Abstract

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.

Degree

MA

College and Department

Fine Arts and Communications; Music

Rights

https://lib.byu.edu/about/copyright/

Date Submitted

2023-04-26

Document Type

Thesis

Handle

http://hdl.lib.byu.edu/1877/etd12727

Keywords

Florence Beatrice Price, Florence Beatrice Smith, Florence Price, Multicultural, Quintet, Piano Quintet, A Minor, Juba, Chicago Renaissance, New England Conservatory of Music, Woman Composer, Female Composer of Color, Black Composer, African American Composer, American Composer, Margaret Bonds, Marian Anderson, Little Rock, Slow Me Down Lord, First Sonata for Organ, Guilmant, Organist, Organ Composer, Women Organ Composer, Symphony No. 1 E Minor, Symphony No. 3 C Minor

Language

english

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Fine Arts Commons

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