Our Marching Civilization, and: Bands of America, and: A Johnny Reb Band From Salem: The Pride of Tarheelia, and: Bands and Drummer Boys of the Civil War, and: Music and Musket: Bands and Bandsmen of the American Civil War (review)

188civil war history Orrin Porter Rockwell: Man of God, Son of Thunder. By Harold Schindler . (Revised, second edition: Salt Lake City: University of Utah Press, 1983. Pp. xvi, 417. $25.00) This revised edition consists mainly of the original text with additions to the footnotes which do not change the traditional view of Rockwell being an assassin. The paucity of documents forces the biographer to use selected events in Mormon and Western history to elucidate Rockwell , but the sketches are often disjointed and generally fail to make Rockwell reflect those times. This points up the most serious weakness of the bare-bones biography. Rockwell is not put in his theological tradition . And since Mormons in those days differed substantially from other Christian bodies, a biography of any early Mormon should explore the impact of Mormonism on that person, especially the Old Testament mentality of absolute obedience and an "eye for an eye." Rockwell belonged to a generation of Mormons who believed Joseph Smith was a prophet sent to prepare a chosen few for the imminent second coming of Christ by restoring "the hidden gospel" to be a witness against a wicked world before its destruction; afterward, Mormons would be the new rulers on earth. Accordingly, Rockwell took blood oaths, joined the secret Danites to punish the wicked, and worked for heavenly exaltation the Mormon way—secret endowments , plural wives, oaths of absolute loyalty, and blood atonement. Mormonism taught that on earth and in heaven all others would be servants to people like Rockwell. When the Mormons fled to the Rocky Mountains to build "zion," Rockwell and others made Deseret unpleasant for non-Mormons and dissenting "saints" alike. Rockwell believed in his "calling" from the Lord to help usher in the last days and subdue Christ's enemies. The biography is mute on these matters. The subtitle "Man of God" is not explained (see above). Nor is "Son of Thunder" discussed. If the latter refers to Rockwell as a "Mormon gunslinger," "the destroying angel," and so on, the biography fails, too. The author suggests that vicious rumors explain Rockwell's reputation of being a killer. H. Carleton Marlow Brigham Young University Our Marching Civilization. By Warren Dwight Allen. (New York: Da Capo Press, 1978. Pp. xii, 112.) Reprint of the 1943 edition. Bands of America. By H. W. Schwartz. (New York: Da Capo Press, 1975. Pp. 320.) Reprint of the 1957 edition. A Johnny Reb Band From Salem: The Pride of Tarheelia. By Harry H. Hall. (New York: Da Capo Press, 1980. Pp. xii, 118.) Reprint of the 1963 edition. book reviews189 Bands and Drummer Boys of the Civil War. By Francis A. Lord and Arthur Wise. (New York: Da Capo Press, 1979. Pp. 237.) Reprint of the 1966 edition. Music and Musket: Bands and Bandsmen of the American Civil War. By Kenneth E. Olson. (Westport, Connecticut: Greenwood Press, 1981. Pp. xxi, 299. $27.50.) Students of America's musical past will welcome four reprints on military bands and music, most of which deal with the American Civil War. Olson's recently published Music and Musket rounds out the group of five volumes devoted to martial music. Reprints often retrieve from the dusty bins of the out-of-print shelves valuable volumes that need to remain accessible to students of history. Our Marching Civilization is perhaps one of those volumes that need not have been reprinted. Warren Allen presents some interesting ideas concerning march music and its role in society, but the book has scholarship problems that render it only marginally useful to historians. H. W. Schwartz, in his Bands of America, refers to "The Golden Age of Bands of Music." Indeed, this volume presents the bountiful story of the age of the band in America and the position the military-style band played in society in the late nineteenth and early twentieth centuries. Schwartz neglects to document his story, a common practice for many of the music histories designed for the popular market. In spite of the lack of notes or a bibliography, the volume does provide a solid overview of the wind bands and their role in the period. Harry H. Hall has written a volume that deserves to...