{"id":{"repo_id":"ku","oai_identifier":"oai:kuscholarworks.ku.edu:1808/39552"},"canonical_url":"https://search.dev.ndltd.org/etd/ku/oai:kuscholarworks.ku.edu:1808/39552","repository":{"repo_id":"ku","name":"University of Kansas","base_url":"https://kuscholarworks.ku.edu/server/oai/request"},"display":{"title":"Florence Price: The Hidden Pioneer of Imposed Simplicity","abstract":"Florence Price is commonly described as a late-Romantic composer. This dissertation seeks to reposition her as a modernist through the lens of imposed simplicity. Imposed simplicity is a term Aaron Copland used to describe many of his own works composed in the 1930s and 1940s. Using the framework created by Dr. Stanley Kleppinger and Lawrence Starr to describe Copland’s aesthetics, iconic works by Copland and Virgil Thomson are analyzed to quantify these aesthetics, which can then be applied to the analysis of Price's pieces. Price’s Sonata in E Minor for piano (1932) contains many of these qualities and precedes the earliest examples of both Copland and Thomson, making her a pioneer of this modernist style. Furthermore, this document also contributes a brief guide for arranging Price’s pieces for bassoon and wind quartet. This document was prepared in conjunction with a lecture recital.","abstract_html":"Florence Price is commonly described as a late-Romantic composer. This dissertation seeks to reposition her as a modernist through the lens of imposed simplicity. Imposed simplicity is a term Aaron Copland used to describe many of his own works composed in the 1930s and 1940s. Using the framework created by Dr. Stanley Kleppinger and Lawrence Starr to describe Copland’s aesthetics, iconic works by Copland and Virgil Thomson are analyzed to quantify these aesthetics, which can then be applied to the analysis of Price's pieces. Price’s Sonata in E Minor for piano (1932) contains many of these qualities and precedes the earliest examples of both Copland and Thomson, making her a pioneer of this modernist style. Furthermore, this document also contributes a brief guide for arranging Price’s pieces for bassoon and wind quartet. 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