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dc.contributor.authorBechtold, Rebeccah B.
dc.date.accessioned2015-11-06T20:00:29Z
dc.date.available2015-11-06T20:00:29Z
dc.date.issued2015-10
dc.identifier.citationRebeccah Bechtold. "A Revolutionary Soundscape: Musical Reform and the Science of Sound in Early America, 1760–1840." Journal of the Early Republic 35.3 (2015): 419-450. Project MUSE. Web. 30 Oct. 2015en_US
dc.identifier.issn0275-1275
dc.identifier.otherWOS:000362321400003
dc.identifier.urihttp://dx.doi.org/10.1353/jer.2015.0045
dc.identifier.urihttp://hdl.handle.net/10057/11577
dc.descriptionClick on the DOI link to access the article (may not be free).en_US
dc.description.abstractAmerican colonists initially encountered music in community settings, during worship services and public performances, as well as at dances and other social functions. The rise of singing schools in the 1720s and the growing accessibility of music in the mid eighteenth century, however, cultivated a wider appreciation for music as an individuated art. Early promoters in fact strongly advocated for music’s expansion in the United States by turning to the science behind sound; they argued that music’s impact on and engagement with bodily functions uniquely positioned music as a revolutionary aesthetic, capable of communicating to and regulating the emotions of its listening public. While scholars have described in detail the changing landscape of musical practice in the eighteenth and early nineteenth century, no study has addressed the relationship between music’s description as an embodied aesthetic and a revolutionary rhetoric that centralized the body’s importance to the national venture. This essay thus examines how eighteenth and early nineteenth century discussions on music were linked to the political aims of independence through a shared discourse of sensibility. Influenced by music’s origins as a sacred art and an Enlightenment rhetoric interested in bodily functions, Americans living and working in the northeastern cities of Philadelphia, Boston, and New York employed a revolutionary rhetoric that advocated for the aesthetic as a method of reform, accenting music’s potential in safeguarding national harmony and, in the nineteenth century, producing social concord.en_US
dc.language.isoen_USen_US
dc.publisherJohns Hopkins University Pressen_US
dc.relation.ispartofseriesJournal of the Early Republic;v.35:no.3
dc.subjectMusicen_US
dc.subjectEarly republicen_US
dc.subjectSoundscapeen_US
dc.subjectReformen_US
dc.subjectWilliam Billingsen_US
dc.subjectAndrew Lawen_US
dc.subjectThomas Hastingsen_US
dc.subjectLowell Masonen_US
dc.subjectAmerican Revolutionen_US
dc.subjectVirtueen_US
dc.subjectSensoryen_US
dc.subjectSympathyen_US
dc.subjectSensibilityen_US
dc.titleA revolutionary soundscape musical reform and the science of sound in early America, 1760-1840en_US
dc.typeArticleen_US
dc.rights.holderCopyright © 2015 Society for Historians of the Early American Republicen_US


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