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Analysis and Performance Guide for Florence Prices Piano Sonata in E Minor Third Movement

Wenchang Ying

Abstract


This paper deeply analyzes the third movement "Scherzo" of Florence Prices "Piano Sonata in E Minor", examining its form, harmony, and performance techniques. By incorporating Negro spirituals rhythms and melodies, it explores fingering, phrasing, and expressive
markings. The work uniquely blends Romanticism with spirituals, featuring lyrical melodies, intricate structures, and rich emotions. Its fusion
of spiritual improvisation and Romantic framework preserves spirituals vitality while showcasing Romantic elegance, offering significant
value for musical study.

Keywords


Performance Guide; Analysis; Sonata; Female composer

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References


[1] Linda Holzer, Selected Solo Piano Music of Florence B. Price (18871953) (PhD diss., Florida State University, 1995), vi.

[2] Rae Linda Brown, "The Womans Symphony Orchestra of Chicago and Florence B. Prices Piano Concerto in One Movement," American Music 11, no. 2 (Summer 1993): 192.

[3] Hutchinson, Kyle. "Pendular Thirds and Pentatonic Parallelisms: Intersecting Black Vernacular and Neo-Romantic Idioms in the Second

Movement of Florence Prices Piano Sonata in E Minor." Intgral 36 (January 2023): 163.

[4] Floyd, Samuel A. "Black Music and Writing Black Music History: American Music and Narrative Strategies." Black Music Research

Journal 28, no. 1 (March 2008): 111121.

[5] Southern, Eileen. "America's Black Composers of Classical Music." Music Educators Journal 62, no. 3 (November 1975): 4659.

[6] Bowers, Jane, and Judith Tick, eds. Women Making Music: The Western Art Tradition, 11501950. Urbana: University of Illinois Press,

1986.

[7] Floyd Jr., Samuel A. "Black American Music and Aesthetic Communication." Black Music Research Journal 1 (1980): 117.




DOI: http://dx.doi.org/10.70711/rcha.v3i5.7361

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