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Each chapter covers a specific period of the eighteenth or nineteenth century, and major areas of activity examined include music on public and social occasions, music merchantry and instruction, concerts, the theater, and music of the church. 42 photographic reproductions.
Startled by rapid social changes at the turn of the twentieth century, citizens of Atlanta wrestled with fears about the future of race relations, the shape of gender roles, the impact of social class, and the meaning of regional identity in a New South. Gavin James Campbell demonstrates how these anxieties were played out in Atlanta's popular musical entertainment. Examining the period from 1890 to 1925, Campbell focuses on three popular musical institutions: the New York Metropolitan Opera (which visited Atlanta each year), the Colored Music Festival, and the Georgia Old-Time Fiddlers' Convention. White and black audiences charged these events with deep significance, Campbell argues, turning an evening's entertainment into a struggle between rival claimants for the New South's soul. Opera, spirituals, and fiddling became popular not just because they were entertaining, but also because audiences found them flexible enough to accommodate a variety of competing responses to the challenges of making a New South. Campbell shows how attempts to inscribe music with a single, public, fixed meaning were connected to much larger struggles over the distribution of social, political, cultural, and economic power. Attitudes about music extended beyond the concert hall to simultaneously enrich and impoverish both the region and the nation that these New Southerners struggled to create.
Hailed as a classic by reviewers and historians, Bertram Wyatt-Brown's Southern Honor now appears in abridged form under the title Honor and Violence in the Old South. Winner of a Phi Alpha Theta Book Award and a Jefferson Davis Memorial Book Award and a finalist for the Pulitzer Prize in History, this is the first major reinterpretation of Southern life and custom since W.J, Cash's The Mind of the South. It explores the meaning and expression of the ancient code of honor as whites—both slaveholders and non-slaveholders—applied it to their lives. Wyatt-Brown ranges widely—covering topics such as childbearing, marital patterns, duelling, slave discipline, and lynch-law—to discover the role of honor in the psyche of white Southerners.
The first volume of a collection of short stories by Sean Dietrich, a writer, humorist, and novelist, known for his commentary on life in the American South. His humor and short fiction appear in various publications throughout the Southeast.
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied. The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose. Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.
This is a new release of the original 1937 edition.
"In this first ethnomusicological analysis of ancient Andean musical instruments, Dale Olsen breathes life and humanity into the music making of pre-Hispanic cultures in the northern and central Andes. Assessing three decades' worth of anthropological findings from diverse collections, museums, tombs, and temples, Olsen asks, "What did music mean in the lives of these pre-Columbians?" Part musical quest, part adventure of the mind, the book explores why, when, and how the instruments were played and provides a tangible link not only to a wealth of material culture but to the spirit of these ancient people as well."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.