Blackface Nation

Blackface Nation

Author: Brian Roberts

Publisher: University of Chicago Press

Published: 2017-04-18

Total Pages: 371

ISBN-13: 022645178X

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As the United States transitioned from a rural nation to an urbanized, industrial giant between the War of 1812 and the early twentieth century, ordinary people struggled over the question of what it meant to be American. As Brian Roberts shows in Blackface Nation, this struggle is especially evident in popular culture and the interplay between two specific strains of music: middle-class folk and blackface minstrelsy. The Hutchinson Family Singers, the Northeast’s most popular middle-class singing group during the mid-nineteenth century, is perhaps the best example of the first strain of music. The group’s songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, women’s rights, and socialism. Blackface minstrelsy, on the other hand, emerged out of an audience-based coalition of Northern business elites, Southern slaveholders, and young, white, working-class men, for whom blackface expressed an identity rooted in individual self-expression, anti-intellectualism, and white superiority. Its performers embodied the love-crime version of racism, in which vast swaths of the white public adored African Americans who fit blackface stereotypes even as they used those stereotypes to rationalize white supremacy. By the early twentieth century, the blackface version of the American identity had become a part of America’s consumer culture while the Hutchinsons’ songs were increasingly regarded as old-fashioned. Blackface Nation elucidates the central irony in America’s musical history: much of the music that has been interpreted as black, authentic, and expressive was invented, performed, and enjoyed by people who believed strongly in white superiority. At the same time, the music often depicted as white, repressed, and boringly bourgeois was often socially and racially inclusive, committed to reform, and devoted to challenging the immoralities at the heart of America’s capitalist order.


A Rollick of Recorders, Or Other Instruments

A Rollick of Recorders, Or Other Instruments

Author: Herbert Watson

Publisher: Colonial Williamsburg

Published: 1975

Total Pages: 28

ISBN-13: 9780879350291

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The pieces in this collection have been arranged for the recorder, an instrument known in the eighteenth century as the English, or common, flute. Included are thirteen tunes that our colonial forebears used for lighthearted music making.


The Correspondence of Jeremy Bentham, Volume 13

The Correspondence of Jeremy Bentham, Volume 13

Author: Chris Riley

Publisher: UCL Press

Published: 2024-04-11

Total Pages: 712

ISBN-13: 1800086105

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The Correspondence of Jeremy Bentham, Volume 13 contains authoritative and fully annotated texts of all known and publishable letters sent both to and from Bentham between 1 July 1828 and his death on 6 June 1832. In addition to 474 letters, the volume contains three memorandums concerning Bentham’s health shortly before this death, his Last Will and Testament, and extracts from both the Autobiography and the manuscript diaries of Bentham’s nephew George. Of the letters that have already been published, most are drawn from the edition of The Works of Jeremy Bentham, prepared under the superintendence of Bentham’s literary executor John Bowring. A small number of letters have been reproduced from newspapers and periodicals. This volume publishes for the first time all the extant correspondence between Bentham and Daniel O’Connell, the Irish Liberator. Other new acquaintances included Charles Sinclair Cullen, barrister and law reformer, and John Tyrrell, the Real Property Commissioner. Throughout the period, Bentham maintained regular contact with old friends and connections, but he also entered into sporadic correspondence with such leading figures in government as the Duke of Wellington, Robert Peel and Henry Brougham. Further afield, Bentham corresponded, amongst others, with the Marquis de La Fayette in France, Edward Livingston in the United States of America and José Del Valle in Guatemala.


Tap Roots

Tap Roots

Author: Mark Knowles

Publisher: McFarland

Published: 2002-06-03

Total Pages: 288

ISBN-13: 9780786412679

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Tracing the development of tap dancing from ancient India to the Broadway stage in 1903, when the word "Tap" was first used in publicity to describe this new American style of dance, this text separates the cultural, societal and historical events that influenced the development of Tap dancing. Section One covers primary influences such as Irish step dancing, English clog dancing and African dancing. Section Two covers theatrical influences (early theatrical developments, "Daddy" Rice, the Virginia Minstrels) and Section Three covers various other influences (Native American, German and Shaker). Also included are accounts of the people present at tap's inception and how various styles of dance were mixed to create a new art form.


Music of the Colonial and Revolutionary Era

Music of the Colonial and Revolutionary Era

Author: John Ogasapian

Publisher: Bloomsbury Publishing USA

Published: 2004-10-30

Total Pages: 265

ISBN-13: 0313061890

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The colonial days of America marked not only the beginnings of a country, but also of a new culture, part of which was the first American music publishers, entrepreneurs, and instrument makers forging musical communities from New England to New Spain. Elements of British, Spanish, German, Scots-Irish, and Native American music all contributed to the many cultures and subcultures of the early nation. While English settlers largely sought to impose their own culture in the new land, the adaptation of native music by Spanish settlers provided an important cultural intersection. The music of the Scots-Irish in the middle colonies planted the seeds of a folk ballad tradition. In New England, the Puritans developed a surprisingly rich—and recreational—musical culture. At the same time, the Regular Singing Movement attempted to reduce the role of the clergy in religious services. More of a cultural examination than a music theory book, this work provides vastly informative narrative chapters on early American music and its role in colonial and Revolutionary culture. Chapter bibliographies, a timeline, and a subject index offer additional resources for readers. The American History through Music series examines the many different types of music prevalent throughout U.S. history, as well as the roles these music types have played in American culture. John Ogasapian's volume on the Colonial and Revolutionary period applies this cultural focus to the music of America's infancy and illuminates the surprisingly complex relationships in music of that time.


Incidental Music, Part 3

Incidental Music, Part 3

Author: John Eccles

Publisher: A-R Editions, Inc.

Published:

Total Pages: 311

ISBN-13: 1987208560

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John Eccles’s active theatrical career spanned a period of about sixteen years, though he continued to compose occasionally for the theater after his semi-retirement in 1707. During his career he wrote incidental music for more than seventy plays, writing songs that fit perfectly within their dramatic contexts and that offered carefully tailored vehicles for his singers’ talents while remaining highly accessible in tone. This edition includes music composed by Eccles for plays beginning with the letters R–W, along with secular songs and catches by Eccles that were not associated with plays. These plays were fundamentally collaborative ventures, and multiple composers often supplied the music; thus, this edition includes all the known songs and instrumental items for each play. Plot summaries of the plays are given along with relevant dialogue cues, and the songs are given in the order in which they appear in the drama (when known).