Tag Archives: Civil war

Post-War Reconstruction to Post-War Redefinitions of American Music

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American idealism and the ever-changing concept of the “American Dream” seem to be well accompanied by the arts. The idea of setting music or text to American fantasies-which typically involve gaining large amounts of wealth, owning a huge plot of land, and/or embracing patriotism- is typically enjoyed by those that the American Dream has been realized within or sold to as an idea.

In the post-Civil War reconstruction era United States, the American Dream was changing alongside the rapid industrialization of the country. People were getting richer faster, and a drab new landscape of factories and mills replaced expansive picturesque farms. The American Dream of creating wealth off of plantations (and subsequently slaves) was shifting towards making money off of factory labor and its exports. This was changing how music accompanied the idea of the American Dream during the late 1800s.

The Industrial Revolution Pt. 2: By Land and River

4 /> Steamboats at a Nashville Dock in 1863

The simultaneous need to hold onto the musical trends and racial injustices of yesteryear turned many musicians sour to a new wave of music that continued selling American idealism. Boston Conservatory music scholar and lecturer Dr. Louis Elson stated in periodical The Christian Observer as part of an interview in 1898 that “I am a firm believer that American Music is just Southern Music. I have often said that the reason “Dixie” is the most characteristic outcome of the War is because you can’t set a calico factory or flour mill to music, but that Southern plantation life is characteristic and poetic…”2

Elson then goes on to name Dvorak’s New World Symphony2 expressing his hope that someone will provide an equivalent for Southern music- reinforcing his belief that Southern music is true American music- and that the slave economy is easier to romanticize than an industrial economy. This is laughable considering Dvorak’s New World Symphony
was based heavily off of themes of immigration, diversity,3
and shared culture- the antithesis of the kind of music Elson advocates for while simultaneously calling Native American the music of “savages”.

Dvorak's New World Symphony Manuscript1

The redefining of American music has happened several times over, but a pattern has certainly emerged. American music favors diversity, adaptation (following the nature of American music itself), and justice. As diversity, justice, and social consciousness evolve as principles in America, so too will American music, and the American dream that accompanies that music.


http://www.classicalmusictoday.net/blog/new-world-symphony-manuscript-comes-to-the-new-world


https://www.proquest.com/americanperiodicals/docview/136125214/F1B647EEFC6D4BADPQ/24?accountid=351


https://www.youtube.com/watch?vbVTIlMc5Fuo


https://tnmuseum.org/junior-curators/posts/the-industrial-revolution-pt-2-by-land-and-river?locale=en

Music: giving us insight into the disgusting ideas held about black Americans.

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As someone who is currently studying musicology, one of the main tasks required of me is to use music as a clue to make larger claims about society at that time. In other words, I sleuth around in musical documents to figure out how people thought. Just like any primary source, music leaves us a trail that can bring us to bigger discoveries about human nature. So this week, I decided to embark on the task of using musical documents to bring light popular sentiments about black Americans.

I decided to take a closer look at this document:

 

(It’s a little blurry here, so take a look here for a clearer picture: https://www.loc.gov/pictures/resource/cph.3b35698/)

This is a sheet music cover for a piece titled “the Contraband Schottische” written by Septimus Winner in 1861 (the beginning of the Civil War). Winner dedicated this piece of music to Union General Benjamin F. Butler. Butler was in charge of implementing the “Contraband Decision” in which escaped slaves who retreated to the North during the Civil War were considered “contraband” or illegally stolen goods. This allowed Slaves to live in a state not being owned but also not being free in the North. This was decided in retaliation to the Fugitive Slave Act of 1850 in which slaves were to be returned to their masters if caught after escaping.1 On the cover of “the Contraband Schottische” there is a cartoon depicting a slave owner chasing his four black slaves rolling down the hill as if they are merely goods. Although the Contraband Decision ended up being a helpful decision for slaves as a side effect, we can’t sit here and celebrate Butler, he wasn’t even an abolitionist after all.

The depiction of slaves in this cartoon gives us an inside look into some of the attitudes held by society at the time. In this cartoon, slaves are illustrated to be synonymous with products or goods, as they are rolling down the hill like a sack of potatoes falling out of an 18-wheeler.

This sentiment of black Americans being treated as “property” or “goods” seems to infiltrate and inform other assumptions about their intellectual ability or identity as functioning humans. If we fast forward to 1943, this idea develops into another held by author George Pullen Jackson in his book White and Negro Spirituals. He holds the belief that black Americans are not capable of producing sophisticated spirituals, and therefore, must have developed all of their music from the influence of Europeans.

“We know that our fathers (Europeans) brought to this land a rich and hoary heritage of folk melody. We know that the negro slave entered into this heritage eventually by adopting it to the extent of his ABILITIES and desires”.2

This quote infers that black Americans would not have the ability to create music as sophisticated as Europeans. By looking at these documents surrounding music, we can see that the sick attitudes of black Americans as “goods” or “property” and the conclusion that they therefore can not produce sophisticated music are rampant for over a hundred years. That’s pretty disgusting.

But it Was Only a Dream: the White Myth of “Southern” Music

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Sunny Side Boys, two youngsters, one of whom is on his back playing the fiddle, with an older man playing guitar. Bascom Lamar Lunsford is probably the man to the right of the picture holding a microphone above the fiddler. 1

This picture attempts to capture part of a tradition of country music that sums up the myth of the exclusively white origins of said genre. There is an exclusively white (male) band and given that one member can be seen playing on the floor; one that is good at what they do. Such a conception, as we have discussed in our class, seems to be largely due to the efforts of those folk song collectors and the record companies who wanted to commercialize the genre. In so doing, those scholars and companies attempted to eliminate the role of African Americans and their contributions to that style of music. So, one could say, it is not that others cannot recognize the contributions of African Americans towards the culture, it is the fact that record companies would make things “more white” to make more money that was the foundation for this erasure. This process was explicitly outlined in the writings of Erich Nunn we did for class. 2
BITHCERSHowever, what I found out while doing my research for this post is that the roots of this musical tradition can be traced back to the the US Civil War and the songs of the Confederate South. The two themes are prominent within it: a denial of black experience in the American South and this rural lifestyle as an idyllic lifestyle that is lost anywhere else.

http://docsouth.unc.edu/imls/shepperson/shepperson.html

War Songs of the South Edited by “Bohemian” 3

 

 

 

 

 

 

 

 

 

This song is only one example of many in a book of war songs but each follows this theme of a lost ideal society that was being faced with tyranny from the North. This song explicitly mentions slavery but alongside the beautiful natural conception of the South, ignoring the lives of a majority of people in that society! That idealization of the South implicitly glosses over major problems in that society.

If we understand the war songs of the Confederate South as such, It makes sense that they were the foundation for a future of denying African Americans a role in the creation of country music. The song above is one example of a history of erasing black contributions to the society they find themselves in.

Such an understanding of the pre-war South set the stage for the future conception of a rural lifestyle idealized even today in country music.Songs today in the genre revolve around the same ideas like trucks and tractors and lost love. Although in our time not explicitly negating the experience of African Americans in that rural lifestyle, it is built on a tradition in the genre of idealizing a lifestyle while simultaneously ignoring different lifestyles of many people within it.

1 Lomax, Alan. Sunny Side Boys, two youngsters, one of whom is on his back playing the fiddle, with an older man playing guitar. Bascom Lamar Lunsford is probably the man to the right of the picture holding a microphone above the fiddler. Between 1938 and 1950. Lomax Collection, Library of Congress Prints and Photographs Division Washington, D.C. http://www.loc.gov/pictures/collection/lomax/item/2007660175/

2  Nunn, Erich. “COUNTRY MUSIC AND THE SOULS OF WHITE FOLK.” Criticism 51, no. 4 (2009): 623-49. http://www.jstor.org/stable/23131534.

3 . “Lines to the Tyrant”. Page 30-34. In War Songs of the South. Edited by “Bohemian,” Correspondent Richmond Dispatch. Richmond:West & Johnston, 145 Main Street.1862.

3154 Conf. (Rare Book Collection, University of North Carolina at Chapel Hill) http://docsouth.unc.edu/imls/shepperson/shepperson.html#bohem22

Minstrelsy and Jay-Z’s “The Story of O.J.”

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This week I found some painfully real minstrel primary source material and just want to warn readers that I deal with some racist material in this blog post. I came across a minstrel song entitled “Isn’t it a Wonder?” which isn’t at all as innocent as the title sounds. Written in 1861 by Henry Wood, “Isn’t it a Wonder?” would have been performed at a minstrel show by Wood’s group, “Wood’s Minstrels.” It is written in a thick dialect, and is full of stereotypes. Blacks are compared to a variety of animals, and are portrayed as confused and unintelligent.

“Isn’t it a Wonder?”

The message of the song is made explicit in the last stanza. Wood encourages white audiences to adjust to the changing society and to stop trying to “kill the colored race.” It is important to note that this song was written in 1861 – marking the year Lincoln was inaugurated and the start of the Civil War. One possible interpretation of this song is that it highlights the fear and uncertainty that many whites felt about slavery coming to an end. Another interpretation is that it expresses the sick and twisted appreciation whites had for black culture, as it was useful for mockery, entertainment/minstrel shows, and to escape social norms.

Fast-forward 156 years. Jay-Z releases the music video for “The Story of O.J.” which uses many of the inaccurate techniques that minstrelsy did to portray black people. It is drawn in a black and white cartoon style, and presents the viewer with a flood of stereotypical images of black people — they are monkeys, slaves, jazz players, and football players just to name a few. The characters resemble old Disney cartoons, such as Steamboat Willie, which most likely had ties to minstrelsy. We understand this due to the white gloves, over exaggerated animalistic facial features, and caveman portrayal of a child playing the bones. So, why does Jay-Z use these stereotypes? And why now?

I believe Jay-Z’s use of these racist stereotypes found in minstrelsy highlights his message about race in America – we’re dealing with the same issues now. He also addresses the racism within the black community, and the struggle for financial freedom and responsibility. In this music video Jay-Z responds to one of the problems that minstrelsy and songs like “Isn’t it a Wonder?” pose– the comedic relief that blacks provide to white audiences. Jay-Z expresses that no matter what black people do they are still exploited for profit and treated as second class citizens.

Sources

Wood, Henry. Isn’t it a Wonder. 1961. http://infoweb.newsbank.com/iw-search/we/Evans/?p_product=EAIX&p_theme=eai&p_nbid=F59V55CJMTUxMDgwMTg5MC44MDEyOTQ6MToxMzoxMzAuNzEuMjI4Ljgy&p_action=doc&p_docnum=2000&p_queryname=2&p_docref=v2:10D2F64C960591AE@EAIX-10F453B3EBFA3590@925-@1