ප්‍රභේදය:ඇමරිකානු සිවිල් යුද්ධයේ සංගීතය

Typical cover of sheet music, with songs depicting the individuals of the era, such as

During the American Civil War, music played a prominent role on both sides of the conflict: and . On the American Civil War battlefield, different instruments including , , and were played to issue marching orders or sometimes simply to boost the morale of one's fellow soldiers. Singing was also employed as a recreational activity, but as a release from the inevitable tensions that come with fighting in a war, particularly a war in which the issue of freedom of a race is to be decided. In camp, music was a diversion away from the bloodshed, helping the soldiers deal with homesickness and boredom. Soldiers of both sides often engaged in recreation with musical instruments, and when the opposing armies were near each other, sometimes the bands from both sides of the conflict played against each other on the night before a battle.

Each side had its particular favorite tunes, while some music was enjoyed by Northerners and Southerners alike, as exemplified by 's love of , the unofficial anthem of the Confederacy. To this day, many of the songs are sung when a patriotic piece is required. The war's music also inspired music artists such as and .

Development of American music

The Civil War was an important period in the development of American music. During the Civil War, when soldiers from across the country commingled, the multifarious strands of American music began to crossfertilize each other, a process that was aided by the burgeoning industry and other technological developments that made travel and communication easier. Army units included individuals from across the country, and they rapidly traded tunes, instruments and techniques. The songs that arose from this fusion were "the first American folk music with discernible features that can be considered unique to America". The war was an impetus for the creation of many songs that became and remained wildly popular; the songs were aroused by "all the varied passions (that the Civil War inspired)" and "echoed and re-echoed" every aspect of the war. John Tasker Howard has claimed that the songs from this era "could be arranged in proper sequence to form an actual history of the conflicts; its events, its principal characters, and the ideals and principles of the opposing sides".

In addition to, and in conjunction with, popular songs with patriotic fervor, the Civil War era also produced a great body of pieces, from both the North and the South, as well as other military musical traditions like the call "".

Regulations

, a twelve-year-old Union drummer boy

In May 1861 the officially approved that every regiment of infantry and artillery could have a with 24 members, while a cavalry regiment could have one of sixteen members. The would also have brass bands. This was followed by a regulation of July 1861 requiring every infantry, artillery, or cavalry company to have two musicians and for there to be a twenty-four man band for every regiment. The July 1861 requirement was ignored as the war dragged on, as riflemen were more needed than musicians. In July 1862 the brass bands of the Union were disassembled by the adjutant general, although the soldiers that comprised them were sometimes reenlisted and assigned to musician roles. A survey in October 1861 found that 75% of Union regiments had a band. By December 1861 the Union army had 28,000 musicians in 618 bands; a ratio of one soldier out of 41 who served the army was a musician, and the Confederate army was believed to have a similar ratio. Musicians were often given special privileges. Union general gave his cavalry bands the best horses and special uniforms, believing "Music has done its share, and more than its share, in winning this war".

Musicians on the battlefield were drummers and buglers, with an occasional . Buglers had to learn forty-nine separate calls just for infantry, with more needed for cavalry. These ranged from battle commands to calls for meal time. Some of these required musicians were drummer boys not even in their teens, which allowed an adult man to instead be a foot soldier. The most notable of these under aged musicians was , also known as "Johnny Shiloh". Union drummers wore white straps to support their drums. The drum and band majors wore to indicate their status; after the war, this style would be emulated in civilian bands. Drummers would march to the right of a marching column. Similar to buglers, drummers had to learn 39 different beats: fourteen for general use, and 24 for marching cadence. However, buglers were given greater importance than drummers.

On the battlefield

Whole songs were sometimes played during battles. The survivors of the disastrous returned under the tune . At the , Union musicians under orders from Sheridan played 's minstrel song while being shot at on the front lines., the commander of the , saw many of his musicians standing at the back lines at the , and ordered them to play anything. Their music rallied the Union forces, forcing the Confederate to withdraw. It was said that music was the equivalent of "a thousand men" on one's side. himself said, "I don't think we could have an army without music."

Sometimes, musicians were ordered to leave the battlefront and assist the surgeons. One notable time was the 20th Maine's musicians at . As the rest of the regiment were driving back wave after wave of Confederates, the musicians of the regiment were not just performing , but doing it in a very quick manner.

In camp

Locations of the different sides the night of the band duel before the .

Many soldiers brought musical instruments from home to pass the time at camp. , , and guitars were particularly popular. Aside from drums, the instruments Confederates played were either acquired before the war, or imported, due to the lack of brass and the industry to make such instruments.

Musical duels between the two sides were common, as they heard each other as the music traveled across the countryside. The night before the , bands from both sides dueled with separate songs, until both sides started playing , at which time soldiers on both sides started singing together as one. A similar situation occurred in in the winter of 1862–3. On a cold afternoon a Union band started playing Northern patriotic tunes; a Southern band responded by playing Southern patriotic tunes. This back and forth continued into the night, until at the end both sides played Home! Sweet Home! simultaneously, to the cheers of both sides' forces. In a third instance, in the spring of 1863, the opposing armies were on the opposite sides of the in Virginia, when the different sides played their patriotic tunes, and at one side played Home! Sweet Home!, and the other joined in, creating "cheers" from both sides that echoed throughout the hilly countryside.

Both sides sang , although the lyrics were slightly different. Another popular song for both was . was written in 1863 by , an immigrant from Ireland, and was also enjoyed by both sides.

Homefront

George F. Root

The first song written for the war, , was first published and distributed three days after the . , who wrote it, is said to have produced the most songs of anyone about the war, over thirty in total. Lincoln once wrote a letter to Root, saying, "You have done more than a hundred generals and a thousand orators".

booklet, with a rare music cover illustration, published in .

The southern states had long lagged behind northern states in producing common literature. With the advent of war, Southern publishers were in demand. These publishers, based largely in five cities (; ; ; ' and ), produced five times more printed music than they did literature.

In the Confederate States of America, was the official national anthem. However, was the most popular. United States President said he loved Dixie and wanted to hear it played, saying "as we had captured the rebel army, we had also captured the rebel tune". At an April 9, 1865 rally, the band director was surprised when Lincoln requested that the band play Dixie. Lincoln said, "That tune is now Federal property...good to show the rebels that, with us in power, they will be free to hear it again".</ref> The other prominent tune was , and like Dixie was written in 1861, unlike Union popular tunes which were written throughout the war.

The United States did not have a national anthem at this time ( would not be recognized as such until the twentieth century). Union soldiers frequently sang the , and the was considered the north's most popular song.

Different versions

Although certain songs were identified with one particular side of the war, sometimes the other would adapt the song for their use. A Southern revision of the Star Spangled Banner was used, entitled "The Southern Cross". In an example of the different lyrics, where the Banner had "O say does that Star Spangled Banner yet wave", the Cross had "'Tis the Cross of the South, which shall ever remain". Another Confederate version of the Star Spangled Banner, called The Flag of Secession, replaced the same verse with "and the flag of secession in triumph doth wave". Even a song from the was adapted, as the tune was changed to "", and started with "Dixie whipped old Yankee Doodle early in the morning". The Union's Battle Cry of Freedom was also altered, with the original lines of "The Union forever! Hurrah, boys, hurrah! Down with the traitor, up with the star" being changed to "Our Dixie forever! She's never at a loss! Down with the and up with the !"

The Union also adapted Southern Songs. In a Union variation of Dixie, instead of the line "I wish I was in the land of , old times there are not forgotten, Look away, look away, look away, Dixie Land", it was changed to "Away down South in the land of traitors, and , Right away, come away, right away, come away". (originally titled John Brown) was originally written for a soldier at Fort Warren in Boston in 1861. It was sung to the tune of Glory, Hallelujah and was later used by Julia Ward Howe for her famous poem, Battle Hymn of the Republic.

Legacy

The music derived from this war was of greater quantity and variety than from any other war involving America. Songs came from a variety of sources. Battle Hymn of the Republic borrowed its tune from a song sung at revivals. Dixie was a minstrel song that Daniel Emmett adapted from two Ohio black singers named Snowden. American soldiers would continue to sing Battle Hymn of the Republic in the , World War I, and World War II.

The style of music has often used the as a symbol of the musical style. by was described as a "vivid example of a lingering Confederate mythology in Southern culture".

A ballad from the war, , would become the basis of the song by . Presley also sang , which was described as "smoothing" out , the Battle Hymn of the Republic, and Dixie of its divisions, although Dixie still dominated the piece.

In 2013, a compilation album by current popular musicians, like , , and , was released with the title, .

Songs published per year

w. = Words by
m. = Music by

1861

• , w.m. George F. Root
• , w. Mrs Annie Chamber-Ketchum m. Harry MacCarthy
• , w. Dan Emmett a. C. S. Grafully
• , w. anonymous m. William Steffe (came to be the unofficial theme song of black soldiers.)
• , w. James Ryder Randall m. Walter de Mapers (Music "Mini est Propositum" 12th century)
• The Vacant Chair, w. Henry S. Washburne m. George Frederick Root

1862

• , - C. D. Benson
• , - George F. Root

1863

Cover of the 1864 publication of the sheet music of Tramp! Tramp! Tramp!

• , w.m.
• , by George F. Root
• Mother Would Comfort Me, w.m. Charles C. Sawyer
• , w.m.
• Weeping Sad And Lonely, w. Charles Carroll Sawyer m. Henry Tucker
• , by & Patrick Gilmore
• You Are Going to the Wars, Willie Boy!, w.m. John Hill Hewitt
• , w.m. John Hill Hewitt

1864

• (The Boys Are Marching), w.m. George F. Root
• Pray, Maiden, Pray!, w. A. W. Kercheval m. A. J. Turner.

1865

• Jeff in Pettycoats, w.m. Henry Tucker
• , w.m.
• , w. L. J. Bates, m.

Media

Dixie

, traditional song

When Johnny Comes Marching Home

by

See also

ප්‍රභේදය:ඇමරිකානු සිවිල් යුද්ධයේ සංගීතය හා සබැඳි මාධ්‍ය විකිමාධ්‍ය කොමන්ස් හි ඇත.

Notes and references

Notes

1. Struble, pg. xvii
2. Howard, John Tasker, cited in Ewen, pg. 19 (no specific source given)
3. Library of Congress: Band Music from the Civil War Era
4. Lanning p.243
5. Lanning p.243, Vaughan pp.194,195
6. Lanning pp.244
7. Amedeo p.127, Miller p.92
8. Lanning p.243, Miller p.96
9. Lanning p.244
10. Lanning pp.243,244
11. Music of the Civil War National Park Service.gov
12. Turner p.151, Vaughan p.195
13. Heidler p.1173, Miller p.190
14. Amedeo p.257, Vaughan p.194
15. Branham p.131
16. Amedeo p.77, 127
17. Lanning p.245
18. Kelley p.30, Silber p.7
19. Branham p.132
20. Harwell pp.3,4
21. Branham p.130
22. Silber p.8
23. Lanning pp.245
24. Harwell pp.64,65
25. Harwell pp.67
26. Silber p.10
27. Van Deburg p.109
28. Hall, p.4
29. Silber p.4
30. Heidler pp.191,607
31. Ravitch p.257
32. Kaufman pp.x,81
33. Amedeo p.111, Kaufman p.83
34. Doughtery, Steve, "Civil War Pop Music: Divided & United: On a new CD, contemporary artists revive the era's songs", Wall Street Journal, Oct. 23, 2013 http://online.wsj.com/news/articles/SB10001424052702303448104579149793649312548

References

• Abel, E. Lawrence (2000). Singing the New Nation: How Music Shaped the Confederacy, 1861 - 1865 (First ed.). Mechanicsburg, Pennsylvania: Stackpole Books. ISBN .
• Amedeo, Michael (2007). Civil War: Untold stories of the Blue and the Gray. West Side Publications. ISBN .
• Branham, Robert J. (2002). Sweet Freedom's Song: "My Country 'tis of Thee" and Democracy in America. Oxford University Press US. ISBN .
• Clarke, Donald (1995). The Rise and Fall of Popular Music. St. Martin's Press. ISBN .
• Donald, David Herbert (1995). Lincoln. Simon and Schuster. ISBN .
• Ewen, David (1957). Panorama of American Popular Music. Prentice Hall.
• Hall, Roger Lee (2012). Glory, Hallelujah: Civil War Songs and Hymns. PineTree Press.
• Harwell, Richard B. (1950). Confederate Music. : Press.  309959.
• Heidler, David (2002). Encyclopedia of the American Civil War. W. W. Norton & Company. ISBN .
• Kaufman, Will (2006). The Civil War in American Culture. Edinburgh University Press. ISBN .
• Kelley, Bruce (2004). "An Overview of Music of the Civil War Era" Bugle Resounding. University of Missouri Press. ISBN .
• Knouse, Dr. Nola Reed "Music from the Band Books of the 26th Infantry Regiment, NC Troops, C.S.A.". Liner notes essay. .
• Lanning, Michael (2007). The Civil War 100. Sourcebooks, Inc. ISBN .
• Miller, David (2001). Uniforms, Weapons, and Equipment of the Civil War. London: Salamander Books Ltd. ISBN .
• Ravitch, Diane (2000). The American Reader: Words that Moved a Nation. HarperCollins. ISBN .
• Silber, Irwin (1995). Songs of the Civil War. Courier Dover Publications. ISBN .
• (1997). The Music of Black Americans. New York, New York: W.W. Nortan & Company, Inc. pp. 206–212. ISBN . {{}}: Cite has empty unknown parameter: |coauthors= ()
• Struble, John Warthen (1995). The History of American Classical Music. Facts on File, Inc. ISBN .
• Turner, Thomas Reed (2007). 101 Things You Didn't Know about the Civil War. Adams Media. ISBN .
• Van Deburg, William L. (1984). Slavery & Race in American Popular Culture: In American Popular Culture. . ISBN .
• Vaughan, Donald (2000). The Everything Civil War Book. : Adams Media Corporation. ISBN .
• "Band Music From the Civil War Era". Library of Congress. සම්ප්‍රවේශය June 13, 2005.

External links

• The short film A NATION SINGS (1963) is available for free download at the Internet Archive
• Singing the Songs of Zion: Soldier's Hymn Collections and Hymn Singing in the American Civil War
• Civil War songs and hymns
• American Song Sheets - Duke University Libraries Digital Collections - Includes images and text of over 1,500 Civil War song sheets