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In the mid-nineteenth century the United States was musically vibrant. Rising industrialization, a growing middle class, and increasing concern for the founding of American centers of art created a culture that was rich in musical capital. Beyond its importance to the people who created and played it is the fact that this music still influences our culture today. Although numerous academic resources examine the music and musicians of the Civil War era, the research is spread across a variety of disciplines and is found in a wide array of scholarly journals, books, and papers. It is difficult to assimilate this diverse body of research, and few sources are dedicated solely to a rigorous and comprehensive investigation of the music and the musicians of this era. This anthology, which grew out of the first two National Conferences on Music of the Civil War Era, is an initial attempt to address that need. Those conferences established the first academic setting solely devoted to exploring the effects of the Civil War on music and musicians. Bridging musicology and history, these essays represent the forefront of scholarship in music of the Civil War era. Each one makes a significant contribution to research in the music of this era and will ultimately encourage more interdisciplinary research on a subject that has relevance both for its own time and for ours. The result is a readable, understandable volume on one of the few understudied—yet fascinating—aspects of the Civil War era.
Stemming from the tradition of rallying troops and frightening enemies, mounted bands played a unique and distinctive role in American military history. Their fascinating story within the U.S. Army unfolds in this latest book from noted music historian and former army musician Bruce P. Gleason. Sound the Trumpet, Beat the Drums follows American horse-mounted bands from the nation's military infancy through its emergence as a world power during World War II and the corresponding shift from horse-powered to mechanized cavalry. Gleason traces these bands to their origins, including the horn-blowing Celtic and Roman cavalries of antiquity and the mounted Middle Eastern musicians whom European Crusaders encountered in the Holy Land. He describes the performance, musical selections, composition, and duties of American mounted bands that have served regular, militia, volunteer, and National Guard regiments in military and civil parades and concerts, in ceremonies, and on the battlefield. Over time the composition of the bands has changed—beginning with trumpets and drums and expanding to full-fledged concert bands on horseback. Woven throughout the book are often-surprising strands of American military history from the War of 1812 through the Civil War, action on the western frontier, and the two world wars. Touching on anthropology, musicology, and the history of the United States and its military, Sound the Trumpet, Beat the Drums is an unparalleled account of mounted military bands and their cultural significance.
The creation of the Confederate States of America and the subsequent Civil War inspired composers, lyricists, and music publishers in Southern and border states, and even in foreign countries, to support the new nation. Confederate-imprint sheet music articulated and encouraged Confederate nationalism, honored soldiers and military leaders, comforted family and friends, and provided diversion from the hardships of war. This is the first comprehensive history of the sheet music of the Confederacy. It covers works published before the war in Southern states that seceded from the Union, and those published during the war in Union occupied capitals, border and Northern states, and foreign countries. It is also the first work to examine the contribution of postwar Confederate-themed sheet music to the South's response to its defeat, to the creation and fostering of Lost Cause themes, and to the promotion of national reunion and reconciliation.
Music was everywhere during the Civil War. Tunes could be heard ringing out from parlor pianos, thundering at political rallies, and setting the rhythms of military and domestic life. With literacy still limited, music was an important vehicle for communicating ideas about the war, and it had a lasting impact in the decades that followed. Drawing on an array of published and archival sources, Christian McWhirter analyzes the myriad ways music influenced popular culture in the years surrounding the war and discusses its deep resonance for both whites and blacks, South and North. Though published songs of the time have long been catalogued and appreciated, McWhirter is the first to explore what Americans actually said and did with these pieces. By gauging the popularity of the most prominent songs and examining how Americans used them, McWhirter returns music to its central place in American life during the nation's greatest crisis. The result is a portrait of a war fought to music.
In December 1863, Civil War soldiers took refuge from the dismal conditions of war and weather. They made their winter quarters in the Piedmont region of central Virginia, the Union's Army of the Potomac in Culpeper County, the Confederacy's Army of Northern Virginia in neighboring Orange County. For the next six months, the opposing soldiers eyed each other warily across the Rapidan River. In "Music Along the Rapidan," James A. Davis examines the role of music in defining the social communities that emerged during this winter encampment. Music was an essential part of each soldier's personal identity and Davis considers how music became a means of controlling the acoustic and social cacophony of war that surrounded them. Music also became a touchstone for colliding communities during the encampment--the communities of the enlisted men and officers or Northerners and Southerners on the one hand, and the shared communities occupied by both soldier and civilian on the other--enabling them to define their relationships and their environment, emotionally, socially, and audibly.
Music and War in the United States introduces students to the long and varied history of music's role in war. Spanning the history of wars involving the United States from the American Revolution to the Iraq war, with contributions from both senior and emerging scholars, this edited volume brings together key themes in this vital area of study. The intersection of music and war has been of growing interest to scholars in recent decades, but to date, no book has brought together this scholarship in a way that is accessible to students. Filling this gap, the chapters here address topics such as military music, commemoration, music as propaganda and protest, and the role of music in treating post-traumatic stress disorder (PTSD), enabling readers to come to grips with the rich and complex relationship between one of the most essential arts and the conflicts that have shaped American society.
Teaching Difficult Topics provides a series of on-the-ground reflections from college music instructors working in a wide variety of institutional settings about their approaches to inclusive, supportive pedagogy in the music classroom. Although some imagine the music classroom to be an apolitical space, instructors find themselves increasingly in need of resources for incorporating issues of race and ethnicity, gender and sexuality, and historical trauma into their classrooms in ways that support student learning and safeguard their classroom communities. The teaching reflections in Teaching Difficult Topics examine difficult themes that fall into three primary categories: subjects that instructors sense to be controversial or emotionally challenging to discuss, those that derive from or intersect with real-world events that are difficult to process, and bigger-picture discussions of how music studies often focuses on dominant narratives while overlooking other perspectives. Some chapters offer practical guidance, lesson plans, and teaching materials to enable instructors to build discussions of race, gender, sexuality, and traumatic histories into their own classrooms; others take a more global view, reflecting on the importance and relevance of teaching these difficult topics and on how to respond in the music classroom when external events disrupt daily life.