Harnessing harmony : music, power, and politics in the UnitedStates, 1788-1865 (eBook, 2020) [WorldCat.org]
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Harnessing harmony : music, power, and politics in the UnitedStates, 1788-1865
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Harnessing harmony : music, power, and politics in the UnitedStates, 1788-1865

Author: Billy Coleman
Publisher: Chapel Hill : The University of North Carolina Press, 2020. ©2020
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
"'Harnessing harmony' uses music to unravel the relationship between elite power and the people through their uses of culture in politics from the early national period to the Civil War. Coleman traces how understandings of musical power were used to shape the development of a popular American political culture. It explores primarily how elites, at a time of mass democratization and rapid social change, looked to  Read more...
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Genre/Form: e-books
History
Livres numériques
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Billy Coleman
ISBN: 1469658895 9781469658896
OCLC Number: 1285505120
Description: 1 ressource en ligne (xv, 249 pages) : illustrations
Contents: "The star-spangled banner" and the development of a federalist musical tradition --
Musical organizations and the politics of American civil society --
Music and respectability in antebellum electoral politics --
Musicand the making of a conservative radical.
Responsibility: Billy Coleman.

Abstract:

"'Harnessing harmony' uses music to unravel the relationship between elite power and the people through their uses of culture in politics from the early national period to the Civil War. Coleman traces how understandings of musical power were used to shape the development of a popular American political culture. It explores primarily how elites, at a time of mass democratization and rapid social change, looked to music to persuade Americans to rise above political and partisan conflict to instead create a more unified, orderly, and deferential society. In doing so the work identifies a distinctively conservative strain of musical thought and action. As our readers point out, it impressively challenges prevailing scholarly assumptions about political music being more 'bottom up' than 'top down'"--

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