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Chicago Renaissance Women: Black Feminism in the Careers and Songs of Florence Price and Margaret Bonds.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Chicago Renaissance Women: Black Feminism in the Careers and Songs of Florence Price and Margaret Bonds./
Author:	Durrant, Elizabeth.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	82 p.
Notes:	Source: Masters Abstracts International, Volume: 83-09.
Contained By:	Masters Abstracts International83-09.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29024359
ISBN:	9798780603597

Chicago Renaissance Women: Black Feminism in the Careers and Songs of Florence Price and Margaret Bonds.
Durrant, Elizabeth.

Chicago Renaissance Women: Black Feminism in the Careers and Songs of Florence Price and Margaret Bonds. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 82 p.

Source: Masters Abstracts International, Volume: 83-09.

Thesis (M.A.)--University of North Texas, 2021.

This item must not be sold to any third party vendors.

In this thesis, I explore the careers and songs of Florence Price and Margaret Bonds-two African American female composers who were part of the Chicago Renaissance. Price and Bonds were members of extensive, often informal, networks of Black women that fostered creativity and forged paths to success for Black female musicians during this era. Building on the work of Black feminist scholar Patricia Hill Collins, I contend that these efforts reflect Black feminist principles of Black women working together to create supportive environments, uplift one another, and foster resistance. I further argue that Black women's agency enabled the careers of Price and Bonds and that elements of Black feminism are not only present in their professional relationships, but also in their songs. Initially, I discuss how the background of the Harlem and Chicago Renaissances and racial uplift ideology shaped these women's artistic environment. I then examine how Bonds and Price incorporated, updated, and expanded versions of these ideals in their music and careers. Drawing on the scholarship of Rae Linda Brown, Angela Davis, and Tammy L. Kernodle, I analyze Price's "Song to the Dark Virgin," "Sympathy," and "Don't You Tell Me No" and Bonds's "Dream Variation," "Note on Commercial Theater," and "No Good Man" through a Black feminist lens. I contend that although Price and Bonds depicted harsh realities of Black women's experiences, they also celebrated Black women's resistance in spite of intersectional oppression. Ultimately, analyzing Black feminism in these composer's careers and songs opens a path for further exploration of how Black women's agency can facilitate activism through art.

ISBN: 9798780603597Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Price, Florence

Chicago Renaissance Women: Black Feminism in the Careers and Songs of Florence Price and Margaret Bonds.
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500 $a Source: Masters Abstracts International, Volume: 83-09.
500 $a Advisor: Wright, Brian F.
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506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a In this thesis, I explore the careers and songs of Florence Price and Margaret Bonds-two African American female composers who were part of the Chicago Renaissance. Price and Bonds were members of extensive, often informal, networks of Black women that fostered creativity and forged paths to success for Black female musicians during this era. Building on the work of Black feminist scholar Patricia Hill Collins, I contend that these efforts reflect Black feminist principles of Black women working together to create supportive environments, uplift one another, and foster resistance. I further argue that Black women's agency enabled the careers of Price and Bonds and that elements of Black feminism are not only present in their professional relationships, but also in their songs. Initially, I discuss how the background of the Harlem and Chicago Renaissances and racial uplift ideology shaped these women's artistic environment. I then examine how Bonds and Price incorporated, updated, and expanded versions of these ideals in their music and careers. Drawing on the scholarship of Rae Linda Brown, Angela Davis, and Tammy L. Kernodle, I analyze Price's "Song to the Dark Virgin," "Sympathy," and "Don't You Tell Me No" and Bonds's "Dream Variation," "Note on Commercial Theater," and "No Good Man" through a Black feminist lens. I contend that although Price and Bonds depicted harsh realities of Black women's experiences, they also celebrated Black women's resistance in spite of intersectional oppression. Ultimately, analyzing Black feminism in these composer's careers and songs opens a path for further exploration of how Black women's agency can facilitate activism through art.
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