The intersectional study of classical composers is both pertinent and timely. To better understand the socio-cultural position of historical composers from underrepresented backgrounds, research must call into question the environment in which they operated and the conditions under which they honed their craft.
Dr. Ege's research concerns the necessary—and very exciting—task of excavating the history of twentieth-century African American women in classical music.
Dr. Ege received the Society for American Music’s Eileen Southern Fellowship (2019) and a Newberry Library Short-Term Residential Fellowship (2019) for her work on women's contributions to concert life in interwar Chicago. The Black Chicago Renaissance is a key area of interest.
“Nora Douglas Holt’s Teachings of a Black Classical Canon.” In The Oxford Handbook of Public Music Theory. Ed. J. Daniel Jenkins (Oxford University Press, forthcoming).
“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 39, no. 1. (Forthcoming.)
“Composing a Symphonist: Florence Price and the Hand of Black Women’s Fellowship.” Women and Music: A Journal of Gender and Culture 24 (2020): 7–27.
“The Aesthetics of Florence Price: Negotiating the Dissonances of a New World Nationalism.” Ph.D. dissertation, University of York, 2020.
“Florence Price and the Politics of her Existence.” The Kapralova Society Journal: A Journal of Women in Music 16 (2018): 1–10.
If you’d like to know more about Dr. Ege's scholarship, get in touch.