Composer, pianist, teacher, and social-justice activist Margaret Bonds fought against racism, sexism, and economic injustice throughout her career, amassing a portfolio of social-justice compositions unrivalled in eloquence and originality which challenged longstanding barriers between Black and White, male and female, popular and classical. During her lifetime the political economy of music publishing consigned most of her music to manuscript dissemination, and since her death -- despite the enduring popularity of works such as He's Got the Whole World in His Hand and The Ballad of the Brown King -- her success in transcending the barriers she faced as an African American and a woman has been obscured by the forces of racism and sexism in concert life, which, together with White- and male-dominated music historiography, have viewed her life and work through the lens of specious, racist, and sexist tropes. This book draws on an unprecedented mass of archival evidence to set aside those tropes and offer a fresh portrait of Margaret Bonds. Examining her published and unpublished music, it shows how the child prodigy rose to become the first African American woman whose music was performed widely in Africa; one of the first African American women whose music was broadcast on European radio; the first African American woman and pianist to perform with a major U.S. orchestra; the second African American woman in classical music to attain full membership in ASCAP; the first woman Black or White to win not one or two, but three, awards from that predominantly White and male organization; the lasting musical voice of Langston Hughes; and the teacher of other notables including Ned Rorem and Cheryl Wall. It thus shows how the confluence of natural genius, matrilineal and racial pride, faith, and support from the community of African American artists, intellectuals, and institutions enabled Margaret Bonds to become one of the most extraordinary figures in all of twentieth-century music. In response to the increasing globalization of music, the Composers across Cultures series, formerly the Master Musicians series, seeks to explore the inexhaustible diversity of music, and its common links to our shared humanity.

This is the first major biography of African American composer, pianist, and activist Margaret Bonds. It draws on extensive archival research to correct numerous misconceptions large and small about her and offers an account of her life and work that is detailed, yet accessible to scholars and non-specialists alike. Author John Michael Cooper places emphasis on identifying the cultural, familial, political, and racial factors that motivated Bonds as she rose from being a child prodigy from Chicago's South side to international renown. Special features are new insights into the chronology and nature of Bonds's collaborative friendships with contemporary notables including Langston Hughes, and a concluding survey of her hundreds of works categorized by genre.

In response to the increasing globalization of music, the Composers across Cultures series, formerly the Master Musicians series, seeks to explore the inexhaustible diversity of music, and its common links to our shared humanity.

The 'rediscovery' of the music of Florence Price has transformed the narratives and programming of American concert music, though it has often come with the unintended consequence of obscuring the contributions of other Black women composers. In this first-ever biography of Margaret Bonds, John Michael Cooper-with unfailing rigor, deep respect, and unequalled expertise with her music-chronicles Bonds's extraordinarily life and career, revealing for the first time the singularity and scope of her accomplishments as a composer, pianist, artistic collaborator, and historical figure. Above all, Cooper, emphasizing agency over contingency and centering Bonds's matrilineal influences, sets aside predictable tropes to craft a pathbreaking and continuously illuminating account of Bonds's talent, vision, legacy, and humanity.