I just got finished writing a chapter on composer Julia Perry's 1960 piece Homunculus C.F., a serial minimalist work, for a collection called—as for now—Expanding the Canon: Black Composers in the Music Theory Classroom, edited by Melissa Hoag. Perry (1924–1979) was a Black, possibly queer, American composer whose works were influenced by Black American genres, Western European forms and harmonic languages, and serialism as taught by Luigi Dallapiccola. In the essay, I write about Perry's use of pitch-class sets and pivot dyads and timbre and taleas and durational parameters.1 I felt very comfortable analyzing a woman composer's use of serial and minimalist techniques; it's something I've done before and a lot. And I was happy to have my work informed by the research of other women, including Mildred Denby Green, Gretchen Horlacher, Helen Walker-Hill, and Meg Wilhoite.2 But as I was writing my essay, I...
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Research Article|
December 01 2022
Reparations in Music Scholarship
Kendra Preston Leonard
Kendra Preston Leonard
Kendra Preston Leonard is a musicologist and music theorist whose work focuses on women and music in the twentieth and twenty-first centuries, and music and screen history. She is the founder of the Julia Perry Working Group and the founder and Executive Director of the Silent Film Sound and Music Archive. Leonard is the author of numerous scholarly books and articles, including those on composer Louise Talma and music for silent film.
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American Music (2022) 40 (4): 525–529.
Citation
Kendra Preston Leonard; Reparations in Music Scholarship. American Music 1 December 2022; 40 (4): 525–529. doi: https://doi.org/10.5406/19452349.40.4.17
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