The Ku Klux Klan has received much attention for its violent activities, but comparatively little research has been done on its musical legacy. The printed music that still exists is spread throughout the nation in both public and private collections. This work presents, chronologically, the music associated with the Klan from 1867 to 2002, thus enabling readers to sense the arguments and attitudes of the Klan as they developed and changed over time. Because of the relative scarcity of Klan-related music, non-Klan music that mentions the word "Klan" is included. These obscure references help place the Klan in a larger social perspective and are very important in documenting anti-Klan musical reaction. In instances where a song merely mentions the Klan, usually in only one verse or in the chorus, then only that verse containing the Klan reference, plus appropriate context, is included. The catalogue also includes Klan-related music that does not have lyrics, such as marches, waltzes, two-steps, and several Klan-related pieces that were published in Europe. Sheet music was virtually nonexistent after the 1930s, so in order to capture a feeling of Klan-related music today, a limited discography of Klan-related recordings from 1920 to 2002 is also included.

The Ku Klux Klan has received much attention for its violent activities, but comparatively little research has been done on its musical legacy. The printed music that still exists is spread throughout the nation in both public and private collections. This work presents, chronologically, the music associated with the Klan from 1867 to 2002, thus enabling readers to sense the arguments and attitudes of the Klan as they developed and changed over time. Because of the relative scarcity of Klan-related music, non-Klan music that mentions the word "Klan" is included. These obscure references help place the Klan in a larger social perspective and are very important in documenting anti-Klan musical reaction. In instances where a song merely mentions the Klan, usually in only one verse or in the chorus, then only that verse containing the Klan reference, plus appropriate context, is included. The catalogue also includes Klan-related music that does not have lyrics, such as marches, waltzes, two-steps, and several Klan-related pieces that were published in Europe. Sheet music was virtually nonexistent after the 1930s, so in order to capture a feeling of Klan-related music today, a limited discography of Klan-related recordings from 1920 to 2002 is also included.

In popular understanding, the Ku Klux Klan is a hateful white supremacist organization. In Ku Klux Kulture, Felix Harcourt argues that in the 1920s the self-proclaimed Invisible Empire had an even wider significance as a cultural movement. Ku Klux Kulture reveals the extent to which the KKK participated in and penetrated popular American culture, reaching far beyond its paying membership to become part of modern American society. The Klan owned radio stations, newspapers, and sports teams, and its members created popular films, pulp novels, music, and more. Harcourt shows how the Klan’s racist and nativist ideology became subsumed in sunnier popular portrayals of heroic vigilantism. In the process he challenges prevailing depictions of the 1920s, which may be best understood not as the Jazz Age or the Age of Prohibition, but as the Age of the Klan. Ku Klux Kulture gives us an unsettling glimpse into the past, arguing that the Klan did not die so much as melt into America’s prevailing culture.

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.

In 1920s Middle America, the Ku Klux Klan gained popularity not by appealing to the fanatical fringes of society, but by attracting the interest of “average” citizens. During this period, the Klan recruited members through the same unexceptional channels as any other organization or club, becoming for many a respectable public presence, a vehicle for civic activism, or the source of varied social interaction. Its diverse membership included men and women of all ages, occupations, and socio-economic standings. Although surviving membership records of this clandestine organization have proved incredibly rare, Everyday Klansfolk uses newly available documents to reconstruct the life and social context of a single grassroots unit in Newaygo County, Michigan. A fascinating glimpse behind the mask of America’s most notorious secret order, this absorbing study sheds light on KKK activity and membership in Newaygo County, and in Michigan at large, during the brief and remarkable peak years of its mass popular appeal.

The first comprehensive examination of the nineteenth-century Ku Klux Klan since the 1970s, Ku-Klux pinpoints the group's rise with startling acuity. Historians have traced the origins of the Klan to Pulaski, Tennessee, in 1866, but the details behind the group's emergence have long remained shadowy. By parsing the earliest descriptions of the Klan, Elaine Frantz Parsons reveals that it was only as reports of the Tennessee Klan's mysterious and menacing activities began circulating in northern newspapers that whites enthusiastically formed their own Klan groups throughout the South. The spread of the Klan was thus intimately connected with the politics and mass media of the North. Shedding new light on the ideas that motivated the Klan, Parsons explores Klansmen's appropriation of images and language from northern urban forms such as minstrelsy, burlesque, and business culture. While the Klan sought to retain the prewar racial order, the figure of the Ku-Klux became a joint creation of northern popular cultural entrepreneurs and southern whites seeking, perversely and violently, to modernize the South. Innovative and packed with fresh insight, Parsons' book offers the definitive account of the rise of the Ku Klux Klan during Reconstruction.

From tent revivals to radio and records with a gospel music innovator Homer Rodeheaver merged evangelical hymns and African American spirituals with popular music to create a potent gospel style. Kevin Mungons and Douglas Yeo examine his enormous influence on gospel music against the backdrop of Christian music history and Rodeheaver's impact as a cultural and business figure. Rodeheaver rose to fame as the trombone-playing song leader for evangelist Billy Sunday. As revivalism declined after World War I, Rodeheaver leveraged his place in America's newborn celebrity culture to start the first gospel record label and launch a nationwide radio program. His groundbreaking combination of hymnal publishing and recording technology helped define the early Christian music industry. In his later years, he influenced figures like Billy Graham and witnessed the music's split into southern gospel and black gospel. Clear-eyed and revealing, Homer Rodeheaver and the Rise of the Gospel Music Industry is an overdue consideration of a pioneering figure in American music.