from her organ, art song, and symphonic oeuvres. The findings also show that Price's understanding of both Western Classical traditions and African-American musical traditions enabled her to intertwine multiple cultures, creating novel forms that are authentic to the American experience she lived. Price created what she referred to as a "very beautiful and very American" sound.
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Navigating Musical Tensions: African American Themes against Western Structure in Florence B. Price's (1887-1953) Piano Sonata in E minorChun, Yeo Hun 12 1900 (has links)
Florence Price (1887–1953) was one of the most important African American woman composers of the early twentieth century. Price's music is known for combining techniques of Western art music with elements of the African American musical heritage. Although Price composed many works for piano, from large virtuoso pieces to characteristic miniatures, this study will address only her Piano Sonata in E minor. The purpose of this study is to analyze this sonata and discuss her compositional techniques and musical style as a combination of African American elements and Classical European procedures, combined and coordinated yet remaining in tension. Traditional European harmony, tonality, and form are successfully combined with African American characteristics: pentatonic scale, spirituals, syncopations, repetition, and dance rhythms. Indeed, Price's work is a considerable achievement, and she is one of the important African American women composers who should be better recognized today.
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Música Contemporânea em Minas Gerais: os Encontros de Compositores Latino-americanos de Belo Horizonte (1986-2002)Lovaglio, Vânia Carvalho 12 March 2010 (has links)
The aim of this work is to understand the historic process which achieved the
construction of the Latin American contemporary music movement in Belo Horizonte,
more specifically, the Latin American Composer s Gatherings of Belo Horizonte, held
in the years 1986-1988-1992-2002 sponsored by the Fundação de Educação Artística.
It was also possible to get knowledge of their artistic cultural programs (works,
composers, performers) in which one can found included the production of Brazilian
music and music of Minas Gerais, as well as the theoretical questions presented in form
of Thematic Panels. As for their importance not only in local, but national and
international levels, the Latin American Composer s Gatherings have had a strong
social impact in the city of Belo Horizonte in the decades of 1980-90, mainly through
the academic scene, contributing to the musical formation of young composers and
performers and for the structure of the musical composition area at the Escola de
Música da Universidade Federal de Minas Gerais.
As far as the common problems facing Brazil and Latin America on the above
decades are concerned, a changing in favor of the Latin American contemporary music
passed necessarily by the understanding that the politic and economic aspects were
strongly connected with the cultural one. As for their production and musical diffusion,
a major participation of all professionals - composers, performers, educators and
musicologists - in the sense of interfering in the current teaching musical model
practiced in institutions of fundamental, median and college levels. / O objetivo deste trabalho é compreender o processo histórico que levou à
construção do movimento de música contemporânea latino-americana em Belo
Horizonte, mais especificamente, os Encontros de Compositores Latino-americanos de
Belo Horizonte, realizados nos anos 1986-1988-1992-2002, por meio da Fundação de
Educação Artística.
Buscou-se tomar conhecimento acerca de sua programação artístico-cultural
(obras, compositores, intérpretes), na qual se encontram naturalmente incluídas a
produção de música brasileira e mineira, bem como as questões teóricas apresentadas
em forma de painéis temáticos. Diante da sua importância, não só em nível local, mas
nacional e internacional, os Encontros de Compositores Latino-americanos tiveram um
forte impacto social na cidade de Belo Horizonte nas décadas de 1980-90,
principalmente no meio acadêmico, contribuindo para a formação musical de jovens
compositores e intérpretes e para a estruturação da área de composição da Escola de
Música da Universidade Federal de Minas Gerais.
Considerando os problemas comuns ao Brasil e à América Latina nas referidas
décadas, uma mudança no quadro em favor da música contemporânea latino-americana
passava necessariamente pela compreensão de que os aspectos político e econômico
estavam intimamente relacionados ao cultural. Quanto à sua produção e difusão
musical, conclamava-se uma maior participação de todos profissionais compositores,
intérpretes, educadores musicais e musicólogos no sentido de interferir no modelo de
ensino de música praticado nas instituições de nível fundamental, médio e universitário. / Doutor em História
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