Reviewed by: Battle Hymns: The Power and Popularity of Music in the Civil War by Christian McWhirter Elizabeth Whittenburg Ozment (bio) Battle Hymns: The Power and Popularity of Music in the Civil War. By Christian McWhirter. (Chapel Hill: University of North Carolina Press, 2012. Pp. 336. Cloth, $39.95.) Civil War music scholars often describe a need to rescue war-era music from obscurity. Christian McWhirter continues this tradition in Battle Hymns by calling for dialogue between historians and musicologists to improve the documentation of nineteenth-century American music. McWhirter describes his primary goal as constructing a social history of Civil War–era music. Two theories in his introduction frame his approach. First, popularity correlates to historical significance. Second, published period documentation best demonstrates music’s resonance with audiences. McWhirter makes bold claims about the power and prevalence of music, which unlike other nineteenth-century media is described as a universal language that was performed and consumed by Americans of all classes. Evidence from newspapers, diaries, letters, and sheet music leads McWhirter to conclude that music surpassed other forms of written and [End Page 434] oral communication in shaping American perceptions about the war. The author does not consider music’s social power unique to this period, but stresses that the mid-nineteenth century was America’s most musical era, and the Civil War was America’s first musical war. Battle Hymns’s thorough bibliography blends historical and musicological sources. McWhirter constructs a detailed narrative about increased music consumerism while skillfully supporting his claims with references to newspapers, manuscripts, and sheet music. According to McWhirter, Civil War music was a memorable and accessible media form and a cultural tool that disseminated political ideas during a time when Americans preferred music to speeches or newspapers. Civil War Americans needed to process war-spawned social disorder, and songs such as “The Bonnie Blue Flag” shaped regional responses to the war. Music functioned differently in civilian and military spheres, but white anxieties about racial difference were expressed through a shared enthusiasm for the music of blackface minstrels. After the war, commemorative songs reflected psychological needs to justify the war. As time passed, Americans refashioned songs to align with war memories. A great achievement of Battle Hymns is its synthesis of data from previous studies. The book is dense yet easily accessible to a wide audience, and in the midst of the sesquicentennial it should attract considerable attention. Although McWhirter documents a substantive Civil War song history, the book leaves some questions unanswered. Somewhat surprising is the author’s heavy reliance on centennial-era sources, which may have led him to characterize popular music as simple, homogenous, and universally intelligible. For instance, McWhirter frequently cites Willard A. Heaps and Porter W. Heaps’s The Singing Sixties (1960) as the best Civil War music source, even though his bibliography attests to the depth and breadth of more recent research (Eric Lott, Eileen Southern, Nicholas Tawa, Richard Crawford, Mark Smith, Steven Cornelius). McWhirter might have critiqued the cultural conditions from which centennial-era research emerged or balanced those references with more contemporary scholarship. McWhirter’s decision to rely on published, commercially available compositions with lyrics that were consumed by white audiences allows him to claim that music steered Civil War discourse, but the argument relies on a narrow definition of what counts as “music.” Specialists will quibble, too, with the author’s blurring “genre” with “theme” when he claims that the most popular music genres were “patriotic” and “sentimental”; both terms describe subcategories of American popular song. The terms “music” and “song” are used interchangeably, too, which unfortunately led McWhirter [End Page 435] to exclude other music forms, music produced and performed by ethnic and racial minorities, and music with nontextual characteristics. This exclusion is reinforced by McWhirter’s decision to measure the popularity of period songs by comparing sales reports to repeated mention of song titles in newspapers and other texts. These choices may have resulted in an oversimplification of national aesthetics. In his last three chapters, McWhirter relies on more recent scholarship, and the results are more critical and gripping. In chapter 8, “Veterans, Memorialists, and the King: The Revival and Legacy of Civil...
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