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Transcript of Part 2 The Tumultuous Nineteenth Century Chapter 6: Popular Music of the Civil War Era America’s...
1
Part 2The Tumultuous Nineteenth
CenturyChapter 6: Popular Music of the Civil War
Era
America’s Musical Landscape 6th edition
© 2010 The McGraw-Hill Companies, Inc. All rights reserved
2© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
3© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
4© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
5© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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.
6© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
7© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
8© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
9© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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.
10© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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”
11© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
12© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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”
13© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
14© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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)
15© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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.
16© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
17© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
18© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
19© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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)
20© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
21© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
22© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
23© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
24© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
25© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
26© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
27© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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.
28© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
29© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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”
30© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
31© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
32© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
33© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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.”
34© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
35© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
36© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
37© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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
38© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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”
39© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
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