ABSTRACT

This chapter covers the Romantic period. To provide resources for an expanded curriculum and diversified pedagogy, the chapter includes bibliographies and a discography focusing on composers of the era and relevant scholarship in areas including domestic music making, composers and performers from minoritized communities, and the role of classical music around the globe. Lesson One covers Harry Burleigh and “Through Moanin’ Pines” from the piano suite, From the Southland. Along with analytical comments on the piece, the lesson situates Burleigh among the Black composers who espoused nationalism—Black nationalism—through the use of musical emblems from African American vernacular culture (e.g. pentatonic scales, etc.). An engaged citizen and consummate performer, the lesson also contextualizes Burleigh as an artist with Samuel Coleridge-Taylor and Booker T. Washington, leading Black musicians and intellectuals active at the turn of the twentieth century. Lesson Two focuses on the reception among African American critics of Antonin Dvořák’s compositional ideas and his New World Symphony. Black critics connected Dvořák’s advocacy of Black music as central to American musical nationalism with the fight to maintain full civil rights for African Americans at a time of deepening segregation.