1

Part 2The Tumultuous Nineteenth

CenturyChapter 6: Popular Music of the Civil War

Era

America’s Musical Landscape 6th edition

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 2

Popular Music of the Civil War Era Throughout the nineteenth century great waves of

immigration from various European countries enriched American culture

Germans, Italians, French, Swedish and others poured their secular and religious songs into America

Instrumental music became popular as dance tunes of ethnic heritages entertained informal gatherings in settled regions of the country

But songs were the most popular vernacular music

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 3

Popular music of the Civil War Era Each geographic area of America produced and enjoyed new

songs and instrumental pieces expressing the local experience

Frontier people sang songs about freedom, equality, danger, and the beauty of nature

Songs commemorated events including The opening of the Erie Canal The California gold rush

Slaves, seamen, miners, farmers, mothers, railroad workers, and even outlaws created and contributed songs

Play and party songs entertained rural adults and children

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 4

Minstrelsy Most popular of all nineteenth century songs were those sung in

minstrel shows first found in England, then the US

White men darkened their skin with burnt cork or coal, and caricatured African-American figures

Minstrel shows were popular in American circus and showboat performances, and between acts in plays

Two basic characters: Jim Crow

The plantation slave: Ragged clothes, uncouth manner, thick dialect

Zip Coon The city black, a fashionable dandy of elegant dress and

manners

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 5

Minstrelsy: The Minstrel Show A minstrel show began

with a rousing grand march Players entered the stage

and formed a semicircle, exchanging comments

Fiddle and banjo were used, with an extra string added to the banjo to create what has been called America’s only trulyindigenous musical instrument (not including Native American instruments.) Joel Walker Sweeney, 1810-1860, was a retired blackface performer who helped develop the drumlike hoop body and adjustable tensioning brackets; frets, strips of material on thefingerboard, allowed players to stop the strings for exact pitch.

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 6

Minstrelsy: Musical Instruments Minstrel shows included

Tambourine--derived from an African percussion instrument

Bones--commonly replaced in more recent times by a pair of linked castanets

Concertina—a small accordion-like instrument buttons on each side that control pitch

tambourine

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 7

Minstrelsy: Musicians Thomas Dartmouth “Daddy” Rice

A white man known as the father of American minstrelsy Wrote “Jim Crow”

Often credited as the first popular hit in America Later became a hostile term synonymous with discrimination

against African Americans

Daniel Decatur Emmett (1815-1904) Formed the Virginia Minstrels

The first completely independent minstrel show

E. P. Christy, a famous white minstrel song and skit writer Formed the Christy Minstrels—toured the South and West

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 8

Minstrelsy: Song writer Daniel Decatur Emmett Emmett wrote one of America’s favorite songs:

“I Wish I Was in Dixie’s Land” (Listening example 21) A popular song in the North as well as the South Emmett conceived the song as a lively plantation song and

dance routine called a walkaround, which is Performed as the finale of a minstrel show The troupe stood in a semicircle by a plantation background Performers strutted out to music and alternately sang a stanza;

another “walked around” the inside of the semicircle Reaching the center, the singers danced to a musical interlude After which the entire troupe joined in the frolic

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 9

Listening Example 21I Wish I Was in Dixie’s LandBy Daniel Decatur EmmettListening guide page 88

Accompaniment: PianoMeter: DupleForm: Strophic, each verse has two sections followed by a chorus

The song’s catchy tune, simple lyrics, and inspiring patriotic chorus made it a virtual anthem of the south, although written by a northerner and originally sung by whites in “black” dialect

I wish I was in de land ob cotton,Old times dar am not forgotten;Look away! Look away! Look away! Dixie Land.In Dixie Land whar I was born in.Early on one frosty mornin’;Look away! Look away! Look away!Dixie Land.(Chorus)Den I wish I was in Dixie, Hooray! Hooray!In Dixie Land, I’ll take my stand,To live an’ die in Dixie,Away, away.Away down south in Dixie.Etc.

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 10

Minstrelsy: After Emancipation Blacks participated in minstrel shows

Formed their own companies

Composed songs that remain favorites

Minstrel songs by well known black songwriter James A. Bland include

“Carry Me Back to Ole Virginny” “In the Evening by the Moonlight” “De Golden Wedding” “Oh, Dem Golden Slippers”

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 11

Minstrelsy: James A. Bland (1854-1911) The son of an educated family and Howard University

graduate, Bland’s ambition was to be a stage performer

Traveled with various minstrel companies Performed for Queen Victoria and the Prince of Wales in

England

1940: Bland’s “Carry Me Back to Old Virginny” became Virginia’s official state song

Bland’s talent was for music, but not for business This successful composer died penniless

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 12

The Heritage of Minstrelsy Offensive by today’s standards, minstrelsy was popular

entertainment in the pre- and post- Civil War periods

Provided refreshing contrast to the sentimental parlor ballads of the age

Derived from African and European customs Minstrel songs and dances were indigenous to the American

experience

Often referred to as America’s first popular music Example: “Old Zip Coon,” also known as the fiddle tune

“Turkey in the Straw”

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 13

Stephen Foster (1826-1864) The most outstanding American composer of popular songs of the

pre-Civil War period

Born into genteel society in Pittsburgh, PA

Heard his sisters sing, play piano and other instruments

Taught himself how to play tunes

Age 18: His first song, “Open Thy Lattice, Love” was published while he worked as a bookkeeper

Foster continued on to write and publish music professionally

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 14

Stephen Foster’s Songs Early songs:

Sentimental love songs suiting his genteel upbringing

Featured females who were domestic, refined, well-cared-for, passive, idealized

As per nineteenth century concept of females

Example: “I Dream of Jeanie with the Light Brown Hair,” (listening example 22)

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 15

Listening Example 22I Dream of Jeanie with the Light Brown HairBy Stephen FosterListening guide page 90

Form: StrophicMeter: QuadrupleTempo: SlowAccompaniment: GuitarNotice how the extreme relaxation of the tempo at significant phrase endings

(called rubato, “robbing), enhances the romantic character of longing

First Verse

I dream of Jeanie with the light brown hairBorne like a vapor on the summer air.I see her tripping where the bright streams playHappy as the daisies that dance on her way.Many were the wild notes her merry voice would pour,Many were the blithe birds that warbled them o’er. Oh!I dream of Jeanie with the light brown hairFloating like a vapor on the soft summer air.

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 16

Stephen Foster’s Favorite Songs Foster had two types of favorite songs

“Plantation melodies” Reminiscent of African American songs on Pittsburgh riverfronts

Minstrel songs Reflected his ambivalence between his upbringing—in favor of

states’ rights and slavery—and his personal abolitionist sympathies

Other songs by Foster were popular as well Sentimental songs about home

“Old Folks at Home,” and “My Old Kentucky Home” Songs about unfulfilled romantic love Settings of poems about the Civil War

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 17

Stephen Foster’s Early Minstrel Songs Avoided the outrageous caricatures commonly

presented onstage

Examples:

“Uncle Ned” dealt sympathetically with the tragic figure of an elderly and terribly abused slave

“Nelly Was a Lady” is about a slave dying from grief, sold away from his wife, who died

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 18

Stephen Foster and “Oh! Susanna!” “Oh! Susanna!” became a national hit following its 1848

performance by the Christy Minstrels

Foster lost money on this song He was the first American to attempt to earn a living solely

from the sale of his songs There was no organization to collect fees owed to him

Like other songs by Foster, “Oh! Susanna!” is in simple strophic form, with guitar accompaniment based on the three primary chords, although the b phrase contains syncopation

This popular song traveled across the US and to the Western frontier

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 19

Listening Example 23Oh! SusannaBy Stephen FosterListening Guide page 92

Form: StrophicMeter: DupleAccompaniment: BanjoNotice the bit of syncopation in the first phrase of the chorus (“Oh! Su-san-na!”)

I come from Alabama with my banjo on my knee.I’m goin’ to Louisiana my true love for to see.It rained all night the day I left, the weather it was dry.The sun so hot I froze to death; Susanna don’t you cry.Chorus: Oh, Susanna, don’t you cry for me.I come from Alabama with my banjo on my knee.

I had a dream the other night when everything was still.I dreamed I saw Susanna a-comin’ down the hill.A red, red rose was in her cheek, a tear was in her eye,I said to her, “Susanna gal, Susanna don’t you cry.”(Chorus)

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 20

Stephen Foster: The Man and His Music Foster was a man of paradox

His irresistible and popular minstrel and plantation melodies were about a life he never experienced

Foster was not black, and Was not from the South

His best songs are not particularly innovative Foster’s songs are neither art songs nor “popular” music

The texts are not of the quality of an art song Yet the songs are art, and are widely known and enjoyed

They are long-lived They are representative of Foster’s distinctive style

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 21

Stephen Foster: The Man Foster was destroyed by his own inability to distinguish between

genius and gentility

Unwilling to acknowledge some of his best songs, he gave them away or allowed them to be pirated

Example: Fearful of offending the public, Foster convinced E.P. Christy to claim authorship of “Old Folks at Home”

When the song proved popular and Foster wanted to be known as the composer, Christy refused his request

Foster married in 1850, but his drinking and emotional instability caused his wife to leave him

At age 38, Foster died a pauper, alone and unrecognized

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 22

Patriotic Songs Some of America’s most enduring patriotic

songs appeared between the Revolution and the Civil War

Associated with events occurring during that era

Frequently included in theatrical entertainments then, they became popular

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 23

Patriotic Songs: “Hail, Columbia” The words were written by Joseph Hopkinson, son of Francis

Sung to the tune of the “President’s March”

Composed by Philip Phile for George Washington’s 1789 inauguration

Performed for Washington’s public appearances

This patriotic song served political aims

The rousing words during the 1798 war between France and England united emotional audiences and aroused national pride

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 24

Patriotic Songs: “Hail to the Chief” Traditionally played by the United States Marine Band

To announce the ceremonial entrance of the president of the US

Attributed to James Sanderson, an Englishman Possibly based on an old Scottish melody The tune soon evolved from a popular song of the day to the

march with official status of today First performed in 1812

1815: Sung with different title and text to honor George Washington’s birthday

1828: The U.S. Marine Band played it to honor President John Quincy Adams at the opening of the Chesapeake and Ohio Canal

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 25

Patriotic Songs:“The Star Spangled Banner” Written in the War of 1812 by Francis Scott Key (1780-1843)

Key, a lawyer, boarded a British vessel in Chesapeake Bay to plead for the release of an important American prisoner

The British agreed but detained both men on board while they witnessed the British attack of Fort McHenry

To celebrate America’s successful defense, Key set his text, “The Defense of Fort McHenry” to an English drinking song, “To Anacreon in Heaven” (Listening Example 24)

1813: Thomas Carr arranged and named “The Star Spangled Banner”

1931: “The Star Spangled Banner” became the national anthem

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 26

Patriotic Songs: Controversy over the national anthem Critics say that the wide melodic range of “The Star Spangled

Banner” renders the song too difficult to sing Defenders point out the drama of our anthem

Others say the United States national anthem ought to be “America the Beautiful,” based upon the 1893 poem by professor Katherine Lee Bates That piece is calmer and describes America’s natural beauty 1926: The National Federation of Music clubs held a contest to

select music for the poem “America the Beautiful” The winner: Church organist and music store owner Samuel A.

Ward, whose song “Materna” was chosen

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 27

Listening Example 24The Anacreontic Song (“Anacreon in Heaven”)By John Stafford SmithListening guide page 95

Timbre: Male chorus, a cappellaForm: Strophic, six verses (only the first is included)Meter: TripleTexture: Homophonic. This performance alternates passages for solo

voice, duets of various combinations, and full chorus.

The composer and lyricist of this drinking song were members of the

Anacreontic Club, a group of wealthy Englishmen named after an ancient Greek poet who wrote idyllically of Venus, the goddess of love, and

Bacchus, the god of wine.

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 28

Civil War Songs 1860: Civil War followed the secession

from the Union of several southern states

People turned to art and music to express their anger and ease their sorrow

That era produced many songs

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 29

Civil War Songs: Expression of Emotions and Moods Civil War songs appeared in various styles:

Folklike Religious Comic Serious

Familiar Civil War songs include “Dixie” “Taps” was an elegy for war casualties “Maryland, My Maryland” “Marching Through Georgia” “The Yellow Rose of Texas”

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 30

Civil War Songs: “The Battle Hymn of the Republic,” by Julia Ward Howe Upon viewing the desperate plight

of Union soldiers, Howe wrote her poem to set to the well known melody of “John Brown’s Body” (John Brown had been an abolitionist)

Her fervent words plus the strong melody lifted moral and spirits for the Union troops and prisoners

After the war, the “Battle Hymn” served to reunite the nation

Julia Ward Howe

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 31

Singing Families Before and after the Civil War, several singing

families toured the Unites States

Performed in churches, meetinghouses, and concert halls The most popular of all were the Hutchinsons

Called the Singing Hutchinsons There were 13 Hutchinson children

The Hutchinsons formed various touring ensembles They were famous in America and Europe for decades

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 32

Singing Families: The Hutchinsons

The performances Included secular, humorous songs in strophic form called glees

Melody in the top voice, with harmony in two or three lower voices Glees appearing in 18th century Europe were originally sung by men American glee clubs of the 19th century had women and men

Glees were popular ensembles Today: Glee clubs generally are small mixed choral groups

The songs sung by the Hutchinsons Genteel, refined, sentimental

But song texts addressed some radical social causes of their day Temperance, women’s suffrage, abolition

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 33

Listening Example 25Get Off the TrackAnonymousListening guide page 99

Form: StrophicMeter: DupleTimbre: Vocal soloists and chorus, with string ensemble

accompanimentTexture: Hompohonic (soloist accompanied by piano; choral

harmony)Notice how the catchy tune, driving rhythm, and strong anti-slavery

message result in a stirring emancipation song that appealed to enthusiastic audiences.

The text of this abolitionist,or emancipation, song was

written by Jesse Hutchinson,Jr. (1813-1953). The tune

is that of a popular minstrelsong, “Old Dan Tucker.”

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 34

Concert Bands During the Civil War, concert

bands played a variety of entertaining novelty pieces Due to the early nineteenth-century

addition of valves which facilitated playing of trumpets, horns, and cornets, these instruments assumed a prominent melodic role in bands

1850s: Many bands consisted of brass instruments only

TrumpetNotice the three valves

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 35

Concert Bands and Music Publishing Bands stimulated music publishing in America

Yet much band music was written by Europeans

Marches, dance tunes, various programmatic pieces

Battle pieces featured sounds of gunshots, cries of wounded, trumpet calls, other warlike effects

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 36

Concert Bands: After the Civil War After the Civil War, the concert band evolved into a balanced

ensemble of woodwind, brass, and percussion

Bands brought famous orchestral and opera music, plus popular songs and dances to audiences unable to attend the orchestral halls, opera houses, and popular venues in cities

Band music became popular; Americans came to prefer the bands to the vocal renditions of music they previously favored

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 37

Concert Bands: Patrick Sarsfield Gilmore (1829-1892) Gilmore, a virtuoso cornetist, fled Ireland’s potato blights and

famine; he considered himself American by choice

Gilmore started his American career playing minstrelsy

Played tambourine, sang in a quartet, played cornet solos, acted as his group’s agent

Gilmore started a summer concert series at the Boston Music Hall

He formed his own band: Gilmore’s Band

1860s: Gilmore became the most famous bandmaster, in his appointment as bandmaster of the Union army

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 38

Concert Bands: Patrick Gilmore, After the Civil War Gilmore formed America’s first band conceived entirely as a

concert ensemble Achieved in his Grand Boston Band the effective balance

between brass and woodwinds we expect to hear today

Gilmore was a master entertainer Organized mammoth concerts with thousands of performers Brought outstanding European bands to perform in America Attracted prestigious performers of the day

Gilmore published music and manufactured instruments Composed songs and marches

“When Johnny Comes Marching Home Again”

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Part 2: The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era 39

Image Credits Slide 5, Scene from a Minstrel Show ©Corbis

Slide 6, Tambourine, ©Corel

Slide 30, Julia Ward Howe, ©Corbis

Slide 34, Trumpet, ©Corel