Notes
{ 215 } NOTES Abbreviations BHL Bentley Historical Library, University of Michigan BIS Manuscript Division, Library of Congress, Born in Slavery: Slave Narratives from the Federal Writer’s Project, 1936–1938, available at http://memory.loc.gov/ ammem/snhtml/snhome.html CM Charleston Mercury CT Chicago Tribune CV Confederate Veteran DCH Daily Cleveland Herald DJM Dwight’s Journal of Music FHS Filson Historical Society GAR Grand Army of the Republic IHS Indiana Historical Society MRMW Musical Review and Musical World NT National Tribune NYH New York Herald NYT New York Times OR The War of the Rebellion: Official Records of the Union and Confederate Armies (Washington, D.C.: Government Printing Office, 1880–1901) RD Richmond Dispatch SHC Southern Historical Collection, University of North Carolina SHSP Southern Historical Society Papers SMNW Song Messenger of the Northwest UDC United Daughters of the Confederacy VHS Virginia Historical Society WHS Wisconsin Historical Society Introduction 1. Mitchell,GoneWith theWind, 236–37, 267, 317, 409–11, 485, 559, 576, 680, 910, 1119, 1188; Shaara, Killer Angels, 272–74; track 22 “Requesting the Honor,” Glory, DVD, Zwick; The Civil War, DVD, Burns. 2. A primary difficulty in studying Civil War music is distinguishing songs from poems. Many nineteenth-century publications did not differentiate between the two. Some historians and musicologists have considered wartime music and poetry so closely related that a true distinction is impossible. Although I agree that an absolute distinction is problematic, I was nevertheless able to construct a workable definition. I consid- 216 } Notes to Pages 1–9 ered any group of lyrics a song, rather than a poem, if the author or publisher indicated that the lyrics were intended to be set to music. Obviously, actual musical notation was the easiest way to make this determination, but lyrics in music collections and newspapers also frequently included a note under the title specifying that they should be performed to a melody. For example, a publication of “The Battle Hymn of the Republic” without notation, would read: “To the tune of ‘John Brown’s Body.’” 3. The three most notable exceptions to the overall lack of attention paid to Civil War music by historians are Bell Irvin Wiley’s twin studies of soldiers, Keith P. Wilson’s examination of the United States Colored Troops (USCTs) in camp, and Alice Fahs’s exploration of wartime popular literature.Wiley, Johnny Reb; Wiley, BillyYank; Fahs, Imagined Civil War; K. Wilson, Campfires of Freedom. 4. The best and most influential book on Civil War music by musicologists is undoubtedly Heaps and Heaps, Singing Sixties. In terms of musical performance, the most comprehensive examination of Civil War bands by a musicologist is Olson, Music and Musket. 5. References to music come from a variety of sources in the Civil War press. Critical articles in music periodicals are obvious starting points, but commentary was prevalent in other places. Correspondence from reporters and soldiers frequently mentioned music. In addition, many newspapers and periodicals published amateur and professional pieces. Advertisements by music presses and music stores were particularly useful. These ads revealed the titles and partial contents of pieces that are lost and were critical for establishing publication dates. 6. I have no exact quantitative method fordetermining song popularity. Instead, I developed a general impression by examining a wide variety of sources. Sales reported by presses, periodicals, and newspapers were helpful but sparse. More significant to this study was how frequently certain songs were mentioned by contemporaries. Gauging the success of less prominent songs proved more difficult in some cases but the most popular songs were easily determined. Although many of my sources were written during the Civil War, I did make heavy use of memoirs and histories written by participants after 1865. 7. Heaps and Heaps, Singing Sixties, 11, 132–33. 8. For a thorough examination of the development of highbrow and lowbrow culture during the nineteenth century, see Levine, Highbrow/Lowbrow. For an overview of American popular culture historiography, see Enstad, “Popular Culture,” 356–70. Chapter 1 1. McMurtry, “Lincoln and the Hutchinson Family,” 18; John Hutchinson, Book of Brothers, 10–11, 18; Crawford, America’s Musical Life, 253–55; Jordan, Singin’ Yankees, 231. The group originally comprised John, his three brothers, and one sister. By the 1860s, they had split up and started their own families, some of which continued to tour as the Hutchinson Family Singers. It was John’s family who traveled to the Army of the Potomac . For a good analysis of the Hutchinsons’ participation in antebellum reform movements...
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