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dc.contributor.advisorDell'Antonio, Andrew
dc.contributor.advisorCarson, Charles, Ph. D.
dc.creatorTaylor, X'ene S.
dc.date.accessioned2018-08-09T18:52:07Z
dc.date.available2018-08-09T18:52:07Z
dc.date.created2017-08
dc.date.submittedAugust 2017
dc.identifierdoi:10.15781/T2SF2MW5Z
dc.identifier.urihttp://hdl.handle.net/2152/67267
dc.description.abstractThis master’s report will revisit Saidiya Hartman’s account of how to 1) combat violence found in the archives and 2) mitigate silences imposed on marginalized bodies in her essay, “Venus in II Acts.” This work contributes to public musicology because it impacts the way scholars interact with musicians who are historically othered. Through attention to the lives and works of Philippa Schuyler, Hazel Scott and Nina Simone, I ask critical questions like how can we view these pianists’ lives in a way that does not reinforce canonic violence. I simultaneously weave my personal narrative into this discussion as I find myself occupying the spaces of researcher, performer and all the interstices found within the classical piano tradition. Through the work of Hartman, as well as Julia J. Chybowski, Karen Chilton and Elizabeth Taylor Greenfield, I argue that Venus is a pianist like Schuyler, Scott and Simone whose usefulness is often tied to diversity within classical music's canon.
dc.format.mimetypeapplication/pdf
dc.language.isoen
dc.subjectVenus in II Acts
dc.subjectPublic musicology
dc.subjectHistorically othered musicians
dc.subjectPhilippa Schuyler
dc.subjectHazel Scott
dc.subjectNina Simone
dc.subjectCanonic violence
dc.subjectClassical music canon
dc.subjectBlack pianists
dc.subjectAfrican diaspora stories
dc.titleClassically black
dc.typeThesis
dc.date.updated2018-08-09T18:52:07Z
dc.description.departmentMusic
thesis.degree.departmentMusic
thesis.degree.disciplineMusic
thesis.degree.grantorThe University of Texas at Austin
thesis.degree.levelMasters
thesis.degree.nameMaster of Music
dc.creator.orcid0000-0002-3882-3630
dc.type.materialtext


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