Rich in quality and diversity, the history of music in Georgia is a long one by American standards, spanning the better part of three centuries. This volume explores the musical landscape of Georgia's colonial period, from traditional ballads and operatic productions to John Wesley's first hymn book and New England fuging tunes that took root in south Georgia in the latter half of the century. Attention is also given to the musical and cultural contributions of the German-speaking Salzburgers who came to Georgia beginning in 1735, and to the manifold influences of African Americans in the late eighteenth century. By piecing together information drawn from court records, personal diaries and journals, newspaper notices, estate inventories, wills, and other historical documents, Ron Byrnside constructs a fascinating history of both the secular and sacred music of the colonial period with much of the material new to scholarship.
From trusted to tainted, an examination of the shifting perceived reputation of overseers of enslaved people during the eighteenth century. In the antebellum southern United States, major landowners typically hired overseers to manage their plantations. In addition to cultivating crops, managing slaves, and dispensing punishment, overseers were expected to maximize profits through increased productivity—often achieved through violence and cruelty. In Masters of Violence, Tristan Stubbs offers the first book-length examination of the overseers—from recruitment and dismissal to their relationships with landowners and enslaved people, as well as their changing reputations, which devolved from reliable to untrustworthy and incompetent. At the beginning of the eighteenth century, slave owners regarded overseers as reliable enforcers of authority; by the end of the century, particularly after the American Revolution, plantation owners viewed them as incompetent and morally degenerate, as well as a threat to their power. Through a careful reading of plantation records, diaries, contemporary newspaper articles, and many other sources, Stubbs uncovers the ideological shift responsible for tarnishing overseers’ reputations. In this book, Stubbs argues that this shift in opinion grew out of far-reaching ideological and structural transformations to slave societies in Virginia, South Carolina, and Georgia throughout the Revolutionary era. Seeking to portray slavery as positive and yet simultaneously distance themselves from it, plantation owners blamed overseers as incompetent managers and vilified them as violent brutalizers of enslaved people. “A solid work of scholarship, and even specialists in the field of colonial slavery will derive considerable benefit from reading it.” —Journal of Southern History “A major achievement, restoring the issue of class to societies riven by racial conflict.” —Trevor Burnard, University of Melbourne “Based on a detailed reading of overseers’ letters and diaries, plantation journals, employer’s letters, and newspapers, Tristan Stubbs has traced the evolution of the position of the overseer from the colonial planter’s partner to his most despised employee. This deeply researched volume helps to reframe our understanding of class in the colonial and antebellum South.” —Tim Lockley, University of Warwick
This is the most comprehensive account ever given of the theory behind the music of Baroque and Classical composers, from Bach to Beethoven. While giving preeminent theorists their due in this panoramic survey of musical thought, Joel Lester also examines the works of more than one hundred seventeenth- and eighteenth century writers.
This book correlates early American history during the Revolutionary War with the musical tradition of America. The growth and topics of American colonial and Revolutionary era music, especially in the military, are used as insight to military trends and American culture.
Music was everywhere in pre-Revolutionary Williamsburg, Virginia. In 1771, plantation owner Landon Carter noted in his diary that he could hear instruments through the windows of every house in town. In taverns and private homes, at formal performances and dances and casually around the campfire, music filled the daily lives of the people of Williamsburg. While the average citizen enjoyed music during public events, the city's elite, emulating their British counterparts, spent lavishly on instruments, sheet music and private lessons and held private concerts and dances. Williamsburg's theater, the first of its kind in America, provided a venue for all Virginians and brought numerous musical acts to the stage. Drawing on contemporary newspaper accounts, this book is the first to explore how some 18th-century Williamsburg citizens experienced the growing musical world around them.
John Wesley and George Whitefield were in many ways larger-than-life figures during their own lifetimes and continue to be so today. Yet our ability to appreciate their abiding influence on contemporary Evangelical theology and practice is lacking if we consider them in isolation from one another. Our understanding of Wesley and the legacy of his public ministry is impoverished apart from considering Whitefield (and vice versa). This collection of essays explores the complex dynamics at work in the Wesley-Whitefield relationship, spanning a variety of theological, historical, and pastoral facets of their full-orbed public ministries. They serve as an invitation to grow in our awareness of their undoubted affinities and significant differences, all the while resisting the potential allure of either uncritically ecumenical “Wesley and” or uncharitably partisan “Whitefield versus” narratives.
Following the creation of the United States, profound disagreements remained over how to secure the survival of the republic and unite its diverse population. In this pathbreaking account, Billy Coleman uses the history of American music to illuminate the relationship between elite power and the people from the early national period to the Civil War. Based on deep archival research in sources such as music periodicals, songbooks, and manuals for musical instruction, Coleman argues that a particular ideal of musical power provided conservative elites with an attractive road map for producing the harmonious union they desired. He reassesses the logic behind the decision to compose popular patriotic anthems like "The Star-Spangled Banner," reconsiders the purpose of early American campaign songs, and brings to life a host of often forgotten but fascinating musical organizations and individuals. The result is not only a striking interpretation of music in American political life but also a fresh understanding of conflicts that continue to animate American democracy.
Comprehensive and richly illustrated, Close Harmony traces the development of the music known as southern gospel from its antebellum origins to its twentieth-century emergence as a vibrant musical industry driven by the world of radio, television, recordings, and concert promotions. Marked by smooth, tight harmonies and a lyrical focus on the message of Christian salvation, southern gospel--particularly the white gospel quartet tradition--had its roots in nineteenth-century shape-note singing. The spread of white gospel music is intricately connected to the people who based their livelihoods on it, and Close Harmony is filled with the stories of artists and groups such as Frank Stamps, the Chuck Wagon Gang, the Blackwood Brothers, the Rangers, the Swanee River Boys, the Statesmen, and the Oak Ridge Boys. The book also explores changing relations between black and white artists and shows how, following the civil rights movement, white gospel was influenced by black gospel, bluegrass, rock, metal, and, later, rap. With Christian music sales topping the $600 million mark at the close of the twentieth century, Close Harmony explores the history of an important and influential segment of the thriving gospel industry.
Music aesthetics in late eighteenth-century Germany has always been problematic because there was no aesthetic theory to evaluate the enormous amount of high-quality instrumental music produced by composers like Haydn and Mozart. This book derives a practical aesthetic for German instrumental music during the late eighteenth century from a previously neglected source, reviews of printed instrumental works. At a time when the theory of mimesis dominated aesthetic thought, leaving sonatas and symphonies at the very bottom of the aesthetic hierarchy, a group of reviewers were quietly setting about the task of evaluating instrumental music on its own terms. The reviews document an intersection with trends in literature and philosophy, and reveal interest in criteria like genius, the expressive power of music, and the necessity of unity, several decades earlier than has previously been supposed.
The Wesleys and the Anglican Mission to Georgia, 1735-1738 considers the fascinating early history of a small group of men commissioned by trustees in England to spread Protestantism both to new settlers and indigenous people living in Georgia. Four minister-missionaries arrived in 1736, but after only two years these men detached themselves from the colonial enterprise, and the Mission effectively ended in 1738. Tracing the rise and fall of this endeavor, Scott’s study focuses on key figures in the history of the Mission including the layman, Charles Delamotte, and the ministers, John and Charles Wesley, Benjamin Ingham, and George Whitefield. In Scott’s innovative historical approach, neglected archival sources generate a detailed narrative account that reveals how these men’s personal experiences and personal networks had a significant impact on the inner-workings and trajectory of the Mission. The original group of missionaries who traveled to Georgia was composed of men already bound together by family relations, friendships, and shared lines of mentorship. Once in the colony, the missionaries’ prospects altered as they developed close ties with other missionaries (including a group of Moravians) and other settlers (John Wesley returned to England after his romantic relationship with Sophy Hopkey soured). Structures of imperialism, class, and race underlying colonial ideology informed the Anglican Mission in the era of trustee Georgia. The Wesleys and the Anglican Mission to Georgia enriches this historical picture by illuminating how a different set of intricacies, rooted in personal dynamics, was also integral to the events of this period. In Scott’s study, the history of the expansive eighteenth-century Atlantic world emerges as a riveting account of life unfolding on a local and individual level.
