Primary Sources in the Classroom: Politics and Pedagogy

This is my first “real” blog post for The Junto, though I’ve been a spectral presence each Sunday with a gathering of links on early American history (which the past month or so has revolved a great deal around Lincoln and Django Unchained). One of my aspirations in agreeing to contribute, and one of my hopes for a developing conversation, centered on the opportunity to discuss teaching early American history, from the 100-level survey to upper-level courses. So I offered for this post to write something about teaching primary sources, without at the time knowing quite what I would say.

Then, last week, the National Association of Scholars released a report assailing colleges in Texas (the flagships – UT-Austin and A&M) for teaching too much “race, class, and gender,” and not enough political, diplomatic, and economic history. I wrote about a few of the report’s shortcomings at Publick Occurrences 2.0 on Friday. You can read the substance over there, but as I was writing I realized that I want to extend my thoughts to think more deeply about what we do in the classroom. Continue reading

Shall We Listen to That Again?

I’m working on my syllabus for next semester. This is a new class at a relatively new job, and I have spent approximately 1,000 hours agonizing over the structure of the class and the difficulty of the readings, tweaking the language of the course description, and trying to find the most fair and opportune balance for the assignments. But mostly, making this syllabus has made me reconsider the role of listening in the classroom. Listening to music, that is.

Since I teach at an elite conservatory where all of the students are training to be (or already are) professional performers, we listen to music in every class meeting. This particular course, on representations of the “exotic” in western music from c. 1600 to today, features approximately 30 pieces of music. I treat these pieces like primary sources. The students are expected to listen to the assigned piece in advance, and in class we listen to excerpts in order to ground our discussion. I introduce other musical examples to illustrate points or guide the discussion in new directions. Sometimes the students draw on their own experiences as performers, making connections between the course materials and music they’ve encountered elsewhere. Continue reading

Music and Pleasure

If you have gone hunting for early American music, you probably came across warhorses like 17th-century psalms, “Yankee Doodle” and other Revolutionary songs, maybe William Billings’s extremely popular “Chester” (don’t know this last one? Watch a very earnest John Adams sing it here). All of these can make for excellent musical examples to enliven a class or conference presentation (and I’ll write about music for both those scenarios in the future). However, sometimes listening to recordings of psalms or military marches feels too much like eating a virtuous salad, and not enough like eating ice cream. My survey of recordings is completely unscientific—happily, there is far too much diversity in early American music to provide anything like comprehensive coverage in a blog post—but it seems to me that there is a dearth of albums that are meant for pleasure rather than instruction. Continue reading

Herman Husband and Failures of the Historical Imagination

At this time of the semester, amid my ever-increasing piles of grading, my thoughts naturally turn to the syllabi for next semester’s courses. One of my guiding principles in preparing syllabi is the importance of introducing students to the breadth of historical writing; to demonstrate the ways in which diverse groups of people reacted to the same event in very different ways. When teaching early American history, this often casts me in the position of “debunking” various myths about the past—or, at least, forcing my students to think more clearly and carefully when making statements about the foundations of America. This, I like to think, serves the useful purpose of demonstrating how ordinary citizens—those outside the pantheon of “Founding Fathers”—imagined the development of their society, and to show how their vision of political participation was often very different from that claimed today as ‘what the Revolution was all about’.

In many ways, though, my take on the Revolution relies less on “debunking” myths than in widening the participants in the historical story. I suppose “problematizing” or “complicating” the myths is a more accurate description—after all, it’s impossible to escape the fact that the historical significance of the American Revolution rests on the creation of a new nation-state and several new political polities. More recently, though, I’ve come to wonder exactly what I’m hoping to achieve with the broadening of the understanding of the past. No matter how far we widen “founding myths” to encompass a variety of explanations for the promise of America, reliance on these myths can never help us explain the present—they can be a guide only. At my most cynical, I wonder even what sort of guide they can be. Continue reading