A series of speakers, primarily professors, open a symposium celebrating the history and impact of African-American spirituals.

Pulitzer Prize-winning author James M. McPherson examines the contemporary popular perspectives on the Civil War, both of Northerners and Southerners, civilians and soldiers. McPherson uses the popular music of the period as a framework for discussing the changing views, and focuses on the growing desire to end the war and the increasing sense of hopelessness that it would ever end.

An audio version can be downloaded.

Scholar and author Emily Thompson describes the study of aural history—the study of not just music, but of noise and soundscapes as a whole, what cultures heard and how they heard it—and discusses the aural culture in the U.S. from 1900 to 1933. She looks at how sound at the time was influenced by technology and at the consumption of sound, focusing particularly on architecture's influence on sound.

From the Library of Congress Webcasts website:

"The Music Division of the Library of Congress and the American Musicological Society, in joint partnership, presented the third in a series of lectures highlighting musicological research conducted in the division's collections. Jeffrey Magee presented 'Now It Can Be Told: The Unknown Irving Berlin.'

After Jerome Kern famously pronounced that 'Irving Berlin is American music' in 1925, Berlin continued for several decades more to define many of America's most distinctive musical idioms, from Tin Pan Alley to Broadway to Hollywood. Berlin's death 20 years ago at the age of 101 accelerated an ever-expanding cottage industry of commentary, reflection and scholarship on a legendary figure.

In an effort to amplify patterns in Berlin's stage and screen career, the talk will aim to draw connections among unknown (or little-known) materials—including songs, scripts, 'plot treatments,' and other notable documents—and Berlin's better-known work."

Although the video may appear broken, please be aware that it loads slowly, and will eventually start.

According to the Library of Congress website, "As "colonists" in 19th-century Russia, Mennonites sang German diasporic choral music and borrowed Russian choral music; when war drove many to North America, Mennonites drew on this repertoire and borrowed new repertoires to forge links to a new elite: North American classical choral singing circles. In this webcast, Jonathan Duek, an ethnomusicologist and visiting assistant professor at the University of Maryland School of Music, traces this story not as a linear narrative, but as genealogical fragments, beginning with the resonances of particular songs for present-day Mennonite writers, historians, and singers; and then exploring past moments of the production and reception of these songs in Russia and North America."

John Mack Faragher of Yale University considers the importance of singing as a pastime for antebellum frontier families and the view of frontier life that surviving lyrics provide. He examines particularly the views of death and mortality presented in many lyrics.

To view this clip, select "Singing on the Illinois Frontier" under "Frontier Settlement Video."