America’s Musical Landscape 5th edition PowerPoint by Myra Lewinter Malamut Georgian Court University Part 2 The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era © 2006 The McGraw-Hill Companies, Inc. All rights reserved

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

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

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

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 truly indigenous 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 the fingerboard, allowed players to stop the strings for exact pitch. Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

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

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

Minstrelsy: Song writer Daniel Decatur Emmett Emmett wrote one of America’s favorite songs: “I Wish I Was in Dixie’s Land” (Listening example 22) 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 Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

Listening Example 22 I Wish I Was in Dixie’s Land 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’; (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. Listening Example 22 I Wish I Was in Dixie’s Land By Daniel Decatur Emmett Listening guide page 101 Accompaniment: Piano Meter: Duple Form: 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 Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

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

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

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

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

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

Listening Example 23 I Dream of Jeanie with the Light Brown Hair First Verse I dream of Jeanie with the light brown hair Borne like a vapor on the summer air. I see her tripping where the bright streams play Happy 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! Floating like a vapor on the soft summer air. Listening Example 23 I Dream of Jeanie with the Light Brown Hair By Stephen Foster Listening guide page 104 Form: Strophic Meter: Quadruple Tempo: Slow Accompaniment: Guitar Notice how the extreme relaxation of the tempo at significant phrase endings (called rubato, “robbing), enhances the romantic character of longing Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

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

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

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

Listening Example 24 Oh! Susanna By Stephen Foster 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 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) Listening Example 24 Oh! Susanna By Stephen Foster Listening Guide page 105 Form: Strophic Meter: Duple Accompaniment: Banjo Melodic structure: Notice the bit of syncopation in the first phrase of the chorus (“Oh! Su-san-na!”) a a’ a a’ b a’ Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

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

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

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

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

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

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” 1813: Thomas Carr arranged and named “The Star Spangled Banner” 1931: “The Star Spangled Banner” became the national anthem Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

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

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

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

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

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

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

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 Trumpet Notice the three valves Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

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

Concert Bands: After the Civil War Two famous band directors developed the concert band into a balanced ensemble of woodwind, brass, and percussion Patrick Gilmore John Philip Sousa 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 Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

Concert Bands: Patrick S. 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 Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

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

Concert Bands: John Philip Sousa (1854-1932) When Gilmore died, violinist John Philip Sousa formed a band The band would surpass in size of ensemble, variety of repertoire, and quality of performance any previous concert band including Gilmore’s band As Marine Band apprentice, Sousa learned all the band instruments and became the band’s director through five US presidencies Sousa brought the Marine Band to perfection only previously heard by symphony orchestras The primary mission of the Marine Band is to provide music for the US president and the commandant of the Marine Corps Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

Concert Bands: John Philip Sousa Sousa later formed his own world renowned Sousa Band Sousa the composer Songs, programmatic orchestral music, comic operas, operettas Known as the “march king,” as composer of many great marches An early member and supporter of ASCAP The American Society of Composers, Authors, and Publishers 1976: Sousa was enshrined in the Hall of Fame for Great Americans in the John F. Kennedy Center for the performing Arts 2002: Inducted into the Washington, DC area Music Hall of Fame Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

Marches Types of marches Common aspects of marches Military Funeral Patriotic Concert pieces Common aspects of marches Duple meter Meter= Number of beats per measure Duple meter corresponds with the marching pattern LEFT-right-LEFT-right Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

Meter: Terms Meter: The number of beats in a measure Simple Meter: Each beat in the measure is divided by two Simple duple meter: The two beats per measure are counted as ONE-and-two-and Compound Meter: Each beat is divided by three Compound duple meter: Count two beats per measure but divide them as ONE-and-a-two-and-a Or ONE-two-three-four-five-six Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

March Form Short (four- or eight-measure) introduction followed by A series of melodic sections called strains Each strain is Usually sixteen or thirty-two measures long Repeated at least once The trio is a strain scored for fewer instruments Softer in dynamic level Sweeter or more lyrical than the other strains A break is a section in some marches Dramatic and highly rhythmic Often percussive in timbre, in contrast to the melodic strains Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

Listening Example 25 The Stars and Stripes Forever Text written by John Philip Sousa Hurrah for the flag of the free! May it wave as our standard forever, The gem of the land and the sea, The banner of the right. Let despots remember the day When our fathers with mighty endeavor Proclaimed as they marched to the fray That by their might and by their right it waves forever. The Stars and Stripes Forever By John Philip Sousa Listening guide page 114 Meter: Duple Key: E-flat major Form: A=first strain; B= second strain; C= trio (third strain); D= break After a four measure introduction, the first strain (16 measures) starts This march was designated in 1987 as the national march of the United States A A B B C D C D C Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era

Image Credits Slide 5, Scene from a Minstrel Show ©Corbis Slide 6, Tambourine, ©Corel Slide 29, Julia Ward Howe, ©Corbis Slide 32, Trumpet, ©Corel Part 2: The Tumultuous Nineteenth Century Chapter 6, Popular Music of the Civil War Era