Abstract
ABSTRACT Although he would come to be seen as the “father of American music,” Stephen Collins Foster (1826–1864) was mostly unknown until 1900, when a statue by Giuseppe Moretti was erected in Pittsburgh depicting the composer seated above an enslaved man and transcribing the music he performs. This essay explores the historical meanings of the monument by analyzing private and public writings from its genesis, fundraising campaign, and unveiling, situating the statue within the songwriter’s family’s efforts to shape public memory and the larger political context of reconciliation between North and South after the Civil War.
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