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CARRYING EVERYTHING BUT A TUNE
By Tyler Underwood
Edited by Kathleen Underwood ©
Over the past twenty years I have noticed that the one thing that almost every reenactor seems to forget is the importance of music during the American Civil War. As authentic-minded reenactors we often times find ourselves focusing on the material aspects of our impressions; having the right jacket, accouterments, to how we wear our gear - no matter how little we carry we always have room for a tune. Everyone has their favorite CD with period music that we sing along to while going to an event. When we arrive, the music stops just as fast as it takes to get the key out of the ignition; doing this leaves a crucial part of a soldier’s daily life behind. We need to leave all of our reservations about signing behind and do our ancestors some justice; the good news is the original cast was not professional singers, so your voice is just fine.
Early Americans and Africans during the 17th and 18th century brought their favorite tunes to America with them for the same reason that soldiers took their favorite songs to war – it takes no space to carry a tune. Prior to the war music was making a transformation, the songs from our early ancestors were blended to form a very unique sound which can still be heard today in the traditional music of America’s Appalachian region. Another form of music that gained tremendous popularity was the minstrel tune; this was considered to be a blend of African and Irish music. The era of minstrel music started in New York City in 1828 with a black face performance by Thomas Dartmouth "Daddy" Rice - the "father of American minstrelsy". Over the next 33 years that lead up to the war this style of music had a significant impact upon society; not only from the moral aspect for those in the anti-slavery movement but for the pro-slavery movement as well. One of the most well-known composers of the period was Stephen Foster, his first song “Oh Susanna” was published in 1848, and for the next 16 years until his death in 1864 he composed 200 songs. 135 of those songs were sentimental parlor songs that proved to be popular for all classes of society. At the start of the war many soldiers both north and south brought with them these minstrel songs written by composers such as Foster.
Religion was a driving force of morality for both sides, popular hymns became another widely heard source of music. Tract societies often gathered popular hymns of various denominations and compiled them in pocket sized booklets which were issued to the soldiers. Some of the most common hymn books were: The Army Hymn book, 191 popular hymns issued by the Richmond Presbyterian Committee. The Second edition of The Soldiers Hymn Book published by the South Carolina Tract Society, contained 271 favorite hymns; and Hymns for the Camp, 151 songs published by an unidentified company. Among the various songs of the spiritual nature it was common place to find the occasional patriotic song as well. In The Soldiers Hymn Book there were printed five sets of lyrics to the tune of “America”, one particular stanza “Land of the pilgrim’s pride” was cleverly changed to “Land of the southern’s pride.” Another popular rewritten song was found among the hymns and was set to the tune of “God Save the King”:
“Our loved Confederacy,
May God remember thee
And warfare stay;
May he lift up his hand
And smite the oppressor’s hand
While our true patriots stand
With bravery.”
Perhaps Robert E. lee said it best “Without music there would be no army.” Music could boost the morale of the army while they marched to the front, it could also just as easily lower it. This lowered moral was seen in the Army of the Potomac during the winter of ‘62-’63 where Federal officers forbid the bands from playing and the men singing “Home Sweet Home”. They feared it would have a gloomy effect on young men so far from home. R.J. Lightsey of Company F 16th Mississippi wrote of his experience while on picket duty along the Rappahannock. “A few days after the battle, we were sent out on picket duty, just above Fredericksburg, on the river. While there, late on evening, our band was playing "Dixie" and the Federals were playing "Yankee Doodle". When the bands finished the airs, the Yankees struck up "Home, Sweet Home." Our band too up the strain, and when the bands quit playing, "voice after voice caught up the song, and as far as we could hear on both sides, they were singing "Home, Sweet Home." Another account from a letter written in January 1863 by Lt. W.J. Kincheloe of the 49th Virginia to his father described a rather amusing scene along the Rappahannock. “We are on one side of the Rappahannock, the enemy on the other. Our boys will sing a southern song, the Yankees will reply by singing the same tune to Yankee words.
Overall the sweet harmony of a familiar tune was a way to let the mind drift and escape from the monotony of camp life or a long march. It was also a way to bring something from home that took no more space than one’s own mind to carry it. These familiar tunes could be enjoyed time and time again, bringing comrades closer just as it had with friends and family from home. Southern soldiers sometimes had at their disposal various song books, among the various titles were, Hopkins New Orleans 5c Song Book, published in New Orleans in 1861, Songs of the South (Richmond, 1863) and the Beauregard Songster (Macon and Savannah, 1864). The love for music wasn’t just found in the Confederate ranks, Federal soldiers also had a fondness of song to alleviate their minds from the monotonous day to day life, and even being a prisoner of war. The latter was the case for Col. James L. Geddes, of the 8th Iowa Infantry. While imprisoned in Selma, Alabama (1862-1863) he put pen to paper and drafted the rather defiant lyrics of a song he titled The Bonnie Blue Flag with Stripes and Stars:
We’re fighting for our Union, we’re fighting for our trust,
We’re fighting for that happy land where sleeps our fathers dust.
It cannot be dissevered, though it cost us bloody wars.
We never can give up the land that float the stripes and stars.
Chorus:
Hurrah! Hurrah! For equal rights hurrah!
Hurrah for the brave old flag that bears the stripes and stars.
We treated you as brothers until you drew the sword,
With impious hands at Sumter you cut the silver cord,
So now you hear our bugles; we come the sons of Mars,
We rally round that brave old flag which bears the stripes and stars.
Chorus:
We do not want your cotton, we care not for your slaves,
But rather than divide this land, we’ll fill your southern graves.
With Lincoln as our chieftain, we’ll wear our country’s scars,
We rally round that brave old flag that bears the stripes and stars!
Chorus:
We deem our cause most holy, we know we’re in the right,
And twenty millions of freemen stand ready for the fight.
Our bride is fair Columbia, no stain her beauty mars.
O’er her we’ll raise that brave old flag that bears the stripes and stars.
Chorus:
And when this war is over, we’ll each resume our home
And treat you still as brothers where ever you may roam.
We’ll pledge the hand of friendship, and think no more of wars,
But dwell in peace beneath the flag that bears the stripes and stars!
Another popular parody that was created during the war was Hard Crackers. The story goes that the several days leading up to the Battle of Wilsons Creek (August 10, 1861) the men of the 1st Iowa were being issued unusually large quantities of hard crackers. In an effort to make light of their culinary woes, one member of the regiment penned the lyrics to Stephen Fosters’ Hard Times. Just like their enemies in gray, Federal soldiers also enjoyed uplifting parody songs to swell their hearts with patriotism. Among these songs were popular titles such as; Cheer Boys, Cheer (1852-1859?), Battle Hymn of the Republic (1862), the Battle Cry of Freedom (1862), and Always Stand on the Side of the Union (1863).
Unfortunately most Federal re-enactors only know the partial lyrics to two patriotic songs: Battle Hymn of the Republic and Battle Cry of Freedom. This would be great except for the fact that it would not be appropriate for any event prior to 1862. While the rest of their musical capacity is filled with many overdone Irish songs like Garry Owen and post-war tunes such as marching through Georgia. The same can also be said for Confederate re-enactors who may only know a portion of Dixie or the Bonnie Blue Flag.
If we are to fully represent the boys of ‘61 then as authentic minded re-enactors/living historians we have to focus more on the non-material culture of our period. This means digging a little deeper to understand the lives that they had before the commencement of hostilities. Increasing your knowledge requires little to no expense and will provide hours of entertainment for you and your comrades. The next time you find yourself bivouacked with your mess mates, don’t be afraid to strike up a tune that you have been carrying all these years.
SOURCES:
Marvel, William
2013
nps.gov
http://www.nps.gov/history/history/online_books/civil_war_series/3/sec2.htm
McClatchy, Debby
2000
Appalachian Traditional Music
http://www.mustrad.org.uk/articles/appalach.htm
Hampson, Thomas
1995
I Hear America Singing
http://www.pbs.org/wnet/ihas/composer/foster.html
Padgett, Kenneth
2013
Blackface! - The History of Racist Blackface Stereotypes
http://black-face.com/minstrel-shows.htm
Payne, Diane
2009
The Veteran’s Story This material is based on the memoirs of R. J. Lightsey as told to his daughter, Ada Christine Lightsey, and published by her in 1899.
http://www.rootsweb.ancestry.com/~msjasper/military/grays.html
Wiley, B. I.
2008
The Life of Johnny Reb
Louisiana State University Press
Baton Rouge, LA
Stern, P.
2001
Soldier Life in the Union and Confederate Armies
Gramercy Books, A division of Random House Value Publishing
New York, New York
Glass, P., Singer, C. L.
1993
Singing Soldiers, a History of the Civil War in Song
De Capo Press, Inc.
New York, New York
By Tyler Underwood
Edited by Kathleen Underwood ©
Over the past twenty years I have noticed that the one thing that almost every reenactor seems to forget is the importance of music during the American Civil War. As authentic-minded reenactors we often times find ourselves focusing on the material aspects of our impressions; having the right jacket, accouterments, to how we wear our gear - no matter how little we carry we always have room for a tune. Everyone has their favorite CD with period music that we sing along to while going to an event. When we arrive, the music stops just as fast as it takes to get the key out of the ignition; doing this leaves a crucial part of a soldier’s daily life behind. We need to leave all of our reservations about signing behind and do our ancestors some justice; the good news is the original cast was not professional singers, so your voice is just fine.
Early Americans and Africans during the 17th and 18th century brought their favorite tunes to America with them for the same reason that soldiers took their favorite songs to war – it takes no space to carry a tune. Prior to the war music was making a transformation, the songs from our early ancestors were blended to form a very unique sound which can still be heard today in the traditional music of America’s Appalachian region. Another form of music that gained tremendous popularity was the minstrel tune; this was considered to be a blend of African and Irish music. The era of minstrel music started in New York City in 1828 with a black face performance by Thomas Dartmouth "Daddy" Rice - the "father of American minstrelsy". Over the next 33 years that lead up to the war this style of music had a significant impact upon society; not only from the moral aspect for those in the anti-slavery movement but for the pro-slavery movement as well. One of the most well-known composers of the period was Stephen Foster, his first song “Oh Susanna” was published in 1848, and for the next 16 years until his death in 1864 he composed 200 songs. 135 of those songs were sentimental parlor songs that proved to be popular for all classes of society. At the start of the war many soldiers both north and south brought with them these minstrel songs written by composers such as Foster.
Religion was a driving force of morality for both sides, popular hymns became another widely heard source of music. Tract societies often gathered popular hymns of various denominations and compiled them in pocket sized booklets which were issued to the soldiers. Some of the most common hymn books were: The Army Hymn book, 191 popular hymns issued by the Richmond Presbyterian Committee. The Second edition of The Soldiers Hymn Book published by the South Carolina Tract Society, contained 271 favorite hymns; and Hymns for the Camp, 151 songs published by an unidentified company. Among the various songs of the spiritual nature it was common place to find the occasional patriotic song as well. In The Soldiers Hymn Book there were printed five sets of lyrics to the tune of “America”, one particular stanza “Land of the pilgrim’s pride” was cleverly changed to “Land of the southern’s pride.” Another popular rewritten song was found among the hymns and was set to the tune of “God Save the King”:
“Our loved Confederacy,
May God remember thee
And warfare stay;
May he lift up his hand
And smite the oppressor’s hand
While our true patriots stand
With bravery.”
Perhaps Robert E. lee said it best “Without music there would be no army.” Music could boost the morale of the army while they marched to the front, it could also just as easily lower it. This lowered moral was seen in the Army of the Potomac during the winter of ‘62-’63 where Federal officers forbid the bands from playing and the men singing “Home Sweet Home”. They feared it would have a gloomy effect on young men so far from home. R.J. Lightsey of Company F 16th Mississippi wrote of his experience while on picket duty along the Rappahannock. “A few days after the battle, we were sent out on picket duty, just above Fredericksburg, on the river. While there, late on evening, our band was playing "Dixie" and the Federals were playing "Yankee Doodle". When the bands finished the airs, the Yankees struck up "Home, Sweet Home." Our band too up the strain, and when the bands quit playing, "voice after voice caught up the song, and as far as we could hear on both sides, they were singing "Home, Sweet Home." Another account from a letter written in January 1863 by Lt. W.J. Kincheloe of the 49th Virginia to his father described a rather amusing scene along the Rappahannock. “We are on one side of the Rappahannock, the enemy on the other. Our boys will sing a southern song, the Yankees will reply by singing the same tune to Yankee words.
Overall the sweet harmony of a familiar tune was a way to let the mind drift and escape from the monotony of camp life or a long march. It was also a way to bring something from home that took no more space than one’s own mind to carry it. These familiar tunes could be enjoyed time and time again, bringing comrades closer just as it had with friends and family from home. Southern soldiers sometimes had at their disposal various song books, among the various titles were, Hopkins New Orleans 5c Song Book, published in New Orleans in 1861, Songs of the South (Richmond, 1863) and the Beauregard Songster (Macon and Savannah, 1864). The love for music wasn’t just found in the Confederate ranks, Federal soldiers also had a fondness of song to alleviate their minds from the monotonous day to day life, and even being a prisoner of war. The latter was the case for Col. James L. Geddes, of the 8th Iowa Infantry. While imprisoned in Selma, Alabama (1862-1863) he put pen to paper and drafted the rather defiant lyrics of a song he titled The Bonnie Blue Flag with Stripes and Stars:
We’re fighting for our Union, we’re fighting for our trust,
We’re fighting for that happy land where sleeps our fathers dust.
It cannot be dissevered, though it cost us bloody wars.
We never can give up the land that float the stripes and stars.
Chorus:
Hurrah! Hurrah! For equal rights hurrah!
Hurrah for the brave old flag that bears the stripes and stars.
We treated you as brothers until you drew the sword,
With impious hands at Sumter you cut the silver cord,
So now you hear our bugles; we come the sons of Mars,
We rally round that brave old flag which bears the stripes and stars.
Chorus:
We do not want your cotton, we care not for your slaves,
But rather than divide this land, we’ll fill your southern graves.
With Lincoln as our chieftain, we’ll wear our country’s scars,
We rally round that brave old flag that bears the stripes and stars!
Chorus:
We deem our cause most holy, we know we’re in the right,
And twenty millions of freemen stand ready for the fight.
Our bride is fair Columbia, no stain her beauty mars.
O’er her we’ll raise that brave old flag that bears the stripes and stars.
Chorus:
And when this war is over, we’ll each resume our home
And treat you still as brothers where ever you may roam.
We’ll pledge the hand of friendship, and think no more of wars,
But dwell in peace beneath the flag that bears the stripes and stars!
Another popular parody that was created during the war was Hard Crackers. The story goes that the several days leading up to the Battle of Wilsons Creek (August 10, 1861) the men of the 1st Iowa were being issued unusually large quantities of hard crackers. In an effort to make light of their culinary woes, one member of the regiment penned the lyrics to Stephen Fosters’ Hard Times. Just like their enemies in gray, Federal soldiers also enjoyed uplifting parody songs to swell their hearts with patriotism. Among these songs were popular titles such as; Cheer Boys, Cheer (1852-1859?), Battle Hymn of the Republic (1862), the Battle Cry of Freedom (1862), and Always Stand on the Side of the Union (1863).
Unfortunately most Federal re-enactors only know the partial lyrics to two patriotic songs: Battle Hymn of the Republic and Battle Cry of Freedom. This would be great except for the fact that it would not be appropriate for any event prior to 1862. While the rest of their musical capacity is filled with many overdone Irish songs like Garry Owen and post-war tunes such as marching through Georgia. The same can also be said for Confederate re-enactors who may only know a portion of Dixie or the Bonnie Blue Flag.
If we are to fully represent the boys of ‘61 then as authentic minded re-enactors/living historians we have to focus more on the non-material culture of our period. This means digging a little deeper to understand the lives that they had before the commencement of hostilities. Increasing your knowledge requires little to no expense and will provide hours of entertainment for you and your comrades. The next time you find yourself bivouacked with your mess mates, don’t be afraid to strike up a tune that you have been carrying all these years.
SOURCES:
Marvel, William
2013
nps.gov
http://www.nps.gov/history/history/online_books/civil_war_series/3/sec2.htm
McClatchy, Debby
2000
Appalachian Traditional Music
http://www.mustrad.org.uk/articles/appalach.htm
Hampson, Thomas
1995
I Hear America Singing
http://www.pbs.org/wnet/ihas/composer/foster.html
Padgett, Kenneth
2013
Blackface! - The History of Racist Blackface Stereotypes
http://black-face.com/minstrel-shows.htm
Payne, Diane
2009
The Veteran’s Story This material is based on the memoirs of R. J. Lightsey as told to his daughter, Ada Christine Lightsey, and published by her in 1899.
http://www.rootsweb.ancestry.com/~msjasper/military/grays.html
Wiley, B. I.
2008
The Life of Johnny Reb
Louisiana State University Press
Baton Rouge, LA
Stern, P.
2001
Soldier Life in the Union and Confederate Armies
Gramercy Books, A division of Random House Value Publishing
New York, New York
Glass, P., Singer, C. L.
1993
Singing Soldiers, a History of the Civil War in Song
De Capo Press, Inc.
New York, New York
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