{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/104805"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/104805","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Expressions of African American identity in the cantata “Simon Bore the Cross” by Margaret Bonds and Langston Hughes","abstract":"This dissertation examines the cantata Simon Bore the Cross by the composer Margaret Bonds and the poet Langston Hughes, a work that has never been studied before. It includes background on Bonds and an in-depth look at the letters between Bonds and Hughes, a correspondence which spanned over three decades and which has never been examined in its entirety. It also includes a discussion of the available drafts of the cantata libretto and music, and a detailed analysis of the final piano-vocal autograph score. Finally, it will discuss the ways in which Bonds' and Hughes' pride in their African-American heritage influenced their art. Langston Hughes was at the center of the Harlem Renaissance in New York City in the 1920s, a movement dedicated to using the arts to build pride in African-American identity. A decade later, the composer and pianist Margaret Bonds was at the center of the Chicago Black Renaissance. Both Bonds and Hughes, who became lifelong friends, believed in focusing on positive black role models as characters, and in using music written by black composers to create a sense of pride and excitement in African-American heritage and community. In much of their work, including Simon Bore the Cross, they achieve this by placing black characters at the center of the action to create a sense of historical connection among the black community to important Biblical events, and by integrating African-American spirituals into the music. Simon Bore the Cross was thought to be lost until a complete piano-vocal score was acquired by Georgetown University in 2014. Hughes' drafts of his libretto for this work are at Yale University. Both institutions also preserve a substantial amount of correspondence between Bonds and Hughes. By highlighting this overlooked work, I hope to generate interest in Bonds' neglected but significant contributions to the American musical canon.","abstract_html":"This dissertation examines the cantata Simon Bore the Cross by the composer Margaret Bonds and the poet Langston Hughes, a work that has never been studied before. It includes background on Bonds and an in-depth look at the letters between Bonds and Hughes, a correspondence which spanned over three decades and which has never been examined in its entirety. It also includes a discussion of the available drafts of the cantata libretto and music, and a detailed analysis of the final piano-vocal autograph score. Finally, it will discuss the ways in which Bonds' and Hughes' pride in their African-American heritage influenced their art. Langston Hughes was at the center of the Harlem Renaissance in New York City in the 1920s, a movement dedicated to using the arts to build pride in African-American identity. A decade later, the composer and pianist Margaret Bonds was at the center of the Chicago Black Renaissance. Both Bonds and Hughes, who became lifelong friends, believed in focusing on positive black role models as characters, and in using music written by black composers to create a sense of pride and excitement in African-American heritage and community. In much of their work, including Simon Bore the Cross, they achieve this by placing black characters at the center of the action to create a sense of historical connection among the black community to important Biblical events, and by integrating African-American spirituals into the music. Simon Bore the Cross was thought to be lost until a complete piano-vocal score was acquired by Georgetown University in 2014. Hughes' drafts of his libretto for this work are at Yale University. Both institutions also preserve a substantial amount of correspondence between Bonds and Hughes. By highlighting this overlooked work, I hope to generate interest in Bonds' neglected but significant contributions to the American musical canon.","abstract_has_math":false,"creators":["Martin, Allegra"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Megill, Andrew","Davis, Ollie Watts","Magee, Jeffrey","Moersch, Charlotte Mattax"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-08-23T19:51:47Z","date_published":"2019-08-23T19:51:47Z","updated_at":"2026-07-22T22:24:42Z","subjects":["Margaret Bonds","Langston Hughes"],"languages":["en"],"rights":["Copyright 2019 Allegra Martin"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/104805","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Megill, Andrew","Davis, Ollie Watts","Magee, Jeffrey","Moersch, Charlotte Mattax"]},{"key":"dc:creator","label":"Author","values":["Martin, Allegra"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-08-23T19:51:47Z","2019-04-18","2019-05"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Margaret Bonds","Langston Hughes"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2019 Allegra Martin"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/104805"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This dissertation examines the cantata Simon Bore the Cross by the composer Margaret Bonds and the poet Langston Hughes, a work that has never been studied before. It includes background on Bonds and an in-depth look at the letters between Bonds and Hughes, a correspondence which spanned over three decades and which has never been examined in its entirety. It also includes a discussion of the available drafts of the cantata libretto and music, and a detailed analysis of the final piano-vocal autograph score. Finally, it will discuss the ways in which Bonds' and Hughes' pride in their African-American heritage influenced their art. Langston Hughes was at the center of the Harlem Renaissance in New York City in the 1920s, a movement dedicated to using the arts to build pride in African-American identity. A decade later, the composer and pianist Margaret Bonds was at the center of the Chicago Black Renaissance. Both Bonds and Hughes, who became lifelong friends, believed in focusing on positive black role models as characters, and in using music written by black composers to create a sense of pride and excitement in African-American heritage and community. In much of their work, including Simon Bore the Cross, they achieve this by placing black characters at the center of the action to create a sense of historical connection among the black community to important Biblical events, and by integrating African-American spirituals into the music. Simon Bore the Cross was thought to be lost until a complete piano-vocal score was acquired by Georgetown University in 2014. Hughes' drafts of his libretto for this work are at Yale University. Both institutions also preserve a substantial amount of correspondence between Bonds and Hughes. 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Both Bonds and Hughes, who became lifelong friends, believed in focusing on positive black role models as characters, and in using music written by black composers to create a sense of pride and excitement in African-American heritage and community. In much of their work, including Simon Bore the Cross, they achieve this by placing black characters at the center of the action to create a sense of historical connection among the black community to important Biblical events, and by integrating African-American spirituals into the music. Simon Bore the Cross was thought to be lost until a complete piano-vocal score was acquired by Georgetown University in 2014. Hughes' drafts of his libretto for this work are at Yale University. Both institutions also preserve a substantial amount of correspondence between Bonds and Hughes. By highlighting this overlooked work, I hope to generate interest in Bonds' neglected but significant contributions to the American musical canon.","Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2019-08-22 without embargo terms","The student, Allegra Martin, accepted the attached license on 2019-04-11 at 09:24.","The student, Allegra Martin, submitted this Dissertation for approval on 2019-04-11 at 09:35.","This Dissertation was approved for publication on 2019-04-18 at 09:32.","DSpace SAF Submission Ingestion Package generated from Vireo submission #13559 on 2019-08-22 at 14:42:31","Made available in DSpace on 2019-08-23T19:51:47Z (GMT). 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