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How Sweet the Sound: Music in the Spiritual Lives of Americans, by David W. Stowe
Download PDF How Sweet the Sound: Music in the Spiritual Lives of Americans, by David W. Stowe
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Musical expression is at the heart of the American spiritual experience. And nowhere can you gauge the depth of spiritual belief and practice more than through the music that fills America's houses of worship. Most amazing is how sacred music has been shaped by the exchanges of diverse peoples over time. How Sweet the Sound traces the evolution of sacred music from colonial times to the present, from the Puritans to Sun Ra, and shows how these cultural encounters have produced a rich harvest of song and faith.
Pursuing the intimate relationship between music and spirituality in America, Stowe focuses on the central creative moments in the unfolding life of sacred song. He fills his pages with the religious music of Indians, Shakers, Mormons, Moravians, African-Americans, Jews, Buddhists, and others. Juxtaposing music cultures across region, ethnicity, and time, he suggests the range and cross-fertilization of religious beliefs and musical practices that have formed the spiritual customs of the United States, producing a multireligious, multicultural brew.
Stowe traces the evolution of sacred music from hymns to hip-hop, finding Christian psalms deeply accented by the traditions of Judaism, and Native American and Buddhist customs influenced by Protestant Christianity. He shows how the creativity and malleability of sacred music can explain the proliferation of various forms of faith and the high rates of participation they've sustained. Its evolution truly parallels the evolution of American pluralism.
- Sales Rank: #1040316 in Books
- Brand: Brand: Harvard University Press
- Published on: 2004-04-30
- Released on: 2004-05-30
- Original language: English
- Number of items: 1
- Dimensions: 9.34" h x 1.27" w x 6.38" l, 1.51 pounds
- Binding: Hardcover
- 352 pages
Features
- Used Book in Good Condition
Review
How Sweet the Sound limns the harmonies of religion, hymns, and American culture through an amazing musical and historical panorama. Stowe's stunning exploration of European, Indian, African, and Asian interchanges underscores music's centrality to American spiritual expression and might well inspire readers to break into song themselves. (Jon Butler, author of Becoming America: The Revolution Before 1776)
David Stowe is a historian who understands the power of music to reach the human soul. Adding tools from ethnomusicology, anthropology, folklore studies, and hymnology to his own historiographical tool-kit, he offers convincing, humane, often eloquent accounts of the global give-and-take in which sacred song in America has for centuries been engaged. (Richard Crawford, author of America's Musical Life: A History)
Mr. Stowe's observations regarding the relationship between music and spirituality take him to the religious music of Indians, Shakers, Mormons, Moravians, African-Americans, Jews, Buddhists and others...With abundant lyrics, photographs, and musical scores, How Sweet the Sound is a musical feast. Thump to it. Sing with it. Read this book. (Carol Herman Washington Times 2004-04-04)
With historical anecdotes and deft musical analysis, Stowe...focuses on selected moments, from colonial times to the present, when sacred musical styles emerged, combined with others, or took on whole new colorings. (Jay Tolson U.S. News and World Report 2004-04-19)
This book describes the intimate connection between music and spirituality found in such groups as the Shakers and Mormons, and in individuals such as Yossele Rosenblatt, Duke Ellington, John Coltrane and Wynton Marsalis. Mr. Stowe narrates how the civil rights movement hastened the evolution of 'Amazing Grace' and 'We Shall Overcome' into the secular spirituals and icons of today's American religious culture. (Dallas Morning News 2004-04-10)
This book by David W. Stowe offers a wide-ranging treatment of the variety of religious music that has characterized the religious expression of generations of American believers, chronicling the evolution and popularity of this music in groups as diverse as the Shakers and American Buddhists.... Stowe has greatly increased our knowledge of the important role that religious music played and continues to play in the lives of average Americans. (James R. Goff, Jr. Journal of American History 2007-06-07)
Stowe must be read and understood if we are to grasp something of the cultural context which shapes our singing—and how our singing shapes the culture around us, both within and without the church...I strongly recommend the reading of Stowe’s marvelously researched and delightfully written book. (Victor Gebauer CrossAccent)
Stowe must be read and understood if we are to grasp something of the cultural context which shapes our singing—and how our singing shapes the culture around us, both within and without the church...I strongly recommend the reading of Stowe’s marvelously researched and delightfully written book. (Victor Gebauer CrossAccent 2008-05-01)
About the Author
David W. Stowe is Associate Professor of Writing, Rhetoric and American Cultures and director of American Studies at Michigan State University.
Most helpful customer reviews
12 of 13 people found the following review helpful.
An excellent work - An expanding provocative area of study
By Christopher W. Chase
First a note of disclosure: As I write this, I am one of David's graduate students at Michigan State University. And thankfully, because of this, David has allowed me to suggest pre-publication comments and and in some small way perhaps add to the fine scholarship of this project.
In "How Sweet the Sound," David Stowe points out that music plays a "variety of roles in religious life." Socially, its a means of transmitting behavioral and belief codes. Phenomenologically, it serves as a channel for means of ecstatic communication through the infusion of power, or as a means for liturgical address and response. Additionally, sacred music accumulates additional meanings over time, layered and even disjunctive in content. These accumulations often occur for invountary as well as voluntary reasons, as music bears the markers of community exclusion, exile, and conquest. In sociological terms, music is part and parcel of creation and maintenance of a religious "habitus." But this always occurs in a broader web of contexts--economic, political, and othewise.
Stowe's approach is to draw broad, yet circumscribed historical contours by examining prominent case studies. His approach is deliberately and commandingly pluralistic, a pluralism extending both within and beyond Christianity. Yet his larger point is that even at its most radically pluralistic and sectarian, stories and narratives from the Hebrew Bible have become and maintained their predominant place in American religious music, and by extension, American religious life. The story of Exodus, in many ways, is the story of Mormons, Shakers, African-Americans, 19th century Esotericists, and Sun Ra's "Afro-Futurism."
Along the way, we see clear trends delineated--such as a tradition of strongly bodily affective religious music in the United States. This should be no surprise, given the primacy of the Hebrew Bible as a source for allegory, metaphor and narrative in Christian religious music. The Biblical Song of Solomon is especially strong in its use of eroticism as religious devotion. Likewise, Moravian hymms have been characterized as "impassioned, full of vivid imagery of Christ's atoning blood and a nearly erotic emphasis on communion with Christ." Methodist hymns, especially those influenced by John Wesley, were in many ways a reaction against this tendency. In a more general sense, neither of the Wesleys could stop the development of American Shaker hymns. Though not erotic in nature, Shaker hymns were certainly affective. Producing visions of ecstasy and celestial kingdoms, and "divine communication," they danced in the set of affective relationships that has been part of the Christian tradition, especially its mystical subtraditions, since its earliest days. Even in the political and religious mainstream of music in the 18th and 19th century United States, William Billings' patriotic hymms produced "inchanting" and "ecstatic" erotic songs.
Together with both Methodist austerity and impassioned eroticism, Stowe adds the secular and sacred histories of songs such as "Amazing Grace," from its use in American civil religion to its expression in Star Trek's funeral for Mr. Spock, and Judy Collins's theurgically protective use of it in the midst of the turbulence of the 1960's. The World Parliament of Religions and the Immigration Act of 1965 are highlighted as catalytic moments in American religious pluralism, helping to give birth to events as diverse as Paul Carus's Buddhist hymnals, the Beastie Boys "Bodhisattva Vow" and Duke Ellington's pluralistically affirming sacred concerts.
And yet we return to the Hebrew Bible again and again, especially in Stowe' examination of Rabbinic cantoring, Kol Nidre, and the controversy surrounding movie "The Jazz Singer." Moody, Sankey, and the Fisk Jubillee Singers are not to be outdone, as the Civil War's role in generating Manichean, patriotic, even Prodigal calls to battle are brought carefully and vividly to life.
This is a highly recommended book. While engaging contemporary concerns such as race, class, gender, and imperialism, this volume goes deeper, and refuses to be bound by specific time periods or specific religious traditions. Where necessary, Stowe crosses all sorts of boundaries to follow the trajectories of songs composed, read, re-read, and re-appropriated in vastly different contexts, from sociology to existentialism. In its dogged devotion to follow different crossing threads of music over time and tradition, as well as the tropes and relationships inscribed within them and by them in adherents. By all means suitable for students of Religious Studies, Stowe's book also stands as well within the perhaps more eclectic but no less rigorous interdisciplinary tradition of American Studies.
0 of 3 people found the following review helpful.
Too much marked up
By Edward Castner
I was very disappointed. While it was advertised as very good, there was underlining on almost every page. In addition personal notes had been written in many of the margins. I find it difficult to read with all these markings. EWC
4 of 20 people found the following review helpful.
Mel Gibson should make a movie about this book
By A Customer
Stowe writes with 'Passion' about his subject. Look for Mel Gibson to make a movie about it.
See all 3 customer reviews...
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