A BOND OF DISTINCTION
A FLORENCE PRICE POSTHUMOUS PREMIERE
BLACK REINSCRIPTION, WHITE REPRISAL: ELIZABETH KECKLEY AND MARGARET BONDS
SEQUINA DUBOSE: FROM “BLURRED LINES,” A MESSAGE CRYSTAL CLEAR (pt. 1 of 2)
Margaret Bonds and The Ballad of the Brown King
The Tombstone’s Tale (2)
ANTI-SEMITISM AND ANTI-JUDAISM IN ROMANTIC MUSIC (Part 4: Science's Betrayal, Music's Losses)
ANTI-SEMITISM AND ANTI-JUDAISM IN ROMANTIC MUSIC (Part 2: Richard Wagner)
ANTI-SEMITISM AND ANTI-JUDAISM IN ROMANTIC MUSIC (Part 1)
RACISM IN ROMANTIC MUSIC (4): CANONICAL SILENCING, AND SOME CONCLUSIONS
RACISM IN ROMANTIC MUSIC (3): ARCHIVAL SILENCING
RACISM IN ROMANTIC MUSIC (2): SILENCING BY MUSIC PUBLISHERS
RRM – RACISM IN ROMANTIC MUSIC (Part 1 of 4)
MARGARET BONDS, LANGSTON HUGHES, AND THE JOY OF “JOY”:
A FATHER-DAUGHTER GIFT FOR TODAY
A HISTORIC RE-ENACTMENT
A MOST AUSPICIOUS OCCASION
MARGARET BONDS: “NO MAN HAS SEEN HIS FACE” (1968)
COALESCENCE, CULMINATION, AND EMANCIPATION:
J.S. BACH AND THE HARMONY OF THE SPHERES AT THE ROYAL OBSERVATORY GREENWICH