Florence Price

Florence Beatrice Price (née Smith; April 9, 1887 – June 3, 1953) was an African-American classical composer, pianist, organist and music teacher. Price is noted as the first African-American woman to be recognized as a symphonic composer, and the first to have a composition played by a major orchestra.[2]

Florence Price
Photograph of Price from a publication, c. 1942.
Born
Florence Beatrice Smith

(1887-04-09)April 9, 1887
Little Rock, Arkansas, United States
DiedJune 3, 1953(1953-06-03) (aged 66)
Chicago, Illinois, United States
Occupation
Years active1899–1952
Spouse(s)
    Thomas J. Price
    ​
    (
    m. 1912; div. 1931)
    [1]
      Pussey Del Arnett
      ​
      (
      m. 1931;
      separated 
      1934)
      Children3
      Signature

      Biography

      Early life

      She was born as Florence Beatrice Smith to Florence (Gulliver) and James H. Smith on April the ninth, 1887, in Little Rock, Arkansas,[3] one of three children in a mixed-race family. Despite racial issues of the era, her family was well respected and did well within their community. Her father was a dentist and her mother was a music teacher who guided Florence's early musical training.[4] She had her first piano performance at the age of four and had her first composition published at the age of 11.[2]

      By the time she was 14, Florence had graduated as valedictorian (scholar) of her class. After high school, she later enrolled in the New England Conservatory of Music in Boston, Massachusetts with a major in piano and organ. Initially, she identified as Mexican to avoid the prejudice people had toward African Americans at the time. At the Conservatory, she studied composition and counterpoint with composers George Chadwick and Frederick Converse.[2] Also while there, Smith wrote her first string trio and symphony. She graduated in 1906 with honors, and with both an artist diploma in organ and a teaching certificate.[5]

      Career

      Smith returned to Arkansas, where she taught briefly before moving to Atlanta, Georgia, in 1910. There she became the head of the music department of what is now Clark Atlanta University, a historically black college. In 1912, she married Thomas J. Price, a lawyer. She moved back to Little Rock, Arkansas, where he had his practice.[4] After a series of racial incidents in Little Rock, particularly a lynching of a black man in 1927, the Price family decided to leave. Like many black families living in the Deep South, they moved north in the Great Migration to escape Jim Crow conditions, and settled in Chicago, a major industrial city.

      There Florence Price began a new and fulfilling period in her composition career. She studied composition, orchestration, and organ with the leading teachers in the city, including Arthur Olaf Andersen, Carl Busch, Wesley La Violette, and Leo Sowerby. She published four pieces for piano in 1928. While in Chicago, Price was at various times enrolled at the Chicago Musical College, Chicago Teacher’s College, University of Chicago, and American Conservatory of Music, studying languages and liberal arts subjects as well as music. Financial struggles and abuse by her husband resulted in Price getting a divorce in 1931. She became a single mother to her two daughters. To make ends meet, she worked as an organist for silent film screenings and composed songs for radio ads under a pen name. During this time, Price lived with friends. She eventually moved in with her student and friend, Margaret Bonds, also a black pianist and composer. This friendship connected Price with writer Langston Hughes and contralto Marian Anderson, both prominent figures in the art world who aided in Price's future success as a composer.

      Together, Price and Bonds began to achieve national recognition for their compositions and performances. In 1932, both Price and Bonds submitted compositions for the Wanamaker Foundation Awards. Price won first prize with her Symphony in E minor, and third for her Piano Sonata, earning her a $500 prize.[6] (Bonds came in first place in the song category, with a song entitled "Sea Ghost.") The Chicago Symphony Orchestra, conducted by Frederick Stock, premiered the Symphony on June 15, 1933, making Price’s piece the first composition by an African-American woman to be played by a major orchestra.[6][7][8][9]

      A number of Price's other orchestral works were played by the WPA Symphony Orchestra of Detroit, the Chicago Women’s Symphony,[4] and the Women's Symphony Orchestra of Chicago.[10] Price wrote other extended works for orchestra, chamber works, art songs, works for violin, organ anthems, piano pieces, spiritual arrangements, four symphonies, three piano concertos, and a violin concerto. Some of her more popular works are: "Three Little Negro Dances," "Songs to a Dark Virgin", "My Soul's Been Anchored in the Lord" for piano or orchestra and voice, and "Moon Bridge". Price made considerable use of characteristic African-American melodies and rhythms in many of her works. Her Concert Overture on Negro Spirituals, Symphony in E minor, and Negro Folksongs in Counterpoint for string quartet, all serve as excellent examples of her idiomatic work. Price was inducted into the American Society of Composers, Authors, and Publishers in 1940 for her work as a composer. In 1949, Price published two of her spiritual arrangements, "I Am Bound for the Kingdom," and "I'm Workin’ on My Buildin'", and dedicated them to Marian Anderson, who performed them on a regular basis.

      Personal life and death

      In 1912, Price married attorney Thomas J. Price[1][11] upon returning to Arkansas from Atlanta. Together, they had two daughters and a son; Florence (d. 1975[12]), Edith and Thomas Jr.[12] The Price children were raised in Chicago. Florence Price divorced Thomas Price in January 1931, and on February 14, 1931, she married the widower Pusey Dell Arnett (1875–1957), an insurance agent and former baseball player for the Chicago Unions some thirteen years her senior. She and Arnett were separated by April 1934; they apparently never divorced.[13] On June 3, 1953, Price died from a stroke in Chicago, Illinois, at age 66.

      Discovery of manuscripts

      Following her death, much of her work was overshadowed as new musical styles emerged that fit the changing tastes of modern society. Some of her work was lost, but as more African-American and female composers have gained attention for their works, so has Price. In 2001, the Women's Philharmonic created an album of some of her work. Pianist Karen Walwyn and The New Black Repertory Ensemble performed Price's Concerto in One Movement and Symphony in E minor in December 2011.[14][15]

      In 2009, a substantial collection of her works and papers were found in an abandoned dilapidated house on the outskirts of St. Anne, Illinois.[16] These consisted of dozens of her scores, including her two violin concertos and her fourth symphony. As Alex Ross stated in The New Yorker in February 2018, "not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. That run-down house in St. Anne is a potent symbol of how a country can forget its cultural history."[17]

      In November 2018, the New York-based firm of G. Schirmer announced that it had acquired the exclusive worldwide rights to Florence Price's complete catalog.[18][19]

      Composition style

      Even though her training was steeped in European tradition, Price's music consists of mostly the American idiom and reveals her Southern roots.[4] She wrote with a vernacular style, using sounds and ideas that fit the reality of urban society. Being deeply religious, she frequently used the music of the African-American church as material for her arrangements. At the urging of her mentor George Whitefield Chadwick,[20] Price began to incorporate elements of African-American spirituals, emphasizing the rhythm and syncopation of the spirituals rather than just using the text. Her melodies were blues-inspired and mixed with more traditional, European Romantic techniques. The weaving of tradition and modernism reflected the way life was for African Americans in large cities at the time.

      Legacy and honors
      Price Elementary School, Chicago.

      In 1964, the Chicago Public Schools opened Florence B. Price Elementary School (also known Price Lit & Writing Elementary School) at 4351 South Drexel Boulevard in the North Kenwood neighborhood of Chicago, Illinois in her honor.[21] Price student body was predominately African-American. The school operated from 1964 until the school district decided to phase it out in 2011 due to poor academic performance which ultimately led to its closing in 2013. The school housed a piano owned by Price. The school building currently houses a local church as of 2019.[22] In February 2019, The University of Arkansas Honors College held a concert honoring Price.[23][24] In October 2019, the International Florence Price Festival announced that its inaugural gathering celebrating Price's music and legacy would take place at the University of Maryland School of Music in August 2020.[25][26]

      Works

      Symphonies

      Concertos
      • Piano Concerto in D minor (1932–34); often referred to as Piano Concerto in One Movement although the work is in three separate movements
      • Violin Concerto No. 1 in D major (1939)
      • Violin Concerto No. 2 in D minor (1952)
      • Rhapsody/Fantasie for piano and orchestra (date unknown, possibly incomplete)

      Other orchestral works
      • Ethiopia's Shadow in America (1929–32)[27]
      • Mississippi River Suite (1934); although labelled as a "suite", the work is cast in one continuous large-scale movement, in which several famous Mississippi River Songs are quoted, such as “Get Down, Moses”, “Nobody Knows the Trouble I’ve Seen” and "Deep River".
      • Chicago Suite (date unknown)
      • Colonial Dance Symphony (date unknown)
      • Concert Overture No. 1 (date unknown); based on the spiritual "Sinner, Please Don’t Let This Harvest Pass"[28]
      • Concert Overture No. 2 (1943); based on three spirituals ("Go Down Moses", "Ev'ry Time I Feel the Spirit", "Nobody Knows the Trouble I've Seen")[29]
      • The Oak, tone poem (1943); sometimes referred to as Songs of the Oak
      • Suite of Negro Dances (performed in 1951;[30] orchestral version of the Three Little Negro Dances for piano, 1933;[31]); also referred to as Suite of Dances
      • Dances in the Canebrakes (orchestral version of the homonymous piano work, 1953)

      Choral
      • "The Moon Bridge" (M. R. Gamble), SSA, 1930;
      • "The New Moon", SSAA, 2 pf, 1930;
      • "The Wind and the Sea" (P. L. Dunbar), SSAATTBB, pf, str qt, 1934;
      • "Night" (Bessie Mayle), SSA, pf (1945)[32]
      • "Witch of the Meadow" (Gamble), SSA (1947);
      • "Sea Gulls", female chorus, fl, cl, vn, va, vc, pf, by 1951;
      • "Nature's Magic" (Gamble), SSA (1953);
      • "Song for Snow" (E. Coatsworth), SATB (1957);
      • "Abraham Lincoln walks at midnight" (V. Lindsay), mixed vv, orch, org;
      • "After the 1st and 6th Commandments", SATB;
      • "Communion Service", F, SATB, org;
      • "Nod" (W. de la Mare), TTBB;
      • Resignation (Price), SATB;
      • "Song of Hope" (Price);
      • "Spring Journey", SSA, str qt

      Solo vocal (all with piano)
      • "Don't You Tell Me No" (Price) (between 1931 and 1934)[33][34]
      • "Dreamin' Town" (Dunbar), 1934;
      • 4 Songs, B-Bar, 1935;
      • "My Dream" (Hughes), 1935;
      • "Dawn's Awakening" (J. J. Burke), 1936;
      • "Songs to the Dark Virgin" (L. Hughes), (1941);
      • "Hold Fast to Dreams" (Hughes), 1945;
      • "Night" (L. C. Wallace), (1946);
      • "Out of the South Blew a Wind" (F.C. Woods), (1946);
      • "An April Day" (J. F. Cotter), (1949);
      • "The Envious Wren" (A. and P. Carey);
      • "Fantasy in Purple" (Hughes);
      • "Feet o' Jesus" (Hughes);
      • "Forever" (Dunbar);
      • "The Glory of the Day was in her Face" (J. W. Johnson);
      • "The Heart of a Woman" (G. D. Johnson)[35];
      • "Love-in-a-Mist" (Gamble);
      • "Nightfall" (Dunbar); "Resignation" (Price), also arr. chorus;
      • "Song of the Open Road; Sympathy" (Dunbar);
      • "To my Little Son" (J. J. Davis);
      • "Travel's End" (M. F. Hoisington);
      • "Judgement Day" (Hughes)[36]
      • "Some o' These Days" [37]
      • about 90 other works

      Instrumental Chamber Music
      • Andante con espressione (1929)[38]
      • String Quartet (No. 1) in G major (1929)[39]
      • Fantasie [No. 1] in G Minor for Violin and Piano (1933)[40]
      • String Quartet (No. 2) in A minor (published in 1935)[41][42]
      • Fantasy [No. 2] in F-sharp Minor for Violin and Piano (1940)[43]
      • Piano Quintet in E minor (1936)
      • Piano Quintet in A minor
      • Five Folksongs in Counterpoint for String Quartet
      • Suite (Octet) for Brasses and Piano (1930)[44]
      • Fantasy [No. 2] in F-sharp Minor for Violin and Piano (1940)[45]
      • Moods, for Flute, Clarinet and Piano (1953)
      • Spring Journey, for 2 violins, viola, cello, double bass and piano
      • Various pieces for violin and piano

      Works for piano
      • Tarantella (1926)[46]
      • Impromptu No. 1 (1926)[47]
      • Valsette Mignon (1926)[48]
      • Preludes (1926-32): No. 1 Allegro moderato; No. 2 Andantino cantabile; No. 3 Allegro molto; No. 4 [“Wistful”] Allegretto con tenerezza; No. 5 Allegro[49]
      • At the Cotton Gin (1927); published by G. Schirmer (New York), 1928
      • Song without Words in G Major (1928 or early 1930s)[50]
      • Meditation ([ca. 1929])[51][52]
      • Fantasie nègre [No. 1] (E minor) (1929, rev. 1931); based on the spiritual "Sinner, please don't let this harvest pass"
      • On a Quiet Lake (June 23, 1929)[53][54]
      • Barcarolle (ca. 1929-32)[55]
      • His Dream (ca. 1930-31)[56]
      • Cotton Dance (Dance of the Cotton Blossoms) (1931)
      • Fantasie nègre No. 2 in G minor (March, 1932)[57][58][59]
      • Fantasie nègre No. 3 in F minor (March 30, 1932)(inc.)
      • Fantasie nègre No. 4 in B minor (April 5, 1932 - [ca. 1937]) (4 versions)[60][61][62]
      • Song without Words in A Major (April 21, 1932)[63]
      • Piano Sonata in E minor (1932)
      • Child Asleep (July 6, 1932)[64]
      • Etude [in C major] [ca. 1932][65][66]
      • 3 Little Negro Dances (1933); also arranged for concert band (1939); for two pianos (1949); and for orchestra (before 1951)
      • Tecumseh (published by Carl Fischer, New York, 1935)[67]
      • Scenes in Tin Can Alley (ca. 1937): "The Huckster" (Oct. 1, 1928), "Children at Play," "Night"[68]
      • 3 Sketches for little pianists (1937)
      • Arkansas Jitter (1938)
      • Bayou Dance (1938)
      • Dance of the Cotton Blossoms (1938)
      • Summer Moon (for Memry Midgett)' (April 6, 1938)[69][70]Recorded by Lara Downes (Flipside Music FL0019 [2020])</ref>
      • Down a Southern Lane (April 29, 1939)[71][72]
      • On a Summer's Eve (June 15, 1939)[73]
      • Rocking chair (1939)
      • Thumbnail Sketches of a Day in the Life of a Washerwoman (ca. 1938-40).[74] Two versions. First version consists of "Morning," "Dreaming at the Washtub," "A Gay Moment," and "Evening Shadows"; second version omits "Dreaming at the Washtub."[75]
      • [Ten Negro Spirituals for the Piano] [1937-42)[76]: Let Us Cheer the Weary Traveler; I’m Troubled in My Mind; I Know the Lord Has Laid His Hands on Me; Joshua Fit de Battle of Jericho; Gimme That Old Time Religion; Swing Low, Sweet Chariot; I Want Jesus to Walk with Me; Peter, Go Ring dem Bells; Were You There When They Crucified My Lord; Lord, I Want to Be a Christian
      • Remembrance (1941 or earlier) (to Mr. Henry S. Sawyer)[77][78]
      • Village Scenes (1942): "Church Spires in Moonlight," "A Shaded Lane," "The Park"[79][80]
      • Your Hands in Mine (1943) (originally titled Memory Lane)[81][82]
      • Clouds [ca. 1940s][83][84][85][86]
      • Cotton Dance (Presto) ([ca. 1940s])[87]
      • 2 Fantasies on Folk Tunes (date unknown)
      • In Sentimental Mood (1947)[88][89][90]
      • Whim Wham (July 6, 1946)[91][92]
      • Placid Lake (July 17, 1947)[93]
      • Memories of Dixieland (1947); won Holstein Award, 1947
      • Sketches in Sepia (September, 1947)[94][95]
      • Rock-a-bye (1947)
      • [Three Roses]: To a Yellow Rose, To a White Rose,[96] To a Red Rose (1949)[97][98]
      • To a Brown Leaf (1949)[99]
      • First Romance(ca. 1940s)[100][101]
      • Waltzing on a Sunbeam (ca. 1950[102]
      • Snapshots (1952): I. Lake Mirror (13 October 1952), II. Moon behind a Cloud (17 July 1949), III. Flame (14 January 1949)[103][104]
      • Until We Meet (1952)[105]
      • Dances in the Canebrakes (1953); also orchestrated
      • about 70 teaching pieces

      Undated:

      • I'm Troubled in My Mind[106]
      • Pieces to a Certain Pair of Newlyweds [only No. 1][107]
      • Three Miniature Portraits of Uncle Ned (originally "Three Miniature Portraits of Uncle Joe"; later "Two Photographs" (second version performed 15 April 1948)[108][109]


      Arrangements of spirituals
      • "My soul's been anchored in de Lord", 1v, pf (1937), arr. 1v, orch, arr. chorus, pf;
      • "Nobody knows the trouble I've Seen (Philadelphia: Theodore Presser, 1938);[110]
      • "Some o' These Days," 1v, pf[111]
      • Two Traditional Negro Spirituals, 1 v, pf (1940): "I Am Bound for the Kingdom" and "I'm Workin' on My Buildin'"[112]
      • "Were you there when they crucified my Lord?", pf (1942);
      • "I am bound for the kingdom", 1v, pf (1948);
      • "I'm workin' on my building", 1v, pf job at Florida
      • "Heav'n bound soldier", male chorus, 1949 [2 arrs.];

      Undated:

      • "Joshua Fit de Battle of Jericho" (ca. 1950)[113]
      • "Peter, Go Ring dem Bells" (undated)[114]
      • Variations on a Folksong (Peter, go ring dem bells)", org (1996);
      • "I couldn't hear nobody pray", SSAATTBB;
      • "Save me, Lord, save me", 1v, pf;
      • "Trouble done come my way", 1v, pf;
      • ?12 other works, 1v, pf
        • MSS of 40 songs in US-PHu; other MSS in private collections; papers and duplicate MSS in U. of Arkansas, Florida

      Works for Organ (supplied by Calvert Johnson)

      • Adoration in The Organ Portfolio vol. 15/86 (Dec. 1951), Dayton OH: Lorenz Publishing Co., 34–35.
      • Andante, July 24, 1952
      • Andantino
      • Allegretto
      • Cantilena March 10, 1951
      • Caprice
      • Dainty Lass, by November 19, 1936
      • The Hour Glass [formerly Sandman]. Paired with Retrospection as No. 1
      • Hour of Peace or Hour of Contentment or Gentle Heart, November 16, 1951
      • In Quiet Mood [formerly Evening and then Impromptu]. New York: Galaxy Music Corp, 1951 (dated Aug. 7, 1941)
      • Little Melody
      • Little Pastorale
      • Offertory in The Organ Portfolio vol. 17/130 (1953). Dayton OH: Lorenz Publishing Co., 1953
      • Passacaglia and Fugue, January, 1927
      • A Pleasant Thought, December 10, 1951
      • Prelude and Fantasie, by 1942
      • Retrospection [formerly An Elf on a Moonbeam]. Paired with The Hour Glass as No. 2
      • Steal Away to Jesus, by November 19, 1936
      • Suite No. 1, by April 6, 1942
      • Memory Mist (1949)[115]
      • Tempo moderato [no title], seriously damaged and possibly incomplete]
      • Variations on a Folksong
        • Principal publishers: Fischer, Gamble-Hinged, Handy, McKinley, Presser

      Discography
      • Althea Waites Performs the Piano Music of Florence Price. Cambria Records, 1987.[116]
      • Art Songs by American Composers, performed by Yolanda Marcoulescou-Stern. Gasparo Records, 1993.
      • Black Diamonds, performed by Althea Waites. Cambria Records, 1993.
      • Florence Price: The Oak, Mississippi River Suite, and Symphony No. 3 / Women’s Philharmonic. Koch International Classics, 2001. Reprinted 2008.
      • Lucille Field Sings Songs by American Women Composers. Cambria Records, 2006.
      • Negro Speaks of Rivers / Odekhiren Amaize, David Korevaar. Musician’s Showcase, 2000.
      • Chicago Renaissance Woman: Florence B. Price Organ Works; Calcante CAL 014 1997
      • Florence B. Price: Concerto in One Movement and Symphony in E minor; Albany TROY1295, 2011.
      • Florence B. Price: Violin Concertos Nos. 1 (D major - 1939) and 2 (D minor - 1952) / Er-Gene Kahng, Janacek Philharmonic, Ryan Cockerham. Albany TROY1706, 2018.
      • Florence B. Price: Symphonies Nos. 1 (E minor - 1932) and 4 (D minor - 1945) / Fort Smith Symphony, John Jeter. Naxos American Classics, 2018.
      • Florence B. Price: Dances in the Canebrakes (Nimble Feet / Tropical Noon / Silk Hat and Walking Cane) / Chicago Sinfonietta, Mei-Ann Chen. Album Project W - Works by Woman Composers. Cedille Records, 2019.
      • Beyond the Traveler: Piano Music by Composers from Arkansas (Sonata in E minor) / Cole Burger, piano. MSR Classics, 2019.

      References
      1. Florence Price
      2. Slonimsky, N. (ed.), The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th edn, New York: Schirmer, 1994, p. 791.
      3. Slonimsky (1994) gives 1888.
      4. Walker-Hill, Helen (1893). Piano Music by Black Women Composers. Darby, Pennsylvania: Greenwood Press. pp. 76–77.
      5. Slonimsky and biography.com agree on 1906.
      6. Price, Florence (January 1, 2008) [1932]. Brown, Rae Linda; Shirley, Wayne D. (eds.). Symphonies nos. 1 and 3. A-R Editions. pp. xxxviii–xlv. ISBN 0895796384.
      7. Oteri, Frank J. (January 17, 2012). "Sounds Heard: Florence B. Price—Concerto in One Movement; Symphony in E Minor". NewMusicBox. Retrieved September 16, 2015.
      8. "The Price of Admission: A Musical Biography of Florence Beatrice Price". WQXR-FM. February 6, 2013. Retrieved September 16, 2015.
      9. Baranello, Micaela (February 9, 2018). "Welcoming a Black Female Composer Into the Canon. Finally". The New York Times. Retrieved February 10, 2018.
      10. Brown, Rae Linda (1993). "The Woman's Symphony Orchestra of Chicago and Florence B. Price's Piano Concerto in One Movement". American Music. 11 (2): 185. JSTOR 3052554.
      11. "Biography". Florence Price. Retrieved 2020-05-30.
      12. Research Frontiers - Who was Florence Price
      13. See Rae Linda Brown, "Lifting the Veil: The Symphonies of Florence B. Price," in Florence Price: Symphonies Nos. 1 and 3, ed. Rae Linda Brown and Wayne Shirley, Recent Researches in American Music, No. 66 [Middleton, Wisconsin: A-R Editions, 2008], xxxi,
      14. "Florence Price: Symphony No. 3, Mississippi River". Women's Philharmonic Advocacy. Retrieved July 6, 2016.
      15. McQuiston, Bob (February 28, 2012). "Classical Lost and Found: Florence Price Rediscovered". NPR. Retrieved July 6, 2016.
      16. "Florence Beatrice Smith Price (1887–1953) - Encyclopedia of Arkansas". www.encyclopediaofarkansas.net. Retrieved 2019-03-27.
      17. Ross, Alex, "The Rediscovery of Florence Price", The New Yorker, February 5, 2018.
      18. "News - G. Schirmer Acquires Florence Price Catalog"
      19. Michael Cooper, "A Rediscovered African-American Female Composer Gets a Publisher," The New York Times, Nov. 15, 2018
      20. Baranello, Micaela (2018-02-09). "Welcoming a Black Female Composer Into the Canon. Finally". The New York Times. ISSN 0362-4331. Retrieved 2019-03-27.
      21. Symphonies nos. 1 and 3 By Florence Price
      22. "DNAinfo - Bronzeville Pastor Reviving Empty School - September 2013". Archived from the original on 2017-11-18. Retrieved 2019-06-06.
      23. Honors College to Host Performance of Florence Price Violin Concerto and Duos - January 22, 2019
      24. Florence Price
      25. "International Florence Price Festival". The Clarice Smith Performing Arts Center. Archived from the original on 2019-10-31. Retrieved 2019-10-31.
      26. "Festival Celebrates Trailblazing Composer Florence Price". International Florence Price Festival. Retrieved 2019-10-31.
      27. Recorded by the BBC National Orchestra of Wales under conductor Daniel Blendulf; broadcast for International Women's Day on BBC Radio 3's Live in Concert program of March 8, 2015.
      28. Page on musicsalesclassical.com, published by G Schirmer Inc.
      29. Page on the publisher's website, schott-music.com
      30. Article on the blog www.jordanrsmith.com
      31. Florence Beatrice Smith Price Papers Addendum
      32. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      33. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      34. world-premiere recording by Christine Jobson on Nearly Lost: Art Songs by Florence Price (N2A Publishing, 2019).
      35. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      36. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      37. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      38. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      39. Article on burleighsociety.com, 29 November 2018
      40. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      41. Article on arkansaslife.com
      42. new edition, ed. John Michael Cooper (New York: G. Schirmer, 2019)
      43. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      44. "The Musical Artistry of Florence Price: Hidden Figure No More", by Prof. Linda Holzer
      45. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      46. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      47. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      48. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      49. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      50. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      51. ed. John Michael "Cooper (New York: G. Schirmer, 2020)
      52. Recorded by Lara Downes (Flipside Records FL0018 [2020])
      53. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      54. Recorded by Lara Downes (Flipside Music FL0019 [2020])
      55. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      56. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      57. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      58. Recorded by Lara Downes, Flipside Music FL0024 [2020])
      59. See John Michael Cooper, “Full Circle: On the Recovery of Florence B. Price’s Fantasie nègre No. 2,” Journeys (blog), March 22, 2020, https://cooperm55.wixsite.com/jmc3/post/full-circle
      60. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      61. Posthumous premiere by Lara Downes at New England Conservatory, November 1, 2019
      62. Recorded by Lara Downes (Flipside Music FL0017 [2020])
      63. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      64. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      65. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      66. See John Michael Cooper, “Florence Price, Teacher,” Journeys (blog), July 14, 2020, https://cooperm55.wixsite.com/jmc3/post/florence-price-teacher
      67. List of works on chevalierdesaintgeorges.homestead.com
      68. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      69. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      70. See John Michael Cooper, “Summer Moon: Reflections on a Little-Known Gem by Florence Price,” Journeys (blog), May 17, 2020, https://cooperm55.wixsite.com/jmc3/post/summer-moon
      71. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      72. Recorded by Lara Downes (Flipside Music FL0019 [2020])
      73. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      74. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      75. See John Michael Cooper, “Florence Price and Racist Stereotypes,” Journeys (blog), July 16, 2020, https://cooperm55.wixsite.com/jmc3/post/florence-price-and-stereotypes
      76. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      77. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      78. Recorded by Lara Downes (Flipside Music 0018, 2020)
      79. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      80. See John Michael Cooper, “Florence Price and Tranquility,” Journeys (blog), July 13, 2020, https://cooperm55.wixsite.com/jmc3/post/florence-price-and-tranquility
      81. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      82. Recorded by Lara Downes (Flipside Records 0020 [2020])
      83. ed. John Michael "Cooper (New York: G. Schirmer, 2020)
      84. premiered by Lara Downes at New England Conservatory, November 1, 2019
      85. Recorded by Lara Downes (Flipside Records FL0018 [2020])
      86. See John Michael Cooper, “Florence B. Price: Clouds,” Journeys (blog), April 8, 2020, https://cooperm55.wixsite.com/jmc3/post/florence-b-price-clouds
      87. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      88. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      89. Recorded by Lara Downes (Flipside Records FL0020 [2020])
      90. See John Michael Cooper, “In Sentimental Mood: A Mash-Up by Florence B. Price,” Journeys (blog), April 8, 2020, https://cooperm55.wixsite.com/jmc3/post/a-mash-up-by-florence-b-price-in-sentimental-mood
      91. ed. John Michael "Cooper (New York: G. Schirmer, 2020)
      92. See John Michael Cooper, “The Joy of Whimsy: Rediscovering Another Facet of Florence Price’s Musical Imagination,” Journeys (blog), August 7, 2020, https://cooperm55.wixsite.com/jmc3/post/the-joy-of-whimsy
      93. ed. John Michael "Cooper (New York: G. Schirmer, 2020)
      94. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      95. Recorded by Lara Downes (Flipside Records 0018 [2020])
      96. Two separate compositions bear the title To a White Rose and were conceived as part of this set.
      97. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      98. Recorded by Lara Downes (Flipside Records FL0020] [2020]): To a Yellow Rose; To a White Rose (Version B); To a Red Rose
      99. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      100. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      101. Recorded by Lara Downes (Flipside Records 0020 [2020)(
      102. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      103. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      104. See John Michael Cooper, “Florence Price and the Art of Musical Storytelling: Snapshots for Piano Solo,” Journeys (blog), August 7, 2020, https://cooperm55.wixsite.com/jmc3/post/florence-price-and-the-art-of-musical-storytelling
      105. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      106. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      107. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      108. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      109. See John Michael Cooper, “Florence Price and Racist Stereotypes,” Journeys (blog), July 16, 2020, https://cooperm55.wixsite.com/jmc3/post/florence-price-and-stereotypes
      110. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      111. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      112. "MoMA QNS in New York Architects: Michael Maltzan architecture, Los Angeles, Cooper, Robertson & Partners, New York", Building in Existing Fabric, München: DETAIL - Institut für internationale Architektur-Dokumentation GmbH & Co. KG, ISBN 978-3-0346-1489-4, retrieved 2020-06-15
      113. ed. John Michael Cooper (New York: G. Schirmer, 2020)
      114. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      115. ed. John Michael Cooper (New York: G. Schirmer, 2019)
      116. de Lerma, Dominique-René (1988). "Music Review: Althea Waites Performs the Piano Music of Florence Price". The Black Perspective in Music. 16 (1): 117. doi:10.2307/1215135.

      Additional sources
      • Ammer, Christine. Unsung: A History of Women in American Music. Portland Oregon, Amadeus Press, 2001
      • Brown, Rae Linda. "Price, Florence Smith". Accessed March 15, 2007.
      • Brown, Linda Rae. "William Grant Still, Florence Price, and William Dawson: Echoes of the Harlem Renaissance." In Samuel A. Floyd, Jr (ed.), Black Music in the Harlem Renaissance, Knoxville: University of Tennessee Press, 1990, pp. 71–86.
      • Ege, Samantha. "Florence Price and the Politics of Her Existence." Kapralova Society Journal 16, no. 1 (Spring 2018): 1–10.
      • "Florence Beatrice Smith Price", Biography.com. Retrieved December 1, 2014.
      • Perkins, Holly Ellistine. Biographies of Black Composers and Songwriters; A Supplementary Textbook. Iowa: Wm. C. Brown Publishers, 1990.
      • "Price, Florence Beatrice", Encyclopedia of World Biography. 2006. Encyclopedia.com. December 1, 2014.
      • Slonimsky, Nicolas (ed.) (1994), The Concise Edition of Baker's Biographical Dictionary of Musicians, 8th edn, New York: Schirmer, p. 791.

      Further reading
      • Brown, Linda R. (1987). Selected orchestral music of Florence B. Price (1888–1953) in the context of her life and work. Yale University.
      • Green, Mildred Denby (1983). Black women composers : a genesis (1. print. ed.). Boston: Twayne Publishers. ISBN 9780805794502.
      • Phelps, Shirelle; Smith, Jessie C. (1992). Notable Black American women. Detroit: Gale Research.
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