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Union Bands of the Civil War (1862-1865): Instrumentation and Score Analysis

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Union Bands of the Civil War (1862-1865): Instrumentation and Score Analysis Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 Union Bands of the Civil War (1862-1865): Instrumentation and Score Analysis. (Volumes I and II). William Alfred Bufkin Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bufkin, William Alfred, "Union Bands of the Civil War (1862-1865): Instrumentation and Score Analysis. (Volumes I and II)." (1973). LSU Historical Dissertations and Theses. 2523. https://digitalcommons.lsu.edu/gradschool_disstheses/2523 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and dius cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It.is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received: Xerox University Microfilms 300 Norti! Zeeb Road Ann Arbor, Michigan 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I 74-18,319 BUFKIN, William Alfred, 1934- UNION BANDS OF THE CIVIL WAR (1862-1865): INSTRUMENTATION AND SCORE ANALYSIS. I (VOLUMES I AND II) The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1973 Music I University Microfilms, A XEROX Company, Ann Arbor. Michigan j THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UNION BANDS OF THE CIVIL WAR (1862-1865)I INSTRUMENTATION AND SCORE ANALYSIS VOLUME I A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by William A# Buffcin B.Mus.Bd., University of Southern Mississippi, 1955 M.Mus.Bd., Louisiana State University, 1964 December, 1973 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Little has been written about the Union army brigade bands that served during the Civil War years of 1862-65» Even less is known about the activities of the regimental bands from the same period. The notion that these regimental bands were eliminated by the 1862 issuance of General Order No. 91 has been found to be misleading. More than one hundred such organizations actively functioned throughout the latter years of the war. P rio r to July o f 1862 each Union army regiment was served by two succinct musical ensembles. The duties of these units were care­ fu lly defined. F ield M usicians, one drummer and one f if e r per company, furnished the calls of the military day and acted as a communication tool on the battlefield. Brass bands on the other hand normally num­ bered twenty-four players and performed for guard munts, reviews, and special occasions. The field music served a functional purpose whereas the bandsmen's role was primarily social. Seldom was there any over­ lapping of responsibilities. Two separate individuals were charged with the supervision and training of the field musicians. These men were known as Principal Musicians. One man worfced with the ten drummers while the other co­ ordinated the activities of the fifers. A separate individual known as the band leader was in charge of the bandsmen. As the war progressed, however, the roles of the two ensembles as well as those of the music leaders became less and less defined. Some i l Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. regiments disoovered that they could function without the service of their field musicians, and instead substituted musician who served dual capacitiess The same situation prevailed with regards to the Principal Musicians as well as to the band leaders. Although this over­ lapping did not attain any significant numbers, there were some mili­ tary units where expediency took precedence over the normal situation. L ittle has also been written about documented instruments and the various types of musical equipment used by the bandsmen. The second part of this report deals with the many facets of Givil War Instruments and the relationship that the saxhorn played in the Civil War brass bands. Instrument nomenclature, valve design, and the various types of Civil War horns are also discussed. To date no project has been initiated which purports to analyze the music of the Civil War bands. Eleven partial and complete scores have been prepared which demonstrate a broad outline of some of the arranging techniques utilized during the period. Music from set three of the "Port Royal" books, the band books of the Twenty-fifth Massachusetts Infantry Band, and the books of the Seventeenth New Hampshire Band is analyzed and discussed. Despite the various areas of the country from which the numer­ ous Union army bands originated, some consistencies did emerge. Scoring practices, technical demands, and choice of selections were all rela­ tively static throughout the duration of the war. Patterns which had been set as early as retained considerable influence in the 1861- 1865 period. i l l Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS An expression of gratitude to all of those individuals who assisted the writer in the preparation of this dissertation is not fea­ s ib le , Even a sin g le lin e mentioning one or more names would increase the page content by several fold. It is, however, the wish that anyone who reads this study on Civil War brass bands will recognize that such an endeavor is the result of the contributions of numerous interested parties, without whose assistance the completed work would not have been possible. Certain Individuals have contributed so much, however, that their names must occupy a certain measure of space in the completed writing. Special appreciation is directed toi Fred Berikovic for his willingness to share materials and know­ ledge gained the hard way over many years of "trial and error," The guidance of this gentleman enabled the writer to avoid the numerous pitfalls that others have encountered. Civil War history owes a large debt to the efforts of the Military Music Heritage Foundation and the F irs t Brigade Band of Milwaukee which a re , in r e a lity , the re su lts of the efforts of Mr, Berikovic, Dr, Robert Bliason, Curator of Instruments, Henry Ford Museum, Dearborn, Michigan, for the hospitality of his home, advice, and assis­ tance, particularly in reference to the explanations of the various holdings in the D, S, Pillsbuiy Collection and a willing offer to be o f more a ssista n c e . iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Mr* aid Mrs, John Elrod and Marie for the tKtispltallty of their home in Washington, D, C. during the summer of 1972. Mrs, Elaine Everl^, Old Records Division, National Archives, fo r her assista n c e and suggestions, p a rtic u la rly w ith th e rssmerous trip s into the dusty stacks looking for materials about the Fort Sumter band, Elmer Meek, Argus Ogborn, and D, W, Ko cher for th eir many hours of assistance in helping the writer locate data about the Twelfth Indi­ ana Regimental Infantry Band, Jon Newsom of the Music Division, Library of Congress, for his suggestions and especially for the information about recent findings, Tom and Judy Plant for the hospitality of their home in Brook­ field, Wisconsin, Bob Sheldon, Curator of Instruments, Smithsonian Institute, for his patience in discussing mechanisms of instruments and evaluating re­ cent finding. Dr, Ken Olsen, Austin-Peay College, for the use of his mapy valuable materials over such a long period of time, Mrs, Ruth Thigpen, Norton Library, Louisiana College, for the many books ordered through the Inter-Library Loan which made the re­ search so much easier.
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