Samantha Ege
Biographic Data
| ID | 3584255 |
|---|---|
| NAME | Samantha Ege |
| GIVEN NAMES | Samantha |
| FAMILY NAME | Ege |
| SIGNATURE | EGE S |
| AFFILIATIONS | Lincoln College, Turl Street, Oxford OX1 3DRUK |
| ORCID | 0000-0003-1598-7859 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
“No Now, No Then, No Here, No There”
This essay explores the inner world of Undine Smith Moore, a Virginia-born practitioner and educator, reverently known as the “Dean of Black Women Composers.” Herein, I ask: what might it mean to learn from the Dean not only who she was and what she did, but how she remembered and reimagined? Drawing on Moore’s speech “On Becoming a Virginia Composer” (1984), I am attentive to what she called her “inner world.” Existing as a subconscious and spat…
Black Musicological World-Making in Who Hears Here
“What I want,” writes Kevin Quashie in Black Aliveness, or A Poetics of Being, “is the freeness of a black world where blackness can be of being, where there is no argument to be made, where there is no speaking to or against an audience because we are all the audience there is. . . . ”1 In Who Hears Here?, Guthrie P. Ramsey, Jr., invites us into a world where Black music is “of being,” devoid of defenses, justifications, or validations for its e…
The Art of the Black Feminist Scholar-Performer
The art of the Black feminist scholar-performer encompasses the conviction that there is a history of classical music (i.e., Western art music) to be told both from a Black woman's vantage point and the subsequent dialogue between research and repertoire. I apply this to my scholarship on African American women's contributions to classical music in the era of the Black Chicago Renaissance, which unfolded through the first half of the twentieth ce…
Restaging Respectability
This essay interweaves the narratives of Josephine Baker and Nora Holt in an exploration of African American women’s performance lives in jazz-age Paris. Baker landed in Paris by way of Harlem and the chorus lines of wayward showgirls (to evoke the words of Saidiya Hartman), while Holt arrived by way of Chicago and its Black concert scene of respectable Race women. Yet despite the seeming polarity of their backgrounds, Baker and Holt converged in…
The Heart of a Woman
“This is a huge find,” emphasized Rae Linda Brown as she discussed the 2009 discovery of numerous scores by Florence B. Price (1887–1953), previously thought to be lost but now reunited with the composer’s other materials at the University of Arkansas.1 She continued, [T]his is really significant for American music. Florence Price was writing primarily in the 1930s and in the 1940s and this is a pivotal time in American music history. It’s when A…
Chicago, the “City We Love to Call Home!”
Samantha Ege, Chicago, the “City We Love to Call Home!”: Intersectionality, Narrativity, and Locale in the Music of Florence Beatrice Price and Theodora Sturkow Ryder, American Music, Vol. 39, No. 1 (Spring 2021), pp. 1-40
No prominent works on this page.
The Heart of a Woman
“This is a huge find,” emphasized Rae Linda Brown as she discussed the 2009 discovery of numerous scores by Florence B. Price (1887–1953), previously thought to be lost but now reunited with the composer’s other materials at the University of Arkansas.1 She continued, [T]his is really significant for American music. Florence Price was writing primarily in the 1930s and in the 1940s and this is a pivotal time in American music history. It’s when A…
Chicago, the “City We Love to Call Home!”
Samantha Ege, Chicago, the “City We Love to Call Home!”: Intersectionality, Narrativity, and Locale in the Music of Florence Beatrice Price and Theodora Sturkow Ryder, American Music, Vol. 39, No. 1 (Spring 2021), pp. 1-40
The Art of the Black Feminist Scholar-Performer
The art of the Black feminist scholar-performer encompasses the conviction that there is a history of classical music (i.e., Western art music) to be told both from a Black woman's vantage point and the subsequent dialogue between research and repertoire. I apply this to my scholarship on African American women's contributions to classical music in the era of the Black Chicago Renaissance, which unfolded through the first half of the twentieth ce…
Restaging Respectability
This essay interweaves the narratives of Josephine Baker and Nora Holt in an exploration of African American women’s performance lives in jazz-age Paris. Baker landed in Paris by way of Harlem and the chorus lines of wayward showgirls (to evoke the words of Saidiya Hartman), while Holt arrived by way of Chicago and its Black concert scene of respectable Race women. Yet despite the seeming polarity of their backgrounds, Baker and Holt converged in…
Black Musicological World-Making in Who Hears Here
“What I want,” writes Kevin Quashie in Black Aliveness, or A Poetics of Being, “is the freeness of a black world where blackness can be of being, where there is no argument to be made, where there is no speaking to or against an audience because we are all the audience there is. . . . ”1 In Who Hears Here?, Guthrie P. Ramsey, Jr., invites us into a world where Black music is “of being,” devoid of defenses, justifications, or validations for its e…
“No Now, No Then, No Here, No There”
This essay explores the inner world of Undine Smith Moore, a Virginia-born practitioner and educator, reverently known as the “Dean of Black Women Composers.” Herein, I ask: what might it mean to learn from the Dean not only who she was and what she did, but how she remembered and reimagined? Drawing on Moore’s speech “On Becoming a Virginia Composer” (1984), I am attentive to what she called her “inner world.” Existing as a subconscious and spat…
Art (5 works) · History (4 works) · Music History and Culture (4 works) · Musicology and Musical Analysis (4 works) · Literature (3 works) · Theater, Performance, and Music History (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Art history (2 works) · Computer Science (2 works)