Ann Ostendorf – författare

Sounds American provides new perspectives on the relationship between nationalism and cultural production by examining how Americans grappled with musical diversity in the early national and antebellum eras.During this period a resounding call to create a distinctively American music culture emerged as a way to bind together the varied, changing, and uncertain components of the new nation. This played out with particular intensity in the lower Mississippi River valley, and New Orleans especially. Ann Ostendorf argues that this region, often considered an exception to the nation—with its distance from the center of power, its non-British colonial past, and its varied population—actually shared characteristics of many other places eventually incorporated into the country, thus making it a useful case study for the creation of American culture.Ostendorf conjures the territory’s phenomenally diverse “music ways” including grand operas and balls, performances by church choirs and militia bands, and itinerant violin instructors. Music was often associated with “foreigners,” in particular Germans, French, Irish, and Africans. For these outsiders, music helped preserve collective identity. But for critics concerned with developing a national culture, this multitude of influences presented a dilemma that led to an obsessive categorization of music with racial, ethnic, or national markers. Ultimately, the shared experience of categorizing difference and consuming this music became a unifying national phenomenon. Experiencing the unknown became a shared part of the American experience.

Sounds American provides new perspectives on the relationship between nationalism and cultural production by examining how Americans grappled with musical diversity in the early national and antebellum eras.During this period a resounding call to create a distinctively American music culture emerged as a way to bind together the varied, changing, and uncertain components of the new nation. This played out with particular intensity in the lower Mississippi River valley, and New Orleans especially. Ann Ostendorf argues that this region, often considered an exception to the nation—with its distance from the center of power, its non-British colonial past, and its varied population—actually shared characteristics of many other places eventually incorporated into the country, thus making it a useful case study for the creation of American culture.Ostendorf conjures the territory’s phenomenally diverse “music ways” including grand operas and balls, performances by church choirs and militia bands, and itinerant violin instructors. Music was often associated with “foreigners,” in particular Germans, French, Irish, and Africans. For these outsiders, music helped preserve collective identity. But for critics concerned with developing a national culture, this multitude of influences presented a dilemma that led to an obsessive categorization of music with racial, ethnic, or national markers. Ultimately, the shared experience of categorizing difference and consuming this music became a unifying national phenomenon. Experiencing the unknown became a shared part of the American experience.

Sounds American provides new perspectives on the relationship between nationalism and cultural production by examining how Americans grappled with musical diversity in the early national and antebellum eras.During this period a resounding call to create a distinctively American music culture emerged as a way to bind together the varied, changing, and uncertain components of the new nation. This played out with particular intensity in the lower Mississippi River valley, and New Orleans especially. Ann Ostendorf argues that this region, often considered an exception to the nation-with its distance from the center of power, its non-British colonial past, and its varied population-actually shared characteristics of many other places eventually incorporated into the country, thus making it a useful case study for the creation of American culture.Ostendorf conjures the territory's phenomenally diverse "e;music ways"e; including grand operas and balls, performances by church choirs and militia bands, and itinerant violin instructors. Music was often associated with "e;foreigners,"e; in particular Germans, French, Irish, and Africans. For these outsiders, music helped preserve collective identity. But for critics concerned with developing a national culture, this multitude of influences presented a dilemma that led to an obsessive categorization of music with racial, ethnic, or national markers. Ultimately, the shared experience of categorizing difference and consuming this music became a unifying national phenomenon. Experiencing the unknown became a shared part of the American experience.

The Romani Atlantic is the first comprehensive look at Romani experiences in the Atlantic World. Together, the essays detail the Romani people's transatlantic circulations, interactions, connections, and exchanges, reinforcing the view that the Atlantic was a zone of contact where identities interlaced and transformed. The geographical points and flows covered include imperial Spain and Mexico, Lusophone Angolan slave trading ports, Ellis Island immigration controls, South-Eastern European villages, and Canadian community centers. Each case study illustrates the migratory flow and reflow of people, ideas, and processes, showing that Romani people have strategically engaged with state instruments, cultivated Romani distinctiveness, and built resilient communities. The Romani Atlantic traces the underexplored history of Romani migration and highlights the ways that Romani agency has shaped the modern world. This title is available as open access on Cambridge Core.