Relevant bibliographies by topics / Music by African American women composers

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Music by African American women composers'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Music by African American women composers"

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Schenbeck, Lawrence. "From Spirituals to Symphonies: African-American Women Composers and Their Music (review)." Notes 59, no. 3 (2003): 628–30. http://dx.doi.org/10.1353/not.2003.0037.

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Wright, Josephine. "New Perspectives on African American Women and MusicHelen Walker-Hill, From Spirituals to Symphonies: African-American Women Composers and Their MusicEileen M. Hayes and Linda F. Williams, Black Women and Music: More than the Blues." Journal of African American History 93, no. 3 (2008): 430–35. http://dx.doi.org/10.1086/jaahv93n3p430.

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Hayes, Deborah, and Judith Tick. "American Women Composers before 1870." American Music 3, no. 4 (1985): 478. http://dx.doi.org/10.2307/3051836.

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Crutcher, Ronald A., and Margery Hwang. "The Chamber Music of African-American Composers." American String Teacher 45, no. 4 (1995): 71–74. http://dx.doi.org/10.1177/000313139504500414.

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Williams, Patrice Jane. "African American Sheet Music." Charleston Advisor 24, no. 3 (2023): 5–9. http://dx.doi.org/10.5260/chara.24.3.5.

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African American Sheet Music is a database created by the Center for Digital Scholarship located in John Hay Library at Brown University. It is a culturally rich database filled with sheet music, illustrations, lyrics, and music publishing history centering around the lives of African American composers, musicians, singers, dancers, and stage actors. Various descriptions have the holdings set between different collection dates; however, in the search filters researchers can search items between 1800 and 1926, with some years missing in between. African American Sheet Music contains a wealth of
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WILSON KIMBER, MARIAN. "Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus's Advocacy for Women in American Music." Journal of the Society for American Music 12, no. 4 (2018): 477–507. http://dx.doi.org/10.1017/s1752196318000378.

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AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Mia
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Ellsworth, Therese. "Composers in academia: Women composers at American colleges and universities." Contemporary Music Review 16, no. 1-2 (1997): 27–36. http://dx.doi.org/10.1080/07494469700640041.

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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 4 (2024): 487–89. http://dx.doi.org/10.53830/sing.00035.

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Abstract: The work of the composers and editors reviewed in this issue include editor Louise Toppin, for the Videmus African American Art Song Series’ 47 Art Songs by Harry T. Burleigh; American composer Natalie Draper for O sea-starved, hungry sea ; and editor Alejandro Garri for Medea in Corinto , one of more than two hundred cantatas created by Baroque master Antonio Caldara for alto, violins and continuo. The column ends with a reflection on the life and work of composer and collaborative pianist Alan Louis Smith, who passed away on October 31, 2023.
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Livingston, Carolyn. "Characteristics of American Women Composers: Implications for Music Education." Update: Applications of Research in Music Education 10, no. 1 (1991): 15–18. http://dx.doi.org/10.1177/875512339101000104.

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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 1 (2023): 99–102. http://dx.doi.org/10.53830/pzwp7713.

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This column includes reviews of two women composers, American Gwyneth Walker (b. 1947) and Pole Grazyna Bacewicz (1909–1969.) The song anthologies presented are Walker’s “No Ordinary Women!” and Bacewicz’ twelve songs, the only ones published. The opera aria anthology series OperAria has released a new book in their series for lyric tenor, an important new collection that combines arias and range, fach, libretto information and provenance, performance history, and descriptions of the vocal/technical and stylistic.
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Dissertations / Theses on the topic "Music by African American women composers"

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Smith, Bethany Jo. "Song to the dark virgin race and gender in five art songs of Florence B. Price /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1186770755.

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Thesis (Master of Music)--University of Cincinnati, 2007.<br>Advisor: Melinda Boyd. Title from electronic thesis title page (viewed Feb. 5, 2008) Includes abstract. Keywords: Florence Price, black art song, African-American art song, women composers, African-American composers, Negro Renaissance. Includes bibliographical references.
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Moham, Carren D. "The contributions of four African-American women composers to American art song." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250881412.

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Moham, Carren Denise. "The contributions of four African-American women composers to American art song /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945015618126.

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Norris, Marcus Duane JR. "Brown Eyes, Black Magic." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3270.

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This thesis consists of a large composition for chamber orchestra titled Brown Eyes, Black Magic and an accompanying analytical paper. The piece, approximately twelve minutes long, is a tribute to women of color in America. The title pays homage to the “Black Girl Magic” campaign that CaShawn Thompson founded in 2013 to empower women of color by highlighting their achievements in different fields (Wilson 2016). Although the piece is not programmatic, I tried to create a mysterious sound world, in which the listener focuses on the beauty of ever-shifting sonic colors. The composition explores m
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Erickson, Clipper. "The six piano suites of Nathaniel Dett." Thesis, Temple University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623149.

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<p> The six piano suites of R. Nathaniel Dett (1882-1943) constitute a substantial body of piano music that illustrates the musical development of an important, but historically neglected American musician. Dett was a seminal figure in the preservation and study of spirituals, both as a writer and choral leader, and as a great teacher and inspirer of African-American musicians in the generations that followed him. Educated at Oberlin and Eastman, he was lauded as the first American composer to fuse Negro folk music with European art music tradition. </p><p> The writing of a series of li
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Creasap, Susan D. "American women composers of band music : a biographical dictionary and catalogue of works." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019472.

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Throughout the history of band music, works by women have received little, if any, acclaim. While some of the reasons for this lack of acknowledgment are grounded in the historical development of the band and the social restrictions of the times, an even greater problem has been the lack of reference sources concerning band works composed by women. Likewise, the works themselves are frequently unpublished. This study compiles a dictionary of American women composers who have written for band during the period from 1865 to 1996 and a catalogue of these works.The introduction presents a brief an
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Tanner, Robert Thomas II. "Olly Wilson, Anthony Davis, and George Lewis: The Lives, Works, and Perspectives of Three Contemporary African American Composers." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392807962.

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Summers, Epiphany. "Black Women as Listeners of Hip-Hop Music." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10149611.

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<p> This thesis investigates what Black undergraduate women understand and take away from Hip-Hop music. Highlighting their matrix of domination and recognizing their intersecting identities, this thesis shows how identity and music work together in the listening experience of Black women, thus emphasizing how they invest this music with social value. The following questions are answered in this research: What does Hip-Hop mean to Black female students at an elite university? How do these Black female students experience and perceive Hip-Hop music? A basic interpretive design with focus groups
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Bartlow, Dianne. "On the relationship between altruism and African-American women in contemporary popular music /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992377.

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Pugh-Patton, Danette Marie. "Images and lyrics: Representations of African American women in blues lyrics written by black women." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3235.

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The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with va
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Books on the topic "Music by African American women composers"

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Taylor, Vivian. Art songs and spirituals by African-American women composers. Edited by King Betty Jackson 1928-1994, Moore Undine S, Perry Julia 1924-1979, Perry Julia 1924-1979, Bonds Margaret, and Price Florence 1887-1953. Hildegard Pub. Co., 1995.

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Walker-Hill, Helen. From spirituals to symphonies: African-American women composers and their music. Greenwood Press, 2003.

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Walker-Hill, Helen. From spirituals to symphonies: African-American women composers and their music. University of Illinois Press, 2007.

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Walker-Hill, Helen. Piano music by Black women composers: A catalog of solo and ensemble works. Greenwood Press, 1992.

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Finn, Julio. The bluesman: The musical heritage of black men and women in the Americas. Quartet Books, 1986.

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Finn, Julio. The bluesman: The musical heritage of Black men and women in the Americas. Interlink Books, 1992.

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Buckley, Gail Lumet. The Hornes: An American family. New American Library, 1987.

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Buckley, Gail Lumet. The Hornes: An American family. G.K. Hall, 1987.

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Buckley, Gail Lumet. The Hornes: An American family. Applause Theatre & Cinema Books, 2002.

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Nicholson, Stuart. Ella Fitzgerald: A biography of the first lady of jazz. Da Capo Press, 1995.

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Book chapters on the topic "Music by African American women composers"

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Buscatto, Marie, Sari Karttunen, and Mathilde Provansal. "1. Introduction." In Gender-Based Violence in Arts and Culture. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0436.01.

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In October 2017, dozens of women made accusations of sexual violence against the cinema producer Harvey Weinstein. Shortly after, upon the invitation of Alyssa Milano, thousands of women shared their experiences of gender-based violence on social media under the hashtag #MeToo, using the name of the movement against sexual violence experienced by women of colour founded by the African American activist Tarana Burke. In many locations all over the world, the past eight years have been marked by numerous denunciations of cases of sexual harassment, sexual assault and rape, mainly committed by me
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Kalinak, Kathryn. "Composers and their craft." In Film Music: A Very Short Introduction, 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780197628034.003.0007.

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Abstract Where do film composers come from? How do composers work when they are scoring a film? What processes do they use? How do these processes differ across different nations and different eras? “Composers and their craft” looks at the composers of some of the most memorable and recognizable music in the world and sketches a picture of the personalities and processes involved. New material since the publication of the first edition in 2010 includes attention to outsourcing in the production of film music, African American composers, women and minority composers in the United States and glo
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Agawu, Kofi. "African Pianism and the Challenge of Art Music." In On African Music. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197664063.003.0004.

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Abstract This chapter explores the challenge of on-paper composing by born-in-the-tradition composers of African art music. While the best-known African repertories fall roughly into two broad categories, traditional music (which emanates from pre-colonial practices and is often associated with rural populations) and popular music (which is a largely urban, commercial and modern activity), there exists a third repertory, art music, that came into being in the nineteenth century in the wake of European Christian missionization and subsequent colonial presence. Although not as prominent as the o
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Boland, Marguerite. "J. M. Beyer, String Quartet No. 2 (1933–34)." In Analytical Essays on Music by Women Composers: Concert Music, 1900–1960. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190236984.003.0008.

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Abstract This chapter offers an analysis of String Quartet No. 2 (1936) by German-American composer Johanna Beyer (1888–1944). The analysis demonstrates Beyer’s application of the principles of melodic dissonation, theorized by Charles Seeger, to multiple levels of this four-movement work. Beyer quotes and dissonates Mozart’s famous aria “Ein Mädchen oder Weibchen” from The Magic Flute, and the analysis defines pitch motives and a structural pitch frame derived from this material that serve to unite the piece. At the same time, the analysis shows the way Beyer works with this common material t
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Shadle, Douglas W. "The Brewing Storm." In Antonín Dvořák's New World Symphony. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.003.0005.

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A small number of US-based composers began experimenting with the use of African American vernacular music as the basis for instrumental works around 1880, arguing that this music formed a truly American folk repertoire. Their works found public favor in the United States and, more importantly, in several European cities in the months leading up to Dvořák’s arrival as director of the National Conservatory. Dvořák’s own position in the debate about American national style was an open question until May 1893, when he revealed his belief in the authentic American identity of Black vernacular musi
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"English Pianism and Harold Bauer (1945)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0040.

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Abstract It is not likely that the English-speaking peoples, who have not lost a war since 1066 (except to themselves; for when Britain lost to America in the Revolutionary War they were losing to themselves), &amp; who, of late centuries, have invented or developed all the notions &amp; devices the whole modern world thinks about (flirting, wholesale divorce, machinery, trams, trains, steamships, submarines, flying, teetotalism, antivivisectionism, co-operative societies, League of Nations, vegetarianism, afternoon tea, sport, golf, football, tennis, baseball, cricket, votes for women, Home R
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Asai, Susan Miyo. "Sansei: The Political Advocacy of Music and a Turn toward the East." In Sounding Our Way Home. University Press of Mississippi, 2024. http://dx.doi.org/10.14325/mississippi/9781496847638.003.0005.

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This chapter explores the shared musical space between Japanese American and African American musician-composers in 1970s San Francisco, particularly at the intersection of Japantown and the Fillmore District. It details the active nightlife in the Fillmore District during the 1940s and 1950s that provided fertile ground for musical experimentation. The first wave of Sansei musician-composers in San Francisco and Los Angeles in the 1970s introduced new musical directions, often through interracial and intercultural collaborations, and reflected contemporary heterogeneous subjectivities that ce
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Shadle, Douglas W. "The Spiritual Aftermath." In Antonín Dvořák's New World Symphony. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.003.0008.

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After Dvořák’s eventual departure from the National Conservatory in 1895, the New World Symphony continued to be a flash point in discussions about the relationships between African American and European American music and musicians, particularly the repertoire known as “Negro spirituals.” White American-born composers, such as Henry F. Gilbert and John Powell, continued to complain about lack of representation on concert programs while failing to support their Black counterparts, who leveraged relationships with figures inside and outside the musical world to create new social networks for fi
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McClary, Susan. "The Object/the Objective of Analysis." In Making Sense of Music. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197779798.003.0009.

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Abstract Written for a music-theory colloquium in the months following the murder of George Floyd, this chapter considers the analytical challenges raised by music of Black composers. Like William Dawson and William Grant Still, Florence Price found her pieces compared to those by Dvořák and other Europeans who incorporated elements of African American in their better-known works. How does Price create hybrids between the music of her heritage and that of the conservatory in which she was trained? The chapter interrogates the goals of music analysis and pedagogy in general and the discipline’s
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Oja, Carol J. "Chapter Four “Picked Young Men,” Facilitating Women, and Emerging Composers: Establishing an American Prix de Rome." In Music and Musical Composition at the American Academy in Rome. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781580468664-007.

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