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    Examining the Double-Consciousness: Portraits of Americana in the Works of Ulysses Kay

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    Author
    Knox, Grant Stephen
    Issue Date
    2020
    Keywords
    African-American
    Americana
    Black
    Double-consciousness
    Music
    Race
    Advisor
    Mugmon, Matthew
    
    Metadata
    Show full item record
    Publisher
    The University of Arizona.
    Rights
    Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
    Abstract
    Ulysses Simpson Kay, Jr. (1917–1995) was a distinguished American composer, conductor and professor. Having composed approximately 140 works throughout his lifetime, Kay established himself as a prominent figure within the scope of twentieth-century American composition. An African American composer, Kay often seemed to downplay the role of race in his music, an approach perhaps best articulated by his categorical definition of Black music as “music written or conceived by blacks.” Indeed, scholars have debated the role of Kay’s racial identity in his music. An examination of selected works by Ulysses Kay, and their contexts, reveals that his American and African American musical identities coexist. This finding suggests Kay’s music to be a case study in the musical expression of W.E.B. DuBois’s (1868–1963) term “double-consciousness.” DuBois’s writings, particularly his 1903 collection of essays The Souls of Black Folk offer a framework for understanding the role of racial identity in Kay’s music. This study will look at Kay’s Danse Calinda (1941), Lift Every Voice & Sing (1943), Harlem Children’s Dance Suite (1973), and Frederick Douglass (1991) as works that are evocative of the African American identity, while A Lincoln Letter (1953), FDR: From Third Term to Pearl Harbor (1958), Forever Free (1962), Presidential Suite (1965), Southern Harmony (1975) represent the broader American identity. Each of these compositions implies the duality of identities through its subjects, contexts, and/or specific musical details. As a result, we are able to arrive at a more nuanced understanding of the role of racial identity in Ulysses Kay’s music.
    Type
    text
    Electronic Thesis
    Degree Name
    M.M.
    Degree Level
    masters
    Degree Program
    Graduate College
    Music
    Degree Grantor
    University of Arizona
    Collections
    Master's Theses

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