Arguing for the importance of the aural dimension of history, Mark M. Smith contends that to understand what it meant to be northern or southern, slave or free--to understand sectionalism and the attitudes toward modernity that led to the Civil War--we must consider how antebellum Americans comprehended the sounds and silences they heard. Smith explores how northerners and southerners perceived the sounds associated with antebellum developments including the market revolution, industrialization, westward expansion, and abolitionism. In northern modernization, southern slaveholders heard the noise of the mob, the din of industrialism, and threats to what they considered their quiet, orderly way of life; in southern slavery, northern abolitionists and capitalists heard the screams of enslaved labor, the silence of oppression, and signals of premodernity that threatened their vision of the American future. Sectional consciousness was profoundly influenced by the sounds people attributed to their regions. And as sectionalism hardened into fierce antagonism, it propelled the nation toward its most earsplitting conflict, the Civil War.

In this audacious book, Ana María Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.

Hearing History is a long-needed introduction to the basic tenets of what is variously termed historical acoustemology, auditory culture, or aural history. Gathering twenty-one of the fields most important writings, this volume will deepen and broaden our understanding of changing perceptions of sound and hearing and the ongoing education of our senses. The essays stimulate thinking on key questions: What is aural history? Why has vision tended to triumph over hearing in historical accounts? How might we begin to reclaim the sounds of the past? With theoretical and practical essays on the history of sound and hearing in Europe and the United States, the book draws on historical approaches ranging from empiricism to postmodernism. Some essays show the historian of technology at work, others highlight how With theoretical and practical essays on the history of sound and hearing in Europe and the United States, the book draws on historical approaches ranging from empiricism to postmodernism. Some essays show the historian of technology at work, others highlight how military, social, intellectual, and cultural historians have tackled historical acoustemologies. Investigating soundscapes that include a Puritan meetinghouse in colonial New England, the belfries of a French village at the close of the Old Regime, the court hall of Elizabeth I, and a Civil War battlefield, the essays vary just as widely in their topics, which include noise as a marker of social and cultural differences, the privileging of music as the sound of art, the persistence of Aristotelian ideas of sound into the seventeenth century, developments in sound related to medical practice, the advent of sound-recording technology, and noise pollution.

In early America, every sound had a living, wilful force at its source - sometimes these forces were not human or even visible. The author recreates in detail a world remote from our own, one in which sounds were charged with meaning and power.

Challenging traditional assumptions about the plantation economy's reliance on a pre-modern, nature-based conception of time, Mark M. Smith shows how and why southerners--particularly masters and their slaves--came to view the clock as a legitimate arbiter of time. Ironically, Smith shows, freedom largely consolidated the dependence of masters as well as freedpeople on the clock.

Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians’ unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America’s musical history.

For at least two centuries, argues mark smith, white southerners used all of their senses - not just their eyes - to construct racial difference and dene race. His provocative analysis, extending from the colonial period to the mid-twentieth century, shows how whites of all classes used the articial binary of ''black'' and ''white'' to justify slavery and erect the political, legal, and social structure of segregation. Based on painstaking research, how race is made is a highly original, always frank, and often disturbing book. After enslaved Africans were initially brought to America, the offspring of black and white sexual relationships (consensual and forced) complicated the purely visual sense of racial typing. As mixed-race people became more and more common and as antebellum race-based slavery and then post bellum racial segregation became central to southern society, white southerners asserted that they could relyon their other senses - touch, smell, sound, and taste - to identify who was ''white'' and who was not. Sensory racial stereotypes were invented and irrational, but at every turn, smith shows, these constructions of race, immune to logic, signied difference and perpetuated inequality. Smith argues that the history of southern race relations and the construction of racial difference on which that history is built cannot be understood fully on the basis of sight alone. In order to come to terms with the south's past and present, smith says, we must explore the sensory dynamics underpinning the deeply emotional construction of race. How race is made takes a bold step toward that understanding.