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  • Author: Douglas W. Shadle

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A Florence Price mystery solved (part two)

To my knowledge, Price’s Boston address remained inconclusive until I visited Special Collections at the University of Arkansas Mullins Library this past January to find new leads for the Price biography I am co-authoring with Samantha Ege, the Lord Crewe Junior Research Fellow in Music at Lincoln College, Oxford. The recovery of this information fills a void in a life story for which “the necessary evidence to write a detailed biography,” as preeminent Price scholar Rae Linda Brown once put it, “is surprisingly scant.”

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Oxford University Press logo

A Florence Price mystery solved (part one)

To my knowledge, Price’s Boston address remained inconclusive until I visited Special Collections at the University of Arkansas Mullins Library this past January to find new leads for the Price biography I am co-authoring with Samantha Ege, the Lord Crewe Junior Research Fellow in Music at Lincoln College, Oxford. The recovery of this information fills a void in a life story for which “the necessary evidence to write a detailed biography,” as preeminent Price scholar Rae Linda Brown once put it, “is surprisingly scant.”

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Policing concert hall patriotism: consequences

If American orchestras want to be more patriotic, they should program more music by American composers. In context, however, the sentiment is deeply ironic. American composers are absent from today’s concert programs precisely because anti-nationalists consistently shackled them.

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Policing concert hall patriotism: causes

Policing patriotism at the concert hall is a time-honored tradition. One of the latest targets is the Fort Worth Symphony, which has endured public criticism for performing The Star-Spangled Banner regularly before its concerts. One fed-up critic, Scott Cantrell, recently urged all American orchestras to abandon the practice because a concert should “transport” listeners to “another world” away from “narrow nationalism.”

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