Scholarly volumes have been written about the causes of the war, presenting plausible reasons for the bloodbath of the 1860s. The arguments are endless and fascinating. Every generation finds new insight into the times. What has largely been ignored is the role of songs in America’s Civil War. This book chronicles the war’s social history in terms of its seldom discussed musical side, and is told from the perspective of the South. Outmanned and outgunned during the War, the South was certainly not musically bested.

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.

Beginning with the arrival of the first Africans in the English colonies, Eileen Southern weaves a fascinating narrative of intense musical activity. As singers, players, and composers, black American musicians are fully chronicled in this landmark book. Now in the third edition, the author has brought the entire text up to date and has added a wealth of new material covering the latest developments in gospel, blues, jazz, classical, crossover, Broadway, and rap as they relate to African American music.

The Wilderness, the Nation, and the Electronic Era: American Christianity and Religious Communication 1620-2000: An Annotated Bibliography contains over 2,400 annotations of books, book chapters, essays, periodical articles, and selected dissertations dealing with the various means and technologies of Christian communication used by clergy, churches, denominations, benevolent associations, printers, booksellers, publishing houses, and individuals and movements in their efforts to disseminate news, knowledge, and information about religious beliefs and life in the United States from colonial times to the present. Providing access to the critical and interpretive literature about religious communication is significant and plays a central role in the recent trend in American historiography toward cultural history, particularly as it relates to numerous collateral disciplines: sociology, anthropology, education, speech, music, literary studies, art history, and technology. The book documents communication shifts, from oral history to print to electronic and visual media, and their adaptive uses in communication networks developed over the nation's history. This reference brings bibliographic control to a large and diverse literature not previously identified or indexed.

This book presents the theoretical language and methodological tools needed for thinking through issues of global media representation. It brings students into a conversation about global culture and communication through the presentation of a conceptual language to discuss the "logics of globalization" (i.e., nationalism, modernism, postmodernism/colonialism, capitalism, and terrorism). Anandam Kavoori uses this language to critically interrogate various media texts. The choices of texts are eclectic-representing old and new media-and chosen for the wider "logic" they help animate. Most importantly, they reorient the study of global media texts from the formal to the popular, examining films, music, gaming, cell phones, travel journalism, and performance. Book jacket.