Hostname: page-component-76fb5796d-x4r87 Total loading time: 0 Render date: 2024-04-27T18:00:49.664Z Has data issue: false hasContentIssue false

Histories with Sound: Using Noise and Music to Teach (and Research) the Gilded Age and Progressive Era

Published online by Cambridge University Press:  15 December 2023

Samuel E. Backer*
Affiliation:
Johns Hopkins University, Baltimore, MD, USA

Abstract

In recent years, the history of sound has developed into a rich body of interdisciplinary scholarship. This article explores the benefits of considering sonic evidence alongside a host of other material; teaching and writing histories with—rather than of—sound. In the classroom, this kind of “history with sound” is particularly useful for its ability to cut across lines of scholarly inquiry. This makes sound an especially potent resource when teaching the history of the United States during the Gilded Age and Progressive Era. During these years, American society underwent a many-sided process of development difficult to adequately narrativize. The study of sound, with its ability to link numerous trends and dynamics within densely layered events, can help address this issue. Providing insight into the practices and problems of everyday life, such sonic history can reveal the interplay of change and continuity that defined the social experience of the turn-of-the-century United States. Focused on sound in New York, this article provides an overview of the topic’s historiography before examining a series of distinct case studies for classroom use.

Type
Teaching the Gilded Age and Progressive Era
Copyright
© The Author(s), 2023. Published by Cambridge University Press on behalf of the Society for Historians of the Gilded Age and Progressive Era (SHGAPE)

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes

1 An excellent summary of the field can be found in a series of review articles, including Hilmes, Michele, “Is There a Field Called Sound Culture Studies? And Does It Matter?American Quarterly 57 (Mar. 2005): 249–59CrossRefGoogle Scholar; Smith, Bruce R., “How Sound is Sound History? A Response to Mark Smith,” Journal of the Historical Society 2 (Summer/Fall 2002): 307–15CrossRefGoogle Scholar. Rosenfeld, Sophia, “On Being Heard: A Case for Paying Attention to the Historical Ear,” American Historical Review 116 (Apr. 2011): 316–34CrossRefGoogle Scholar; Sterne, Jonathan, “Sonic Imaginations” in The Sound Studies Reader, ed. Sterne, Jonathan (New York: Routledge, 2012), 119 CrossRefGoogle Scholar; Johnson, Bruce, “Sound Studies Today: Where Are We Going?” in A Cultural History of Sound, Memory, and the Senses, ed. Damousi, Joy and Hamilton, Paula (New York: Routledge, 2017), 722 Google Scholar.

2 Steve Goodman, “The Ontology of Vibrational Force” in Sound Studies Reader; Gavin Steingo and Jim Sykes, “Introduction: Remapping Sound Studies in the Global South” and Steingo, Gavin, “Another Resonance: Africa and the Study of Sound,” in Remapping Sound Studies, ed. Steingo, Gavin and Sykes, Jim (Durham, NC: Duke University Press, 2019), 161 Google Scholar.

3 For example, see Corbin, Alain, Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside, trans. Thom, Martin (New York: Columbia University Press, 1999)Google Scholar; Smith, Mark M., Listening to Nineteenth-Century America (Chapel Hill: University of North Carolina Press, 2001)Google Scholar; Richard Cullen Rath, “No Corner for the Devil to Hide,” in Sound Studies Reader; Corbould, Clare, “Streets, Sounds and Identity in Interwar Harlem,” Journal of Social History 40 (Summer 2007): 859–94CrossRefGoogle Scholar.

4 Sterne, Jonathan, The Audible Past: Cultural Origins of Sound Reproduction (Durham, NC: Duke University Press, 2003), 123 Google Scholar.

5 Attali, Jacques, Noise: The Political Economy of Music, trans. Massumi, Brian (Minneapolis: University of Minnesota Press), 1985 Google Scholar.

6 Thompson, Emily, The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1930 (Cambridge, MA: MIT Press, 2002)Google Scholar.

7 For a recent example of such work, see Simon P. Newman, “Hidden in Plain Sight: Escaped Slaves in Eighteenth and early Nineteenth Century Jamaica,” William and Mary Quarterly (June 2018): https://oireader.wm.edu/open_wmq/hidden-in-plain-sight/hidden-in-plain-sight-escaped-slaves-in-late-eighteenth-and-early-nineteenth-century-jamaica/ (accessed Aug. 27, 2023). For more on teaching with sound, see Catherine Baker, “Symphony of Sirens: Uses and Problems of Sound in Teaching and Learning about Music and Politics,” Radical History Review 121 (Jan. 2015): 197–208.

8 Benson, Ettiene, “The Urbanization of the Eastern Gray Squirrel in the United States,” Journal of American History 100 (Dec. 2013): 691710 CrossRefGoogle Scholar.

9 For a useful discussion of the history of soundscape as a conceptual tool, see Kelman, Ari Y., “Rethinking the Soundscape: A Critical Genealogy of a Key Term in Sound Studies,” Senses and Society 5 (2010): 212–34CrossRefGoogle Scholar.

10 For example, Rebecca Edwards’s exemplary New Spirits primarily dispenses with chronology, instead adopting a synchronic examination of the various threads making up the period. Edwards, Rebecca, New Spirits: Americans in the Gilded Age, 1865–1905, 2nd ed. (New York: Oxford University Press, 2010)Google Scholar.

11 For an overview of the scale of the change to the American lived environment that began in this period, see Gordon, Robert. J., The Rise and Fall of American Growth: The U.S. Standard of Living Since the Civil War (Princeton: Princeton University Press, 2016)CrossRefGoogle Scholar.

12 White, Richard, The Republic for Which It Stands: The United States During Reconstruction and the Gilded Age, 1865–1896 (New York: Oxford University Press, 2017), 405–39Google Scholar; Mack, Adam, Sensing Chicago: Noisemakers, Strikebreakers, and Muckrakers (Urbana: University of Illinois Press, 2015)CrossRefGoogle Scholar.

13 For a discussion of these dynamics within New York City, see Burrows, Edwin G. and Wallace, Mike, Gotham: A History of New York City to 1898 (New York: Oxford University Press, 1999)Google Scholar, chs. 56–59.

14 Burrows and Wallace, Gotham, ch. 60.

15 Hepp, John Henry IV The Middle-Class City: Transforming Time and Space in Philadelphia, 1876–1926 (Philadelphia: University of Pennsylvania Press, 2018)Google Scholar; Stevenson, Louise L., The Victorian Homefront: American Thought and Culture, 1860–1880 (New York: Twayne Publishing Co., 1991), 130 Google Scholar.

16 Bijsterveld, Karin, Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century (Cambridge, MA: MIT Press, 2008), 191 Google Scholar.

17 Mack, Sensing Chicago; Vaillant, Derek, Sounds of Reform: Progressivism and Music in Chicago, 1873–1935 (Chapel Hill: University of North Carolina Press, 2003)Google Scholar.

18 Stoever, Jennifer, “‘Just Be Quiet Pu-leeze’: The New York Amsterdam News Fights the Postwar ‘Campaign against Noise,’” Radical History Review 121 (Jan. 2015): 145–68CrossRefGoogle Scholar.

19 Corbould, “Streets, Sounds, and Identity in Interwar Harlem,” 859–94; Hansen, Miriam, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, MA: Harvard University Press, 1994)Google Scholar.

20 Levine, Lawrence W., Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1990)Google Scholar; Horowitz, Joseph, “‘Sermons in Tones’: Sacralization as a Theme in American Classical Music,” American Music 16 (Autumn 1998): 311–40CrossRefGoogle Scholar.

21 Roell, Craig H., The Piano in America, 1890–1940 (Chapel Hill: University of North Carolina Press, 1989), 167 Google Scholar.

22 Schafer, William John, The Art of Ragtime: Form and Meaning of an Original Black American Art (Baton Rouge: Louisiana State University Press, 1973), 340 Google Scholar; Ayers, Edward L., The Promise of the New South: Life After Reconstruction, 15th Anniversary Edition (1992; New York: Oxford University Press, 2007), 34160 CrossRefGoogle Scholar. Miller, Karl Hagstrom, Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow (Durham, NC: Duke University Press, 2010), 2350 CrossRefGoogle Scholar.

23 Gilbert, David, The Product of Our Souls: Ragtime, Race, and the Birth of the Manhattan Musical Marketplace (Chapel Hill: University of North Carolina Press, 2015)CrossRefGoogle Scholar.

24 McBee, Randy D., Dance Hall Days: Intimacy and Leisure among Working-Class Immigrants in the United States (New York: New York University Press, 2000)Google Scholar; Heinze, Andrew R., Adapting to Abundance: Jewish Immigrants, Mass Consumption, and the Search for American Identity (New York: Columbia University Press, 1990)Google Scholar.

25 Powers, Madelon, Faces Along the Bar: Lore and Order in the Workingman’s Saloon, 1870–1920 (Chicago: University of Chicago Press, 1998)Google Scholar; Rosenzweig, Roy, Eight Hours for What We Will: Workers and Leisure in an Industrial City, 1870–1920 (Cambridge: Cambridge University Press, 1985)Google Scholar.

26 Cockrell, Dale, Everybody’s Doin’ It: Sex, Music, and Dance in New York, 1840–1917 (New York: W.W. Norton, 2019)Google Scholar.

27 Nasaw, David, Going Out: The Rise and Fall of Public Amusements (Cambridge, MA: Harvard University Press, 1999), 162 Google Scholar.